[MOTOR RUNNING] [ENERGETIC FOLKSY MUSIC] NARRATOR: It's the nation's favorite antiques experts-- Yeah!

Super cool.

How about that?

NARRATOR: --behind the wheel of a classic car-- [LAUGHTER] --and a goal to scour Britain for antiques.

[HORN TOOTING] - [LAUGHS] Whoosh!

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

But it's no mean feat.

There'll be worthy winners-- Yes!

NARRATOR: --and valiant losers.

Blast it!

NARRATOR: Will it be the high road to glory-- [LAUGHTER] Or the slow road to disaster?

[SHARP THUMP] - Oh, my god!

Oh, no!

Something's wrong with the car!

NARRATOR: This is the "Antiques Road Trip."

[JAZZY FANFARE] Dig that.

[LIGHT JAZZY MUSIC] Hello, and welcome to Stirlingshire, and the start of another rip-roaring antiques journey.

Who's this in the sporty 70s Triumph?

PAUL LAIDLAW: [LAUGHS] Here we are again!

[LAUGHS] NARRATOR: It's auctioneers and regular road-trippers Anita Manning and Paul Laidlaw.

Hurrah!

The beginning of a wonderful trip in Scotland, two Scots.

We did it a few years ago, but you didn't have any whiskers then.

[LAUGHS] NARRATOR: I remember it well, four years ago actually.

I call him pre-hipster Paul.

I'm coming to get you!

Aw!

[LAUGHTER] NARRATOR: Or, maybe he was Paul's evil twin.

There he goes.

You beat me the last thing we did this.

The outcome was determined by the last lot on the last day in the last sale.

And I beat you by about 2 pounds 59.

NARRATOR: 4 pounds 61 pence to be precise.

But it's all up for grabs now, oh, yes!

Our pair will take the scenic route from the Trossachs-- I love saying that word-- cruise southwards to Cumbria and Lancashire, before making their way to the final auction in Newcastle-upon-Tyne.

Today our two antiquers are heading for final auction in Kinbuck!

I don't like saying that.

But we start today's shopping in Doune.

We will let nothing come between us except profit.

Oh!

[LAUGHTER] NARRATOR: A better competition, eh?

I love it.

[GENTLE JAZZY MUSIC] Anita's dropping Paul off at his first shop with 200 pounds spending money in his pocket.

Just outside the historic village of Doune is the Scottish Antique and Arts Centre housed in a former farm.

This is a gorgeous center.

Paul, don't look for any military stuff.

[LAUGHS] Bye-bye.

NARRATOR: This is Paul we're talking about.

He's positively militant in his approach to military stuff.

But with so much on display, how long will it take to find it?

Look at this, folks.

You do know what one of these is, don't you?

It's a combination walking stick.

And I'm sitting down, gonna' have a wee dram, get that flask out.

I need to rest my sorry legs.

There you go.

You know how it works.

That's not what I'm here to talk to you about.

NARRATOR: What then?

I'm here to talk to you about who designed and manufactured this-- Mills Limited.

Mills made their money out of munitions during the Great War and beyond.

NARRATOR: Ah, military, all right.

Didn't take you long.

It's the Mills Munitions Company.

The ubiquitous hand grenade used by British forces during the Great War and beyond, was designed by Mills.

If you're going to be really pedantic, the number five, later the number 23 rifle-propelled variant, and ultimately the number 36 incarnation in use up until the late 20th century.

NARRATOR: What a geek, eh?

But after the war, Mills had a little sideline, producing their patented shooting stick.

I find that interesting.

NARRATOR: Not interesting enough to buy it though.

Ha-ha!

Meanwhile, Anita is still on the road, giving it a bit of stick.

Paul is a mighty opponent, so this trip is all about the Battle of the Scots.

We've got a Borders man against a wee Glasgow girl.

NARRATOR: Yeah, right.

She's formidable.

[LIGHT CHEERFUL MUSIC] The village of Gargunnock is beckoning Anita now.

She also has 200 pounds spending money.

Country Home Antiques is run by dealer and cabinet maker Andrew, wherever he might be.

- Hello?

- Boo.

- Oh, hi.

- Hi, Anita.

- I'm Anita.

- Hi, Anita.

How do you do?

ANITA MANNING: Ah, it's lovely to be here.

You've got something for everyone.

Hopefully.

Hopefully we've got something for you.

That's the most important thing.

Oh yeah, I know.

NARRATOR: Great stuff!

Seek and ye shall find.

Well, look at this army of soda siphons.

These have a fairly simple process of turning flat ordinary tap water into sparkling water.

And they usually always work.

This was made by Sparklets Limited, and that's one of the best quality soda siphons that you can get.

It's made of Chrome.

It has a Chrome finish.

You might think that's cheap, but that's the sort of glitzy glamorous finish that they wanted.

20th century stuff is coming into vogue, and this is the type of thing that you would have had at your posh cocktail party in the 1930s, '40s, and '50s.

There's no price on them.

If I can get it for a reasonable price, I think I'm going to go for it.

NARRATOR: How exciting.

Mojito time is calling, eh?

Meanwhile back in Doune, seems we've gone from cocktails to nibbles.

A little trinket box.

The hinge lid, very pleasingly cast.

Scroll edges set with a multitude of stones.

And they appear to be reasonably precious.

What are they, Laidlaw?

Well, garnets.

You have green stones, which I suspect will be peridot.

You've got blue cabocohon.

I see some hallmarks of age.

I certainly see quality that is not brought about by mass production.

There's hand finishing here.

At 39, potential.

NARRATOR: He's quite the detective, isn't he?

This looks 19th century, and a true antique.

Anything else?

[LIGHT MUSIC] Oh, a jug of great import.

That's Napoleon Bonaparte, is it not, in iron and stone, with a treacly glaze.

But this shows the wear and tear indicative of real age.

Look at the form of that handle.

That is an 18th or 19th century form.

Is it an antique?

Yes.

Is it expensive?

No, it's 12 pound 50.

Is it worth a punt?

I think it's a no-brainer to be honest with you.

There you go, one cabinet, two potentials.

NARRATOR: Nice finds, Paul, eh?

Meanwhile, in Gargunnock, Anita and Andrew are talking soda siphons, as you do.

Make mine a large one.

I used to collect them, and that's why they're so varied.

I used to collect them.

I don't know why I used to collect them-- Are you a party animal?

Bit old for that now-- [LAUGHTER] NARRATOR: Likely story.

Quite like this-- this one here, the turquoise one.

Uh-huh.

'60s color.

1960s, oh, wow.

Absolutely, that color's-- I wasn't going to cocktail parties at that time.

[LAUGHTER] I wasn't invited.

NARRATOR: I didn't know you then, darling.

Could a tenner buy that?

- Yes.

- I could?

Yes, you can have that for 10 pounds, absolutely.

[HAPPY MUSIC] NARRATOR: The deal then.

Could you put that aside for me?

Yeah, it's no problem at all, yeah.

And I'll carry on working.

You go and have a look, and I'll go and wrap this up for you.

OK, thank you.

NARRATOR: That's Anita's first item in the bag, well, once Andrew's wrapped it, that is.

Now what's going on down in Doune?

OK, cause for optimism.

This hails from the Middle East, because that little dagger with the curved blade is distinctly Middle Eastern.

No two ways about it.

NARRATOR: It is indeed.

This is an Omani pendant with khanjar dagger and crossed swords design.

Ticket price, 40 pounds.

[RHYTHMIC DRUMMING] I think I can see two, one, C. And that could translate to 21 carat.

It's an odd standard of gold by English standards, but it's not out of the question if this is Middle Eastern.

It's on a fine length neck chain.

Is that gold?

Well, it's marked three, seven, five.

that's nine carat gold.

It's priced at 40 pounds.

I'm taking a chance here.

I wish I could pop this into the palm of your hand.

This is somewhat heavy.

It ain't brass.

That's high carat gold.

I think it's a bargain.

NARRATOR: He's getting a gold rush.

Right.

Time to see dealer Ann with his top picks.

Any wiggle room in the lot?

This one I can't do anything, any reduction on.

OK. NARRATOR: Hmm, 12 pounds 50.

This one can be 35.

PAUL LAIDLAW: Great.

And this one has to be 36.

That comes to 83 pounds 50.

I concur, and I couldn't be happier.

Thank you very much!

[CHEERFUL GUITAR MUSIC] NARRATOR: Three items in one fell swoop.

Bravo!

80, 90 pounds.

NARRATOR: Now, what's the crack in Gargunnock?

This is quite a fun piece.

I think that it's a scoreboard for a game, snooker, billiards.

It is probably 19th century Victorian or Edwardian.

It's made of mahogany.

And what I do like about it is, that this is original.

And for me, it's the type of thing that would be used as a decorator's item, or if you had a snooker room, well, there's the thing for you.

Priced up at 25 pounds.

That's not a lot of money.

And with any luck, I might be able to get a little bit off of it.

Andrew?

Yes.

NARRATOR: Right on cue.

I thought this was great fun.

Got 25 pounds on it, which is not a lot.

No.

But what is the very, very best that you can do on that?

I can give it to you for 15 pounds, how does that do?

OK?

I'm going to shake your hand before you change your mind.

[LAUGHTER] NARRATOR: So that's 25 pounds in total for the soda siphon and the snooker scoreboard, leaving frugal Anita 175 pounds in her pocket.

She's a wee canny one.

[ENERGETIC FOLKSY MUSIC] Meanwhile, Paul is taking a break from shopping, and making his way to Cambus, where the almost forgotten art of barrel making is alive and well.

Coopering is still an important part of the drinks industry.

And here, they still use traditional methods that have lasted hundreds, if not thousands, of years.

Coopers originally crafted all sorts of wooden containers, from butter churns to buckets.

But it's the iconic rounded casks that have really stood the test of time.

For hundreds of years, they were used to transport goods, from gold to grain, around the world.

And there's a reason why the ancient design is still in use today.

Standby.

Hello, there.

Vitto?

- Paul, hello.

Good to see you.

Impressive to see these when there's number and stacked up.

NARRATOR: Here to tell more is Diageo Cambus' cooperage manager Tom Duncan.

So Tom, tell me about the people that have historically made barrels.

TOM DUNCAN: Coopers been around for many, many years.

It's a very sought after trade, and we have a four year apprenticeship.

Yeah.

What are the advantages of a barrel over other types of vessel?

Barrels are very sturdy, you know, and it's easy to maneuver around.

And you know, a cask will last for an excess of 100 years.

Sure, barrels are easily moved, but how heavy is one of those things?

Well, Paul, they're really heavy.

I tell you, you can move them relatively easily.

You can roll them.

Yeah.

You look at me when you see that.

[LAUGHS] Yeah, do you want to have a go?

Yeah, I'm up for that.

[LAUGHS] This one here, but you want it over there.

- Yeah.

- OK. You set me up.

Absolutely.

NARRATOR: Looks mighty big to me.

So I heard you right, didn't I?

It takes superhuman strength to move one of these.

Absolutely.

[LAUGHS] Oh, man alive, it is difficult, isn't it?

Is this where-- TOM DUNCAN: That's where-- that's where I want it, Paul.

Well done.

You're not joking!

Well done.

I mean, obviously, I work out a bit.

[LAUGHTER] [JAUNTY ACCORDION MUSIC] NARRATOR: But it's not just rolling the barrel with ease that makes the design endure through the ages.

The water and dry tight containers are perfect for stacking, storage, and transportation around the world.

And they can be recycled many times over, lasting more than 100 years.

Little wonder they've been a key part of the wine and spirits industry for centuries.

So I know that in the past, barrels could have been used to carry dry goods, gunpowder, or coffee beans, or whatever.

But these are to hold liquid, whisky.

Are whisky barrels unique in any way?

Yeah.

It's all to do with the-- it's primarily American oak.

When we char the cask, we get different characteristics from the wood.

PAUL LAIDLAW: Charring the cask?

TOM DUNCAN: Yeah, because it helps the flavor and color the whisky.

[MOODY STEEL GUITAR] NARRATOR: Whisky would be a clear spirit if it wasn't for the charring process, which sees the inside of the cask set alight for nearly two and 1/2 minutes.

When a cask returns to the cooperage for recycling, the old char is removed, and the cask refired in a process called rejuvenation, before the next batch of multiple grain whisky is is stored in it.

There's no way I'm going to let you leave here today without having a go at rising a cask and how we put it together.

So let's pop inside.

[LIGHT BLUEGRASS BANJO] NARRATOR: Turning the curved wooden slats or staves and iron hoops into the super strong containers we still recognize today is an ancient but highly skilled craft.

All apprentices learn the full traditional methods, relying on angles and pressure rather than glue and nails, before joining the factory floor four years later.

You've played Pick Up Sticks before!

[LAUGHTER] NARRATOR: John Carberry is an accomplished cooper of 29 years.

Your hand-- and like what mine is, inside.

And just bridge the gap.

- OK. - Put pressure on.

Yeah.

JOHN CARBERRY: Take that stave-- PAUL LAIDLAW: Got it.

JOHN CARBERRY: --and slide it in.

That's fine.

PAUL LAIDLAW: How long would it take you to do this barrel?

JOHN CARBERRY: Five minutes.

PAUL LAIDLAW: Oh.

Keep same amount of pressure all the time.

That's it.

Last segment.

Last one.

Slowly.

Once you get that in there, and just let it go, and it'll all fall into place.

Perfect.

PAUL LAIDLAW: OK.

So what do we do now, John?

Well, what got to do is put the hips on and contain it.

[JAUNTY MUSIC] There's no nails and no glue.

It's all angles that completely marry each other like a jigsaw, so there's no leaks between the joints.

[HAMMER BANGING] It's called the clippers dance, you see.

So if you like to chop down this stave here, and work your way back round.

OK, just tap it there?

JOHN CARBERRY: Just tap down here on the top of the stave.

PAUL LAIDLAW: OK. Look, get your head down and angle-- that's it, and in.

NARRATOR: Makes a change from his auctioneer's hammer.

That's it.

I'll tell you, this is graft, but it's-- I think it's therapeutic.

Well, that's the last stave.

So it normally takes an apprentice four years to complete that, so you've done quite well.

So I'll just leave that with you.

[INTERPOSING VOICES] Paul, see you later.

Fellas, where you going?

How many do you need?

NARRATOR: Aw, Paul, Paul.

While he carries on coopering, Anita's headed to Alva, a mill town in Clackmannanshire at the foot of the Ochil Hills.

[JAUNTY JAZZ MUSIC] She's visiting Alva Antiques and Collectibles with a beady eye, and a healthy bank balance of 175 pounds.

What's going to take her fancy?

This jug was designed by Susan Williams Ellis.

Now she was the groundbreaking artist and designer of the 1960s.

These are highly collectible.

Now I would have a go at this, but we have a big star cut out here, and we have staining inside.

I love it, but I'm going to leave it.

NARRATOR: There'll be no cracks or stains for our Anita, oh, no.

Scotland has a great tradition of glass-making, and I found here three little Caithness glass paperweights.

Now the greatest of all paperweight makers was Paul Ysart, who is one of the family of Ysarts who started making Monart glass in the 1930s.

These are later editions, much more and more done.

But we still have that wonderful quality.

If you look underneath, we can see the stamp, and the collectors like that.

And there's a little number where the collectors can identify the pattern.

I'd like to put three together to see if I can get a deal.

NARRATOR: These three have a combined ticket price of 46 pounds.

I would have to get a substantial amount off of them to have a hope of selling them for any sort of profit at auction.

NARRATOR: Let's see if dealer Tom can shave any money off.

Best I could do would be 31, the three of them.

31 the three?

Yeah.

Let's go 31 on that.

That's lovely.

Thank you very much.

Thank you very much.

NARRATOR: She's good at this, isn't she?

Have your fingers crossed for me.

We can but try.

OK, then, bye-bye.

Thanks, bye!

NARRATOR: So that's today's shopping done, and Anita still has 145 pounds left to spend.

Time to reunite the compadres in the Scotch mist.

ANITA MANNING: Look, it's foggy.

You know you're in Scotland, don't you?

But it's beautiful.

You could wake up and go on and on, look at the weather.

On the contrary, spirits soar when you see this.

ANITA MANNING: It's so beautiful.

NARRATOR: It certainly is.

Nighty night.

[GENTLE FOLKSY MUSIC] And in the blink of an eye, it's a brand new day!

Good morning.

Are Paul and Anita raring to spend, spend, spend?

I have to admit to you, Paul, I'm playing a wee bit canny at the beginning.

[LAUGHS] I wanted to get the measure of you first, man.

I want to see if you're going for blast right from the beginning.

So I'm observing you closely.

NARRATOR: Watch out, Paul.

Yesterday Anita bought three Caithness glass paperweights, snooker scoreboard, and retro soda siphon.

I think I'm going to go for it.

NARRATOR: She has 145 pounds left in her kitty.

Paul picked up a Bonaparte jug, a silver trinket box, and an Omani pendant and chain.

I'm taking a chance here.

NARRATOR: He has 116 pounds and 50 pence spending money left.

Before our upstarts restart their shopping, they're off to Falkirk-- [PLAYFUL MUSIC] To see these magnificent beasts, the kelpies.

They're superb!

ANITA MANNING: Fabulous, fabulous.

What do you think of those?

PAUL LAIDLAW: Magical, aren't they?

These are one of the most astonishing pieces of public art in Scotland.

NARRATOR: My word, they are!

What is a kelpie?

A kelpie is a water spirit.

This was a big industrial area.

We had coal, we had the production of iron, steel.

And where we are is just at the Fourth and Clyde Canal, and these horses are guarding this canal.

How do you know all of that?

Well, Paul, you know I'm interested in art.

But I'm also interested in the mythology of Scotland, and the kelpies what part of that.

Well I appreciate the tour!

It was magic!

But sadly, I've got shopping to do.

Oh, well.

I'll see you later, Paul.

Bye.

[CHEERFUL FOLKSY MUSIC] NARRATOR: Just a hop, skip and a jump away in Falkirk is Collectique, quite a new shop in the antiques market, but packed full of potential for Paul, who has 116 pounds and 50 pennies to dip into.

I am a bit of a space geek.

That's why I've picked this little spoon up.

It commemorates both John F. Kennedy, the American president, and the American achievements in space at the dawn of the space race.

Underneath the portrait are the years 1961 to 1963.

Of course, those are the years of his presidency.

So on the bowl, we've got this really stylish graphic, the globe of the Earth and a spaceship, let's say.

And this caption or legend here, Friendship Seven.

The NASA mission in which John Glenn became the first American to orbit the Earth.

That took place in 1962.

That was the year of the famous-- and we shall go to the moon and do the other things.

I really like that!

Seven pounds.

I think I'm going to buy that.

NARRATOR: Best go see Deela Yasmin.

PAUL LAIDLAW: Love to buy that off you for me.

OK, no problem.

Absolutely great.

Magic.

Thank you very much!

Hopefully I'll see you another time, eh?

- Yeah.

- Bye.

Bye-bye!

NARRATOR: And with that out of this world purchase, Paul has 109 pounds and 50 pence left in his kitty.

[CHEERFUL CLASSICAL TUNE] Meanwhile, Anita's come to the outskirts of Bowness.

She's paying a visit to Kinneil House, which has an unlikely connection to the birth of the Industrial Revolution.

Anita's meeting historian Jeff Bailey to find out more.

Jeff, this is a splendid house.

Who owned it?

This is owned by the Dukes of Hamilton, though, luckily, they didn't live here.

They leased it out to various tenants, industrial entrepreneurs, philosophers.

Perhaps the most famous of those was Dr. John Roebuck.

NARRATOR: In 1759, industrialist Roebuck was a founding partner in the nearby Carron Iron Works.

As iron production depended on coal, he also leased mines in the area.

But flooding in the deepest mines was causing Roebuck a huge problem.

The steam driven pumps used to extract the floodwater weren't up to the job.

He needed more power.

They were very inefficient and they were extremely expensive.

You're using a lot of money to get the water out, and you're not getting a huge return on that investment.

ANITA MANNING: It cut the profit.

JEFF BAILEY: Very much so.

NARRATOR: Roebuck heard that a student engineer called James Watt had improved a steam engine model at Glasgow University.

He resolved to bring the young prodigy to Kinneil House, to develop his groundbreaking work hidden away in the secluded grounds of the estate.

James Watt said yes.

Did James Watt have a new idea about the development of the steam engine?

Well, of course we all hear about the apocryphal story of James Watt and the kettle, where the pent-up force of the steam on the top of the water is forcing the lid off.

But James Watt also realized that the vacuum that's created, if you introduce water into that steam, would pull a piston down rather than push it up.

And he just hugely increased the efficiency of the entire engine.

ANITA MANNING: What was this building here?

This building was erected in 1768, specifically on Watt's request, so that he could use it as a workshop.

He thought the best place to conduct their experiments in secret was in the glen behind Kinneil House, so that-- ANITA MANNING: Uh-huh.

Why secret?

Secret because other people were trying to pinch other people's ideas.

So it's industrial espionage in the 18th century.

He would have had his benches inside and against the windows, and the steam engine itself would have been erected here in this open space in front.

It's an enclosed space.

No one would see what was happening.

ANITA MANNING: Right.

[GRACEFUL MUSIC] NARRATOR: The mighty Watt increased the steam engine's effectiveness twelve-fold.

Sadly, Roebuck went bankrupt before the engine was completed.

His share of the patent was sold to English manufacturer Matthew Bolton, and Watt joined him in Birmingham.

It was the perfect partnership of innovator and entrepreneur, and the work quickly accelerated.

Watt's engine was completed and was a huge success.

Now the stage was set to roll his ideas out even further, and kick-start the Industrial Revolution.

He also got people like William Murdoch, who developed a steam engine for use in locomotion.

And because they were producing better boilers and better pistons, and they were producing them in large numbers, they became cheaper.

They became used more widely in industry, so in the cotton mills, the first practical steamship.

And from that of course, you also get the steam trains.

And the steam trains were the workhorses of the Industrial Revolution.

They were.

They were moving huge quantities of material all around Britain.

[TRAIN WHISTLE] ANITA MANNING: Oh, wonderful.

[JAUNTY FOLKSY MUSIC] NARRATOR: And here at Kinneil, Anita can enjoy a trip on the very kind of steam engine that powered the industrial age.

It's been lovely to meet you.

Thank you very much.

It's been a pleasure.

Fascinating!

Bye-bye.

Cheers.

NARRATOR: The steam train is a powerful symbol of the Industrial Revolution that shaped the modern world, and it can all be traced back to a secret workshop and the ingenious mind of engineer James Watt.

[FOLKSY MUSIC] Next and final shot for both Paul and Anita is in majestic Edinburgh.

We've reached the East, and of course, the city of my birth, Edinburgh, the capital.

And you know what?

It feels great.

I've come home.

NARRATOR: I know the feeling.

Paul's first to arrive at the Edinburgh Antique Center.

He has 109 pounds 50 pence to spend, and my word, there are rich pickings in here.

Not often, do you hear people waxing lyrical about engravings at the moment.

[GENTLE FOLK MUSIC] NARRATOR: True, but I have a feeling you're about to.

These depict members of Georgian Edinburgh society.

The engraver or the artist was one John Kay, and quite a celebrity he was in his own right, thanks to these.

Posthumously, they were gathered together and published in volumes.

Credit to the man.

NARRATOR: I tip my hat to you, John Kay.

[JAUNTY FOLK MUSIC] Talking of hats, here comes trouble in a bonnet.

Laidlaw!

Get away from that cabinet.

We can't have you making 20,000 pounds on the first leg of our trip.

Listen, do you not fancy a nice wee tiddler instead?

NARRATOR: Where'd she get that from, eh?

I know you're angling for it.

[LAUGHTER] Oh, I don't want that fish!

[LAUGHTER] Get that fish and vamoose!

OK. Keep away from there.

Keep away from there.

I need 20,000 pounds.

NARRATOR: Silly billies, get back to work.

Hang on.

I know that look.

What have you spied, Laidlaw?

Stool.

I like the stool.

An overstuffed-- which is a technical term-- an overstuffed-- let's see-- saddle form seat.

And then rather a nice-- that's limed oak carcass.

Look at the nice bevel edges to these legs.

Elegant!

You like it?

Well, nice enough stool, Laidlaw.

The name I'm going to give you is Her Majesty Queen Elizabeth II.

This stool was at Westminster for her coronation in 1953.

And on these two sat those the great and the good invited to the coronation.

There you have it, coronation.

Mind blown.

Now, that's a piece of furniture with a provenance.

150 pounds.

That is inexpensive, but it's also more money than I've got.

NARRATOR: Not looking good.

All I can do is offer them everything I have, and a little prayer.

Wish me luck.

[CHEERFUL JAUNTY MUSIC] NARRATOR: Good luck.

It's up to Kira now.

I have found a stool.

If 109 pounds 50 could possibly buy that, I'm all smiles.

If not, I'll keep looking.

OK. Well there, I could do 120.

Kira, you know I've got 109 pounds 50.

Can you squeeze another 10 pounds 50 off it?

Go on then, yeah, you've got a deal.

Kira, I have got a deal and I appreciate that.

Thank you very much!

NARRATOR: Yes, thanks Kira.

The coronation stool is his, and Paul is all spent up.

Thank you very much.

Thank you!

NARRATOR: Oy!

Don't forget the stool, mate?

Where's Anita at?

There you are.

NARRATOR: She's found the shop owner, Campbell.

Oh!

I think that is absolutely splendid.

That is a little piece of art.

Certainly is.

It has this modernist abstract design, which is really my taste.

Now what I'm seeing on here is, just something which has been hand hammered out.

So it's handmade.

Stair, and 14 K, and there is a monogram there.

Now this may have been made by somebody at Edinburgh College of Art.

The main body is probably sterling silver, and we have two little panels of 14 karat gold.

Well that's what I would believe, anyway.

But what I like most about it is, that it has bags of style.

Definitely, definitely does.

Now it's 75 pounds, which is perhaps a bit dear.

Is it possible to put that aside for me at the moment, to see if there's something else I fancy?

And perhaps we can maybe do a wee deal of it, put two things together?

Of course, yeah.

That's no problem at all.

I'll carry on looking.

Go ahead.

NARRATOR: Sharp thinking, Anita.

What else catches your eye, girl?

What a lovely wee thing!

This is a piece of arts and crafts silver.

It's been handmade, and I can see on the ticket that it's Edinburgh silver, dated 1903.

It's provincial silver, greatly sought after.

Each piece of this has been hand beaten to make this wonderful naturalistic pattern.

And look at the sweeping handles!

What fabulous design that is.

Marvelous base, which again has been hand hammered.

None of the smoothness of earlier periods.

This is a delight!

165 pounds.

I have 145 pounds left.

I'm going to ask the dealer if he will sell me my wonderful little modernist brooch and this marvelous piece of arts and crafts silver for every penny that I've got, 145 pounds.

NARRATOR: Go for it.

Campbell, I've found another beautiful object, which again, I've fallen in love with.

145, that's all I've got.

145.

Now these are two classy pieces, but you're a classy lady, so I'm sure we can have a deal at 145 pounds for the two.

Oh, you have made me so happy!

[JAUNTY VIOLIN MUSIC] NARRATOR: And me!

That, girl, is a wrap.

ANITA MANNING: On to the auction, Paul!

PAUL LAIDLAW: Here you go!

ANITA MANNING: Hey!

NARRATOR: With the auction in their sights, who's feeling triumphant in the Triumph?

I really think I'm out of this auction so far ahead, I can't even see in the rearview mirror.

Well, we're seeing the true colors now, Laidlaw!

NARRATOR: Time for some shut-eye.

[UPBEAT JAZZY MUSIC] Good morning!

A new dawn is broken, and it's auction day!

Our experts started off in Doune, before their jolly japes around the Trossachs, and Edinburgh brought them here to the sale rooms in Kinbuck.

Robertson's is a family run business of over 40 years standing, and today, it's standing in the rain.

ANITA MANNING: Well Paul, our first day auction.

Are you scared?

No.

I can smell bacon and all thoughts of auctions-- Oh, keep your mind on the job-- Come on.

Sorry, Anita.

It's my weakness!

NARRATOR: Anita spent all her 200 pounds on five auction lots.

What does Paul think of them?

That cries out.

A, it's silver, so there's quality.

B, the aesthetic, arts and crafts.

And you look at the quality of the workmanship, it's right in the heart of the arts and crafts period, and the aesthetic.

And I want it, but I can't have it.

She bought it for 105 pounds.

Will others think it's worth paying more than that for?

They should.

This is one of the standout pieces in the auction, and I'm worried.

NARRATOR: The green-eyed monster is at play, eh?

Now, Paul also spent the full shebang of his 200 pounds on five lots.

So sock it to us, Anita!

A royal bum might have sat on that stool.

These are rare, and this will be highly collectible.

And I think there's a chance of this stool flying.

NARRATOR: A flying stool?

Blimey!

Auctioneer Struan Robertson's got his ear to the ground.

So what's the gos, Struan?

[GAVEL BANGS] The 1960s soda siphon is a really nice piece.

Look lovely in somebody's kitchen, or even home bar.

And it's in really good condition for its age as well.

The Omani pendant with gold chain is a lovely item, with the O Omani khanjar in the center of it.

That makes it slightly more interesting, from just the standard gold pendants that we sometimes get in.

[CHEERFUL JAZZ MUSIC] NARRATOR: I'm getting a frisson of excitement with those two lots.

Nice!

Right, bums on seats, eye on the prize.

Wow.

The room is packed!

It is, rather.

You got most of your family here today?

[LAUGHS] NARRATOR: Ready?

Good.

It's Anita's retro soda siphon up first.

I thought we'd start it with a party.

Advance at 8, 10, 12, an advance at 12.

Advance at 12.

- (WHISPERS) Come on!

14.

Advance at 14 pounds.

Advance at 14.

- (WHISPERS) Come on!

16.

Advance at 16.

Advance at 16, 18 pounds.

Advance at 18, 20.

Advance at 20.

22, 24, 26, 28.

Advance at 28, 30.

Advance at 30.

Come on guys, advance at 30 pounds.

All in then, at 30 pounds-- thank you.

[GAVEL BANGS] (WHISPERS) Oh, yes!

And the Omani.

The auction is full of partygoers.

[LAUGHTER] NARRATOR: Looks like it.

Three times what she paid.

Well done, girl!

It's not about the start.

I hope it keeps-- we keep those margins.

Oh!

NARRATOR: Paul's Bonaparte jug is up next.

Let the battle commence.

40 pounds.

30, 20, 20 pounds-- Straight in at 20.

20 pounds.

22, 24, 26, 28, 30, 32.

Advance at 32.

[INTERPOSING VOICES] At 32 pounds.

[GAVEL BANGS] - Well done.

It is.

Well done, my friend.

NARRATOR: The Bonaparte jug is victorious!

Bravo!

There's a fight left in me.

Yes!

NARRATOR: Next under the hammer, it's Anita's snooker scoreboard.

20 pounds only.

20 pounds, 18.50 15 start.

Come on, guys.

Nice, pretty piece here, unusual-- Oh, come on.

15 pounds.

[AUCTIONEER CHANT] 10, advance at 10-- 10 for the lot?

Advance at 12, 14.

Advance at 14 pounds.

Come on, still going cheap.

Advance at 14 pounds.

Advance at 14 pounds.

All out then, at 14 pounds.

[GAVEL BANGS] Thank you.

NARRATOR: A small loss.

But who's keeping score, eh?

Oh, yes, me.

[CHUCKLES] Wasn't quite put in the black.

NARRATOR: Ooh!

Paul's turn now-- his NASA silver spoon.

Who'll give me 40 pounds?

PAUL LAIDLAW: Ambitious.

I like the ambition.

20 pounds only.

20 pounds.

15, then.

Come on guys, let's go.

10 pounds to spend.

10, advance at 10, 12, and advance at 12-- I didn't profit.

14 pounds.

Advance at 14, 16.

Advance at 16, 18 pounds.

And advance at 18.

And advance at 18 pounds.

18 pounds is spent.

[GAVEL BANGS] NARRATOR: Great profit.

Well done, Paul.

It took off on a wee NASA mission.

NARRATOR: Next up.

Anita is pinning her hopes on the modernist brooch.

This brooch has got Anita money written all over it.

NARRATOR: Hopefully not engraved.

25 and advance at 20.

Advance at 20 pounds.

An advance at 20.

Yeah, he's still got a little way to go-- AUCTIONEER: 20 pounds on the brooch.

An advance at 20.

An advance at 20 pounds.

All out then-- - (WHISPERING) Oh, come on!

- --at 20 pounds.

[GAVEL BANGS] Like it was going to go one way or the other, that, wasn't it?

NARRATOR: Ah, lordy.

A dip in her fortunes, but it's not over yet.

Well the hope after that we whoosh all the way up again.

NARRATOR: Paul's shiny stuff next, the silver trinket box.

Advance at 36, 38, 40.

And advance at 40.

(WHISPERING) Come on, come on!

Advance at 50.

Advance at 50 pounds.

55, I'm out.

An advance at 55, and advance at 55 pounds.

(WHISPERING) Come on!

All out then at 55 pounds.

[GAVEL BANGS] Do you know what?

Call me greedy, but I think it was worth more than that.

NARRATOR: Not today it's not.

Paul still in the lead.

Good, good, good.

NARRATOR: Anita's Caithness glass paperweights are next.

And advance at 8 pounds 10, and advance at 10.

10-- - (WHISPERING) Come on!

Advance at 12.

14, advance at 14 pounds.

Steady, as she goes.

14, advance at 14, 16.

Advance at 16 pounds, 18.

Advance at 18, 20.

- (WHISPERING) Yes!

Advance at 20.

Advance at 20 pounds.

(WHISPERING) Come on, come on!

22, advance at 22, 24.

26.

[INTERPOSING VOICES] 26.

28, advance at 28-- (WHISPERING) Come on!

Advance at 28 pounds.

All in then at 28 pounds.

[GAVEL BANGS] Well, no harm in that.

Paul, it could have been a lot worse.

NARRATOR: That's the spirit.

And she could still catch up.

What's next in line?

My precious pendant.

[LAUGHTER] NARRATOR: Ah, the Omani pendant and chain.

High quality gold, maybe.

50 big and advance at 50.

And advance at 50 pounds.

And advance at 50.

Should be double that.

Advance at 50 pounds.

All in then-- (WHISPERING) Oh, you're joking-- AUCTIONEEER: At 50 pounds.

[GAVEL BANGS] You are putting me on.

NARRATOR: A decent profit, but does it live up to expectations?

Half of what it should have made.

Oh, ouch!

NARRATOR: OK, it's Anita's final lot and biggest purchase next, the silver arts and crafts bowl.

Will it wow the crowd?

I want the truth.

Number of bids.

Number of bids.

I'll start the betting off at 145.

(WHISPERS) Yes!

Advance at 145.

150, 155, 160.

I'm at advance at 160.

Advance at 160 pounds.

Advance at 160 on the bowl.

Nice piece here, guys, going cheap.

And advance at 160, all in then.

PAUL LAIDLAW: It's no deal.

And it's 160 pounds.

[GAVEL BANGS] NARRATOR: A well deserved profit.

Congratulations!

I'm happy with it.

Absolutely!

NARRATOR: Paul's final lot is next, the right royal coronation stool.

Phenomenal, isn't it?

Did the queen set on it, you think?

Almost certainly.

Advance at 120 pounds.

130, 140, 150, 160, 170, 180, 190, 200, 220, I'm out.

Advance at 220.

Shouldn't raise yet.

Advance at 220 pounds.

Oh, dear.

Advance at 220.

All in then, at 220 pounds.

[GAVEL BANGS] - Yes!

- Good enough.

- Brilliant!

Fair enough.

Brilliant!

Aah.

NARRATOR: Wowser!

Biggest profit today!

You smell that?

Bacon?

Come on, are we going to eat and run?

Let's go.

NARRATOR: Someone's having a snack attack.

Let's do some sums.

[GENTLE JAZZY MUSIC] Anita started this trip with 200 pounds.

After auction costs, she made a teensy profit, but she can hold her head up high with 206 pounds and 64 pence to spend next time.

[GAVEL BANGS] Paul began with the same amount, but smashed it out of the park.

After sale room fees, his pot has grown to a mighty 307 pounds and 50 pence!

That's right, champion!

But of course, this is only the beginning of the trip.

One down, but there's four more to go, Anita.

I'll be on your tail.

Of that I've got no doubt.

I take it I'm buying the bacon buns.

You are indeed, yes.

Let's go.

[LIGHT FOLKSY MUSIC]