if the teachers won't. look, do you want me to keep my job or not, ah? [ brendan ] what does father mac think about this? hi, assumpta. hi, hi. um, thanks for that, padraig. no problem. all right now? oh, yeah i'm fine, thanks. what's the matter? niamh's not very well. you spoke with her, did you? well, is it serious? well, i suppose you're bound to find out sooner or later... niamh's had a miscarriage. oh, no! oh, dear. she's going to need a lot of support. can't help having gard genghis mcmullen to stay either. well, it might not be any bad thing at the moment. keep her mind off things. [ rumbling ] [ glass rattling ] is it me or are these glasses shaking? geez! it's an earthquake!

what the -- left a bit!!! what do you think you're playing at? can't hear you! keep coming! donal, come on! you can't drive that thing through here! it's illegal! sorry, can't stop! what was all that about? that was brian quigley taking advantage of a change in the law.

there it goes. well, as they say, big is beautiful. must make a nice change for you, being out of the city. it's very pleasant. you'll need to get to know the lie of the land. i think i'm beginning to. enjoy the countryside. little runabout. feel free to use it whenever you like. in the line of duty? oh, she'll only be sitting there rusting otherwise.

niamh? is that where the baby was left? look, why don't you come in. i've just made some tea. it's so unfair, father. i lose my baby and someone just dumps theirs on your doorstep. how could anyone do such a thing? i wish i knew. [ phone ringing ] listen, why don't you come in for a minute? [ phone ringing ] sit there for a minute. i'll just get this. hello? father mac. can i call you back?

no, you may not. father, is it true what i've been hearing about you? is what true? that you have been looking for suggestive videos? no. kathleen didn't have anything to suit my tastes. don't play games with me, father. is it true that you are giving a talk to the youth club about sex? oh, that? you mean there's worse?!! no, no. and the talk's not about sex as such, it's -- listen to me, father!!! the church's position is quite clear on this matter!!! yes, father. i'll see you in my office. certainly. i'm on my way. goodb -- niamh? niamh?

hello. mind the floor; i'm trying to clean. so i see. why didn't you call me? sorry, dad. i should have, i just couldn't. [ ambrose ] niamh?! wait a minute! how's he? he's worse than a baby. you're making a terrible mess. i know, i can't clean, i'm a terrible cook and i'd probably make a terrible mother. well, you're right about the cooking. come here. oh, dad.

i'm sorry, love. no, i'm sorry. what for? i know how much this baby meant to you too. not nearly as much as you mean to me. i'm just waiting for number three. what do you mean? first ambrose, now this. what else can go wrong? [ doorbell ringing ] well, not the doorbell anyway. i'll call back later. i've got the earth to move. the what? nothing for you to worry about. mrs. egan, it's superintendent foley. i'll just slip out the back way. and dad...

thanks. mr. foley. mrs. egan, i wonder if i could have a word with your husband? come in. are you still in pain? not too bad, sir, thank you. i hope to get up later. let's wait and see, shall we? there's no rush. garda mcmullen seems to have everything in hand. he says he's really starting to like it 'round here. great. perhaps it's a not bad thing having an outsider here. why is that, sir? well, for instance now the two of you are married that makes brian quigley your father-in-law. let me assure you, sir, i would never show favour to anyone just 'cause they're family. maybe so. we must be seen to be totally impartial, which is why i'm giving serious consideration to keeping garda mcmullen on here in ballykay.

but, sure, there's not enough going on here for two gards? exactly. that's why we'd have to find you a new posting. what? where? perhaps a move to an inner-city beat might be good for you. number three! [ rumbling ] ♪ oh, i love trucking ♪ ♪ i love trucking ♪ ♪ i love trucking ♪ ♪ and i love to... ♪ look out!!! truck. what's got into you? teaching sex to children! they're not children. they're young men and woman.

and it's not about sex it's about relationships. look, i believe that the church has a moral responsibility to do something. oh, do you really? we have to speak to these young people now if we're to prevent more unwanted babies being dumped on our doorstep. whoever this mother is it's quite obvious that she has no interest in rearing the child. we have no proof of that. i would have thought that abandoning her baby on your doorstep was proof enough. now, i shall be making recommendations about adoptive parents to the appropriate authorities, and i expect your full support. do i have yours? can i give this talk? only if it corresponds fully with the teachings of the church. don't worry, father, i won't be handing out condoms at the door. this is not a matter for flippancy! no, it's not. i'm sorry. i assure you it will be dealt with tastefully.

very well. you agree? yes, yes. thank you. you won't regret this, father. i hope you don't. you may go. i demand that you release that truck immediately. impossible. why? it's too big for these roads. you're breaking the law. you know what i think, gard? what? i think you're overdoing things a little. you need to relax. perhaps... instead of arguing we should sit down like a couple of gentlemen and talk this through. i'm sure we'll come to some agreement. i thought we had an agreement. you thought wrong.

hello?! oh. hello, i'm father peter clifford. and you are? grainne quinn. you're roy's sister? of course. what? can i come in? no. look, grainne... i want to help. i don't need any help. [ ♪ musical interlude ♪ ]

hello. how are you? exhausted. i've been walking for miles. well, it's a nice day. assumpta? thanks. d'you fancy a drop? what's that for? well, i -- i saved it for you anyway. to wet the baby's head, you mean? yeah. do you still want some?

let's go for it. yes! hi, roy. sean. um, can i have a word with you? alone. do something! this thing is costing me a fortune in hire charges. if mcmullen catches me not acting impartially he'll tell foley and that'll be it. i'll be packed off to the inner city, and you'll probably never hear of me again. well, every cloud has a silver lining. and where i go niamh goes too. you are going nowhere! it's that monster has to go. it's your fault. you created that monster giving him the use of your car. now he's talking about settling here. he's even started looking for a house.

has he? of course, he could always use your car to move his things. where is he now? in the office typing up his report. what? where you going? what are you planning? i'm planning to keep my daughter in ballykay, which means keeping you here. capiche? capiche. oh, gard mcmullen. i know about the baby, roy. what baby? come on, roy. it wasn't me that was born yesterday. you helped grainne with the birth, didn't you? who's the father? some fella grainne trusted. 'course he scampered as soon as he found out she was pregnant.

dad doesn't know. she kept it hidden from him. it wasn't hard. he's hardly ever around. she really misses the baby. she says she doesn't but i know. she cries herself to sleep at night. well, i want to help, roy. but i need you to help me first. [ knock at door ] i've completed my report on your father-in-law. good for you. now, if you'll excuse me. there's something else. i'm giving a lecture this evening at the youth club. what lecture? the curate is giving a talk to the young people.

so i've decided to address them afterwards on the subject of road safety. you'd have to clear it with the super first. i already have. he's coming along to hear me. [ groaning ] oh! oooooh! what's he doing here? he wants to talk to you. roy! it's my fault, grainne. anyway, i'd already worked out most of it myself. go to your room, sean, love. sean! is the baby okay?

he's fine. he's still at the hospital while they try and arrange adoption. yeah, well, he's better having someone who can take proper care of him. you can take care of him, grainne. you've taken care of this whole family, virtually on your own. but you're not alone now. not anymore. there's help there if you need it. i couldn't do it to dad. it's hard enough for him. well, i can talk to your father, if you want me to. but at least see a doctor. you're not well. no. if i go to a doctor, the social services will get involved. they could split us all up. they could help you. what's done is done! i don't see why i have to come the whole way over here to talk. well, it's a little bit delicate. i didn't want my son-in-law overhearing.

drink? if you could get to the point. i hear you may be looking for a place of your own here in ballykay. i might. well, i just might be able to help you there. oh, yes? holiday homes, by quigley developments. i have one particularly attractive property standing empty at the moment. in fact, i could do with somebody living there just to keep an eye on the place. i think i will have a small one. oh! you shouldn't be going out in your condition. i have to. superintendent foley will be there. could be my last chance to make an impression.

put the video there and then set up the flip chart. hello. take a seat. hi. no, not in front of the television. move it over there. how did he muscle in on this? he thinks it's thematic. safety first in all things. by the way, father mac phoned me earlier on. he wanted to know what time you're giving your talk. why didn't he phone me? i think he wanted to surprise you. oh, i bet he did. hiya. the thing is that i may have accidentally got mixed up. i thought you were speaking after mcmullen, so i'm afraid... he may be too late. good man, michael! hi, thanks for coming. give that to liam. he'll know what to do.

right, mr. quigley. good luck. okay, everyone. if i could have your attention, please. quiet! thank you, gard mcmullen. well, hello, everyone. i'm sure by now you know what it is that i'm here to talk about. [ cat call ] [ laughter ] it's all right. i think what i mean is that we're all here to talk about love and what it means to us. all set, mr. quigley.

...responsibility towards those we love and to ourselves. daddy! hey! you little devil! hey, how are you, how are you? all right, roy. right, dad. and where's my little girl? [ crash ] grainne?! call an ambulance! of course, the love between any two people is a precious gift. and like any gift, it should be treasured.

but it may also raise difficult questions and dilemmas which need answers... get on with it, father. who said that? as i was about to say, these difficulties arise particularly when we come to express our love... in a physical way. what's going on? i'll tell you on the way. sean, come on. hold on there for a minute. [ applause ] thank you. so if you have any other questions, please don't hesitate to come and talk to either me or doc ryan over there 'cause i promise you our doors are always open.

thank you. ambrose. well done, peter. good work. glad it's over with. thanks, michael. well, it's a start anyway. ah, father. oh, did i miss it? i'm afraid so. [ mcmullen ] quiet! my fault, father. i got mixed up. and you, a doctor! of course, if you'd let me know you were coming -- yes, well, never mind. it went very well, father. that remains to be seen. good night. night, father. good night. that was close. [ phone ringing ] excuse me. i'm here to talk to you about road

safety. boring. any more of that and you are out. peter, i think you might want to come to the hospital with me. what for? the baby's mother has just been admitted as an emergency. in this situation there are a number of potential hazards for pedestrians. in particular, there -- sit!!! -- there and there. excuse me. ambrose, here's the key to the cottage for gard mcmullen. what cottage? oh, it's one of mr. quigley's holiday homes. he's lending it to the gard until he gets fixed up with somewhere. he's doing what?!!! oh, it's okay, it's okay, it's okay. now, it's all fixed, and mr. quigley said to tell him he'd leave the car in the driveway for him. car? and he'll drop over the video machine later. what's going on?

it shouldn't have happened. it wouldn't have happened if she could talk about it or say something about it or even come to me. come out of the place. they're giving her a blood transfusion. otherwise she seems fine physically anyway. thank god. hello, father. roy. my grandson. shall we go up? i'll come up in a minute. thank you, father. how did the talk go last night? ah, very well, i think.

and i've got some good news. you're taking it on tour. about our baby. oh! it looks hopeful that he'll go back to his mother. well, that's grand. it is, isn't it? father mac will be really thrilled. i can live with that. he'll have to. right! mission accomplished. business as usual. i hope you're not thinking of using that truck again, brian. come on, ambrose... oh, look! he's forgotten his report about you. will i take it out to him or will you? you know, ambrose, you're wasted here. the inner city wouldn't stand a chance

with you in charge. captions by: midwest captioning des moines, iowa

welcome back to the east yorkshire seaside town of bridlington. quite appropriately, it's home to the penny arcade slot machine. so let's see if our luck is in on this week's roadshow. ♪ we've all thrown our pennies away on arcade slot machines

and during the heyday of british seaside holidays, it was bridlington that hit the jackpot. you see, this little seaside town made some of the biggest and best slot machines in the country. so whether you were a one-armed bandit fiend or just enjoyed shooting plastic ducks, chances are you were playing on a bridlington machine. they're now very collectible and many are antiques. these date from the turn of the last century. they are the cheeky seaside version of the naughty postcard-- saucy pictures on the move before the movies-- all for the price of a penny. this is one of my favorites. i used to play a machine like this every summer when i used to visit my grandpa in margate and there's a knack to it. look. if you want to get the pennies to fall off, you don't just put one in at a time in a genteel lady-like manner. you gotta go for it as quickly as you can, as many as you can!

bingo! there you go. ( pennies dropping ) and, yes, i did it! ( laughing ) bridlington has the largest private and public collections of slots in the land and we're lucky they're still here. during decimalization in the 1970s when old pennies were replaced by new these lovely old things were melted down by the thousand. i wonder what prizes await our experts. we're back in an art deco amusement arcade of a kind-- the bridlington spa-- for this week's antiques roadshow. so dorothy anne is your granny. yes. right, and this is your family tree? it is. so counting you, dorothy anne is third generation. yes. four, five, six, seven, eight generations... take us to john and another dorothy.

yes. married in 1782. yes. yes. yeah. and that was given to them... a year later. a year later, yes. fantastic. yes. and this hasn't come far has it? no. where did they live? um, east witton. east witton. yes. now, from my pub-crawling days a long time ago, i would say east witton was somewhere up in the wensleydale area. it is. am i right? yes. is that right? we think so. they've all been there, too. and so that's over towards leyburn from here, isn't it? yes. it's inland, but it's yorkshire and yorkshire is famous for its cream-colored earthenwares. yes. we think of wedgewood. we think of all the great staffordshire factories. we should not forget that yorkshire was one of the big centers for this stuff and it lent itself so beautifully to commemorating a marriage or a birth or a christening.

yes. this is a year after they got married and the glorious thing is, we have, well, possibly an idealized portrait of dorothy. yeah. ( chuckles ) i don't see a family resemblance. no, no. ( chuckles ) and who knows? are you still-- ( both laugh ) you're not in this business anymore? no, no, no. ( chuckles ) what a lovely animal that is. yes. look, it's pablo picasso. that is how pablo picasso does a cow. yes, yep. and i love the curly whirly. isn't that beautiful? waiting to be milked. there is a problem with it. because the glaze is quite badly cracked it has absorbed color and moisture and it has stained it. i hope you won't be disappointed when i tell you what it's worth. to you, it's priceless. oh, yeah. but if somebody in your family were to sell it, it would be £1,000.

right, yes. it's amazing. ( chuckles ) it came... i saw it it had glass beads in the middle of it. so i couldn't turn it over but i saw the handles, and i thought this looks nice. i bought it on the spot. i paid £5 for it. and when i left the shop i turned it out. all the beads fell out into the carrier bag and i looked underneath, and i thought it's silver. so this was some time ago? it was last month. right, interesting. the bowl itself-- absolutely fascinating. the way it's finished, if you look at the surface here this is what's known as fine planishing. can you see, if i just move it a little bit like that can you see that sort of slightly ripple effect? yes, yes. that's where they've gone over it with a very fine handle. this is arts and crafts. it's all handmade? no machine? well, that's not necessarily entirely the case with this.

the actual marks... we've got london hallmarks from 1916. that's an interesting date. right. we're in the middle of the first world war. yes. i think that might account for it being so plain. right, more steel. absolutely. we've got the maker's mark there-- ramsden and carr. then around the inscription, basically saying "ramsden and carr made me." well, that was actually impossible at that moment in time. right. because carr was away as an officer in the first world war and he wasn't anywhere near the workshops when this was made. right. so it's the firm. they did tend to rather have bodies spun up and then put the hammer marks in afterwards. right. that was quite typical of them, particularly by the time you get onto omar ramsden on his own. so what is an unusual and rare from its date-- you don't get much at that stage--

what is it worth? you paid £5 for it? i did, yes. i think between £1,200 and £1,500 is nearer the mark. well that's a good buy then, maybe. i think you did quite well. we're at the seaside it's a sunny day... what would we most like to be doing? i'd like to be on a dodge 'em ride, actually or, in this case a bumper car ride. the original ones, the dodge 'em cars they were completely unmaneuverable and in fact, that was part of the amusement-- the fact you actually didn't know where they were going. and then with the invention of these with the bumper cars, what the realized, in fact was that you wanted to collide with people, but you wanted to choose. it was your choice. it was your choice. and in fact, i seem to remember when i was a teenager and going to the fairground, it was a very interesting and useful way of making friends and...

it was the first time children and their parents probably shared the experience of driving. exactly, and i remember me and my school friends we'd all make a bee line for that good-looking chap... yes, yes. and he'd be bumped by every... but only when you wanted to. exactly, exactly. because the bumper cars had a way of going from forward to reverse by turning the handle. you never went through a neutral and so you were incredibly maneuverable, and if you got really good like the guys who used to run the rides, it was-- they were the impressive experts. it was almost like a ballet, wasn't it? sure it was, yes, yeah. now, i love these. what state were they in when you bought them? because they are in fantastic condition now. well, i bought them in holland unrestored in very poor condition but they were complete. but when i saw them, i fell in love with them. unfortunately, my wife didn't as soon as i got them home but i think she loves them now. well, so presumably you have them in your living room.

no, i don't have them in my living room, but only because the living room's not big enough. but if it was big enough they'd certainly be there. now, the maker is j-h-l-e-- jhle. it's a company called gebr jhle. gebr jhle. so the badge is "gjb," and the "b" i understand is from a place in germany called bruchsal. oh, where they started. which is the point of manufacture. so we have to say that the lambretta badge is slightly spurious. it is spurious. it's a passion that i have for scooters and other sort of '50s and '60s items and these are just sort of-- it's just a token to the collection, if you like. well, you couldn't get more '50s, i guess, than these. i don't think you could. i think they're just fantastic and they're almost like a piece of sculpture. they sure are, yeah. having said that they're like a piece of sculpture if you don't keep them in your living room, where do you keep them? i just have a developing garage full of very weird retro items.

i'd like to take a look in that garage. sounds like a girl's dream. you're more than welcome. thank you. it's a date. now, okay, you've got a white van driving through eindhoven, and you stick these in the back of them. what did you pay for them then? i paid £600 for the pair of them. okay. in unrestored, but complete condition. and obviously you've spent a fair bit on the restoration. i daren't possibly discuss how much i've spent on them. okay, i won't ask too many questions because your wife may be listening. she may be. ( both laugh ) i know that, in the states at least they change hands for several thousand dollars. so i would have to say that, to the right market, we'd be talking about either side of £1,000 for these--each. so i hope that kind of repays you for the love

and attention and the money that you've spent on them. ( chuckles ) pride of ownership. exactly. well, i must say this is the most scrawny poor bird. have you never thought of feeding it? well, i suppose it could do with a little feed here now and again, yeah. it is painted in white enamels opaque white enamels onto a glass. now, what do you think that that glass would've been used for? a wine glass? it is a wine glass. it formed part of an etiquette from the mid-18th century, where people didn't have wine glasses at the table. each glass was brought to the table full of wine, placed on the table, it was then lifted from the table... "your ladyship would you care for..." a toast to the king or to the success of the fleet or the harvest. "cheers."

down the hatch back onto the table, and away. that's why the bowls of 18th-century drinking glasses are so tiny, because you've downed the entire contents every time. so what's your connection with it? well, my connection is that i actually found this locally at a sale about two months ago. great, and you really stumped up for this, did you? ooh, yes, definitely. i had to pay out the glorious sum of £1. £1. well, i think you've done fairly well. this one has been painted not far from here in gateshead by the beilby family. now, they are the creme de la creme of mid-18th-century drinking glasses. this is a corker, really. in 1765, when this was made and decorated in and around newcastle, this probably would've cost the equivalent of a farm laborer's wages for six months-- this single wine glass

which, bearing in mind its price today, is about the same 'cause this is worth about 3,000 quid. right, okay. not bad, eh? not bad at all. not bad for a scrawny old bird. not bad for an investment of £1. not bad for a quid. now, being by the sea, i expected to see some marine-related items, but i wasn't quite expecting to see a ship's telegraph. how did you get a hold of it? well, basically, he and i have been diving off this coast for around 30-odd year now. you're both divers? that's right, yeah. and we do most direction in the bay and just offshore but we decided to move further off around 20-mile area, and we dived this particular wreck, and we found it to be hms falcon after further investigation and research. we came across this after a few dives. we came across the ship's telegraph. did you know that it was hms falcon when you found it? no, no, we didn't. it wasn't until probably five or six dives.

we came across a steam gauge and then obviously recovered that and cleaned it up, and on the back of the steam gauge it had hms falcon on it. what was it like down there? it's pretty murky, actually. it's 53 meters to the seabed. we use big torches to see where we're going. so have you actually done research into how hms falcon sunk? i mean, was she torpedoed? yes. no, she was escort in a convoy back into grimsby, and it was thick fog and the trawler ran into it and slicked the bow section off, and it chopped it in half, actually. so you gotta tell me what it was like. you must've been so excited when you found it. well, as you can appreciate, it wasn't in this condition when we found it. we didn't know what we got. we couldn't see what was underneath. basically, we thought it was a pile. we knew it was non-ferrous 'cause underwater, this stuff is green, and it's covered with worms and growth, you know. now, a ship's telegraph is obviously

where the orders are sent down to the engine room. and if you take off the lid, it sort of explains it, really. you spin it to "slow," "half," "full." it really sort of sums up that whole sort of spirit of being on a ship, if you like, and i just think they're such great things. made of gunmetal rather than brass, which is obviously like a higher-quality brass almost like a bronze in quality. and you'd have these glass panels here. you would've had an oil lamp in the bottom of it, and this would've obviously been glowing. it's a shame, really that we don't have an oil lamp. it really does sort of light it all up. and obviously to get the message down, you would spin the wheel. then it would go "slow," "half," or "full" speed. it sort of sums it all up, really. i just love the whole thing. and lit up being on the bridge would've been quite an exciting place to be. well, the captain of the ship was a man called charles lightoller, who happened to be the third officer on the titanic as well.

and sometime he would've had his hands on this particular area. so he actually survived the titanic and then the ramming. so obviously he had a bit of luck on his side. bit of a johner. well, that adds to the sort of fascination and the excitement of these things. so how many of these have you got? i've got-- this is one of a pair that i have here but we've got a few more. oh, and this is all off the same... yeah, that's right. this is obviously all off the same ship. yeah. they're such great objects and with the group that you've got, i would say easily 3,000 to 5,000 as an estimate. wow. beautiful. you brought along these wonderful bonnets from the kirkleatham museum, what 60 miles north in redcar. now, tell us when they would've been worn, these. these were traditionally worn by the women of stains. ...actually in the late-19th century

early-20th century. so in the victorian era? very much. each village as i understand it would have a different take on these bonnets wouldn't they? yeah, runswick bay which is about two miles south of stains, might've just had a slight different one. then you'd travel down to whitby which might be different again, but stains seems to be the main traditional place that you'd actually see bonnets worn. and stains is a fishing village. it's a small fishing community, yes and it's most famous for the stains' group of painters as dame laura knight and harold knight. and we can see in this picture here that these ladies are wearing victorian mourning bonnets and we can talk about that one in a moment but tell me about this-- what she's wearing on her wrist here. this is a ring of cotton and it's actually called a bun and they actually place it on their heads when they go out to actually gather mussels and things out on the...

so when the tides go out they actually gather mussels for bait... for the local fishermen. and they place that on their head, and then they put the basket on top of their head. and the bonnet has a long backdrop. this bit here, yeah. which stops all the drips running down their neck. yes, 'cause that would be pretty unpleasant, wouldn't it? absolutely awful. and obviously fishing was the lifeblood of the village and the women very involved in that industry, weren't they? yeah, they were very much. it was all the fishing it was all the mussels all the baits, pulling the boats up helping the men bring the boats in when they brought the catch in as well as the washing looking after the children and cooking and everything else that goes with it. now let's talk about this victorian bonnet. this is a facsimile, isn't it, of the real thing. yes. of course in victorian times mourning was elevated to a fine art, wasn't it? very much. it seemed to be quite a heavy tradition.

a lot of art in that period actually started to use the pains... the feelings of people such as harold knight actually produced some wonderful paintings of people in grief wearing such a bonnet. but it's interesting. it was something that was associated in part with the kind of upper classes, but obviously for the village women of stains, they wore black if they lost their husbands at sea, presumably. yeah, very much, and the bonnet was an everyday headwear. well, thank you very much for bringing this in. okay, you're welcome. these buttons are commemorating a very important part of canadian history. oh. the box is not original, as you probably know. yes. so i'm absolutely fascinated to know how you came to have them and here in bridlington. well, they were my late husband's uncle's, who did deal in antiques and that's the total history of them,

and i've had them for 40-odd years and just in this box in a drawer. oh! if only we could ask someone! i know! that's the thing. that's the history of them. well, i've had a look at quite a few of them and the only thing i can suggest, and i'm pretty certain that this is to commemorate the battle of the plains of abraham known as the battle of quebec which was the definitive time in 1759 that general james wolfe he died, but he beat the french as part of the seven year's war. he killed general montcalm who was the marquis de montcalm, leading the french troops. wolfe came in with 4,500 men and only one gun against the french troops, and he landed at a fortress, and i think this is the fortress here, and he's coming in down the montmorency river

to the isle of orleans which is above quebec, and this is the fortress. so he came with his 4,000 men, one gun and here he is. he's here with one gun. here we are. one gun. right. can you believe it? i know. that's amazing. and then poor old general montcalm came in. he got bumped off. this is general montcalm dying. he died the next morning. the french wore the blue coats, and the brits wore the red coats. right, right. and what is so very special about these buttons which excited me the moment i saw them was the fact that they are hand-painted and if you look really really closely you can actually see every little paintbrush stroke. never. oh. it is just mindboggling. thank you...

oh, crikey that's gorgeous. yes. and the colors are still wonderful. it's probably-- it could well be on vellum but it might well be on ivory. these were expensive buttons. they would've been worn by probably a general to commemorate "we beat the french at the battle of quebec" down his wonderful evening coat and these buttons would've been probably made maybe as late as 1820, but they are wonderful early buttons, and if those were to come in a specialist auction, i can see them making as much as £3,000. oh, crikey! oh i didn't expect that at all! that's wonderful! what did you think? no idea. no idea at all. you gonna wear them now? ( both laugh ) they'll have to be cleaned and mended first.

the box was made by my friend bob harper, and i didn't know he was making it and it was made to keep my diaries in. which diaries were those? i kept diaries all the time i was in prison camp. oh, you were a prisoner of war? yes indeed. and of the germans? no, japanese. i was in java. oh, in java, indonesia. in java. in java. and you were in which service? the army? the air force. and you were flying or...? no, no i was a wireless operator, ground staff. oh, okay and so java was overrun by the japanese, of course during the second world war, and you were then taken prisoner? kept in java for about several months perhaps six months and then we were transported by boat to japan. okay, and how long were you in japan for? three and a half years. well, prisoner of war for about three and a half years all total. a substantial amount of time, really. it is, yes. and the photographs you've brought

here... these show prisoners of the japanese, i would imagine, because the uniforms they're wearing are-- look like japanese army uniforms. yes. one of them here bears a resemblance to you i have to say. that's me right there. just a few years earlier. i'd been very ill there. i got dysentery very badly and i was hauled out of the hospital to have that photograph taken. and why was the photograph taken? identification of all the prisoners. a whole series of them. okay. and you've also brought this wonderful little watercolor painting. that was painted by my friend harold wade from preston in lancashire. that is the room that we lived in all the time we were in japan. in the prison camp itself? correct, that is the prison camp. and you've got a window out onto rather a beautiful view it looks like and this is the view? this painting here?

it is. i have to say, it's an extraordinarily beautiful view and it just makes me think that you're looking at paradise outside of your window from the hell inside the window. and you've also brought along this map. now, i'll tell you the one thing that i notice about this map is that you've got hiroshima highlighted. of course, the first atomic bomb was dropped at hiroshima but why have you highlighted that? i was about 50 miles away from it. is your camp located on here? yes, with the little arrow there. it's this one here? and you were on-- what's that island called? enoshima. enoshima. enoshima. well, you must've heard the explosion then. not a thing. there was a dockyard one side and a dockyard that side and the prison camp in the middle. clanging of steel. you wouldn't have hear it. you didn't hear a thing? no signs whatsoever.

i find that quite extraordinary. the first atomic bomb-- 20,000 tons-- the equivalent of 20,000 tons of tnt go off and you didn't hear it. when i went back to japan, i was really interested in seeing where the footprint of where the fallout went, and it went right away from our camp. so the wind must've been blowing from over hiroshima. i think you were very fortunate, actually, from that point of view. yes, because the ashes and the dust were quite horrible. just before the bomb was dropped an order went out in japan that, in the event of an invasion by allied forces every single prisoner of war you included would be killed, murdered by the prison guards. the actual signal read "by any means whatsoever-- gas, poisoning machine-gunning, bayoneting, strangling." it listed all the ways you could do it. so the atomic bomb being dropped just a few days after that was issued

saved the lives of every single prisoner of war, and as appalling as the impact of that bomb was in japan-- we have to remember the hundreds of thousands that were killed as a result of that-- it also had another side which was the fact that tens of thousands of servicemen, allied servicemen, were saved, and of course their future generations. their children their grandchildren, their great-grandchildren are alive today, and they wouldn't have been had that bomb not been dropped. that's absolutely true. the traditional thing of course at this time is that we value this sort of thing but i'm not gonna put a value on it because i think it would be insulting to the memory of those people who died and are still alive, who were prisoners of war and fought in the far east but thank you very much for bringing them along and showing them to me.

thank you. what i love to see on any object that comes into the roadshow is complete originality, and this has got it in spades. is it a family clock? um, it is now. it wasn't originally. we actually bought it from our next-door neighbors. so i bet they had it for all these years and i bet their family had it before them because it's never been out of a family. it is so original. it's got every single feature you could possibly want, and it's never as they say in the motor trade had a spatter on it. no, i don't think it has. even, even the dial... look at the dial-- this wonderful early enamel painting, the name broderick of spalding this lovely laurel wreath, the original hands. everything about it is exactly what you'd want to see, and, you know, you can't fault it. no. can i just ask you what this is for? my husband and i always wondered what this was for. you never worked that one out? no, no, we haven't. it's actually quite an interesting story.

what it is... there you are. you've got a lock on there. that goes obviously through the slot... and behind here would have been a turn... which would engage with that which would stop you opening the door. you would then lock that. and nobody can get into the clock. throw the key away. and why did they do that? absolutely no idea. because in the farmhouse where this started off its life in the early-19th century, the farmer didn't want his servants or farm workers or anybody else interfering with the time... to falsify their hours of working or anything like that. but even worse than that was, if they did how would he ever find out the right time? 'cause he couldn't phone tim. no. he couldn't listen to the radio. i never realized that. it would be very very difficult for him to find the time to reset his clock. he might've got what's called the farmer's verge watch