NARRATOR: It's the nation's favorite antiques experts-- [TRUMPET BLOWS] --with 200 pounds each.

I like.

I like.

I like.

NARRATOR: A classic car-- [CAR HORN BLOWS] --and a goal to scour Britain for antiques.

[HORN BLOWS] [GLASS CLANKS] The aim?

To make the biggest profit at auction, but it's no mean feat.

They'll be worthy winners and valiant losers.

It's fine.

NARRATOR: So, will it be the high road to glory or the slow road to disaster.

Pull out the ignition.

NARRATOR: This is the "Antiques Road Trip."

Yeah!

Our pair of excitable auctioneer Charles Hanson and Natasha Raskin Sharp are back on the road on the fourth leg of a journey full of ups and downs.

Last time Natasha fell for pooch, which led her astray.

It's hard to walk past this little guy.

NARRATOR: While Charles dug up some old bones and played knickknack.

In a Georgian way.

NARRATOR: But as the end of this trip looms closer, which of our rivals will be the first to the finishing line?

I want to see you give this one Scottish girl power.

I want some Scottish girl power.

OK. CHARLES HANSON: I want the Scottish girl to come out her shell now and really gather the loots.

NARRATOR: In the cash stakes after slipping her lead at the last auction, Natasha starts today with 122 pounds and 90 pence.

[GAVEL POUNDS] While Charles is top dog again with 268 pounds and 14 pence to spend this time.

CHARLES HANSON: I do solemnly declare from profits to profits, to loss to loss, we stick together.

NARRATOR: Charmer.

But, till the auction do us part.

Natasha and Charles sallied four from Girvan in Ayrshire and are skirting the solway, touring the peaks, the West Midlands and North Wales before setting course for a final auction in Mold.

Today, they're in Shropshire before meandering northwards towards Staffordshire and Cheshire to auction in Liverpool.

And our charming 1969 Morris Minor is going like a dream.

Don't speak too soon.

CHARLES HANSON: I'm the psychedelic '70s.

This moggie is a swinging '60s.

And you are the retro '80s.

I'm raving in the '80s.

You are.

You are.

See there, between the three of us, we'll speak quite well really?

Yeah, we ought to.

NARRATOR: First stop of the day is Weston Heath in lovely rural Shropshire, where Natasha has a rendezvous-- [GOAT BLEATS] --at Corner Farm Antiques.

CHARLES HANSON: Bye, take care.

Bye bye.

Oh, steady.

Bye.

CHARLES HANSON: I bought one today.

See you later.

[CAR HORN HONKS] Hello, good morning.

You must be Tim.

- Yeah, I am indeed.

Yeah, good morning.

Good morning to you.

I'm Tasha.

Hello, Natasha.

What a place?

It's a big 'un.

NARRATOR: It is a big 'un.

[MUSIC PLAYING] NATASHA RASKIN SHARP: Look at this, a silver strawberry set.

It's would you like to come round for strawberries and cream?

That would have been a note that would have been sent from butler to butler, a calling card, if you will.

Come around for strawberries and cream.

We'll be serving it using the finest Walker and Hall silver.

Don't you know?

But at 225 pounds, I'll pass.

NARRATOR: Step away from the silver, ma'am.

There must be something more suited to your budget.

NATASHA RASKIN SHARP: Look at that.

Beautiful box, Burr Walnut.

500 pounds.

In lead box, beautifully fitted, regency, 900 pounds.

Mary Gregory jar, 600 pounds.

NARRATOR: You will find something affordable my sweet, you will.

Meanwhile, Charles is southward bound to Cradley Heath, a journey of 30 miles through farmland and country lane.

CHARLES HANSON: Queen Anne, George I, Charles II.

A pretty-lived history rich, I'm sure, across these lands.

They say three's a crowd.

Come on.

Stay with me.

Let's find a little treasure.

NARRATOR: Charles is headed for Bridale Architectural Antiques, where owner Brian restores salvage in the kind of workshop most men can only dream of.

But, is this the place where Charles's dream of discovering real treasures will come true?

CHARLES HANSON: Almost straightaway just walking in.

I love the almost DEMI-LUNE sailing vessels in stained glass.

Are they here for sale?

- Everything is for sale.

- Really?

Even the carpet.

Even your black cat.

I need a cat.

- Not a black cat.

CHARLES HANSON: No?

I guess not.

Not so.

I like-- I love the two nice sailing vessels, which looked like little steamers or sailing boats in stained glass, probably 1956.

But they've got that local port side look which might do quite well in the pool.

How much are they?

The big one I'll do for 150, and the other one I'll do for 100.

NARRATOR: Before you sink your budget, best to take a good look around, eh?

It's quite interesting pot.

It's got a really rich, highly fired oily glazed exterior.

But I love that base.

And that base to me says I'm about 1900.

And if you did your homework, Charles, and look me up in a Burner Moore book or look me up in a book about, early Ruskin.

You might find me.

And if you find me, I could be quite valuable.

So it's almost all or nothing.

And it might just be nothing.

But when you feel something and you just handle it, you get that sixth sense.

You could be all right.

Brian.

BRIAN: Yes.

It's got no price on, Brian.

Best price, 10 pounds.

Really?

Yeah.

Is that 10 pounds all day long?

All day long.

And to an old dog-- For you.

And to an old mountain Derby?

12 pound then.

[BOTH LAUGH] You know me too well.

Brian, I like it.

It's got-- it's got a small chip.

But for a tenner, Brian, I think it's something for nothing.

I'll say take it away, put it behind your counter-- BRIAN: Sold it away.

CHARLES HANSON: Sold away.

NARRATOR: Worth a punt at a tenner.

Now, has Natasha found anything fabulous within her price range?

Do you know?

That catches my eye.

That's really stylish.

I mean, it's the shape of what you would call a tazza, which if it were truly a tazza, it would be taller, and this saucer-shaped section at the top would be sort of teetering on a really thin stem.

And "tazza" is just Italian for a glass or cup, I think.

But it's how you would describe the shape.

But in fact, it's just a sort of a comporte for bonbons, for sweets, for whatever you want really.

It's copper.

It's brass.

It's early 1900s.

Do we have a maker in the bottom?

We've got trademark "Made in England, Linton."

It's not the famous name, but it's beautiful.

It's eye-catching.

And, and it's two figures, 23 pounds.

I mean, I actually don't think it's worth more really than 15 or 20 at auction.

But if Tim would give me a really good deal, he might even just say, hallelujah, she found something.

Tim, Tim, Tim.

I found this lovely copper and brass dish.

Could we do it for 10 pounds?

How's about 15?

Shall we say 12?

And I can just go and relax.

TIM: Yeah, 12, 12 is OK. Now, are you sure 12 is OK?

12 is OK.

It's fine.

If you're happy with that, I'm happy with that.

NARRATOR: A glittering prize for a mere 12 pounds.

Oh, it looks good and light.

NARRATOR: Meanwhile, is Charles riding a high tide of antique success back at Cradley Heath?

I love that.

I think this is probably Italian Murano.

But look at the quality of that stopper, look at that lattice glass away it's been blown and molded.

It's just a very flamboyant whopper of a sand bottle.

I quite like that.

Again, no price.

NARRATOR: Time to reel in Brian, methinks.

CHARLES HANSON: What's the death on the sand bottle?

Because to me-- I was hoping to pay on that.

I'll be honest with you, I was wanting to pay about 40 pounds.

I was going to say 45, isn't it?

Do it for 40?

Sold it away.

Sold it away.

There we go.

Sold.

NARRATOR: And the stained glass is still floating his boat.

CHARLES HANSON: Would you take for the power 100 pounds?

No.

Where would you be?

BRIAN: 150.

CHARLES HANSON: Could we get 120?

125.

Meet her halfway?

I'll even lend you a fiver.

So, in fact, you're saying 120?

BRIAN: Yeah, I got it.

CHARLES HANSON: On the high seas, it might be rough.

Sold it away then.

I can't wait.

NARRATOR: Arr, shiver me timbers.

There's a total of 170 pounds out of your treasure chest, Charles.

[CHARLES SIGHS] Natasha is being transported now to Rugeley and Colton House en route for colonial Australia via the photographic legacy of pioneering local Frederic Bonney, who farmed in the outback in the 1860s and '70s.

Local historian, Jill Sykes, will put her in the picture.

JILL SYKES: We all stood in the House, Colton House, that Frederic Bonney spent getting on for 20 years in.

He was actually born down the road in Rugeley.

And the age of 23, so in 1865, he then travels out to Australia to meet his brother, Edward, who was by then bought took quite a lot of land and has got himself quite a big station established in New South Wales at a place called Momba.

Sometime just have he arrived, a traveling photographer came around and Frederic got his photograph taken.

NATASHA RASKIN SHARP: In what I imagine is a wool suit.

JILL SYKES: Absolutely.

Yeah.

NATASHA RASKIN SHARP: They must have been sweltering.

They were Victorians, and the standard certainly for the gentleman was wool suits, hats, ties, and colors.

But they did it to maintain the standards, these Victorian standards, despite the heat.

NARRATOR: Frederic soon got a camera of his own and began recording life in this remote sheep-farming station in the outback.

But his photographs reveal the world of the early settlers through an unexpected lens.

JILL SYKES: Also working on these stations are the Aborigines, who actually had owned all this land before the settlers came and took it off them really.

The photographs he took were, as far as we're aware, the first photographs ever taken of the Aborigines in that area.

We're talking about 1870s.

That's very, very early on.

He recorded their habits, their customs, the way they lived, all sorts of things.

He also wrote copious notes on them.

It's an absolute treasure, trove of information about the Aborigines.

And that's why he's so important.

He's got a really good relationship with them.

He knows their children.

He's got into the family networks.

And they're very happy to talk to him.

So I think because of that, they're happy to let him take photographs.

So this is all playing out in the 18-- '60s and 1870s.

I'm gathering these natives hadn't previously been shown such respect.

JILL SYKES: Absolutely.

A lot of the incidents with the early settlers, it was through the gun, which was very, very sad.

Whereas, Frederic Bonney, he's completely different to that.

And they trust him.

They can obviously trust him, which is a lovely thing to say about the man.

But, as far as we're aware, Frederic Bonney's collection is the only collection of photographs of this period of the Aborigines and the settlers.

There may be a few more of the settlers but, certainly, with the Aborigines.

This is why he's so significant in Australian history as well as for us here in Colton because he's out there with the camera at the cutting edge of photography, taking photographs of a group of people, who-- you know, they've got different habits and customs to anything that goes on over here and are going to be of interest to people back here at home.

NARRATOR: When Frederic Bonney returned in 1882 and settled here at Colton House, he would give talks illustrated with his photographs, opening a window into the world he'd inhabited for 16 years.

Jill has visited the site at Momba station retracing the footsteps of this remarkable Englishman abroad.

When you went over to the area, did you find that the name Frederic Bonney lives on today?

JILL SYKES: Absolutely, all over the place.

We had a great trip there, a very good trip, very interesting, met lots of people who told us all sorts of things about Frederic, and we came away with a few things.

I'd like to show you outside.

I'll follow you.

Here's something I brought back from Australia.

Well, I know what this is.

You do?

I do.

I didgeridoo.

Well, do you play the didgeridoo?

Jill, I didgeridon't.

Shall I give it a shot?

Go on.

Have a go.

A gorgeous thing.

OK.

It's not an antique one-- - No, it's not.

--but I still approve.

I still approve.

All right, do you have any tips?

Can you play the instrument?

None whatsoever.

You are on your own.

OK, right.

We're going to channel Frederic Bonney and his Aboriginal friends and give it a shot.

[DIDGERIDOO BLARES] NARRATOR: They aren't maestro.

Meanwhile, Charles is en route to Stafford, where at Welsh Rarebits by Annabelle, the said Annabelle and husband Brian serve up a tasty selection of antiques, vintage, and retro.

Charles has 98 pounds and 14 p to dine out on.

Do you buy from auction?

Or do you tend to buy from looking around?

Do you know?

We don't really go to auction.

Good to hear that because I feel quite fresh is here.

Lots of people coming in, bringing things-- - Good.

- --inviting us to their place.

CHARLES HANSON: [INAUDIBLE] already.

ANNABELLE: Yeah.

CHARLES HANSON: Just-- there's a really interesting quite quizzical objects, what I'm seeing.

I love these for example.

ANNABELLE: They go down there.

CHARLES HANSON: Yes, that's really interesting.

They're like very large table displays-- ANNABELLE: Yeah.

--but like menu stands.

Or they've got almost a religious fill.

How much are they?

1, 2, 3, 4, 5, 6, 7, 8.

ANNABELLE: Oh, they would be 108 for the eight.

CHARLES HANSON: And it's that stuff for 180 or a handsome 180?

ANNABELLE: Oh, they could be 150 [INAUDIBLE].. Oh, I like that.

I like that, a handsome 150.

Yeah, it could be 150 pounds.

That sounds promising.

And I like them a lot.

I'm thinking of my budget now, a mental note.

ANNABELLE: Yeah.

CHARLES HANSON: I'll go for a wander.

ANNABELLE: OK, Charles.

- I'll give you a yell.

if I see the thing that says hello to me, OK?

ANNABELLE: Enjoy.

NARRATOR: You do that, sir.

Hold on.

Excuse me.

NARRATOR: Hello.

Nothing up there.

NARRATOR: Oh, no hello.

Hello.

Hello.

I mean, they're very, very nice, antique French skittles.

You get two balls, all the skittles as well, but it's 225 pounds.

I'm out.

Time to stop, oh, oh, hello.

CHARLES HANSON: I keep coming back to these.

ANNABELLE: Yeah.

Anything more at 150?

No.

CHARLES HANSON: I'll be very frank with you.

ANNABELLE: Yes.

- You've got your margins-- - Yeah.

--and I've got my budget.

And my budget, very simply, isn't a very big fat one.

ANNABELLE: OK. CHARLES HANSON: I just want to-- do you like pottery at all?

Yes.

CHARLES HANSON: I, this morning, bought this jug.

ANNABELLE: That's lovely.

It's just like petrol, isn't it?

Yeah, look at that foot room as well the handle.

Yeah, yeah.

I really rate it-- ANNABELLE: Yeah, it's very tactile, isn't it?

--flambé high fired stoneware, Salt glaze.

And I wonder if you were interested in perhaps me putting the jug towards a pot transaction with the stands.

ANNABELLE: I think so.

Yeah.

Very honest, if they came to my sale room, I would guide the set of eight between 50 and 70 pounds and hope they might run a bit.

Yeah.

Very interesting, that's speculative.

Yeah.

CHARLES HANSON: How much do you rate that at?

ANNABELLE: We could do that and 70.

And that's your natural bottom?

ANNABELLE: Yeah.

CHARLES HANSON: And you're happy with that?

ANNABELLE: Yes.

70 is your final, isn't it?

Mm-hmm.

It's not a gift?

Mm.

Because-- because if I spend all that, I've got no money left.

And I've got to eat.

I've made it a little booby here.

- OK, then 60.

- Are you sure?

Yes.

CHARLES HANSON: It's nice to have a gamble.

And if one day that does make a lot of money, will you let me know?

I will.

Thanks a lot.

I'll take it.

Thank you.

NARRATOR: Oh, so sweet.

After a summit worthy of the G20, Annabelle has generously accepted 60 pounds plus Chelsea's 10 pounds jug in exchange for the eight menu stands.

Uh-ho.

Hello, what's he spotted here?

Hello.

Just walking past a shop, look, here's sign here, "Pole dancing classes in Stafford.

All levels and abilities welcome."

Now, what we're waiting for?

NARRATOR: Did you just say "pole dancing"?

I'm in heaven.

Wow, fitness heaven.

The polls move.

They're not broken.

They're supposed to spin.

NARRATOR: This is Danielle, the instructor.

Push forward knees together and then hold it tight.

I'm holding.

NARRATOR: Holy-- he's gripping on.

It's very quick.

DANIELLE: Yes.

I can do this.

Are you ready?

Yes.

NARRATOR: No, Charles.

[INAUDIBLE] yourself [INAUDIBLE].. Well, look at that pole move.

It's bending.

Are you ready for an audience?

NARRATOR: What?

- Are you serious?

- Uh-uh.

CHARLES HANSON: Where's the audience?

NARRATOR: Oh, no.

- Get out of here.

Oh, no.

[APPLAUSE AND CHEERING] Get out of here.

Oh, no.

This is the worst thing in the world.

NARRATOR: He's got a whole fitness class.

[APPLAUSE] NARRATOR: Oh, Charles, you are a screw.

Enough.

Enough, Charles.

Bye bye, girls.

Charles needs his strength for tomorrow.

Look at that.

I'm exhausted.

I should stick to what I know, antiques.

NARRATOR: Yes, indeed.

I hope we hadn't strained anything for Charles.

Time to get some rest.

Look out.

What's he doing with that bollard?

Nighty-night.

It's a brand new day on the road trip, and our antiques hounds are raring to go.

[CAR REVS AND STOPS] CHARLES HANSON: Hold on.

NARRATOR: Or sot of.

Oh, no, Charles.

Should I get out?

- No, it's OK. - Did you have your porridge?

CHARLES HANSON: I had my porridge.

All right.

CHARLES HANSON: OK?

3, 2, 1.

Here we go.

NARRATOR: Not like pole dancing, is it?

Nothing's happening.

Are you in gear?

Are you in gear?

Yes.

Oh, oh, oh, it's happening.

It's happening.

So if you now pull out the ignition.

Nothing's happening to-- oh, mind the pothole.

No, I can't-- left or right?

NARRATOR: Oh, no.

Not the pothole.

Oh, no.

I'm in a hole.

Well, Charles, that put us in a hole?

NARRATOR: You certainly are in a hole, my girl.

NATASHA RASKIN SHARP: I don't know what to do.

Do you want me to get out?

NARRATOR: Let's just remind oursleves that yesterday Natasha made a tiddly purchase of a tazza, so she still has 180 pounds and 90 pence in her piggy bank.

Oh, looks good and light.

NARRATOR: Well, Charles splashed out on a Victorian cents bottle, two stained glass panels, an eight menu stands.

Thanks a lot.

I'll take it.

[LAUGHTER] NARRATOR: Leaving him with a teeny-weeny 38 pounds and 14 pence to spend today.

CHARLES HANSON: Ready.

Go!

[CAR ENGINE SPUTTERS] NATASHA RASKIN SHARP: Oh, did you get it?

Did you get it?

- Oh, my goodness.

NATASHA RASKIN SHARP: Oh, oh, it's going.

You got it.

You got it.

CHARLES HANSON: We got it!

We got it quick!

No, you drive.

NARRATOR: All right.

North now to Nantwich in Cheshire.

Once a center for the production of salt, while seasoned antiques experts are heading together to Dagfields Crafts and Antiques where there's plenty of room for two NATASHA RASKIN SHARP: Hold on.

Is that OK for you?

CHARLES HANSON: I can't-- I can't get out of the car.

Actually, I'm in the pansies or the tulips-- I'll see you in there, yeah?

Hey, hold on.

NATASHA RASKIN SHARP: Are you OK there?

No.

OK, Charles.

- I can't get out the flowers.

- You get out of there.

CHARLES HANSON: Wait for me.

NATASHA RASKIN SHARP: I'll see you in a bit, yeah?

CHARLES HANSON: You are unbelievable.

Sorry, tulip.

Sorry pansy.

Unbelievable.

Wait for me.

Ha-ha.

I'm sorry about-- - I got you.

- I'm sorry.

- That's OK. NATASHA RASKIN SHARP: Shall we shop together, shop for one another?

CHARLES HANSON: In matrimony, aren't we?

NATASHA RASKIN SHARP: Can I choose something for you?

CHARLES HANSON: Yeah, OK. You to me, you know, in your sophistication, I almost think you should be a Doulton ladyesque buyer.

Really?

I think they're a wee bit old fashioned.

No, I think they've got tradition.

They've got style.

NATASHA RASKIN SHARP: What would I do for you?

I don't know.

It's certainly not a trophy.

Here we are.

Here he is, the lion, rampant, roaring.

Oh, yeah.

NATASHA RASKIN SHARP: The King of the jungle destined to take the crown to prey upon the weak.

A long way to go.

NARRATOR: Time for "beauty and the beast" to get on with our own stories now.

NATASHA RASKIN SHARP: This could be quite a savvy buy, just grabbing the bull by the horns, get some deck chairs, which are complete with quite shockingly ugly material.

But they're ready to use.

I wonder-- I wonder if I could get a deal.

They're not particularly old or probably 1950s, 60s, but they are quite cool.

And I've got to get some profits in the bag.

NARRATOR: Yes, you do.

Now, what's piqued Charles's interest?

Nice.

It is papier-maché as well.

What I like about this is it's full of Victorian flair.

We've got the fruiting vine.

We've got green and red berries.

And then, this cartouche shape, very Victoriana-- and it is actually hand-painted, which is really quite charming.

Three figures on this vessel and what appears to be an East Indies ship or some sailing ship.

And for only 20 pounds, to me-- what is described as a papier-maché old trade is in fact mid-Victorian, high-Victorian, mother of pearl, hand-enamled.

I think it's charming.

And if I can buy it for, let's say 10, 12, 15 pounds, I think it's a real buy.

NARRATOR: Hold that thought.

Oh, someone's left their jacket.

NATASHA RASKIN SHARP: Well, hey, that is Liverpudlian.

Now, this looks a little bit shabby.

It's not the finest work you've ever seen at the seams, but what screams Liverpool more than a Sergeant Pepper's jacket.

Oh, it's a beauty.

NARRATOR: It's a modern reproduction.

Ticket price, 30 pounds.

Go on.

Try it on for size.

How do I look?

Look at this.

There's a button missing here.

But it's quite cool.

We are going to Liverpool.

I don't know if this is the right price.

Good afternoon.

- Hello.

Hello, I'm Tasha.

Hello, Tasha.

It's Dave.

Dave?

Nice to meet you.

And hold on a minute.

Where's that accent from?

- Liverpool.

Liverpool?

That's handy.

That worked out quite nicely because I'd like to talk to you about the Sergeant Pepper-style jacket hanging over there.

DAVE: Cool.

NATASHA RASKIN SHARP: It's got 30 pounds on it.

I can only offer a tenner.

Will you take it?

I'd have to go for at least, maybe 20.

20?

15?

DAVE: 18?

NATASHA RASKIN SHARP: 18 pounds?

Shall we go for it?

- We will.

Oh, for goodness sake.

What I'm thinking?

What am I thinking?

NARRATOR: You get by with a little help from your friends.

Yeah!

Whoops.

Meanwhile, Charles is pursuing the 20-pounds papier maché tray with another dealer called Dave.

CHARLES HANSON: So he's dialing up, and obviously it's not his property and he has to ask the dealer.

Can you do anything on the 20-pounds papier maché tray?

Dave, this time go for 5, 10, 15, OK?

He's saying 16.

CHARLES HANSON: Hold on, hold on.

How much?

16.

CHARLES HANSON: 16 pounds?

Yeah.

Is that a deal?

Yeah, I'll do 16 pounds.

Yeah, all right.

I'll do at 16 pounds.

I can't go for a pound off.

Let' do it.

Come on.

All right, see you soon, sir.

That's great.

- All right.

- Come on.

I'll buy it.

NARRATOR: Good work, Charles.

Your shopping basket is full.

Natasha seems to fancy a "V" seat, a vintage seat.

Dave, I think these are pretty cool.

You know, the sun's coming out, the tulips are blooming.

It's time for people to get into the garden and have a little recline.

How much do you want to pay?

All right, don't beat around the bush.

I thought we were going to sit here and relax for five minutes.

Well, before I tell you that, how about we sit in our deck chairs and admire the Chardonneret stand?

It's Victorian style, isn't it?

It's not Victorian.

DAVE: This isn't that new.

What do you think, probably 1940s, '50s, something like that, a bit later?

'50, '60.

'50, '60s.

So it's getting newer and newer by the minute, Dave.

But the condition's good.

It looks nice from where I'm sitting.

It's got a really nice, almost Maritime feel to it.

I don't know.

Just-- it's almost like the shape of a gurgle jug or something, quite attractive.

NARRATOR: It's price tag is 35 pounds.

And the vintage striped canvas deck chairs are 18 pounds each.

I reckon for everything, 40 pounds?

No.

NATASHA RASKIN SHARP: Not happening?

I can do the chairs for 20.

OK. That have to be a bit more-- 25.

NATASHA RASKIN SHARP: What if we did 20 and 22?

Go on then.

Go on?

Right.

NARRATOR: A deal of 42 pounds, but will it be a steal?

Listen to you roar.

NARRATOR: Charles is off now six-miles northeast from Nantwich to Crewe, a name forever associated with railways.

The arrival of the iron horse created the town, which grew up to service the locos which passed through its famous Victorian junction and station.

CHARLES HANSON: Hello, there.

How are you on this sunny day in Crewe?

Welcome.

NARRATOR: Mike Lenz, the manager of Crewe Heritage Center, takes us back to that era of steam and speed.

CHARLES HANSON: At the start-- almost the birth of the railway, this became that great junction which took the whole nation, Victorian industry forwards Yes.

The first train to stop at Crewe was 1837, 180 years ago.

CHARLES HANSON: The train going past now, Mike.

Hold that thought, give them all the wave.

Hello.

On your merry junction through Crewe.

Where is that going, Mike?

London-- Halfway to Liverpool.

So, OK. Liverpool's that way.

Yeah.

- Where's London?

- That way?

That way.

Where's Manchester?

Manchester.

Manchester in the west.

North Wales.

North Wales over there.

So Mike, towards the end of the 19th century, how many trains would a passed through here?

MIKE LENZ: In the region of 1,000 trains a day.

No!

Yeah, it was that busy.

In 24 hours?

1,000 trains?

Could this be?

NARRATOR: By the late 1880s, the railway boom was in full swing.

And as new routes opened up, a race was on for the fastest journey time from London to Edinburgh.

As a hub of the heart of a rail network, Crewe became a key staging post in the race to the north.

MIKE LENZ: They got it down in the turn of the century to sort of 7 and 1/2 hours on the East Coast, and then the West Coast companies would advertise that they were going to do it half an hour quicker.

CHARLES HANSON: Really?

MIKE LENZ: There were a number of ways that they managed it.

One of which was to reduce the number of stops that the trains made at stations on the routes.

They sometimes started earlier to beat the other trains.

And obviously, when one noticed that that happened, and the other would do that little bit to start theirs a bit earlier.

And, of course, they would sometimes double up on the loco so that there were two little girls on the train just to give that extra bit of power, especially where you have the gradients and so on in the health.

Crewe was important because being effectively the midpoint in the journey, as the train came in, one loco would come off, another loco would go on with a fresh crew, and off they'd go.

CHARLES HANSON: So Crewe is almost like a pit stop.

Yes, very much so.

NARRATOR: Whilst the East and West Coast rail companies battled for supremacy, steam trains were rushing daily through Crewe at speeds of up to 80-miles an hour.

And up in the signal box, the men would have also been working at top speed to avoid any delay to those thundering expresses.

In the museum signal box with the aid of computer technology and David Thomas, Charles is going to take a turn at the signalman's job.

Look out.

If I had failed to pull the signal, what would have happened?

Well, the train had just come to a stop, right there.

NARRATOR: And in the great train race, there was no time for stopping.

Remember you've set them up.

That's now number two, which is the heaviest one in the box.

CHARLES HANSON: Well, that's quite heavy, isn't it?

NARRATOR: Come on, Charles.

This is nothing in comparison to a pole.

A pole?

CHARLES HANSON: By there?

Now number three.

Little bit, little bit, like that.

Keep going?

Yep, keep going.

OK. And number four.

CHARLES HANSON: It's because-- it's quite hard work, actually.

I can imagine how it would be quite frantic-- Yeah.

--and also a good exercise.

[INAUDIBLE] have to be done brake here.

Good.

CHARLES HANSON: Oh, yes, the other one.

DAVID THOMAS: That's the distance signal.

That's easy.

[BELL RINGS] OK, so there's two rings.

And that's telling us that the train is getting closer.

OK. And it's telling us-- you can do this.

Yes, just give two beats back.

Which means?

Train entering section.

CHARLES HANSON: One, two.

And turn the lock to Train Online.

CHARLES HANSON: Online.

DAVID THOMAS: That's it.

Now, what we do now is we wait for it to arrive on the screen.

NARRATOR: But this is a simulator.

So, no actual steam trains today.

Back in the 1880s though, pressure was on.

And you'd have needed your wits about you to make sure no time was lost, safely, sending them, hurtling onwards, towards new record times.

CHARLES HANSON: I would enjoy that.

- Yeah.

- Should we be going?

Again?

- Yes.

Let's go.

NARRATOR: From Crewe, it's a seven-mile rail journey north to Sandbach.

But this is a road trip, and Natasha's behind the wheel.

Shouldn't take her more than a couple of hours.

I'm coming to get you, Charles Hanson.

You made me in front, but I'm on my way to the last shop with over 100 pounds of spend.

So this is it.

The race is on.

NARRATOR: Sandbach is home to two magnificent and mysterious ninth-century carved stone crosses, and Saxon Cross Antiques is the name of Natasha's last shop today.

Energetic?

CHARLES HANSON: Good afternoon.

- Hi.

- Hello.

You must be John.

- Yes.

Hi, I'm Tasha.

Nice to meet you.

NARRATOR: Surely something's hidden away in here.

Do you know?

Well, I've been banging on about going to Liverpool.

I want to find something for the sea.

Maybe I've been looking at it from the wrong angle.

What about something from the sea?

How about a crab?

A crab.

It's a crab serving dish, just like an entrée dish or something.

This is not a terrine as you know it.

This is not an entrée dish as you know it.

But it's solid-- hold on-- his wee eyes.

His wee beady eyes are looking at me and saying, oh, buy me, please.

It could be a sort of Edwardian fancy, or it could be a lot nearer than that.

I think I love it.

I just don't see a price on it.

So I don't know if John's going to love my offer.

But offer, I think I will.

NARRATOR: I feel a seafood platter coming on.

Can I please have your silver plated crab?

JOHN: No.

Why is he on shop floor?

It's literally only just come in.

And my wife said, I want it.

So unfortunately, I don't want to see a divorce court, not just yet.

No crab?

No crab.

NARRATOR: So much for the catch of the day, huh!

Anything else on the horizon?

NATASHA RASKIN SHARP: Do you know?

There are things that people always bid on.

Yes, sometimes, a hundred, sometimes, a 100,000, but always bells.

They sell.

They're popular.

It looks Edwardian to me, or at least turn of the 20th century.

Anyway, it's got its rope.

I know it sounds good.

I'm sure I'll bet it weighs-- oh, yeah, it definitely weighs a ton.

NARRATOR: This bell is from an early motorized fire engine made by Dennis of Gilford circa 1908.

Slightly suspicious about these very shiny chrome screws here at the top.

But we can forgive those because we do have this bracket.

And that counts for something.

I don't know the price because I can't see one, but John owes me a favor because he wouldn't sell with that crab.

NARRATOR: Don't be nippy.

NATASHA RASKIN SHARP: Hi, John.

- Hi.

I'm back again.

Here I am.

And here's my proposition.

You teased me with the crab.

Will you do me a deal on the bell?

I see it auction at 30 to 60.

So if you shake my hand at 35-- I'll do it for you special, what I paid, 50 pound.

John, thank you very much.

No problem.

I definitely can't carry it, but I do carry cash.

You'll be pleased to hear.

Excellent.

NARRATOR: Who m what will chime with the auction goers?

CHARLES HANSON: I'm looking forward to go to Merseyside.

I'm looking forward to hopefully say to all those great people will never walk alone.

Stay with me.

We're together.

Whole time.

Exactly, whole time.

NARRATOR: Roar on the auction, but first, a good night shut-eye, eh?

We're off to the big city today, and auction in Liverpool, where Natasha and Charles are hoping to get with the Merseybeat man.

CHARLES HANSON: It's so exciting.

NATASHA RASKIN SHARP: I know.

CHARLES HANSON: Just being in Liverpool.

Second last auction.

I know.

Don't.

NARRATOR: It's the end of a journey, which began in Weston Heath in Shropshire and took the long and winding road north before rocking up in Liverpool.

Auction houses today a Keto Carne, and their tables appear to be growing with goodies.

Crystal ball, Charles?

Is he seeing a fortune in those five lots which cost 246 pounds?

Any success in the tea leaves for Natasha, who spent 122 pounds on her five lots?

What do they have to say about each other's buys?

I'm quite impressed by Natasha's link to Liverpool in this almost Sergeant Pepper-esque jacket.

But Tasha, the problem is it's quite new.

It's reproductive.

But at the same time, it's decorative.

So you never know, pigs might fly.

NARRATOR: Thanks, Mr. Sartorial.

So here are Charles country house menu stands.

Now, I understand country house antiques and the appeal, but these in particular, I don't really get it.

I mean, what's a "filver"?

I wouldn't pay a fiver for them.

But I know Charles has paid more, and I understand why.

He can relate to them.

They're a bit old, a bit shugly, and well, yes, they've got plenty of character.

NARRATOR: Will they be today's special though?

What does auctioneer John Crane think of our duo's purchases?

The maritime panels are quite interesting, decorative, good condition, instantly usable.

They're quite good.

The stripy deck chairs, I love them.

They remind me of my childhood.

That's a good buy.

NARRATOR: Thank you, John.

With bidders in the room and online today, and who knows what they will fancy.

So here we go.

[GAVEL POUNDS] Ship ahoy!

It's Charles's papier maché tray.

20 pounds is bid.

Thank you.

20.

20, 22.

I figured he's seasick.

24, 26.

CHARLES HANSON: He's going up.

He's going up.

AUCTIONEER: 26 pounds is the bid.

Come on.

JOHN CRANE: Is that the best we can do with?

26 pounds.

CHARLES HANSON: I'm locking.

I'm changing.

JOHN CRANE: All done and finished, 26 pounds.

[GAVEL POUNDS] You've done all right there.

I'm happy.

NARRATOR: He's rowing away with a 10-pounds profit.

It's a good start.

NARRATOR: Next up, Natasha's copper and brass tazza.

10 is bid.

Thank you.

10.

10.

12, 12, 14, 16, make it 18 for me.

One more?

18 pounds.

Come on.

JOHN CRANE: 18 pounds.

All done and finished.

[GAVEL POUNDS] NARRATOR: 6-pound profit there.

Not bad.

You could be in the money.

What do they call money in Liverpool?

What's the currency here?

They call-- Mo-ney?

Money.

NARRATOR: Charles's Italian scent bottle [INAUDIBLE].. - 50 pounds is bid.

- Come on.

Let's go.

JOHN CRANE: 50, 55.

[INTERPOSING VOICES] 55, If you like now.

All done.

It's going to be sold.

Ladies and gentlemen, love the item [GAVEL POUNDS] NARRATOR: Go.

Another tenner in his pocket.

The internet came in so quick, and you wonder how far they may have gone.

Had there been some competition.

But I'm happy.

NARRATOR: I pity the poor Porter Paul who has to hoist up Natasha's fire engine bell now.

20 pounds for it.

20, 25, 30, 35.

35 is bid now.

Right at the end.

40, 40, 40.

Holding up 40 pounds.

NATASHA RASKIN SHARP: What are you doing to me?

[GAVEL POUNDS] Do you hear the gavel come down?

You're buying a big bit-- For whom the bell tolls.

NARRATOR: Unfortunately, it tolled for Natasha and lost her 10 smackers.

That's going to be ringing in my ears for days.

NARRATOR: The smaller of Charles's two maritime stained glass panels next.

20 pounds.

20 is bid.

This could be difficult.

I got to have 25, 25, 30, 35, 40.

Come on.

45.

We'll do 50, and we get-- CHARLES HANSON: Broken even.

JOHN CRANE: --50 pounds.

NATASHA RASKIN SHARP: Come on.

CHARLES HANSON: Broken even.

50 pounds.

All done and finished.

Selling.

[GAVEL POUNDS] NARRATOR: An even keel, but not a profit.

Do I sink or swim?

You don't-- you float.

NARRATOR: Yeah, time for Natasha's vintage deck chairs.

10 is bid.

10, 12.

14, sir?

Nice thing?

It's 14, 16, 18, CHARLES HANSON: 18.

NATASHA RASKIN SHARP: Go on.

JOHN CRANE: 20.

Go on 20.

20 is bid.

22, sir?

Nice.

22.

- Hold on.

Put it there.

Put it there.

Hold on.

Hold on.

JOHN CRANE: 22 pounds.

[GAVEL POUNDS] They have made the two pounds.

NARRATOR: Well, the small change might buy 99.

2-pound profit.

You can't grumble, can you?

I think I'll always grumble.

Happy holiday for you.

NARRATOR: Up now, the set of eight menu stands.

30 pounds is bid.

30, 32.

I've got 34.

34 is bid.

36, 38, Come on.

JOHN CRANE: 38, 40, [INAUDIBLE].

If I hit 50, I'd be happy man.

JOHN CRANE: 50 on the internet now.

Would you like 52?

54.

So stay with two.

It is 56, sir.

56, 58.

CHARLES HANSON: Keep going.

Come on.

JOHN CRANE: 60.

62.

64.

CHARLES HANSON: One for the road, sir.

One for the road.

JOHN CRANE: 64 is bid now.

64 pounds, your bid, sir.

Make no mistake.

[GAVEL POUNDS] Oh, so close.

NARRATOR: And yet, so far.

A six-pound loss served up there.

That was why I fail an escape to a lack of a big loss.

NARRATOR: Next, it's the Natasha's Victorian-style ceramic gardenia.

10 pound is bid.

Oh, 12.

Thank you.

Well done, partner.

JOHN CRANE: 14, 14, 16, 18, 16 pounds.

CHARLES HANSON: Sweet 16.

JOHN CRANE: Gentleman standing right in front of me.

All that have finished-- NATASHA RASKIN SHARP: It's going to the internet.

CHARLES HANSON: Is that sweet enough?

[GAVEL POUNDS] No, it wasn't sweet enough.

NARRATOR: There's no accounting for taste.

Another six-pound loss.

We've all got one object each to go, OK?

Keep the faith.

NARRATOR: Charles's last lot now, the larger maritime stained glass panel.

80 on the net.

[INAUDIBLE] JOHN CRANE: 80 on the net.

- Come on.

The tug's tugging me.

Tug me.

Tug me.

Make it 85, anyone?

85, the lady's bid.

85, 90.

CHARLES HANSON: Fantastic.

On the net is now bid.

Would you like 95, madam?

95 is bid.

110.

Yes!

JOHN CRANE: I'll do 105.

110?

Would you like it?

It's only another five pounds.

CHARLES HANSON: The world's against you.

It's 110 pounds on the internet.

For the last time now, any further bid.

It's 115.

[GAVEL POUNDS] NARRATOR: Cool.

He sailed away with a profit of 40 pounds.

It puts the maritime for me back in Liverpool, and the sun's still shining.

NARRATOR: What will Liverpool make of the last lot?

It's the Sergeant Pepper-style jacket.

10 is bid.

I've got 14 on the internet.

16?

16 is bid.

18 on the internet.

Go on.

JOHN CRANE: 18.

CHARLES HANSON: What about the year, sir?

22 on the internet.

24?

26, 28, Good man, sir.

JOHN CRANE: 30?

30.

32?

Go on, sir.

[INTERPOSING VOICES] JOHN CRANE: 34 on the internet.

36?

36.

38?

38 is bid.

40.

45?

50 now.

One more.

Where else should you buy one of these?

Liverpool, of course.

Oh, he's in, back in again.

He is back in.

How much?

CHARLES HANSON: Good lad.

Good lad.

JOHN CRANE: 50 pounds is bid.

50.

55, 60?

60 pounds is bid.

65.

70.

75?

75.

80 CHARLES HANSON: That's amazing.

75 pounds, ladies and gentlemen.

Selling this time around for 75 pounds.

[GAVEL POUNDS] Wonderful.

You know, dare I say it, from the swinging '60s to girl power of today.

You are that girl power.

NARRATOR: Yes, she is-- with the day's biggest profit, a whopping 57 pounds.

Crikey.

It was all about buying for the crowd, your puffer and my jacket.

And you know what?

Liverpool still wins.

Yeah.

Come on.

Congratulations, Natasha.

NATASHA RASKIN SHARP: Thanks, Charles.

Oh, we both did well there in the end.

NARRATOR: Natasha started out with 192 pounds and 90 pence.

And after auction costs, she made a profit of 18 pounds and 22 pence, and ends up today with 211 pounds and 12 p. That jacket saved her.

[GAVEL POUNDS] Charles began with 268 pounds and 14 pence.

And after showroom fees, he broke even.

So bizarrely, he carries forward exactly the sum he started with and is out in front again this time with that 268 pounds and 14 pence.

Whoever would have dreamed that up?

CHARLES HANSON: Wow, that was quite something.

Well, let's get back on the road.

Final stretch.

I know.

The end is nigh.

Uh-oh.

[MUSIC PLAYING]