you're not gonna send me out in that, are you?

edso, please don't. get away from me!! go on, get back inside!

i didn't say he'd done anything wrong. it's just no way to live or to try and bring up a child. [ padraig ] he'd be better off on a corporation estate in dublin? [ ambrose ] anyway, they put tourists off. hold on, lads, the result. for this evening's winners. the eight-fifteen. first, number one, roxy's cracker, eight to one. second, number five... that'll shut them up for a bit. sorry? siobhan gave them a tip and they wish they'd taken it. ah... what can i do for you? i need a room. i'm, er, not sure we've got one. jenny... miss clarke won't be using

hers. okay. i have the key. are you okay? i'm fine. [ ♪ music playing ♪ ]

[ ♪ disco music playing ♪ ] ♪ that's all right ♪ ♪ i'm okay... ♪

mother of jesus. [ knocking ] liam, get your arse out here! i've got some work for you! and give donal a ring. [ pounding ] father clifford! [ pounding ] yes?

oh, message for you, father. something about a dumper truck. peter. i can't, jenny. not now. brian, turn that thing off. edso, there will be no dumping here today; you have my word.

now please leave before he calls the gards. you are trespassing. so are you. edso, please. just leave it to me. come on, now, father, we don't want any trouble. there'll be no trouble. but if you're gonna dump that, you'll have to dump it on me. i have no problem with that. start her up. dump.

get out of here. thank you, father. i don't think i've done you any favours. you took a stand, father. a lot wouldn't. you still wanna stay here? or go where? i don't know. you think it might be different somewhere else? well, there might be more work. mending kettles, right? i dunno. but surely at least renting somewhere. even renting you need a deposit. [ knock at door ]

come in. hello. hello. this is getting to be a habit. what's that? just disappearing. jenny... still... least last night was your decision. to leave? jenny... it was my decision to leave the first time. what? it was me who asked for a transfer. i wanted to put some distance between us. you wanted to? like this is my fault.

you told me i was special, you made me feel special. what's the point? what are you trying to do? i don't know. have it both ways? i don't know! i wasn't thinking. i was feeling. these were feelings, not thoughts... not logical, not sensible but powerful feelings. what feelings? feelings for me? for a woman's body? jenny, please. but i need to know. stop, please. are you ashamed of them? yes. i bet you could put them into words for your confessor. i tried to do the right thing. you ran away. i'd have ruined your life. my life?

our lives. [ phone rings ] hello? father mac. yes, straight away. yes. i have to go. thank you for last night. what do i owe you? forget it. thank you. your friend paid up front.

your boss rang here. yeah, i know. if i were you, i'd plead the fifth. who told you that? someone who has the church's best interests at heart. is it true? no, it isn't. yes, i had a visitor last night. and, yes, she stayed the night. i didn't. i went to fitzgerald's. you spent the night in a public bar. father, my accuser can't have it both ways. an old friend turned up unexpectedly. i couldn't put her out in the rain, so i turned myself out. the only woman i spent the night with was assumpta fitzgerald. it was a joke. father, that sort of joke stopped being funny when people realised it was actually happening.

yes, father. and the sight of painted women, as it was put to me cavorting round the curate's house at midnight... what?! does nothing to dispel people's prejudice. i expect high standards of my curate, father and there are still some of my parishioners who do too. with respect, father... you have a right to expect high standards of me but a man who makes a young family's life a misery selling holiday homes does not. what? well, i presume it was brian quigley who came to you. brian quigley? what are you talking about? it's not brian quigley who owns that field, it's assumpta fitzgerald. what are you telling me, that it's my doing? it's your field, you must know about it. i do, i hired them. liam and donal? yeah. you must be very proud of them. they won't let a small child get in the way. now, look ... please go on. nobody did. they were using their initiative. that let's you off the hook, doesn't it?

how dare you? who else is gonna stick up for these people? why should you? it's none of your business. that field is my lifeline. what, this place loses money? my finances are none of your business. look around you. twelve apostles would be a full house in here. you wouldn't let them in, would you? out of season... i'd let the pope in. quigley wants the field to build holiday homes but he doesn't want it with a caravan next door. so? so i asked liam and donal to make them an offer. what kind of offer? said i'd pay them to move on. they refused. the boys decided to up the ante. i see. understand, father sooner or later quigley would have had them out anyway with a sore head and an empty pocket.

they'd live in a house if they could. not with the kind of money i was offering them. hello, siobhan. hello, assumpta. how are you? i'm well, thanks. give us a mineral water, will you? congratulations. what for? roxy's cracker. did you back it? i wish i had. never mind, you'll know the next time. i certainly will. i believe the lads are awful cocky about this afternoon. can't lose, apparently. is that right? cilldargan can beat them? there's only two team playing. and one of them hasn't won for twenty years. ah, they weren't good enough then. and they are now? quigley doesn't think so. but you do? i can't see into the future, father. you can see far enough for me. how easy would it be to get a bet on?

as easy as waking up with the sheep. assumpta? what? the money you were going to offer. i know what you meant. all they need is a deposit. by backing cilldargan? there'll be a big price. yeah, but they can't win. your call. how's the bruising? i'd forgotten about that. it's terrible. how's ambrose. think i'm going to have to marry him. that'll be nice. won't it? dad's inside. father clifford, thank you for coming. can i get you a drink? no, thanks. i can only stay for a few minutes. oh, that's a pity. now, two things i have to say to you. that business up at the field. yes? leave it alone. none of your business. doesn't concern you. i think you'll find father mac would agree with me.

ah-huh. and second, my reserve goal keeper's been injured. a pig trod on his foot. how would you like to deputise? me? you'll only be keeping the bench warm; i've seen worse. i keep walking out on you. yeah. you'd think i could take a hint. i'm sorry. i'm leaving. i'm going home. i made a mistake and now i know. painful way to find out. no one asked me to come here. it doesn't make it your fault. when are you going? the bus leaves after the match.

will you see me off? you know i will. wait and see, it's a good spring in the ground. hello. all set? oh, yes. are you hoping for the call or what? well... you realise it'll be bad for you to cheer on the away side. i'll try not to. and it'd be odd if you weren't cheering on the home side. there won't be any home side successes, will there? i never forced you to have a bet. this is for the best, isn't it? i'm taking advice from a priest. [ brian ] come on, get out there. [ cheering ] come on, lads!! i don't think we'll be needing your prayers today, father. you won't be getting them.

come on, you crowd of cissies! up the yard! it's edso foley, isn't it? what's he doing playing for them? is it? ah yes, so it is. [ siobhan cheering loudly ] good lads! come on, now! up the field. you can do it. get it in! come on! you can do it. come on... that's it... yes! [ crowd cheering ] what's the matter with you? it's only a point. it's a point when it goes over the bar? i know. and three points for a goal. i know! and they've just scored one. we father. we're the home side. right. did, er, did you have a bet yourself? against me own side? what do you take me for? but you're

on. oh, yes!! go on, the underdog. [ crowd cheering ] good lads.

[ halftime whistle blows ] [ announcer on loudspeaker ] [ crowd cheering ] yes! a goal! that's three points. i know. ambrose, you buck eejit, will you get a grip? who's a buck eejit? ambrose, you might as well leave the ball in the net, save you the trouble of taking it out the next time! he's doing his best. his best?! the last time cilldargan scored against us, jesus christ was a carpenter! now he's after letting two in! have you two had a fight?

have you ever thought about taking up counseling, padraig? what's that now? one more goal and cilldargan are in the lead. [ crowd clapping ] ambrose hurt his leg. father, you wanted to play. come on, you're playing. what? i'm the reserve goalkeeper. oh! well, that's handy.

no way. this is different. what?! this is my money we're talking about here. assumpta, i can't throw a game. what do you take me for? have you forgotten what this is all about? do you want that woman and her child to live in a caravan for the rest of their lives? all right, i want to sell my field. what is so bad about that? are you two quite finished? go on, make a name for yourself. take no prisoners! do it to them before they do it to you. come on, you can do it. good man.

yes! [ whistle blows ] i plugged the ball and he ran into me! i'm impressed. hasn't gone in yet. another penalty, another penalty, another penalty.

what are you talking about?! when have you ever seen a keeper not move?! who's side are you on?! yes!! [ crowd cheering ] bad luck, father! here are the lads. hail the conquered hero. how is it? it's just a twisted ankle. i'll be fine. brilliant, father, brilliant. i'm lost in admiration. the ball went in.

i know. you were brilliant. assumpta! father, come on over and join us. well played, father. cheers. i thought we had god on our side. you're telling me. do you know what price they were to win? no, what? four to one. and do you know something else? edso foley only played senior football in kerry. so he fell on hard times before he got here? how did you know? i saw him play when i practiced in tralee. i didn't think he was that good. oh, excuse me. be back in a second. well, good-bye. it was still nice to see you. and you. well, you'll know next time. i'm a priest.

there'll be a next time. captions by: midwest captioning des moines, iowa

stocks fell on worries that china might... announcer: the new pbs for ipad app. you'll never know what you'll find. [dog barks] announcer: available now in the app store.

we've packed our bucket and spade this week, as we roll up at one of our great british seaside resorts. welcome to the roadshow from bridlington. ♪ fiona: apart from our desire to explore all corners of the country we've been drawn to this part of the yorkshire coast for a special reason. each week, we hear our experts wax lyrical about beautiful objects brought along

to the show. so, today, alongside the normal roadshow we're asking our experts to choose which era they believe produced the finest, most beautifully crafted objects. when was the ultimate "age of elegance"? so, where could we stage such a show? how about a highly fashionable resort of the edwardian era? the bridlington spa and gardens was a clever idea, recognizing that rain was as likely as sunshine during a typical british summer. it combined exterior and interior space for 5,000 people right on the edge of the beach. from the very start, the riff raff were strictly excluded. people deemed as "objectionable" were banned from admission so all came to the spa in the best and most fashionable outfits. tragically, two fires ravaged the original buildings

in the early 20th century, and in the 1930s, a new center was erected on the site-- the spa royal hall and the resort saw something of a revival in the art deco era. it was a great venue in the days of the tea dance. one band leader described it as "certainly the finest dance and concert hall on the coast." it's taken some knocks since then so, for the last two years it's been closed for a complete face-lift. and here she is today looking a million dollars, and what a perfect backdrop for this special edition of the roadshow celebrating the very best of elegant design. so, let's see what beautiful lines are catching our experts' eyes as they start uncovering the treasures brought along by our visitors. this is a beautiful royal worcester figure. she's known as "the bather surprised" but i was puzzled at the title.

you see, she doesn't look surprised at all. i think she's been expecting it to happen all along. but she's a gorgeous girl modeled by sir thomas brock, who was a great victorian modeler. and he actually designed the great central queen victoria monument, yes. outside buckingham palace. so, he was an important chap and he made this model for royal worcester. the colors are very 1920s. right. earlier on there was stained ivory. sort of darker in color, but she was a very boisterous, modern girl at the time, and, uh, she's done in three different sizes. a large one. this is the medium size. crikey. and a little baby. what's that? i think she's gorgeous. how did you come by it? um, it belonged to my grandma, and, uh, i inherited it when she passed away. my grandparents were travelers with a fairground, and, um, i always remembered that she said that-- that it traveled in their wagon with them and that they used to have to lay it on the bed when they moved about from fairground

to fairground, and wrapped it in the bedding just to keep it safe. she used to take it around for fairs with her? yes, with her, because she loved it so, so much. but, i mean, as a child, i used to see it in her bedroom, and i admired it and always hoped that it would be mine one day, which it was, yes. fairground people love porcelain. they love especially royal worceste yes. um, you know did they used to have any fruit plates? yes, i've got two fruit plates on my wall at home. they love the fruit plates. i know, they're gorgeous, they are. they used to come to the worcester factory when i was there and plead with me to let them have pieces from the museum. "well, i'll buy that, governor!" or something like that. "i'll give you any money you like" but, of course i couldn't sell them. she always had some lovely-- some lovely pieces. my grandma she seemed to have a nice taste of-- a taste for nice things. it's wonderful. wonderful thing that this has traveled around the country with the fair. i know. that's right. and especially here at bridlington, of course, with all the marvelous fairground things here. oh, it is, yes. a fascinating life they must have lived. it is absolutely lovely. go to all these places. i'm very proud of my family history to do with the fairground.

i'm sure. quite right to be, too. well, she's a beautiful girl. there's one little bit of damage. i see the thumb has come off the-- that's been there as long as i've known it. right from a child. don't worry too much about that. all right. it is not too noticeable but she's a gorgeous girl. suppose, in this condition, um-- we'll expect for this size figure to be something like about £1,250. right. so, she's jolly, jolly nice. yes, she is. so, look after her. oh, i do, i do. she's beautiful. she is lovely. do you know, this is the most remarkable collection, this double-album here of cricketers footballers-- and they're all little caricatures and they're all signed. where did they come from? my father started collecting and did all the drawings when he was about 20. and he sent off for the signatures? yes. he would send a letter and then hopefully get a reply with an autograph. well, i think it's quite amazing. look here, we've got--

uh, jack buchanan and fred astaire. but they're both signed photographs aren't they? oh, yes. which is rather nice. i don't know how he managed to get hold of those. if we go further on into the albums, i mean we get things like um, von richthofen. now, how did he get von richthofen for heaven's sake? and here is a picture of them all-- the german flying aces, a couple of german flying aces, and a british one, and they're all here and they're all signed. yes. i can't imagine richthofen actually sort of doing that sort of thing but obviously he did. so, was he a professional cartoonist? no, no, his father was a farmer and he went to the local grammar school as a boarder when he was about 10. ah, now look who we got here. amy mollison-- amy johnson. yes. and of course... of course. she's a bridlingtonian isn't she? hull and then-- yes, she's from hull, yes. and she went-- and she went-- first person to fly to australia. that's right. first woman to fly to australia first person to fly to australia

single-handed. and here is a picture of her craft, um... desert cloud. and we go on even further, and i mean, just finally here-- this one caught my eye which is of... "yours sincerely john tenniel." he was the man who did-- the illustrator. the "alice" man. yes, the "alice" man. yes, of course. he did all those. i didn't know. and there is a nice little photograph of him so, he must have got him fairly early because, i mean, i don't think he-- he-- he was basically a 19th century figure, wasn't he? well, he probably had some given by some other people. do you reckon? i don't remember. did swapsies or something like that? possibly. so, it's a ridiculous thing to say but did your father-- did your father-in-law-- actually love this collection? oh, yes. oh. he adored it. yeah. we owned that through the war, and we all survived, but i think, you know, my father would grab the autograph books before his wife and children. before the baby. you've got hundreds and hundreds of these. 200, 250.

i mean, just by looking through, and, you know having enthusiasm for some and possibly not so much for others but they're all remarkable and he's remarkable to get a collection together like this-- so comprehensive and such fun to look at. i would put a price of about £1,500 to £2,000. really? oh, my. yes. there you are, that's another exploded bom-- unexploded bomb toake you away. ( laughs ) thanks for bringing them in. thank you very much. yes. we need four candles for this. ( laughs ) now, seriously though... ancient order of foresters. is that linked with your family in any way? no, it isn't. uh... my father actually bought it in a sale room uh, which-- it was all in a box, in pieces-- for 10 shillings you know, about the 1950s. right. uh, it came-- he had a hotel at the time, and thought it would look rather nice for buffets

wedding receptions and it stayed in the family, and we sold out in 1990 and brought it with us. and it's stayed with us, and my wife was very keen to find out a little bit of the history, really. right. if you want an archetypal piece of mid-19th century work, this is it. and you've got all this wonderful naturalism, yeah. i like-- it's fascinating. the foresters, what have they chosen? an oak tree. there's one for the tree growing up and then the branches coming 'round. you're missing the nozzs there, but, well-- not a huge problem. fascinating, as well-- the stags. was the inscription 1862? mm-hmm, perfect, yes. 10 years earlier landseer painted the monarch of the glen. and of course, this is the influence of that sort of work coming through. it is an electroplate, not silver.

obviously, that's going to make quite a big difference to its value. a super piece, which does stand up on its own. the fact it's four branches-- if it'd been a straight three, that doesn't work very well, so-- but that center of a circular table-- great. you know you can put that anywhere. it's going to look magnificent. i would think, at auction today you could be estimated between about £600 and £800 for it. well, i-- i didn't expect that at all. and it's nice to hear about the history of it, as well. but it-- you know, enjoy it as you are. thank you very much, indeed. thank you. do you know this comes from whitby originally? yes. who does it actually belong to? it belongs to me. right. and where did it come from in the family? it was my paternal grandmother's, and great grandmother. so, was this always known as the family treasure this particular piece?

no it was my father's from his mother, my grandmother and my father gave it to me. was it worn in the 19th century? never, never. 'cause, you know it goes back as far back as about the 1870s, 1880s. yes, we do. yes. um, whitby is known for two very important things. first of all the whitby jet business-- the extraordinary amount of jet that was turned out in the victorian era. especially after the death of the prince consort in the year 1861. and as soon as the prince consort died-- she was in deep mourning. queen victoria went into mourning for the next 40 years, really. and couldn't wear diamonds and pearls. can you imagine how restrictive it must have been for ladies in society that all they could wear was this heavy, dense,

black material? but it isn't heavy. it isn't heavy. well, the color is though, isn't it? yes. i mean, you can't get blacker than black. jet. jet black. it's the lightest jewelry. now, that's it 'cause you touched upon an important point because real jet is actually surprisingly light in weight. it's a kind of a fossilized wood, jet, and the thing about whitby-- it seems to be the home for it there. in the victorian period, at the peak of the production, you had as many as about 1,500 people, you know, all working in the jet industry, and it's interesting because as soon as queen victoria died the jet industry died with her overnight, as people wanted to embrace the lighter more frivolous lifestyle that was indicative of the edwardian era. the other thing that whitby is very well-known for is that when bram stoker wrote the book dracula, dracula comes into whitby. yes.

that's right. his boat comes into whitby, so, stoker must have known something about the jet industry at that time. now, can i have a look at the book locket? and it's got a very interesting inscription, hasn't it? it is engraved on the surface here. "in memory of auther warwick." who was auther warwick? it would be my great- grandmother's child. oh! um, who died on november the 9th in the year 1870 at 2 years 10 months. how sad. how sad. what happened, then? do you know? we don't know. do you wonder she wore jet as a mourning...? no. so, it must have shattered for their whole life-- what's been your sort of feeling that you've had about that? do you find this is a very, very sad thing? a lump in the throat, really. it does, 'cause it's not only engraved on one side. on the other side, also, j. edward, who died on november the 5th, 1870,

at 8 months. yes. so, the two of them passed away. it must have been dreadful as a mother, to have lost all young children. very poignant. so, the photographs within... are my grandmother-- my paternal grandmother and my great-grandmother the mother to the two children that died. and never to be the same again really. so, this is very worn, very damaged but from a sentimental point of view-- i'll bet she never took it off. no, probably not. i've touched on the fact that this necklace is in less than perfect condition. if it were in tip-top condition, i think we'd probably be looking at something in the region of around £500. the fact that it is-- needs some work done let's be a little bit more cautious. maybe something in the region of £300, £400 for it. your book locket which is--

if i may be very respectful and say it is absolutely clapped out this book locket with all the engraving on the surface i would say that it is sentimentally priceless, and commercially modest. yes. yes. thank you very much. well, thank you very much. this is an interesting chair and i'm sure it has an interesting story to it. uh, yes, it's my mother's family. um, we know it more or less back to sort of mid-19th century. it belonged to an ancestor called j.c.a. thorpe who had 13 children, and would've definitely used it quite a lot, and it would've remained in south yorkshire until just after the war when the house was sold for death duties, and my grandmother had it, so i sat on it when i was a child and then it came to my mom, and my children now sit in it. wow, fantastic. so, yeah, it's been used a lot. what this is actually echoing is

a model of an adult chair. oh, right. so, i can imagine, in the big whole house, there would've been a large dining table and this type of chair, but for adults going around the dining table. right. when children came along, they said to the estate manager or to the cabinet maker, "i need another chair for my-- my heir." um, it's actually 18th century not 19th century. there's a number of reasons i can see that, and i'll point them out to you. one of them is the out-swept arms, which is, to me, typical of the chippendale period. as you can see there's a little hole left and right and along there would go a little wooden rod with a lacquered maltese on the end. do you-- do you still have that? no, we don't but i've had to use all sorts of things to keep my children in it. bits of dowling and... yeah. right.

um, and another thing, there's-- at the bottom, there's a little slide which would've come out to rest one's feet. oh, yeah. the piece plat at the back is typical of the 18th century. and, um-- what i like about it-- the lower section here-- is this slight gothic influence. and it's just beautifully patinated down there. it's a little bit worn up here i think where the children have either climbed out or it's fallen backwards. fallen backwards yeah. but it happens. it happens. it's a good piece of 18th-century english furniture. i'd put a value on this between £800 and £1,200. really? i didn't think it'd beery much, because it's in such a state. that's part of its charm. that's part of its charm. oh, good. i shall tell my children they're not to blame, then. ( chuckles ) as you'll have seen at the top of the program, there's a very good reason why we've chosen the spa bridlington for our venue today. with its echoes of art deco elegance

it's the perfect place to talk to some of our experts about which era they would choose as the ultimate age of elegance. now, hilary kay, you've got opening honor today, and the kind of stuff you brought along is the stuff that reminds me of my parents' era actually. okay. did you keep it? should i have done? well, wait and see. i mean, i think... what i have to say is that the era that i've chosen the 1950s, i've chosen because it's so full of optimism. it's so full of brand-new stuff. after the war, almost anything goes and the few things that we've got here are a reflection of that. and i suppose i also know 1950s things from my parents and from my grandparents and it strikes a chord in me. there's a sort of resonance there. and looking at these things, they are-- they're not all icons, but some of them certainly are. well, let's look. this is so distinctive the fabric, isn't it? these kind of patterns. this is perhaps the most influential

piece of fabric designed that you and i will see. it's called calyx. it's designed by lucienne day. it was described as, "if you can't afford a piece of abstract art, at least you can have them on your curtains." and that's what it is. inspired by calder and by miro, this was designed for the zenith of design of the period. i.e., the festival of britain. when you look at this, for example, i mean, can this claim to be part of the british ultimate age of elegance? because scandinavia, of course, had such a big influence, didn't it? you're absolutely right, and i think that, um the whole use of scandinavian-- light materials, new fabrics, new types of manufacture created a whole different look and i think that if one looks at this light and airy furniture the stick-like legs, the uses of different woods and different shapes the sparseness of the decoration,

it speaks volumes to me, and the fact that we are now all returning to this look is a testament, i think, of its longevity and its influence. we're not to the fashions of course. we're not returning to the fashions, particularly and they were-- i mean, they really were something. they were remarkable back then in the '50s, weren't they? they were, and again one goes back to that sort of rebellion against all those restrictions of the wartime. and with somebody like dior, for instance, when he created the new look suddenly, in came the hourglass figure femininity, luxury wastefulness-- all these things that were absolutely forbidden for the previous 5, 10 years. and it also meant subliminally that women were to be looked at in a different way. at the end of the war, the soldiers came back the girls had to give up their jobs to give jobs for the soldiers. they became housewives. what could be more applicable to this new housewife generation than the dior dresses?

this is a very sort of classic boxing, training pose. yes. who is he? that is my grandfather who was born cyrill hills out of manchester, who boxed under the name of darkie ellis, became a bridlington man and married a bridlington lady okay. i'm going to ask the obvious question-- what happened to the genes? uh, lightened along the years, i think. ( laughs ) i mean, i would never have believed he was your grandfather. yes. did you know him? unfortunately not. i wish i had done, 'cause the stories he could've told would've been wonderful. fantastic, yes. what about your grandmother? yes, my grandmother, unfortunately, passed away last year at the age of 92. oh, so you heard lots from her. yes, lots from her.

to be honest she was quite reticent about the past. it was, "what's in the past is in the past. it doesn't matter." were there secrets? there probably are and that's for me to find out as i go along, i think. i mean, why did he change his name, for a start. no idea. total mystery to us. but i'm told that his mother and his sisters actually had a business on bridlington beach as fortune tellers and made a very comfortable living. so, he was a sort of showman. definitely. he actually, i believe boxed in the fairground boxing booths, as well. all right. so, we're going into a very sort of basic level of boxing, at that point. exactly. i mean this is dated 1933. he's there with-- is that his manager, or...? uh, i don't think it's his manager. i think it's probably one of his trainers. one of his trainers. right. so, he's a very stylish, elegant man, isn't he? i think he definitely was for the time of the era that he came from. now, that-- they look a classic lot, don't they? ( laughs ) they definitely are. real sort of heavies of that sort of sport. there he is. that's right.

now... let's think about his name. i mean, today, nobody would call themselves that, and yet he was called cyrill. he chose to be called darkie. and i suppose that was accepting his popular name. he must've chosen to call himself that 'cause i imagine that was his nickname, anyway. i would imagine so. he was always known. if you speak to people around bridlington who can remember that era, they always knew darkie ellis. yeah. so, we've got here a lovely scrapbook. that's right. and these are his sort of bouts, aren't they? they are his bouts, yes. "england's best middleweights, darkie ellis and donald keys." what was his status in this sport? was he just a local boxer? did he make good? i think he made quite good. i think at one time, he was classed as middleweight champion of england-- of northern england, because i believe there was-- it was regional at that point. that's right it was regional at the point. now... that's an interest-- is that-- is that your grandmother? that is my grandmother, yes. they're a stylish couple, aren't they? basically looks like gangster's moll doesn't it?

it looks exact-- it's true. the untouchables. so severe, her attire. it's straight out of al capone. it is. it's fantastic. i love it. my grandmother went on to become a very well-known local landlady in bridlington and she ran the crown hotel in bridlington for a very long time. my grandmother later in h life. yeah. i think it's a great story. now, we haven't talked about the poster. what a great image. isn't it wonderful? it's fantastic. now, what we're looking at here is-- it's a-- it's an international. belgium versus england. four belgian boxers, four british boxers, including-- there he is. and he is, obviously the great hero of the time. he's the most important person. he's the feature on the poster. it brings to life not just him but that whole sort of sense of what boxing was as a popular sport. this is quite a valuable item, because, 1) it's a sporting poster. move yourself away from your family connections. it's a great image. it's also about black history. now, black history is something that we are becoming increasingly, quite rightly, aware of.

it's so much a part of our culture in britain. it doesn't start in 1948, '49, it goes back much longer. and images like this underline the fact that, you know, we have a very, very strong black cultural history going back to the 18th century, and therefore, today, that would be a very desirable object 'cause it focuses very much on that. there he is-- as i say, no color differentiation. he's one of a team fighting for england against belgium. so, you've got a poster here which is worth several hundred pounds, you see. um, but that's in a sense incidental. you need to know that. what you've got to do-- and it's not for me to tell you, but i think this is such a fantastic story. you've gotta find out more. ( laughs ) lots and lots of questions and to go back to the beginning what happened to the genes? exactly. pandora's box, i always assert. i do. well, it may be tricky, but you've got to open it. thank you very much. thank you very much, indeed. now, i've got to tell you i've traveled all over yorkshire and i have yet to come across a yorkshire tea plantation so i can't fathom how--

how come you've got yorkshire tea? but one thing's for certain-- you like your teapots big. i mean, this is the biggest county isn't it, in england-- hang on, hang on eric. yours may be big but mine is bigger. ( chuckles ) what do you make of that, eh? i have to concede defeat. that is a whopper. it is, it is a whopper, but unfortunately, my spout is not quite as big as yours. you have upstaged me here. but do you realize what has happened? look at your arm, eric. i'm doing it! you've gone into teapot mode. ( laughs ) short and stout. yes, exactly. but the problem with our teapot is that somebody did obviously try to pour tea out of this. was it you? no. you haven't tried pouring out of this? not yet. because it was-- the burden of tea in there would be ridiculous. and so, our handle i'm afraid, has taken a turn for the worse. was your seriously for tea? um, well, this? you know, i mean this is the sort of thing they use for sunday school. 'cause this is a late victorian one. i just love it 'cause it's almost like brand new.

but that started off life sort of definitely east of whitby, didn't it? yeah, yeah. this is from japan. around the year 1900. yours is... well, this is, um, maybe 1890, 1900 so they're of a similar vintage. both enameled. beautifully done. yours, obviously in the right style and mine, well-- what's yours worth? because... does size matter? i'm afraid it does, eric. ( laughs ) this is spectacular. beautiful enameling. damaged though it may be, it's probably worth somewhere in the region of £2,000. gosh. well... at this end, um we're, um, we're nearer £200. all right. but given the choice i'd rather take this one home with me. no disrespect over there. this is a working teapot. it is? yes. and that's-- has that done a few charities, then? it has. it has, indeed. and it's been in the family? yes, many years. it belonged to my great aunt

who had 3 of these giant teapots which she used. so, as they say in this part of the world you can sop some stuff out with that. there's a good few cups in that. 50 cups. 50 cups. only in yorkshire. ( chuckles ) of course, i'm just looking at his bird. ( both laugh ) but isn't he magnificent, that bird? it's a lovely bird. is it a falcon? it's a falcon, and it's-- i've always been told it's a peregrine falcon. and peregrine falcons have royal connotations. yeah. is that right? yeah, they're royal birds. that's very interesting, and they've got this, uh-- wonderful sort of mottled plumage on their underbellies, haven't they? and they have the longer wings. longer than a hawk anyway. that's right. yeah. yes, yes. um, and actually looking back from his wonderful plumage, what about his owners? well... this is, uh-- one of my forebears. it's my father's family. we don't know an awful lot about him but it's always been in the family

and probably most of the time in yorkshire. what i like is the-- is the, uh-- is this wonderful silk doublet that he's wearing with slashed silk revealing this lovely color underneath. and these-- and these little, uh-- i suppose they might be pearls or some kind of braiding or maybe silver. certainly he's got rather a smart belt with gold fittings and obviously a gold dagger handle there. all this means that he's a man of rank i think. well, this is what's interesting-- the peregrine falcon the royal connection. so, the story in our family is that he was actually a falconer to the king and the king being james i. yes. uh, now, there's no documentary evidence for that, as far as i know. but that's-- that's the story that's come down to us, yeah. and then around his tunic here you've got this-- this silken rope. it seems to be silk. and then, i think that's a lure, isn't it? i suppose it could be, yes, couldn't it? which would go around like that. yeah, so this would swing around his head to attract the bird's atte