[MUSIC PLAYING] 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 scower 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 slow road to disaster?

Pull out the ignition.

NARRATOR: This is the Antiques Road Trip.

[MUSIC PLAYING] Yeah!

(SINGING) It's kind of magic.

NARRATOR: It's the last day before school's out.

And our overgrown youngsters Charles Hanson and Natasha Raskin Sharpe are in full end of term at Hogwarts mode.

I'll be a Welsh wizard, and you can be my Welsh queen.

Welsh wench.

No, no, no, you're not wench.

No, no, no, you're far from wench.

I think you're a Welsh queen.

NARRATOR: Spell of good and bad fortune has left Celtic darling Natasha slightly in the twilight, and she starts today with 211 pounds and 12 pence.

Bless her.

[GAVEL POUNDS] While Charles's magical powers prevailed leaving him with a wizard 268 pounds and 14 p to spend on this final road trip, looking rather serious.

It's a blue sky here in Wales.

The sun is shining.

It means one thing.

What does it mean?

Welsh gold.

NARRATOR: From Girvan on the Firth of Clyde, Natasha and Charles are traveling south down the backbone of England taking in the sea air before the coast roads of North Wales and wending their way back to Mold.

Today the journey begins in Caernarfon meandering east to Chester before heading for that final auction in Flintshire.

Let's hope the roads are kind to our 1969 Morris Minor.

I think for the whole week, he's been a joy.

A joy?

Did we have any b-- oh, we had a minor breakdown.

Yeah.

We had a minor ringtone, but he came back to life.

CHARLES HANSON: He's looked after you and I, baby.

All right, don't get too familiar.

Sorry.

NARRATOR: But just how familiar have our flamboyant auctioneers become as they've hit the road together.

NATASHA RASKIN SHARP: You know people are relying increasingly on dating apps.

I think the people should just take a week's road trip together.

Exactly.

Buying antiques, that's one way to find out about a person.

[INAUDIBLE].

You can't get out the car, can you?

You're stuck in the middle of nowhere, and I mean, this landscape, look at the mountains over there.

NARRATOR: And the sunny Caernarfon is the starting point today for our whistle stop tour of North Wales.

CHARLES HANSON: Here we are-- NATASHA RASKIN SHARP: It's impressive.

CHARLES HANSON: --in Caernarfon.

Thank you very much.

Now, I wish it was [INAUDIBLE]..

There we are.

About the-- Have a great day.

NATASHA RASKIN SHARP: You too.

CHARLES HANSON: Thank you very much.

And take in the castle, and don't be defeated.

I'll keep my guard up.

Look at the castle.

OK.

I'll take my inspiration from there.

- Go forthwith.

- By Charles.

See you later.

Bye.

See you!

I wash the water as well.

You be careful.

[INAUDIBLE] NARRATOR: Yes, careful.

Now, let Bygones Be Bygones because that's what Natasha's first shop is called.

Good morning.

Hi Natasha.

Hi, you must be Ian.

I am, yeah.

Lovely to meet you.

Thank you for having me along to your purple palace.

No problem at all.

Certainly stands out.

How long have you been here?

Just a year, almost exactly a year now.

Wonderful.

So everything is quite fresh stock.

That's it.

You should find something, I hope.

Yeah.

NARRATOR: Good.

Sniff out those bargains.

Here we've got three rolling pins made out of glass.

And what's so lovely is that if I lift this one off-- obviously, glass is blown, and coming out of the end here would have been a rod, which is hollow.

This would have been a lump of molten glass.

Through the rod, you would have blown, and you would have lengthened the glass and shaped it to become the rolling pin.

And when it's formed and ready to go, you break it off from the rod, which is why we have this rough mark here, the pontil mark.

And where does that come from?

Well, only the Latin word for bridge, "Pont," which just so happens to be the Welsh word too.

Oh, I love it.

NARRATOR: But, would it love you back?

What have we got in here?

Now, this is lovely.

Silver plate, not silver but, I think, delightful, nonetheless.

How regularly do we show you silver-plated belt buckles?

Well, here is the buckle.

Look at this lovely daisy motif, buckle that together.

But it's surrounded by, complimented by the entire belt.

Look at that.

Is that not just resplendent.

I'll spin it around, so you can see the whole thing, how that would set off any plain garment and just turn it into a feminine delight.

And it's all about the central buckle, this daisy here in the middle.

Now, let's have a look at these marks.

We know it's silver plated.

EPNS, Electric Plated Nickel Silver.

We know that it is not solid silver.

But what we do know, according to the label is that it's a 26-inch waist, 30 pounds.

NARRATOR: Sounds promising?

Meanwhile, Charles is chuntering through glorious scenery to his first shop of the day.

He's headed up the coast to Llandudno with its splendid Victorian pier and seaside attractions.

CHARLES HANSON: Here I come.

Here we are, Digby Antiques.

What a fine day?

Hi, it's lovely to meet you there.

[DOG BARKING] - [INAUDIBLE] My name is Graham.

Sorry, Sorry.

Who's-- [DOG BARKING] Sorry about that.

Crikey me.

[INAUDIBLE] down, Digby.

- Sorry, what's the dog's name?

- Digby.

I'm Charles.

Good to see you.

[DOG BARKING] - [INAUDIBLE] me.

Sorry.

Sorry about that.

GRAHAM: He's a good guard dog.

NARRATOR: So, what treasures is he guarding?

CHARLES HANSON: Well, I love.

Almost as we're in Llandudno.

It is almost capturing the charm of what was this great seaside town many years ago.

And here you've got a bit of history of Llandudno, these various figures, and that lovely old fashionable beach.

And look, the postmark on that card is 4, 1927.

And there's a motor car like we [INAUDIBLE] stay on the road trip.

Nostalgia.

NARRATOR: Happy days, eh?

Because the sun is shining, I'm feeling all quite art deco-y.

I'm feeling quite colorful today.

And this, again, to me-- having had a wonderful drive with Natasha through some gorgeous Welsh countryside, the flowers are out, really picturesque art deco plaque, which this is, this thunderous-- almost waterfall, old river, molded onto this porcelain.

And this is retailed a "Made in Hanley" in Staffordshire in the potteries and is marked as a trading term, "falconware."

I almost think looking this porcelain bracket here mounted on was made for it to hang on a ledge like that.

Look at that.

Isn't that clever?

This is 1930, 1935, and it's just quite a decorative lot to take to auction, and it could be yours for only 15 pounds.

NARRATOR: But, will it be yours Charles?

Back in Caernarfon, Natasha is still attracted by the lure of silver.

NATASHA RASKIN SHARP: So, what have we got in here?

We've got some spoons.

And here, we've got a pair of-- guess what?

Ladies curling tongs, aren't they so cool?

Well, I can't remember if Charles already bought a pair of these or not on the trip.

NARRATOR: Yes, he did.

And he made a small profit.

And look at the basic design, exactly the same as curling tongs today.

You just heat them up, plop them on, and then you twist.

I would hold for a minute.

In fact, my lady, my lady would be holding them for a minute.

Let that take and then reveal a perfect ringlet.

Mm-hmm.

NARRATOR: Yes, but they need to be hot.

The date mark, which is somewhere on here.

Lowercase "a" is for 1900.

They are actually 30 pounds, and so is the belt, same price.

I wonder if Ian would do a deal on the two because I think it's for the same sort of buyer.

Oh, hold on.

Close the cupboard.

And I'll go see Ian.

Belt, tongs.

If I were to offer you 30 pounds, what do you think?

How about 40?

Oh, I've got to do it.

Can we meet in the middle and do 35?

I fell right for that one, didn't I?

Sure.

Cool.

Thank you so much.

NARRATOR: Almost half price, very generous.

Nifty work.

Now, how's Charles getting on?

CHARLES HANSON: Call out this jug here.

It's so vibrant.

And this jug is marked Charlotte Reed, made by Bursley Ware.

It would date her 1935, nice pattern number, love the finish.

I love the tulips and the tube lining, but what really sets it off is this border here, quite geometric, quite Aztec-y, and very much of that 1930s, '40s spirit.

There's one issue.

It's got a hairline crack, just running all the way down, through the rim, on the inside as well, running down there.

How much Graham.

I've got 20 on that, but I can do that for 10 if you-- CHARLES HANSON: Really?

- [INAUDIBLE].

Yes.

- Are you happy with that?

Yes.

I'll take it, 10 pounds.

NARRATOR: Excellent.

Now, let's let sleeping dogs lie.

Digby, Digby.

NARRATOR: Oh, no.

CHARLES HANSON: Hello.

[DOG BARKING] Digby!

NARRATOR: Told you.

CHARLES HANSON: And the other thing that I seen is just this plaque over here, Graham.

Oh, yes.

CHARLES HANSON: What's the best on the falconware hanging [INAUDIBLE]?

Well, I've got 15 on this.

I can do that for 10.

Are you sure?

I'm positive.

CHARLES HANSON: And that's your best price?

GRAHAM: Yes.

- I'll take both.

20 pounds, job done?

Graham, there is 20.

To you or Digby?

GRAHAM: It always [INAUDIBLE].

CHARLES HANSON: Digby!

Come on, boy.

There you go.

GRAHAM: Bye.

NARRATOR: The old dog did well, and so did Charles.

That's a little cavalier en route.

Let's hit the road.

NARRATOR: Drive carefully for goodness sake.

Westwards over the Menai Strait now to the island of Anglesey and the village of Llanfairpwll.

Yes, that's the short version.

The Women's Institute in Britain began here, and Natasha is going to talk "Jam and Jerusalem" with Audrey Jones.

NATASHA RASKIN SHARP: Good afternoon.

Hi.

- Hello.

How are you doing?

- I'm Natasha.

I'm Audrey, and it's nice to meet you.

NARRATOR: First though, that place name.

The full version please, Audrey.

Llanfairpwllgwyn gyllgogerychwyrn drobwllllantysiliogogogoch.

I'm glad you said that, Audrey, and not me.

NARRATOR: Or me.

Back now to 1913 when women were emerging from the shadows to demand equal rights and citizenship, a struggle often met by a patriarchal establishment with fear and strong resistance.

Madge Watt, a founding member of the Canadian WI came to Britain and pursued her vision of creating such an educational and social organization here.

Her efforts, at first, proved fruitless.

But she was tenacious and found an ally.

AUDREY JONES: A chap by the name of Nugent Harris, who was head of the agriculture society in London told her to do her best to establish it in Britain.

NARRATOR: Under the auspices of Harris's government department, Madge Watt continued her rallying cry.

And finally in Wales, one of her rousing speeches persuaded the first women willing volunteers into action.

And it was then, on the 15th of June, 1915, that a decision was taken that the first WI would be here.

NARRATOR: Originally under government control, it flourished.

And by 1919, the WI had grown to 1,405 branches and was a fully independent organization forging ahead with radical new ideas to improve women's lives.

They established a girls' club here for teenagers, soon after the WI was established, to educate girls about adult life.

A lot of them were going into service and, of course, getting married, and having a family, and no doubt handwork and needlework became a thing.

But it was a general education.

If you bear in mind, as I'm sure a lot of these young people even could have been illiterate.

And then later, they established one of the first child's clinics in this very cottage.

They were on a mission so that people had a better standard of living.

And really, it grew.

NARRATOR: In the hundreds years since it was started, the WI has continued to bring women together in a spirit of education and friendship.

It has taken up causes from equal pay to the environment, as well as encouraging traditional skills like handicrafts.

The WI established markets for rural women to sell their produce, played a huge part in the home front during the Second World War, and WI member Margaret Wintringham became the second female MP in 1921.

But, what does the organization mean to women in the 21st century?

So it's not old "Jam and Jerusalem," is it?

AUDREY JONES: It's far more than that.

It's quite natural that we do look to crafts and cookery, but we also look at music, drama, sports, and leisure.

So you can see we are very, very diverse.

And very skilled by the looks of things because all of these items were made by WI members, and, in fact, some by yourself, Audrey.

It's horses for courses.

We have other members that concentrate on our aspects of Public Affairs.

We started campaigning as far back as 1918 after the National Federation was set up.

And we still campaign on public affairs issues today.

NATASHA RASKIN SHARP: And if you could sum up the WI with two words, what would they be?

You take advantage of the fun and friendship, don't you?

Oh, fantastic.

Shall we go and get a cup of tea and-- Yes.

--mull over the topics of the day?

That would be a jolly good idea.

NARRATOR: Time to raise a cup to Madge Watt and the first British branch of the Women's Institute.

Meanwhile, our man, Charles, has the car to himself, and he's at full throttle.

CHARLES HANSON: I'm feeling really pumped up and like a Welsh dragon.

I'm going to breathe fire into my list.

[INAUDIBLE] I can't wait.

NARRATOR: Charles's next stop is St. Asaph, a village-sized city with the tiniest ancient cathedral in Britain.

Charles has just over 240 pounds still in his pocket, and he has a shopping date at Williams Antiques.

CHARLES HANSON: Hello.

- Hello.

CHARLES HANSON: How are you?

- I'm good.

- [INAUDIBLE] How are you?

Charles Hanson, good to see you.

I'm [INAUDIBLE] Jane.

- Hi, Jane.

What a lovely shop you've got?

You're a watch lady.

JANE: --and dating.

CHARLES HANSON: You remind me of somebody, Catherine Zeta-Jones.

Any relation?

No, but you never know.

Exactly.

Anyway.

NARRATOR: Flatterer.

Time to take your eyes off Jane and cast them around the shop.

[MUSIC PLAYING] NARRATOR: What's this item?

Oh, look.

There's two.

Jane, I quite like these.

It looks, to all intents and purposes, like Whitby Jet.

It's not though, is it?

No, it's bog oak.

CHARLES HANSON: Because bog oak is oak that's been lost for almost thousands of years, buried in the ground.

It then surfaced through it being extracted, and it creates this material, which is quite dense and black like Whitby Jet.

She's wearing a hat, very elegant high society with a feathering peacock plumage.

And here you've almost got someone like Ruth on the other like Rebecca, in a religious sense.

NARRATOR: She is in fact Beatrice Cenci, an Italian noblewoman executed in 1599 for the murder of her father and who became the subject of much literary and artistic interest.

My guess is, they would date to around 1885.

Yes.

And, of course, a black, and, of course, mourning jewelry, very popular under Queen Victoria after Prince Albert died, of course-- Indeed.

--in the 1860s.

How much of the pair?

55 and the condition unfortunately they are in, but-- CHARLES HANSON: Yeah, they are a bit tired, though a bit mournful.

What was the death?

I think a straight 50.

OK. NARRATOR: An interesting choice.

Does "sir" fancy anything else?

CHARLES HANSON: One more thing I do quite like is this nice bamboo inspired jardiniere, or maybe a little pot.

Do you like it?

I do.

CHARLES HANSON: It's quite garish, but it's majolica.

As a looker, it's got it.

I know [INAUDIBLE].

And it's a survivor, isn't it?

JANE: It is.

This has been here 130 years.

It's 1870, 1880.

It could be Wedgwood.

It could be by John Forester.

Those are pri-- here's a price tag.

There is.

How much could it be?

NARRATOR: That price tag says 25 pounds.

JANE: It could be 15.

Really?

Yes.

CHARLES HANSON: 15 pounds?

JANE: Uh-h. CHARLES HANSON: OK, I like the pair of bracelets.

You said 50 on them.

JANE: Mm-hmm.

CHARLES HANSON: You couldn't do a more.

For the chain?

Yeah.

JANE: So that would make up to 65, so 60?

OK.

So that would be what?

The bracelet is 45.

And the majolica jardiniere there, 15 pounds.

No problem.

Thank you very much.

CHARLES HANSON: I owe you 60.

Thanks ever so much.

"Diolch yn fawr iawn."

"Diolch yn fawr iawn."

- "Diolch yn fawr iawn."

- "Diolch yn fawr iawn."

- It means?

- Thank you very much.

That's lovely to hear.

Say it again to me.

"Diolch yn fawr iawn."

CHARLES HANSON: And say until next time.

JANE: Thank you, Charles.

CHARLES HANSON: Uhh.

Diolch?

JANE: "Diolch yn fawr iawn."

- "Diolch-- - Thank you.

Take care.

- All the best.

Bye bye.

Bye.

NARRATOR: Well, that wraps up a very successful first shopping day.

Isn't this wonderful, the charm?

Can you feel the Welsh charm now, the cow parsley?

I think I can.

Do you know?

I absolutely love Wales.

CHARLES HANSON: [INAUDIBLE] NATASHA RASKIN SHARP: Look at the [INAUDIBLE].. CHARLES HANSON: I have no idea where we're going.

NATASHA RASKIN SHARP: OK. That's all right.

Just go with your heart.

OK go with the heart.

Go with your heart.

NARRATOR: Second star to the right and straight on till morning.

Nighty night.

Our antiques stars are still shining brightly this morning.

It's the last shopping day before the final showdown in Mold.

And the pressure is on.

This is going to a penalty shootout.

This is-- you know?

Literally, after extra time, we can't tear them apart.

NATASHA RASKIN SHARP: Oh, Charles.

We've had losses.

We had winning.

And it comes down to only 60 miles.

Then there's [INAUDIBLE].

I-- absolutely right.

NARRATOR: Yesterday, Natasha was dazzled by silver, an early 20th-century belt, and a pair of curling tongs-- Plop them on, and then you twist.

NARRATOR: --leaving her 176 pounds and 12 pence.

While Charles was enamored with an art deco wall plaque-- Look at that, like a cover.

NARRATOR: --a Charlotte Reed jug, a majolica gardenia, and two bog oak and porcelain bracelets, leaving him with 188 pounds and 14 p. See, I would-- I would compare myself, I suppose, as an English word in ball sports, I would be-- Wait for it.

--Wayne Rooney, you know, on the edge about, "knock the ball in, and take the wig."

In your Scottish word in ball sports, who's your hero, or heroine?

Maybe I'm a rugby player.

CHARLES HANSON: OK. Maybe I'm Gavin Hastings.

CHARLES HANSON: [INAUDIBLE].

You're quite tough.

That we could be alike.

I mean, let's just face it.

It's obvious Gavin against Wayne, then.

Rooney against Hastings, OK. May the best man really win.

NARRATOR: Or woman.

Natasha's dropping Charles at Chester now.

CHARLES HANSON: See you later.

NARRATOR: So his last shot will have to wait.

Meanwhile, he's going to go free-range with creatures great and small at Chester's world famous zoo.

You must be Mark.

I'm Mark.

Welcome to the zoo, Charles.

Glad to see you.

The main man.

NARRATOR: CEO Mark Pilgrim is proud of the zoo, which opened in the 1930s, the pioneering vision of a man called George Mottershead.

Look at these elephants here.

I feel so free.

I could roam with them.

But, of course, going back to Victorian times, before, the cage was almost the biggest thing you saw before the animal.

Is that right?

Yeah, absolutely.

These elephants are hugely social.

You got mothers and-- CHARLES HANSON: That's it.

--grandmothers and sisters and babies.

But I mean, of course, in those days, people weren't concerned about how the animal was feeling.

It was much more about safety, and so, you know, everything was kept in huge great iron-bar cages for the safety of the public rather than the the well-being of the animal.

NARRATOR: George Mottershead had a passion for animals.

At his father's nursery, he kept birds and small animals.

And as time went on, his collection grew, and he developed his own ideas about how animals should be treated.

CHARLES HANSON: He loved the animals, and he wanted to set them free in their natural habitat, as near as they could be but for the public to obviously enjoy.

MARK PILGRIM: George really didn't want to see animals kept in small, dingy enclosures.

He wanted to give them space and freedom and allow them to behave naturally.

NARRATOR: The Mottershead family moved to Oakfield House in 1930 and built the zoo in its grounds, opening to the public a year later.

MARK PILGRIM: George was a real innovator.

He put great apes behind water.

He was the first person to-- example, to put big cats behind chain link fence.

Something that actually happens around the world now.

So he wanted to get rid of the obvious visual barriers and have that feeling of openness in space and linking enclosures together, so you had that landscape view.

I mean he was-- he was a real visionary actually.

And these days, you know, the zoo world had a huge network of experts who talk to each other about the best way of doing things.

George had none of that.

He had to make it up as he went along really in terms of-- even how to transport a bear safely and how to get it out from the truck into the new enclosure.

All those sorts of things would have been very different back then and probably very exciting.

Yeah, rather him than me.

Yeah, absolutely.

NARRATOR: Mottershead was a fighter.

He was paralyzed at the Battle of the Somme and confounded doctors by learning to walk again.

And that's the kind of determination he brought to the creation of Chester zoo.

MARK PILGRIM: It's like lots of visionary people-- people at the time thought that he was slightly mad, and it wasn't going to work.

But his character saw that through.

He was determined he could make this work and it was the right thing to do for the animals.

And now, almost every good zoo in the world follows the same kind of principles.

But it's all about the animals and their needs.

And actually that DNA, if you like, still runs through Chester zoo today.

NARRATOR: George Mottershead died in 1978.

But today, 15,000 animals from 500 different species call his zoo home.

Although what's that there?

You want a tasty snack?

And you want Charles Hanson and keeper Vicki to come and feed them to you, don't you?

- Hello, meerkat.

- Hi.

They are very cut.

Are you-- VICKY: They are very cute.

CHARLES HANSON: I almost want to stroke them, but I can't, can I?

VICKY: Almost want to stroke them.

Yeah, but definitely can't.

Sorry.

CHARLES HANSON: No, I can't buy one, can I?

VICKY: No, no.

[INTERPOSING VOICES] - [INAUDIBLE]-- VICKY: They wouldn't make a very good pet.

CHARLES HANSON: --in my car.

I'll [INAUDIBLE] on my way to Flintshire.

Please don't be alarmed if they do climb up your leg at all.

CHARLES HANSON: And can they come onto my knee at all?

Or-- VICKY: Yes, they can come onto your knee if you're comfortable with it.

CHARLES HANSON: I think so.

VICKY: Yeah.

CHARLES HANSON: All aboard.

For the road trip.

VICKY: So they're using you as a platform to look out a little bit.

I think we're looking Natasha.

Oh, hello.

VICKY: Yes.

Now look, Natasha is that way, not this way.

They are also inquisitive, aren't they?

Yes.

[INTERPOSING VOICES] Hello, come on board-- oops, Sorry.

toddlers with attitude because they're into absolutely everything.

Am I right to put some more [INAUDIBLE].. CHARLES HANSON: Yeah, please.

You can put some.

Yeah, whatever you like.

Yeah, here we go.

[INTERPOSING VOICES] VICKY: keep him down there.

I'm afraid, no kissing of them, either.

No kissing?

No kissing of them, no.

No, I won't go that far.

VICKY: Do you need any help getting up?

CHARLES HANSON: I'm OK. VICKY: There you are then.

There we go.

Until next time meerkats.

Thank you ever so much.

I feel re-energized.

Good.

My last shop.

NARRATOR: Wonder if Natasha's re-energized?

She's all over the border into England's Shropshire heading for Whitchurch Antiques, presided over by owner Penny.

This former Baptist church is crammed to the rafters, so good luck, Natasha.

Get that lot.

We're in Shropshire at the moment, but the auction is in North Wales Flintshire, Mold.

I know it's rural.

Is it going to be a bunch of farmers in the auction room?

Is this what they're looking for?

Now, I'm a city girl.

All I see when I look at this is Art Nouveau design.

But in fact, Brades is the maker.

That's what it says in the label, and I see it printed on the neck.

They are turf iron slash cutter, turf iron or a cutter.

OK.

So I like it.

It says it's 1930s.

But they're asking the Earth for it.

They're asking for 20 pounds.

I'm looking for rustic.

It is rustic.

It ticks the box.

Let's go.

Let's get it done.

NARRATOR: Attagirl!

Ooh!

And is there something else?

Do you know?

I usually steer clear of East Asian antiques, purely because it takes a serious knowledge to know what you're talking about and to try and make a profit at auction.

But this is something that I can safely say is a rice container.

It's a light fruit wood or something that's been stained.

But you can see how it's been put together.

You can see the different panels of wood.

And then, it's been bound by brass.

How old would it be?

I don't know.

Late 19 to early 20th century, probably more early, 20th century.

But you know?

It has a practical purpose for storing rice.

It's done its job, and now it could be used to store anything really, couldn't it?

So I don't really know if it screams of rustic.

Wales?

Definitely rustic.

So maybe I'll add this to the pile.

It could be on a roll all of a sudden.

NARRATOR: Let's go and find Penny.

Hi, Penny.

Oh, hello, Natasha.

So I've got Mold in the mind.

Because if we're going to Flintshire, I know we're going to Mold.

A Mold-y mind, if you will.

And I'm obsessed with buying wooden things, so a turf cutter, and wooden rice container, I've seen.

Their combined ticket price is 60 pounds.

It's 40 on the wooden rice container, and it's 20 on the turf cutter.

PENNY: OK.

If it's not too cheeky-- I know it's cheeky.

I wonder, would you do me a deal of just 30 for the two?

My heart's in my mouth here.

I'm having a breakdown but that's not your problem.

Well, normally, it's 10%.

Oh, right.

PENNY: I think since it's you, and I know you're up against Charles.

And, as a very, very special, we could do 30 for the two for you.

- You wouldn't mind?

- That's fine.

- Are you sure?

PENNY: Absolutely fine.

NATASHA RASKIN SHARP: Thank you.

NARRATOR: Half price.

Thanks, Penny.

Meanwhile, Charles is bound for Wrexham, and the last stop of the trip Acorn Antiques and Collectibles.

He still has 188 pounds and 14p in his pocket.

Hey, presto!

It won't work Charles.

It is dead.

Definitely.

Let's say hello to owner Dennis.

Dennis?

CHARLES HANSON: If I said to you, Dennis, I want something made in history, which would impress Natasha.

I know something which came in just the other day.

Oh, yeah.

DENNIS: Right here.

Cash stone wall plaque.

I like your style.

It's got here "Haydn," H-A-Y-D-N. DENNIS: Famous composer.

The reason I like this is, I suppose, if I was born in an age, I'd be a dandy.

And a dandy is quite colorful.

Yes I'm quite colorful.

But more than that, a dandy were sophisticated from the age of circa 1770.

And this side profile here of this fine man in his frock jackets, his cravat-- and he just captures elegance.

I believe it'll be late 19th, perhaps early 20th century.

And it's quite abrasive still, which to me suggests, not of great age, but it's a good looking object.

DENNY: It's a nice piece.

But your best price is?

35.

NARRATOR: Will that be music to his ears?

But hark!

The sound of Natasha on her way.

I can't even believe that it's not just the final day, this is the final shot.

Last chance saloon, last chance to buy some stuff that will keep me nipping at Charles's heels.

NARRATOR: Get a move on, then.

NATASHA RASKIN SHARP: An actual Acorn Antiques.

I wonder if Mrs. Overalls in.

NARRATOR: Sadly not, but there are some comedians in the building.

I think Natasha's here.

I [INAUDIBLE] flowers.

How are you, Tash?

Hi, Charles.

CHARLES HANSON: I'm OK. How's it going?

OK?

I'm OK. What have you got behind your back?

Here's some flowers.

Oh.

And I say go.

You're such a gentleman.

Can't you tell the [INAUDIBLE] thing?

[BOTH LAUGH] [INTERPOSING VOICES] I'll pull them back.

How's it going?

Are you enjoying yourself?

I've just arrived.

It's the big final push.

How do you feel?

I am Nervous.

Good luck until next time.

Good luck.

To you.

CHARLES HANSON: Keep pushing.

NARRATOR: Say it with flowers, a petal?

There is in this cabinet a solid silver rose.

Your lover might bring you a rose, but how long will it last?

Maybe a week, if you pop it in water.

How long has this lasted?

Well, it was hallmarked in 1921.

So it's nearly lasted 100 years.

You tell me another rose that's done the same, apart from Charles's artificial roses, of course.

But this is the real McCoy.

It's absolutely gorgeous.

Nothing says I love you but a single rose in solid silver.

I'm still waiting for mine, mind you, but my 89 pounds, I might still be waiting for a while.

NARRATOR: Whatever happened to romance?

Meanwhile, Charles is still interested in the Haydn plaque.

And your best on this would be?

Was it 35, you says?

No, I'll do it for 25.

NARRATOR: Really?

All right.

25.

DENNY: OK. NARRATOR: Snapped up for 25 pounds.

Natasha still has 146 pounds, 12 pence, but she's looking a wee bit lost.

NATASHA RASKIN SHARP: This is the sign I've been looking for.

I'm wandering around here, panicking.

And here is a rudder, as if the shop is trying to tell me, Natasha, you're drifting.

And I feel like I'm drifting.

And this is quite a cool thing, isn't it?

We've got a good bit of what I think is oak.

We have nice brass mounts.

I think that it's 1920s, 1930s, something like that.

It's something that could easily go in sir's office.

It's something that would look good in a sort of a snug in a pub.

It's got a bit of a masculine feel to it.

It's got a bit of a masculine price too as well.

Oh!

I'm going to go talk to Dennis because I am rudderless.

And if I take the rudder with me, perhaps he'll feel a bit sorry for me and let me leave with it.

Dennis, I come to you with a metaphor.

All right.

I have a rudder, but I'm feeling a little bit rudderless.

DENNY: Are you?

NATASHA RASKIN SHARP: This sort of thing, I've never sold at auction before, so I'd be a wee bit cautious about paying the full ticket price, which as we can see is 65.

Right.

So I'm going to be just super cheeky, 30 pounds.

But that-- I know that's a bit cheeky.

DENNY: 36.

NATASHA RASKIN SHARP: 36?

Well, every pound counts, Dennis.

DENNIS: Of course, it does.

So, what about 35?

Go on.

Oh, OK. [INTERPOSING VOICES] NATASHA RASKIN SHARP: Consider me, no longer rudderless.

DENNIS: Exactly, that's right.

NARRATOR: Will it be plain sailing from here, though?

See you again.

NARRATOR: Shopping safely stowed away.

Journey's end looms.

I've enjoyed every minute with you.

Oh, Charles.

CHARLES HANSON: No, I have.

You know, you're a young girl.

Whippersnapper you just have sort of a wonderful new energy in just doing what you do.

NATASHA RASKIN SHARP: Well, it's great to be working with one of the best, one of the best.

NARRATOR: Mm-hmm, It'll be pistols at dawn tomorrow, though, after some shut-eye.

Mold in the Welsh County of Flintshire is where the fate of our antiques rivals will be decided today in Dodds cell room.

It is our last auction, and I think for that reason, let me serenade you.

OK, come on.

Oh, that feels good.

Take care.

Good luck to us.

NARRATOR: Charles and Natasha quickstepped from Caernarfon around the coast of North Wales and took a twirl in Chester before swinging round to Mold, the antiques emporia of Wales were music to Charles's ears.

And he spent 105 pounds on five lots, while Natasha heard the siren song of Celtic treasure and spent 100 pounds on her five lots.

What do they think of each other's buys?

CHARLES HANSON: Uh, Natasha's Art Nouveau belt.

I think it's really stylish.

It's very evocative, the Art Nouveau movement.

But the problem is, for 20 pounds, who really wears them today?

No one.

Decorative, but not very practical.

NARRATOR: Whatever you say, chief?

Now, I'm a bit jealous because I wanted to buy jewelry and couldn't find what I wanted.

But, as desperate as I was, I didn't buy these bracelets.

These are the saddest bracelets I've ever seen.

They don't weigh anything.

They have no gravitas.

And I think that will translate in the sale, 45 pounds Charles-- I actually don't know what you were thinking.

Prove me wrong.

NARRATOR: Oh, dear.

Bog standard bracelet, eh?

Well, we'll see.

But, what does our auctioneer today, Antony Parry, think of their lot?

The curling tongs, they have got silver handles.

Not a lot of use today, ladies don't use them.

Shall we hold for about 20 pounds?

The Haydn plaque is 17th-century style but is probably not as old as me.

I'm looking for somebody with the name "Haydn," then we might be able to sell it then.

What shall we say?

30 to 50 pounds.

NARRATOR: But, of course, it's the buyers who will call the tune today.

Time to take a seat.

[GAVEL POUNDS] It's a room full of energy.

It's wonderful to see.

NARRATOR: First up is Charles's majolica gardenia.

A tenner?

10 pounds I've got.

10 times 10.

10 pounds down here.

12.

Thank you, sir.

14.

A fresh bidder all together.

14.

14.

CHARLES HANSON: Is that all this going to make?

ANTONY PARRY: Going to the 14, then.

But that's expensive.

[GAVEL POUNDS] Oh I don't believe it.

That was so close.

"Muy barato," in Spanish, very cheap.

"Muy barato."

NARRATOR: Oh, dear.

They said "boohoo" to the bamboo and lost you a pound.

"Muy barato."

Why are you speaking Spanish?

We're in Wales.

Well, yes, sure.

I'm sorry.

NARRATOR: Now, will rural Wales fancy Natasha's turf cutter?

Fiver, I've got.

5 pounds.

He's got a fiver.

ANTONY PARRY: 5, 6, 8, 10-- Call a thousand ponds.

--12-- CHARLES HANSON: Well done.

ANTONY PARRY: --14-- NATASHA RASKIN SHARP: Oh, no, no.

There's-- ANTONHY PARRY: --16, - Profit, profit.

- Nearly.

ANTONY PARRY: --18, NATASHA RASKIN SHARP: What-- what's happening?

18 this side.

NATASHA RASKIN SHARP: What's happening in Mold?

ANTONY PARRY: All there's 18 pounds, then.

They're digging for victory.

And that is a dig for victory.

NARRATOR: Well plowing a small furrow at any rate.

You made a three-pound profit.

Happy days.

NARRATOR: Charles's Charlotte Reed jug is next.

5 pounds-- NATASHA RASKIN SHARP: Don't worry.

Here we go.

ANTONY PARRY: --8 pounds, 10 pounds-- CHARLES HANSON: Come on.

--12, 15, 18, 20.

[INAUDIBLE], 21-- Doubled up.

--21.

Is there 22 anywhere?

Thank you, sir.

ANTONY PARRY: Hold on a 21 pounds.

Thank you.

[GAVEL POUNDS] - Look at you.

Thank you, sir.

Thank you so much.

- Thank you.

But he did do well.

He did double your money.

NARRATOR: Nice buy there, Charles.

Well, this is what's in a name.

And we know now, 11 pounds.

Exactly there.

And Charlotte Reed, I salute her.

NARRATOR: Natasha's boat rudder is next up.

Can it steer her to success?

30's up there, first.

32, 34, 36-- CHARLES HANSON: You're in profit.

You're in profit.

You're 100 pence up.

ANTONY PARRY: --37, 38-- CHARLES HANSON: That's my age.

Every pence counts.

I'm almost 40.

ANTONY PARRY: --42-- Hold tight.

--44.

44.

All going to go 44 pounds, and we're finished.

NARRATOR: Docking in at nine pounds there.

Well done.

That was something, which made a big splash.

NARRATOR: Now, it's Charles's art deco hanging plaque.

Five-- Make a memory.

ANTONY PARRY: 8, 10, 12, 15 up there?

15, 16, Sweet 16.

ANTONY PARRY: --16.

Anybody else?

Holding at 16 pounds.

CHARLES HANSON: Hold that, hold tight.

[GAVEL POUNDS] Wonderful.

NARRATOR: Six-pound profit.

Who'd have thought it?

Someone has bought that purely out of pity for Hanson, I think.

They looked at the landscape and just were taken into it.

NARRATOR: Natasha's rice container is next on the menu.

10, 12, 14, 16, 16, 17, 17.

Is it 18?

No.

Right by it.

All in at 17 pounds, then.

[GAVEL POUNDS] That's good.

That's profit.

NARRATOR: Yeah, it is.

All these pounds count.

That's two-pounds profit.

NARRATOR: Not now, Charles's two bog oak and porcelain plaque bracelets.

5 pounds, 8, 10, 12-- They're nice.

ANTONY PARRY: --14-- CHARLES HANSON: I think they're Victorian.

ANTONY PARRY: --16, 17, 18.

18 pounds.

Oh, they're so inexpensive.

Holding at 18 pounds, then.

NATASHA RASKIN SHARP: You've got them from their magazine.

Oh, my!

NARRATOR: Oh, dear Charles.

You did say they were mournful.

I really feel like you ought to give me something, a Glasgow kiss?

I deserve one.

Oh!

NARRATOR: Breathe in.

It's time for Natasha's silver-plated belt.

5 pounds, 5, 6 outside, 7, 8, 9, 10.

10.

NATASHA RASKIN SHARP: Oh.

Still outside.

NATASHA RASKIN SHARP: Come on.

ANTONY PARRY: 10 pounds, 10, 10 pounds.

Holding at 10 pounds, and we finished at 10.

NATASHA RASKIN SHARP: Oh.

[GAVEL POUNDS] NARRATOR: And breathe out.

10 pounds down.

Give me a smile.

I can't.

Look at me.

I can't.

Look at me.

NARRATOR: Charles's last lot now, the cast iron plaque of Haydn.

10, 12, 14-- Oh, he's flying.

ANTONY PARRY: --16, 18-- He's not flying.

ANTONY PARRY: --22, 24, 26, 28-- He's making music.

[INTERPOSING VOICES] ANTONY PARRY: --30, 30 pounds.

32, 34, 36-- CHARLES HANSON: Too [INAUDIBLE].

--38, 38.

Holding at 38 pounds there.

38 pounds.

[GAVEL POUNDS] NARRATOR: The maestro has made in 13 pounds.

He plays sweet music.

NARRATOR: And last today, Natasha's silver handle curling tongs.

10 pounds a go.

10 pounds, 10 pounds-- Oh, it's got to be.

ANTONY PARRY: 12 pounds.

14 outside.

16 in the inside.

You've ended on a high.

Come on.

ANTONY PARRY: --16, 18, 20, 21-- Hold on.

--21, Oh, yes.

ANTONY PARRY: 21.

Another pound?

22, 23, 23, He can have them.

He's got plenty of air, though.

[LAUGHTER] 23-- - He's still work-- ANTONY PARRY: --23.

We all done?

Finish then?

You're not having another pound?

[GAVEL POUNDS] You have ended on a high.

I'll take that.

NARRATOR: Well done, our silver darling.

And it's the end.

We're going to keep in touch, aren't we?

I hope so.

I mean, I've really learnt from you, Natasha.

You are a lady of history.

And I hope you might even pen me a letter.

I'll sit there with my silver handled curling tongs and my quill, and I'll pen you a love letter.

Sounds wonderful.

Just one thing, don't give me a "Dear Charles."

Oh, Charles.

I wouldn't dream of it.

Come on, Charles.

Let's get out of here.

It's the end.

It's the end.

I'm sad.

NARRATOR: Time to count the pennies in the piggies.

Natasha started out with 211 pounds and 12 p. And after auction costs she made a loss of 8 pounds and 16 pence and ends up today with 202 pounds and 96 pence.

Charles began with 268 pounds and 14 pence.

And after sale room fees, he made a loss of 17 pounds and 26 pence.

But we declare that he is the winner of this road trip with 250 pounds and 88 pence in his piggy.

All profits go to children in need.

Thank you for the memories.

I mean it.

It's finished.

I know.

How are we going to cope without one another?

Do you know?

I really don't know because it's been a wonderful week, and I'm going to miss you.

- Uh, Charles.

That means a lot.

NARRATOR: And we'll Miss them, too.

It was a week of fun-- Oh!

Afternoon.

NARRATOR: --folly, and fanciful fashion.

How do I look?

NARRATOR: A week of sunshine, showers, and wind.

BOTH: [INAUDIBLE] will meet again look some sunny day.

We call [INAUDIBLE].

Good [INAUDIBLE].

Thumbs up.

Thumbs up.

[INAUDIBLE] Good luck.

Dinna fash yourself.

Don't worry.

Don't worry.

Dinna fash.

Bye bye.

NARRATOR: Hasty back.

[MUSIC PLAYING]