oh, sorry, father, have you been ringing for long? er, no. do you want us to come back? er, ten minutes, how's that? sure, fine, erm... we'll wait in the car. he's finishing a song. that's what it'll be. liam! what? just get out here, will you? how can i help? you can come a bit closer so i don't have to shout. would you be offended if i didn't? yes, i would. ah, it's easy for you, you're used to it. not for much longer. oh, great. is it clear? we need a longer rod.

ten minutes. maybe he had writer's block. i'm a singer not an actor. and your woman at the pub doesn't even think i can do that. that's just her way, she likes you really. is she involved in this? oh, god, yeah, female lead. and what would i be? her romantic interest. as the priest? it's that kind of play. bang up to date anyway. oh, er, no offence, father. i like her, though. you know what i mean? [ mobile phone rings ]

on approval. father clifford speaking. brian quigley. okay, i'll do it... sponsor your play. right. nothing grand, but i'll spring for the costumes. brian, that's wonderful. one condition. name it. i've had father mac on the phone about assumpta fitzgerald. you know what i'm talking about. i can guess. here's the deal, then. make her do what's right and the money is yours. what? brian quigley was going to sponsor your play. why should quigley care? he's up to his neck in -- what's good for roses. he's a little cheesed off that you won't do something that costs you nothing. you have no idea what it would cost me. [ padraig ] i can tell you what it's going to cost us. if you don't change your mind, we don't get the money.

[ padraig ] and the play doesn't happen. what? padraig! it's a good play, brendan. er, yeah, and we've got enda sullivan. oh. oh, go on, assumpta. for god's sake. the clergy is one thing. he wants me to put up three of them. i know, and one of them runs a diocese. assumpta, you're blowing this all out of proportion it's just one night, it's such a little thing. as the publican said to the bishop. absolutely your grace. three rooms, no problem. she was only too glad to help. and you, your grace. go now, father, if they find you, they'll kill you. i'll be back. matthew, get real.

erm, padraig now, call me picky but i don't think they said get real at the turn of the 18th century. i know they didn't, assumpta i'm just trying to give it a contemporary resonance. yeah, but it's got all the contemporary resonance it needs. hold on, hold on i'm the director. and i'm the writer you thieving swine. what? this is my play. my words... my script... my play! what? what are you talking about your play? don't tell me you don't know what i'm talking about, you duplicitous, unscrupulous plagiariser! hold on, brendan. what do you mean plagiariser? if the cap fits. no, stop it, the pair of you. back off, brendan. i thought you said you hated this play. "if it was a fight they'd stop it." oh, very nice. i hated his play.

i've only just seen this play. well, it's not all yours. wait a minute, you mean some of it is? bits. bits. bits here and there. bits. great, big colossal thundering slabs. you cheating, pillaging, word-embezzling bandit! oh, that's good, that's really good. a man who reads his thesaurus. he's a teacher. oh, right. well, i don't think there'll be much more rehearsal tonight, do you? nope. fancy a jar? busman's holiday. er, er, er, where are you going? what? who told you you could go? what is he the director now? no, he isn't. go, you're clear. i'll talk to you later. in the meantime... will the real writer please stand up?

you're back early. writers... god. hi, niamh. hi. gard. drink? a writer. ha! he couldn't write a shopping list. all you were fit to write is once upon a time and the end. quiet, for pity's sake. you wrote the thing together. so what's the big problem? well, we started to write it together. but we argued so much, we never got anything written. well, so you wrote it separately? and then we showed each other what we'd done. they were both terrible. but between them there's a half-decent play. did you not think i'd find out? but, brendan, i took so little. so little? enough! are we going to do this play or what? damn right we are. okay, but the sexy stuff... what? what? still has to go. over my dead body. over my dead

body. we both wrote that. assumpta won't play it. damn right i won't. what do you take me for? not even with enda sullivan? not even with jack nicholson. assumpta, i thought you liked the play. i do like it. i just don't like what you're asking me to do. i mean, there are other ways of communicating passion. like what? niamh. [ sighs and groans ] come on. yeah, yeah very funny. don't mind them, finn; they have a retarded sense of humour. oh, look! can you not get that dog seen to siobhan? well, he looks healthy enough. bring him to me tomorrow and i'll take a look... through a telescope! kevin, come on into the kitchen. [ laughter ]

how did you meet him? i'm the baby-sitter. does his wife know? no, but she doesn't live with him. do you love him? yes, but it's wrong. why do you say that? because he doesn't love me. isn't that a good enough reason? i'd say it is. oh, matt, why did you come?

i had to. the soldiers are everywhere. i don't care. what about me? i care about you. do you mind? what? where your hand is. what? would you keep it where i can see it, please. "keep it where i can see it, please." oh, very passionate assumpta. you do realise you're just about to give your life for this man. my life, maybe. how many directors have we got around here? [ brendan ] i am the author. [ padraig ] we are both the author. are you all quite finished?! have you two ever heard of a silent partnership? you're it. sit. assumpta, this is a play about passion. without passion, it's nothing. yeah, but you were the one... i got rid of all the sex. it doesn't mean that you can't have physical contact. yeah, but he doesn't have to be so close. of course he's got to be. where

do you expect him to play it from, kilkenny? quiet!!! all right, let's just keep calm and see if we can't find a compromise. [ dog barking ] [ cat screeching ] that's a dead dog! don't you blame my dog! finn! kevin! finn! kevin! [ padraig ] get the gun and shoot it! not a hope in hell. although, i suppose he could play it from a wheelchair. a wheelchair? get real, michael. get real? popular slang from the 18th century. oh, is that so? anyway, you need to get yourself a new leading man. in ballykay?

what about brian quigley? brian quigley? are you out of your mind? even if he could act, he's old enough to be her father. all right, all right. ambrose. gard egan. if you think i'm getting intimate with the garda siochana, you can think again. is there anybody you do like? that's what i like to hear... good rapport between the cast and the director. [ doorbell buzzes ] yes? it's arrived. you may think that i'll forget this.

i will never forget this. what about michael ryan? no, i don't think he'd be the man for the job. brendan kearney! it's that time. what time? i don't know. what time? time to pay your dues. come on. it's my lunch hour, siobhan. we need a sample. a sample of what? rollickin' roger. who or what is rollickin' roger? a sprinter... probably best at six furlongs. a racehorse. a stallion. we need a sample to find out if he's fertile or what. i'll need help. we're not talking about a blood sample, are we, siobhan? i didn't think so. come on, slave you can drive me. good luck, brendan.

see ya. nearly there. i think i have it now. mother of god, what have you been putting down here? down there? have you no sense of smell or what? that's it, you're clear. you ought to look at your diet. oh, yeah, i'll get right on it. here, hold that.

come on. i hope he won't be too rollickin', that's all. [ whinnying ] i swear to god, padraig, you've never seen anything like it. the size of it. whatever you thought before, forget it. you were the man for the job, brendan. oh, i'm sorry, i didn't realise there were people still here. ah, no, father, i just wanted a quick word. er, not that kind of word. there's only one man for the job. don't be ridiculous, i can't act. the part is a priest; you know the script. padraig.

she won't have anyone else. she said that? by elimination. what? she's blanked everybody else. you think she'll have me? she hasn't said no. because you haven't asked. you're the director. no chance. look, father it's like this... unless you do it there's no play. you've had the altar wine, have you? you and me? do i look hot for this? do you think i want to do this? you've turned everyone else down; it's this or no play. fine by me. then you explain to brian quigley, who's spent a grand on costumes and scenery, to kathleen hendley, who's already stocking up for the catering, to everyone else who's given up hours of their free time. well, they have free time to give. it's costing me a fortune. all right, all right. nice of you to be so gracious, assumpta. i said i'll do it, okay.

god, is moral blackmail in season in this town or what? [ assistance bell rings ] er, we're full up, i'm terribly sorry. we have a reservation. what are the names? father clohessy. father brady. bishop costello. [ mop handle bangs ] right. would you sign here, please? hi. how are ya? now, i want to see some real feeling here from both of you, okay? it's thanks to your character, assumpta, he's in this mess, even if you didn't mean it. as for you, father, this is your last night on this earth before the gards come to take you in the morning.

there's no last confession. whatever sin you commit now, you take with you. [ brendan ] dramatic or what? we know what we're doing. i can't wait. lights! in your own time. i swear, matt, i had nothing to do with this. i know. i don't love him. you have to believe that. fine. matt, look at me. i did what i had to do i'm not proud of it.

it's all right. no one can blame you for falling in love. i didn't fall in love. not with him. mary. we have one night, maybe less. maybe just an hour. if it's a sin... there'll be no repeating it. i can't do this. what? not with all you people there. and what is he doing there? protecting my investment. assumpta, all we're asking you to do now is kiss him. right, well then you do it. what? what? all i'm asking is a little privacy. no, no, all i'm demanding is a little privacy.

look, erm, she's right. well, i don't feel very comfortable with this either. assumpta, what are you going to do on opening night? going to ask the audience to wait outside? the performance is different, brendan. so go on, get out, the lot of you. i paid for a rock star not a priest. and you two! right... let's get to it. erm, take it from "i did what i had to do." okay. okay. i did what i had to do. i'm not proud of it.

it's all right. no one can blame you for falling in love. i didn't fall in love. not with him. mary. we have one night, maybe less... maybe just an hour. if it's a sin... there'll be no repeating it. assumpta. don't. we have to finish it. i don't think so. why not? because standing at the back of the hall is father mac, two parish priests, and a bishop. miss fitzgerald? [ door slams ]

don't take this as compliment, father. that was a very convincing performance. incendiary. you promised us privacy. you can't bar a bishop; they were looking for assumpta. they've checked out? they haven't spent a night yet! they changed their minds. they were hoping to catch you at the hall. why? niamh. the rooms weren't up to scratch. what? the bishop likes a tv and a mini-bar. what! according to one of the pp's. oh, really? i think they thought the bar below might be a bit noisy. did they? they thought it was a bit expensive too. is there anything else? i think father mac was a bit embarrassed. how embarrassed? very embarrassed. ah, well, there you are then... every cloud. father, i don't want to do it either. but the town's looking forward to this.

and the only man in the whole of ballykay they can get to do it is the curate? no -- yes. you have to be able to act. oh, i see. so what i saw between you and assumpta fitzgerald, that was an act, was it? oh, come on, doc, there must be something you can give him. brian, i can't make it heal by magic. what about that stuff they give footballers? what? bungs? steroids. something to help me make it through the evening. autographed copy of my latest cd? sorry, i wasn't thinking. [ dog barking ] come on, time, everyone. your glasses,

please. what, at 7:00? the theatre runs in your blood, doesn't it, liam? what? show time. now, don't say it, any of you. what do you expect if you feed a dog cabbages and brussel sprouts? what? a dog needs meat; it's a carnivore. i don't feed it cabbages and brussel sprouts. someone does. kevin. what? the truth. i haven't done anything wrong. nobody's saying you have. [ kevin ] he likes to eat with the goat. they're friends. come on, it's only a bit of cabbage. kevin, no offence, but can you keep your greens for the goat? yeah, okay. good man. what about beans?

don't be such a baby! you'd think i was pulling a tooth. but i don't need it. watch your back, father. hold still. is he being a temperamental artiste? brian, the way it goes is, you receive visitors after the show. if you're in it, you do. you're off the case. what? i'm back. not quite so agile but he's mobile. are you the producer now? i told you i had an investment to protect. you couldn't act your way out of a bubble bath. sorry about that, peter. doc ryan gave me a rubdown with snake oil. good. and he is the one they've come to see. you're right. well done, enda. well, i'd better get changed. i swear, matt, i had nothing to do with this.

i know. i don't love him. you have to believe that. fine. matt, look at me. i did what i had to do. i'm not proud of it. it's all right. no one can blame you for falling in love. i didn't fall in love. not with him. mary. we have one night, maybe less... maybe just an hour. mary. if it's a sin... there'll be no repeating it.

not my cup of tea. no. they make a strong pair, though, i'll say that for them. could be just what she needs. is he a religious man, do you know? no idea, father. mmm, musician. i don't suppose so. still, we can hope... can't we?

[ audience applauding ] captions by: midwest captioning des moines, iowa

er

we like each roadshow to be a voyage of discovery. this week, we've come to a place which has close ties to some epic journeys of exploration. welcome to dundee. here's an interesting little fact. did you know at one time, there were more millionaires in dundee than any other part of britain? it's all down to this. jute, harvested from a plant in india. it may not look like much

but it was one of the most familiar products of the 19th century. this is how it came out the plant in its natural form. it then went through a variety of processes to be used in all sorts of things like string, rope, cloth, sailcloth, flooring, clothes. and it was all made here in dundee. some 50,000 people worked in the industry. not surprisingly, it made some individuals very wealthy, including jute baron sir james caird. caird, like everyone in dundee, watched the exciting launch of this ship the discovery, on its maiden voyage in 1901 to antarctica.

below deck, it's easy to imagine life on board. basic, with few home comforts. this is a captain's cabin. robert falcon scott was appointed expedition leader. scott of the antarctic of course, and he was immensely courageous. it's incredible to think that on its maiden journey this ship was stuck in the ice for three years before it was rescued. sir james caird was so impressed by the bravery of the men on the discovery that he later helped fund shackleton's epic journey on the endurance to the antarctic via the south pole. as we know, it became one of the most incredible adventure stories of all time when the expedition became stranded on the ice. just when things looked hopeless, shackleton launched a heroic mission to get help on a lifeboat. that lifeboat was named after sir

james caird, and it saved their lives. sir james caird left many legacies here in dundee. he funded the construction of this magnificent hall caird hall which is the venue for our journey into the uncharted waters of today's roadshow. i try very hard not to forget a face. and apparently i've met this lady before. and the occasion i'm told, was my last visit to dundee with the antiques roadshow, which was, believe it or not, way back in 1982. is that right? that is correct. okay. so it wasn't you that i met all those years ago, was it not? no, it was a gentleman. it was an elderly gentleman friend. and that's who'd given me the figurine, and she's absolutely beautiful. i think we'll concur on that one. whenever i look at figurines of this nature

there are several things i look for. one is the facial detail. and she's got a nice face. she's got a lovely face. she's got a very well-sculpted figure and torso. goes without saying. and even little things like the feet. the fact that her toenails have all been very carefully carefully carved. the actual construction makes use of bronze and ivory. this is a theme that seems to have become very popular during the early part of the 20th century, then into the '20s and the '30s. there are big names involved here. chiparus and choline and ferdinand preiss but yours is actually signed by somebody called bartholome, who's a lesser-known maker. very competent. you've only got to look at the quality of the carving to see that this is obviously a craftsperson. so there she is. at the moment, this type of thing is very, very popular.

they seem to have been discovered by the russians. and the criteria as far as the russian buyers are concerned is, to some degree dictated by flesh. so if you're showing more than a little bit of ankle that's always a bonus. and in this case you're showing you know, more than most women would. quite a bit more. exactly. i'm trying to be very, very delicate. it's a delicate situation, isn't it? so back in 1982, what price was put on this figure? from memory, what my friend told me, was maybe about 1,500 to 2,000. 1,500 to 2,000. i think something like that. well, with all those russians chasing this particular scantily clad maiden today there's every chance that this figure

could make somewhere in the region of between £3,000 to £4,000. very nice. lovely. that is nice to know. here we are, edinburgh castle peep show. absolutely splendid. in three languages the chateau of edinbourg in french, das schloss in german, and the castle of edinburgh. so it was designed for tourists. i'm going to ask you to help me do this because it's a lovely peep show. i've got it open. you hang on to the bottom. and if we go through it, we can see the whole streets of edinburgh and it's vibrant in its color. and i can see somebody in a kilt at the end there. is that right? yes. that'll be in the grass market in edinburgh. i was there the other day, and i have to say i don't recognize this building here on the left. i don't recognize that but the others are completely clear.

that's the back of the castle. yes. and that's castle terrace here. and the old high street goes down from here to holyrood. the royal mile. so tell me where did you buy this wonderful thing? i got it in more of a junk shop than an antique shop in perth. and when i came across this, i couldn't resist it. well, i couldn't resist it either. apart from the box being rather tatty the inside is as bright and as vibrant as ever. that's because it's been kept out of the dust, and it's been handled with care. nowadays something like that, you'd be paying somewhere in the region of £600 or £700. really? yes, absolutely. i didn't expect that. so there you are there you are. you've done rather well. thank you very much. thank you for bringing it in. so what is a nice lady like you doing with an extraordinary carriage clock like this?

it was part of a collection my father had. all his pieces were not naughty pieces like this but just happened to be the nicest one i like to look at and play with when i was young. later on i was able to take only one piece from our house with me because things were getting very dangerous in germany where i grew up close to the end of the war. my parents, by this time were no longer with me and i just grabbed this and fled. how extraordinary. were the russians advancing at this time? yes. were they really? very closely, yes. how did you manage to get out? we just stood by the end of the road and hoped for a lift which i got eventually from a german military bus. and this, of course, being a small little... i put it in my coat pocket. yes. fantastic. and do you remember it in your childhood? yes. as far as i remember,

it was never looked upon to get the time. it was just a piece, an ornament, you know. but it does have most extraordinary panels, doesn't it? yes. my father must have fancied the panels. yes, i suspect. it's a bit of a male... my daughters tell me now that when they were little they used to look at it and giggle and said, "better not let mum know we're looking at these naked ladies." that's terrific. well, it's a very pretty little swiss carriage clock, with silver gilt construction of case. made around 1915, 1920. that sort of period. and of course, the great feature about it are these lovely enamel panels with the semi-naked women. they're not erotic. they're very lovely. so as i said swiss-made with a nice white enamel dial and a silver gilt case. but most of the gilding has come off the silver now. it's obviously too much polishing. well, it's still a highly desirable clock. in this sort of condition a little bit less than normal,

but still, every collector in the market should pay between £1,500 and £2,000. really? i'm surprised. that's worth pinching off the shelf before you ran for it. thank you very much for bringing it in. i think it's fantastic. thank you very much. when i initially looked at this i thought, another writing desk. they come in quite regularly. but this is something really special because not only is it a writing desk it's the world's first copying machine. is it yours? is it something you bought? it's a colleague of mine. he has a special interest in writing slopes, so we're both journalists. let's have a look at it. we open this and a standard writing slope. what's in here? a couple of candlesticks. that's right. goes on there. like so. and then, like every writing slope, it has some secret drawers. and in here, we have a brush.

and a handle. you need that. thank you. this goes in here like so. just wind it. there we go. so what we have here is something that was invented by a scotsman. that's right. sir james watt. james watt. you know all about it. and then, when he was working between his birmingham factory and the mines down in cornwall he was traveling backwards and forwards a lot and he obviously needed to have his documents copied. so the only way to do that would be to write the letter and then write a copy, send the letter off, and keep the copy for his files. very time-consuming. being a great engineer he thought i want to find something simple that works and i can actually copy my letters without having to actually hand write them again.

so he developed this and it was patented back in 1780. and this came into production about 1790. so it's well over 200 years old. and how it works is, although i haven't got a letter i've got a great antiques roadshow brochure here. you would have written your letter in a special ink and then you would have wetted a tissue, and i think we've got some tissues somewhere. probably at this side. there we are. oh, there's some letters here, as well. the drying book. you would have wetted the tissue, and then you would've put the letter and the tissue together, put it on here, and then you would have wound the handle. hopefully it would go in. and inside here, there are two rolling plates. they'd press the two together and you would get offset all the actual letter that you had written in the first place. you turn that around and then you get a fair copy so you can actually read it. it's a fabulous invention.

absolutely ingenious. simple, but it worked. and this was invented way before obviously photocopying or even the typewriter. so it's an extremely ingenious and beautifully constructed bit of engineering. it's also a piece of furniture. absolutely. yeah. it's extraordinary that, in my whole career which is, i hate to say it but it's coming up to 30 years i've only seen three examples one of which i actually handled and we saw one at ascot, slightly different design earlier in the series. so like all things you never see one, and then two come along together. but extraordinarily rare. i think in the first year, they only made 150. the last one to sell at auction sold for £26,000. british sterling. british sterling, yes. not guineas. £26,000. all right. the one that came up at auction, i have to say,

had a great provenance. and it came from the watt family, so that added quite considerably to it. but without a doubt, i would see this at auction at 12,000 to 15,000, and it could easily make more, because it's in fabulous condition. there you go. great fun to use. it's a fabulous piece. thank you so much for bringing it in. thank you very much. well, these are really nice and early mickey mouse slides. we've got seven boxes of them, all telling a story. so how on earth did you actually watch them on these funny little slides? well, we used to have a sheet pinned to the wall in front of us and dad rigged up a sort of slide show by using the inside of a toilet roll and cardboard, cut through it and then the slides went through and at each slide, you had a little story to go with the picture. yes. so you'd be propped up, and dad would be saying, "beneath a bright and cheerful sun

mickey went out..." right. that's quite right. yes. so when do these date from? about 1939, 1940. at the beginning of the war, when the bombing started, we three children slept in the cupboard under the stairs that sounds comfortable. on the floor. but above our heads used to be books and the toys and the games, all in boxes and when the bombs came, with the vibration everything fell off the shelves and on to us. mum got fed up with pencil sharpenings and things in the bed, so we were all moved to the dining room to sit looking at the wall, and thus the slides to keep our minds off the bombing. the interesting thing about the slides you have eight stories here, each comprising of two sets of slides. seven of the eight are mickey. and the interesting thing is that they're the early mickey. this is the rat-like mickey that fell from favor

in favor of the cuter version. he's got big fists a spiky nose and a tail. it was felt that he was too rat-like to be cute. so after the war he was revised into a more sweeter beast. so there is an extra appeal in these, in that they are the earlier ones and i think the current market is around about £50 each, so the total is probably about just short of £500 for the lot. that's nice, but they'll stay for the grandchildren. i'm sure the stories that you have about it is far more than their resale value. thank you very much. it's been a pleasure. lovely. thank you. this is a little rectangular blue leather box about three inches wide, and on the lid, we have the letters m.v. clytoneus. that's merchant vessel. clytoneous. launched 9-4-1948.

clearly not by you, ma'am. no. certainly not. so who did launch this vessel? it was my great-aunt launched it. did she talk about it at all? do you know anything? she did mention it once or twice, but i was only about 11 when she died. oh, i see. but she left this to me. well, it's quite a small box, quite clearly. therefore, it's not going to have a grand opulent content, but the contents are incredibly pretty, aren't they? yes. what we have in the box is a sweet little bow-shaped brooch in platinum and diamonds. the style of the brooch is interesting because... can we just reel this back to the year that this launch took place--1948. may i tell you that there is no way that that brooch was made in 1948.

really? no, i don't think so. i think that the retailer who have put this brooch in the box had bought maybe a secondhand brooch and they put it in their own case and they put the little motif on the front. the brooch itself is very strongly of a period of around about the first world war. now, the diamonds in the frame are what we call pave set. they're in touching formation. but the key to this brooch which i know it's only very, very little, but the key to this brooch is that when you look at it with a lens through the side, you notice that engraved on the center at the side are the magic words, cartier limited. that's a whole new ballgame.

so the value changes dramatically. now, all right. we're not suggesting we've got a large, important size cartier diamond brooch. but i don't know about you. i think it's an incredibly pretty... it is. and i don't know whether it's something that you wear. not usually. i wore it at my wedding. i don't think i've worn it since. well, i think that such a brooch, if it was sold on the open market not that it ever will be i appreciate that, but i think there would be a lot of interest in it, actually, because it's so small and so sweet. so what are we talking about with prices here? the fact it's by cartier means that if you were selling it, it would fetch in the region of a couple of thousand pounds. right. nice piece that she gave you. yeah. beautiful. i love it. thank you. thank you. we are surrounded by a cornucopia of radio times here. what got you collecting all these?

i think just that we got our first television set when i was ten in the autumn of '59. and i became a television addict. i loved the programs of the time-- dixon of dock green. i eventually managed to purchase four or five of the ones from that time and it's just kind of grown from there. so how many have you got? round about 300 or so. 300! you've got some fantastic examples here. look at this one. radio times, 1937. this is the coronation is it? this is the coronation of george vi, yes. look at that. in fabulous condition. oh, radio times television supplement. let's see what was on. here we go. television programs. monday, 3:00 to 4:00. close. it was only on for an hour. a wee bit limited. and then 9:00 to 10:00 in the evening. so just two hours a day. quite enough i suppose. i suppose in those days.

of course, there were very few television sets and it was only the london area that were really receiving television signals in 1937. what about this one? this is an interesting one in as much as it was brought out for september 3, 1939, which was, of course, the day that world war ii broke out, and it was never used. they had to change the programs and everyone's attitude was different, obviously. on friday, september 1 i think the bbc had a meeting or radio times had a meeting, and they decided they would put another issue out, because they were sure war would be declared. so they produced this item, this radio times, but then, once war was declared it was felt this kind of programming was too frivolous. absolutely. so then, they brought out another one. this one here. oh, i see. so this is the radio times once war had been declared. that's correct. that was on the streets on the monday morning of the fourth. "broadcasting carries on." yes, they were really ahead of the game there. "broadcasting carries on," it says here.

"that is the slogan of the bbc in this hour of national endeavor." wow. "for nearly a year now, the bbc's been making its plans, "recognizing the part that broadcasting would play in the struggle it could not afford to leave anything to chance." how fascinating. oh, look at this. first steps in first aid. first aid. that obviously indicates the need for the public at large to be aware of how to deal with injuries. it's pretty sobering stuff, actually, isn't it? it was a very scary time, i'm sure. what else have we got here? this is a fantastic trip down memory lane. "watch how you go, says p.c. george dixon dixon of dock green." i think that's my all-time favorite program. dr. finlay's casebook. there's another name to reckon with, isn't it? that's the very first episode. 1962. do you remember watching that? oh, yes. my mother was an avid fan. we are were, and as i said i watched everything anyway. i think i was carried off to bed kicking and screaming if there was still something on telly.

oh, and here we have... oh, who is this? when i knew i was coming along here, in the hope of seeing you, i thought i would take a chance and ask you to take a look at this, and hopefully autograph it for me. i'll autograph it for you. we must have a pen here. to tom. oh, that's lovely. thank you. ♪ in wintertime or summertime ♪ ♪ or leisure time and pleasure time ♪ ♪ the daily times that big ben chimes ♪ ♪ are radio times ♪ you've brought in this interesting piece of pottery to show us. a dish, double dish, indeed, with handle in the center. the intriguing thing is who made it. where are you from yourself? rockhaven, in fife. in fife. well, there may be a fife connection. let's see underneath. ah. we have an impressed mark,

and it's a very famous name. wemyss. you've heard of the wemyss factory? very well known. it wasn't at wemyss, as some people think. it was in kirkcaldy. the fife pottery of robert heron made it. but the thing that puzzles me is this is not normal wemyss decoration. normally, it's very vivid color large roses, fruit very colorful. this is very restrained for a piece of wemyss ware. do you know anything about the history of this piece? it doesn't actually belong to me. it belongs to a lady friend of mine who inherited it in her aunt's will. her great-great grandfather worked in the pottery factory in kirkcaldy. when he retired, this was given to him as a gift. now you've answered the question why doesn't it conform to the usual? obviously, because she worked there she'd seen thousands of pieces with brightly painted roses for the retirement present they wanted something completely different.

wemyss ware started in 1882, went through until about 1932 and i would guess this is nearer the end of that run than the beginning. so you're doubly fortunate. to have a piece of wemyss ware at all is something these days because anything with a wemyss mark is worth a bit of money. but with the story attached and the unusual decoration we're here looking at something like £300 to £400. i'd like to be bold and say 500. and it'll only grow in value, you'll be glad to know. but being a family heirloom, i would guess you're keen to keep it in the family. oh, yeah. that's where it should be. it's amazing being up here in scotland and looking at a watercolor like this because it's like one of the scottish artists. yes, the glasgow school. the glasgow school. at the bottom here we have a signature. and it's by johan.

and an almost unpronounceable middle name, which is zoetelief tromp. he's an artist that was born in indonesia so dutch east indies and came over and studied in holland in the hague. because he was born in the 1870's, this would have been painted probably about 1910, 1920. but it's extraordinary to find this picture which is so like the scottish watercolors really, of the glasgow school, over here. so how did a dutch painting like this land up here? well, according to my uncle, it was bought by his father, my grandfather probably in the 1930's. it was certainly bought in dundee but we know no more about it than that. i just love the composition. when you look at it, it's a little girl on the swing there and on the left here is the sister, dying to have a go. but she's got to wait her turn. and i think she's rather impatient. but when you look at a picture like this, which is impressionistic

look at the way that's constructed. it's very broadly painted, isn't it, so you have to stand back for it all to come together. but it's so cleverly done. and then i have to put a value on this, 'cause it's your heirloom. and i think, at auction that would make certainly £4,000 to £6,000. heavens. that's a surprise. i didn't think it'd be as much as that. my uncle will be delighted. i can see him buying a high-definition television now. well, that's rather sad. i think i'd rather have that. quite rightly in dundee, we've talked quite a bit about the discovery, and the crucial role it played in antarctic history. but there is more to that story, isn't there, and you're from the discovery point museum and i think you want to explore with me a lesser-known aspect of this. that's correct. what i have here, really is an example of a starting point for captain scott's antarctic career. so what is that? that's a cigarette case. it's a small cigarette case which was awarded to him in st. kitts

in the west indies in 1887. he won a cutter race in other words an oared rowing race and was awarded this small cigarette case. the key point about this cigarette case is it happened at a time when another interesting antarctic character, sir clements markham arrived on the scene. he was invited by the commandant of the west indies squadron and was in st. kitts at the same time. so he saw scott perform. he saw scott perform and recognized in him the qualities that he thought might be useful for a leader of an expedition. so markham was a sort of talent scout. his job, unofficially or officially, was to go around look at young cadets train the officers and say, he's going far. that's exactly what they did. so without that... it wouldn't have happened. nothing would've happened. no discovery. we wouldn't have captain scott. we can go home. exactly. so what's the book? the book is probably one of our star items in the collection. it's sir clements markham's personal photograph album,

and on the first page here the ship that took them all to antarctica, the r.r.s. discovery. was built in dundee, is here being launched. this is the launch. that's the actual launch. 21st of march, 1901. there he is going down the steps. so he assembled, what, it's like a scrapbook. it's a scrapbook. exactly that with all of the photographs that he acquired over the period of the antarctic expedition. so it covers the ship. what else does it cover? it covers also... i'll just have to open this a little more. this is a particularly interesting photograph. this is a who's who of antarctic explorers. they're all in it. they're all in it. you've got scott in the center. you've got edward wilson, the famous zoologist. you've got lieutenant royce, armitage, and then, right behind there is ernest shackleton who everybody knows. now what's happened here? ah, well. william shackleton same name...