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This is the most successful scam show of all time. | 0:00:02 | 0:00:05 | |
A hit in 45 countries around the world. | 0:00:05 | 0:00:08 | |
The real hustlers have stolen cars... | 0:00:12 | 0:00:15 | |
It's perfectly safe there. | 0:00:16 | 0:00:17 | |
..burgled houses... | 0:00:20 | 0:00:21 | |
..picked... | 0:00:23 | 0:00:24 | |
..switched | 0:00:26 | 0:00:28 | |
and ditched. | 0:00:28 | 0:00:30 | |
A tenner for the whole lot. | 0:00:30 | 0:00:31 | |
They've carried out close to 500 scams and stolen over £1 million. | 0:00:31 | 0:00:37 | |
And now, | 0:00:37 | 0:00:39 | |
they're back for an 11th series. | 0:00:39 | 0:00:40 | |
Alex, Jess, and Paul. | 0:00:40 | 0:00:43 | |
With new recruits Polly and Jazz. | 0:00:43 | 0:00:47 | |
Their job, to expose the tricks of the criminal's trade | 0:00:47 | 0:00:50 | |
so that you don't get scammed. | 0:00:50 | 0:00:53 | |
On tonight's show, guest hustler | 0:00:56 | 0:00:59 | |
Lucien Laviscount's on an antiques Hunt. | 0:00:59 | 0:01:01 | |
Paul's prop bet is all in the balance. | 0:01:02 | 0:01:05 | |
-Is this yours? -Ah! | 0:01:05 | 0:01:07 | |
And Polly leaves her mark | 0:01:07 | 0:01:08 | |
kicking himself for doing a good deed. | 0:01:08 | 0:01:12 | |
The hustlers have invited celebrity friends to see if they can | 0:01:52 | 0:01:55 | |
cut it as con artists, but | 0:01:55 | 0:01:57 | |
they'll have no clue what the scam | 0:01:57 | 0:01:59 | |
is about and there are no | 0:01:59 | 0:02:01 | |
dress rehearsals, | 0:02:01 | 0:02:03 | |
so this is sink or swim. | 0:02:03 | 0:02:05 | |
Today's guest hustler is Corrie and Celeb Big Brother star... | 0:02:05 | 0:02:08 | |
actor Lucien Laviscount. | 0:02:08 | 0:02:11 | |
I woke up this morning, I'm in a new city, I'm so nervous, | 0:02:14 | 0:02:17 | |
I'm a sheep in a field full of lions. | 0:02:17 | 0:02:20 | |
I think you've just got to be ballsy. | 0:02:22 | 0:02:23 | |
I think you've just got to have big cajones, really. | 0:02:23 | 0:02:27 | |
The people that do this in the real world, I've a lot of time for them, | 0:02:27 | 0:02:30 | |
because it's a crazy way to make money, and it's kind of cool as well. | 0:02:30 | 0:02:34 | |
I'm a hustler. It's got a nice little tag to it. | 0:02:34 | 0:02:37 | |
Hello. | 0:02:37 | 0:02:38 | |
Lucien's been told to meet sexy swindler Jess | 0:02:38 | 0:02:41 | |
for his hustle briefing. | 0:02:41 | 0:02:43 | |
I've got a question for you. Do you own a pair of handcuffs, | 0:02:43 | 0:02:46 | |
by any chance? | 0:02:46 | 0:02:47 | |
Yes. | 0:02:49 | 0:02:50 | |
-Have you got them with you? -I can't say... No, I don't. | 0:02:50 | 0:02:52 | |
Well, that's just no good. That's just no good, because today, you're going to be scamming someone | 0:02:52 | 0:02:57 | |
and by the end of the day, they're going to be desperate to buy | 0:02:57 | 0:03:01 | |
a pair of handcuffs from you, and they're going to pay a lot of money for them. | 0:03:01 | 0:03:05 | |
-Handcuffs? -Yes. | 0:03:05 | 0:03:07 | |
-Come with me. I'll tell you more about it. -All right, OK. | 0:03:07 | 0:03:10 | |
So, Lucien's going to be working off the cuff in The Feud. | 0:03:10 | 0:03:13 | |
The hustlers love dabbling in the antiques world, | 0:03:17 | 0:03:19 | |
so today, they've come to an upmarket Georgian gallery in Edinburgh, | 0:03:19 | 0:03:24 | |
a rambling four-storey warehouse stuffed full of expensive treasures. | 0:03:24 | 0:03:28 | |
You could easily get lost in this place. It's massive. | 0:03:28 | 0:03:32 | |
And that's exactly why the hustlers have chosen it, as the staff | 0:03:32 | 0:03:35 | |
won't notice them going about their business. | 0:03:35 | 0:03:38 | |
Paul's looking dapper. | 0:03:38 | 0:03:41 | |
He's playing the role of historical artefacts expert Rob Marx, | 0:03:41 | 0:03:44 | |
a local dealer who often uses this place to do some freelance business. | 0:03:44 | 0:03:49 | |
Lucien is posing as the owner's son, a rookie dealer learning the ropes. | 0:03:49 | 0:03:54 | |
Can you tell me about the history of this? | 0:03:54 | 0:03:57 | |
Looks like Jess and Polly are here to buy, | 0:03:57 | 0:03:59 | |
but they're actually just testing Lucien to see | 0:03:59 | 0:04:02 | |
if he can pull off his role by thinking on his feet. | 0:04:02 | 0:04:05 | |
-The first black diver, deep sea diver, actually wore this. -Really? | 0:04:05 | 0:04:10 | |
Yeah, yeah. And the reason why we've got it up here, | 0:04:10 | 0:04:12 | |
is because October is Black History Month. | 0:04:12 | 0:04:14 | |
-Oh, really? -Yeah, so we just got it for the month. | 0:04:14 | 0:04:17 | |
These guys are also here to buy. | 0:04:17 | 0:04:18 | |
They notice Lucien talking to the girls and assume he works here. | 0:04:18 | 0:04:21 | |
Time for some improv. | 0:04:21 | 0:04:23 | |
Sorry. How are you guys? | 0:04:23 | 0:04:25 | |
This guy's carrying £2,000 in cash, making him the mark. | 0:04:33 | 0:04:37 | |
Rob, who is one of the distributors here, he's downstairs. | 0:04:38 | 0:04:42 | |
He'll be able to give you a hand. Do you know much about the piece? Or...? | 0:04:42 | 0:04:46 | |
-It's two grand? -Well, come down. Come down and meet Rob. | 0:04:46 | 0:04:49 | |
So the mark is keen to buy a Victorian picture viewer, | 0:04:49 | 0:04:53 | |
but he's got absolutely no idea what one looks like, | 0:04:53 | 0:04:55 | |
and neither does Lucien. | 0:04:55 | 0:04:57 | |
-You've been down here before? -No, no. It's the first time. -First time? | 0:04:57 | 0:05:01 | |
He offers help in the form of expert dealer Rob Marx, | 0:05:01 | 0:05:04 | |
who's set up office on the floor below. | 0:05:04 | 0:05:06 | |
It's my dad's place, so he's had it for about... | 0:05:06 | 0:05:08 | |
Hearing Lucien and the mark approaching, | 0:05:08 | 0:05:10 | |
Paul and Alex spring into action to stage a little scene for them. | 0:05:10 | 0:05:14 | |
We won't do business together. | 0:05:14 | 0:05:15 | |
You want to buy them, find the person I'll sell them to, | 0:05:15 | 0:05:18 | |
and buy them off them. You're not buying them off me. | 0:05:18 | 0:05:20 | |
Rob Marx seems to be having a very heated argument with someone. | 0:05:20 | 0:05:24 | |
Listen, I'm sorry. Say hi to your dad, and my apologies for this. | 0:05:24 | 0:05:28 | |
That someone is Alex, playing Paul's old business partner | 0:05:28 | 0:05:31 | |
and now archrival Ian Steel. | 0:05:31 | 0:05:34 | |
-I'll get out of your way... -Actually, Rob, these gentlemen | 0:05:35 | 0:05:37 | |
-were interested in the Victorian picture viewer. -Ah, how can I help? | 0:05:37 | 0:05:42 | |
This chap doesn't sound like he's from these parts, | 0:05:46 | 0:05:50 | |
but the hustlers are equal opportunity scammers. | 0:05:50 | 0:05:53 | |
They'll take anyone's money. | 0:05:53 | 0:05:54 | |
If you have that one, then get it. | 0:05:54 | 0:05:56 | |
I don't think it's been sold. | 0:05:56 | 0:05:59 | |
I'll have a look. I'll be two minutes. | 0:05:59 | 0:06:01 | |
Lucien heads off to hunt for a viewer, | 0:06:01 | 0:06:03 | |
while Paul gives the mark the benefit of his expert knowledge. | 0:06:03 | 0:06:07 | |
Before there was television, people would get around and show pictures. | 0:06:08 | 0:06:11 | |
The heat's on. He texts the other hustlers to help hunt for the picture viewer. | 0:06:11 | 0:06:16 | |
Jess searches the web to find an image. | 0:06:22 | 0:06:24 | |
After all, that's what the Internet's for. | 0:06:24 | 0:06:27 | |
It's like looking for a needle in a haystack, | 0:06:35 | 0:06:37 | |
and the hustlers don't have much time. | 0:06:37 | 0:06:39 | |
This place is an Aladdin's Cave. If you didn't know what you were doing, you'd never find anything in here. | 0:06:39 | 0:06:43 | |
Paul's stalling the mark with his very best small talk, | 0:06:43 | 0:06:47 | |
while the others are scouring every inch of the warehouse for the viewer. | 0:06:47 | 0:06:51 | |
I think if you're looking for a collector, it's like gold dust. | 0:06:53 | 0:06:56 | |
Just as Paul's chat is scraping the bottom of the barrel, | 0:06:56 | 0:06:59 | |
Lucien strikes gold. | 0:06:59 | 0:07:01 | |
I thought this was sold! | 0:07:05 | 0:07:07 | |
-The cleaner crew have been in and it was down the back. -Oh, OK. | 0:07:07 | 0:07:11 | |
Paul's now going to give the mark a sales pitch about an antique | 0:07:11 | 0:07:15 | |
he's never even seen. | 0:07:15 | 0:07:17 | |
Luckily, he seems to know a bit about Victorian picture viewers. | 0:07:17 | 0:07:20 | |
In Victorian times, | 0:07:20 | 0:07:22 | |
when your family died, it became fashionable to take a photograph of the deceased, | 0:07:22 | 0:07:26 | |
so after they were dead, they would take a picture. | 0:07:26 | 0:07:28 | |
You can see this is a... this lady's passed on. | 0:07:28 | 0:07:31 | |
It's a little bit macabre, but very, very, very collectable, | 0:07:31 | 0:07:36 | |
and very interesting. | 0:07:36 | 0:07:37 | |
But it doesn't have any cards. | 0:07:37 | 0:07:41 | |
This card does not belong with this viewer. | 0:07:41 | 0:07:42 | |
This is a completely different piece. | 0:07:42 | 0:07:44 | |
The cards, as a collection, are worth approximately £800. | 0:07:44 | 0:07:48 | |
You put it together with this, this is selling retail for 750. | 0:07:50 | 0:07:54 | |
Say 1,500 for the two together would be, I think, would be a fair price. | 0:07:54 | 0:07:58 | |
You would then be able to sell at auction for anything in the region of 10,000. | 0:07:58 | 0:08:04 | |
Wow! What an amazing deal! | 0:08:06 | 0:08:07 | |
But for this scam to work, Paul's plan all along was to | 0:08:07 | 0:08:10 | |
pretend he had a matching item for whatever the mark had come to buy. | 0:08:10 | 0:08:14 | |
After all, a set is far more valuable than a single item. | 0:08:14 | 0:08:18 | |
There must be a catch. | 0:08:18 | 0:08:20 | |
I would also be willing to give it to you for an even better | 0:08:20 | 0:08:23 | |
price in return for a small trade in services, | 0:08:23 | 0:08:27 | |
if that's of interest to you? | 0:08:27 | 0:08:30 | |
So, that's it. | 0:08:30 | 0:08:31 | |
Paul wants something from the mark in return for this great deal. | 0:08:31 | 0:08:34 | |
He's got a little favour to ask him. | 0:08:34 | 0:08:37 | |
My business partner, who was here earlier, | 0:08:37 | 0:08:40 | |
we don't do business any more. | 0:08:40 | 0:08:41 | |
We have a, not a very great relationship. | 0:08:41 | 0:08:43 | |
You want to buy them, find the person | 0:08:43 | 0:08:45 | |
I'll sell them to, and buy them off them. You're not buying off me. | 0:08:45 | 0:08:48 | |
The only thing I collect is Houdini memorabilia. | 0:08:48 | 0:08:51 | |
I don't know if you're familiar with Houdini? | 0:08:51 | 0:08:53 | |
That's him there, with the only set of handcuffs that he couldn't open. | 0:08:53 | 0:08:58 | |
And it was made by the same person that made these. | 0:08:58 | 0:09:01 | |
Both together, for me, as a collector, would be very good. | 0:09:01 | 0:09:03 | |
Unfortunately, the person who has them is Ian. | 0:09:03 | 0:09:06 | |
So, Paul's a Houdini expert. | 0:09:06 | 0:09:08 | |
He's been collecting memorabilia for years | 0:09:08 | 0:09:11 | |
and he desperately wants to get his mitts on a set of handcuffs that belong to ex-business partner Alex. | 0:09:11 | 0:09:16 | |
The cuffs match a set of leg irons that Paul already owns, | 0:09:16 | 0:09:20 | |
but Alex is point-blank refusing to sell to him. | 0:09:20 | 0:09:22 | |
Paul needs to persuade the mark to buy them for him | 0:09:22 | 0:09:24 | |
and Lucien is the key. | 0:09:24 | 0:09:26 | |
If you're willing to at least put them together with Ian... | 0:09:26 | 0:09:29 | |
-Because he'll sell it to anyone. He just won't sell it to me. -Yeah. | 0:09:29 | 0:09:32 | |
Lucien eventually agrees to act as a go-between, | 0:09:32 | 0:09:35 | |
but will the mark go for it? | 0:09:35 | 0:09:38 | |
Here's the deal - if you'd be willing to do that for me, | 0:09:38 | 0:09:40 | |
I'll give you the cash, you buy them from him | 0:09:40 | 0:09:42 | |
and then give them back to me. | 0:09:42 | 0:09:44 | |
I'll even give you a small profit. Does that sound fair to you? | 0:09:44 | 0:09:47 | |
Yeah, yeah, of course. | 0:09:47 | 0:09:48 | |
It's on. | 0:09:48 | 0:09:50 | |
The mark has agreed to help Paul buy the Houdini handcuffs | 0:09:50 | 0:09:53 | |
from Alex in return for the viewer, cards, and some cash. | 0:09:53 | 0:09:57 | |
I'm taking a big risk, because I'll give you the cash, | 0:09:57 | 0:10:00 | |
so long as you promise not to take a holiday in the next couple of hours with my money. | 0:10:00 | 0:10:04 | |
So, everyone's happy. It's the deal of a lifetime all-round. | 0:10:04 | 0:10:08 | |
£2,000. | 0:10:08 | 0:10:09 | |
You know, I'm going by instinct. I know when I can trust somebody. | 0:10:11 | 0:10:15 | |
You don't see that every day. | 0:10:15 | 0:10:16 | |
A hustler giving someone two grand out of his own pocket? | 0:10:16 | 0:10:20 | |
What is he playing at? | 0:10:20 | 0:10:22 | |
For now, the deal's on. | 0:10:23 | 0:10:25 | |
But will the mark take off with Paul's cash, | 0:10:25 | 0:10:27 | |
or will he honour his agreement to meet Lucien later to help settle The Feud? | 0:10:27 | 0:10:34 | |
When hustlers go out, they don't take money. They take prop bets. | 0:10:44 | 0:10:48 | |
The proposition bet has only one rule, | 0:10:51 | 0:10:54 | |
and that's that the hustler always wins. | 0:10:54 | 0:10:56 | |
I tell you what, does anybody have a £20 note? | 0:11:01 | 0:11:05 | |
-Or a £10 note, doesn't really matter, anything you've got. -I do. | 0:11:05 | 0:11:10 | |
You have to fold it like this, so it's almost like a little Z. | 0:11:10 | 0:11:14 | |
All right? | 0:11:14 | 0:11:16 | |
You have to do exactly what I do. | 0:11:16 | 0:11:18 | |
We're going to hold it in our hands, but you have to hold it in exactly | 0:11:18 | 0:11:22 | |
the way that I hold it, and the last person holding a £20 note | 0:11:22 | 0:11:26 | |
keeps any money that falls on the table or the floor. | 0:11:26 | 0:11:30 | |
-Fair enough? -Yeah. -Quite reasonable. | 0:11:30 | 0:11:32 | |
Now, this is what I want you to do. Take your fingers like that. | 0:11:32 | 0:11:35 | |
One pinching this way and the other pinching this way. | 0:11:35 | 0:11:37 | |
And the idea is you have to be able to take your fingers away... | 0:11:37 | 0:11:40 | |
..and then take one away like that. | 0:11:41 | 0:11:45 | |
That one fell, that one fell, and that one fell, which means I get to keep this one. | 0:11:46 | 0:11:50 | |
The secret is just a little bit of extra investment. | 0:11:50 | 0:11:52 | |
All you need is that 10p. | 0:11:52 | 0:11:54 | |
So that sneaky 10p balanced on Paul's thumb weighted his folded note, | 0:11:56 | 0:12:02 | |
earning him three crisp twenties. | 0:12:02 | 0:12:04 | |
That's a whole lot of free drinks. | 0:12:04 | 0:12:06 | |
That's mine, that's mine, that's mine, | 0:12:06 | 0:12:09 | |
and the drinks are definitely on you. | 0:12:09 | 0:12:12 | |
A busy courtyard in a city centre plaza. | 0:12:21 | 0:12:26 | |
This guy's a keen photographer. | 0:12:26 | 0:12:28 | |
He's here to buy a second-hand camera lens from a guy he's arranged to meet. | 0:12:28 | 0:12:32 | |
He's brought cash, so that makes him the mark... | 0:12:32 | 0:12:36 | |
..in The Lost Fob. | 0:12:39 | 0:12:41 | |
-Hi. -Ian? -Andrew. -Yeah. -Hi. -Pleased to meet you. | 0:12:42 | 0:12:46 | |
Sit down, sorry, I'm in a bit of a... Have a seat, have a seat. | 0:12:46 | 0:12:52 | |
I'm going to get the camera lens. It's here, but it's in the office. | 0:12:52 | 0:12:55 | |
I've just had a bit of a mini disaster. | 0:12:55 | 0:12:58 | |
You know, I work in PR and we do film PR and stuff like that, and, erm, | 0:12:58 | 0:13:02 | |
during the course of this day, somehow, somewhere in the meetings, | 0:13:02 | 0:13:06 | |
I seem to have lost a USB stick with all our clients' info on it, | 0:13:06 | 0:13:10 | |
and if I don't find it, I'm going to lose my job. | 0:13:10 | 0:13:13 | |
So... I've been looking for it here, | 0:13:13 | 0:13:16 | |
I've been texting people who I've had meetings with. | 0:13:16 | 0:13:20 | |
I've just been on the phone to the cab companies to see if they've found anything, so, but let me... | 0:13:20 | 0:13:26 | |
-You want to do this another time, then? -No, it's fine. | 0:13:26 | 0:13:30 | |
The guy selling the lens is Alex. Looks like he's in a bit of a tizzy. | 0:13:30 | 0:13:33 | |
In fact, he's in a total panic. | 0:13:33 | 0:13:36 | |
He's posing as a PR agent and it turns out | 0:13:36 | 0:13:38 | |
he's lost a computer fob with all his famous clients' sensitive details on it. | 0:13:38 | 0:13:44 | |
Listen, do me a favour, if... I've already spoken to the bar, | 0:13:44 | 0:13:49 | |
I said 100 quid to...if anybody finds it and hands it in, | 0:13:49 | 0:13:52 | |
cos I'm going to have to go back and tell my boss that I can't find it, | 0:13:52 | 0:13:57 | |
but listen, I'll be back in ten minutes. Is that OK? | 0:13:57 | 0:13:59 | |
I'm so sorry to bring all this on you, | 0:13:59 | 0:14:01 | |
but if you find it, can you just call me straightaway, please? | 0:14:01 | 0:14:05 | |
Because if I don't have to tell my boss, that would be great. | 0:14:05 | 0:14:08 | |
Cheers, and again, apologies. | 0:14:08 | 0:14:10 | |
Alex heads off to 'fess up to his boss about the lost fob | 0:14:10 | 0:14:13 | |
and also to get the lens. | 0:14:13 | 0:14:15 | |
The mark decides to text a friend while he waits for Alex to return. | 0:14:15 | 0:14:19 | |
-Is this yours? -Oh! Where did you find that? -Is it, is it yours? | 0:14:19 | 0:14:25 | |
Well, this guy who I'm meeting just lost a USB stick | 0:14:25 | 0:14:27 | |
and he says he's going to lose his job... | 0:14:27 | 0:14:29 | |
-OK. -Hang on, well... Where did you find it? -Literally under my table. | 0:14:29 | 0:14:35 | |
What a stroke of luck. | 0:14:35 | 0:14:36 | |
The girl at the next table seems to have found the lost fob. | 0:14:36 | 0:14:40 | |
But this is no ordinary girl. | 0:14:40 | 0:14:42 | |
It's Polly, and her role in the scam is about to begin. | 0:14:42 | 0:14:46 | |
-Hello? -Hi, Ian. | 0:14:46 | 0:14:48 | |
Yes, Andrew. | 0:14:48 | 0:14:50 | |
-Hi, can you describe the USB stick to me? -What, have you found it? Is it there? | 0:14:50 | 0:14:53 | |
The girl at the table next to me has found it, | 0:14:53 | 0:14:55 | |
but she wants me to describe it to her, to make sure it's yours. | 0:14:55 | 0:14:58 | |
-Oh, you're kidding? Oh, well, pass her on. -I'm going to put you on to him, OK? | 0:14:58 | 0:15:02 | |
-Hello? -Hi, there. Have you got my USB stick? | 0:15:04 | 0:15:07 | |
Yeah, I've just found it. It's by my bag under my table. | 0:15:07 | 0:15:11 | |
Right, OK. Brilliant. It's a black one with red stuff, it's a flip one. | 0:15:11 | 0:15:15 | |
-Oh, yeah, no. That's definitely yours. -Oh, brilliant. Oh, listen, thank you so much. | 0:15:15 | 0:15:20 | |
Listen, I said to the guy 100 quid to whoever hands it in. | 0:15:20 | 0:15:25 | |
-£100? -Yeah, £100, yeah. | 0:15:25 | 0:15:29 | |
The mark is happy for Alex, but shrugs in disbelief at his generous reward. | 0:15:29 | 0:15:32 | |
I'm going to be back in 15 minutes, yeah? | 0:15:32 | 0:15:35 | |
Oh, no. I've got to go, because I've got a train to catch. | 0:15:35 | 0:15:39 | |
Do you want to text me your address and I'll send you the cash? | 0:15:39 | 0:15:42 | |
I don't really want to give you my address, just, you know, | 0:15:42 | 0:15:46 | |
I don't really know you, you know. | 0:15:46 | 0:15:48 | |
No, no. That's all right, it's just, I'm trying to get the money, | 0:15:48 | 0:15:51 | |
I'd love to give you the £100 for being so honest. | 0:15:51 | 0:15:53 | |
Well, £100 would be lovely, yeah, but... | 0:15:53 | 0:15:56 | |
The mark can't believe that this woman is actually | 0:15:56 | 0:15:59 | |
holding out for the cash. | 0:15:59 | 0:16:00 | |
Do you want to pass me back to the guy? | 0:16:00 | 0:16:02 | |
Yeah, yeah. Sure, sure. He wants to speak to you. | 0:16:02 | 0:16:06 | |
-Hello? -Hi, Andrew. | 0:16:07 | 0:16:08 | |
Listen, she's done the right thing and I just want to thank her for it. | 0:16:08 | 0:16:13 | |
I was going to give her 100 quid when I come back. | 0:16:13 | 0:16:16 | |
Can I just ask you for a massive favour? | 0:16:16 | 0:16:20 | |
I'll knock 50 quid of the lens if you could give her 100 quid. | 0:16:20 | 0:16:23 | |
You want me to give her £100 out of the money for the lens? | 0:16:23 | 0:16:27 | |
Yeah, and I'll knock 60 quid off the lens for you. | 0:16:27 | 0:16:29 | |
-Are you sure? -Absolutely, listen, this girl, right now, | 0:16:29 | 0:16:33 | |
has just saved my job and my family. | 0:16:33 | 0:16:36 | |
She's done the right thing. So... | 0:16:36 | 0:16:38 | |
Alex lays it on thick and offers the mark 60 quid off the lens | 0:16:38 | 0:16:42 | |
if he gives her £100 from the cash he's brought with him to buy the lens. | 0:16:42 | 0:16:47 | |
So, I'll only have to give you 150? | 0:16:47 | 0:16:49 | |
Only 150 when I come back, and you've still got my laptop, yeah? | 0:16:49 | 0:16:51 | |
And I've still got your bag here, yeah. | 0:16:51 | 0:16:54 | |
All right, I'll be there in 15 minutes, no later. Thanks, Andrew. | 0:16:54 | 0:16:57 | |
OK, that's fine, bye. | 0:16:57 | 0:17:00 | |
The Mark is now warming to Alex's generosity. | 0:17:00 | 0:17:03 | |
After all, he's getting a 330 quid lens for 150 quid. | 0:17:03 | 0:17:08 | |
And, of course, he has Alex's laptop as security for the deal. | 0:17:08 | 0:17:11 | |
This guy really is the honest type. | 0:17:11 | 0:17:13 | |
I'll give you £100 of my money on the understanding... | 0:17:13 | 0:17:17 | |
-That he will give it back to you. -Yeah. | 0:17:17 | 0:17:19 | |
-And there's the cash. -Nice to meet you. | 0:17:20 | 0:17:23 | |
Polly waves goodbye £100 richer. | 0:17:23 | 0:17:27 | |
And the mark gets his money ready | 0:17:27 | 0:17:30 | |
for when Alex returns in ten minutes | 0:17:30 | 0:17:32 | |
with his bargain priced camera lens. | 0:17:32 | 0:17:34 | |
While he's waiting, he decides to call a friend and tell them | 0:17:34 | 0:17:37 | |
about his good fortune with the film PR guy. | 0:17:37 | 0:17:41 | |
Do you want me to have a look at the laptop to see if I can get any... | 0:17:41 | 0:17:44 | |
get Brad Pitt's phone number? | 0:17:44 | 0:17:46 | |
I should take the memory stick and I should run off. | 0:17:48 | 0:17:52 | |
He must come back. His laptop's there. | 0:17:55 | 0:17:58 | |
He tries calling Alex, but the phone just rings out. | 0:18:00 | 0:18:06 | |
A full 40 minutes later, | 0:18:06 | 0:18:09 | |
the mark checks the laptop bag that Alex left behind, | 0:18:09 | 0:18:12 | |
only to find a useless leaflet and some plastic packaging. | 0:18:12 | 0:18:16 | |
He's been hustled out of 100 quid cash. | 0:18:17 | 0:18:20 | |
And here's how they did it. | 0:18:20 | 0:18:23 | |
When Alex picked up his laptop, | 0:18:23 | 0:18:24 | |
he was really just dropping it into Polly's bag. | 0:18:24 | 0:18:28 | |
He then left his empty computer bag with the mark for safekeeping | 0:18:28 | 0:18:32 | |
and beat a hasty retreat. | 0:18:32 | 0:18:34 | |
Polly then pretended to pick up the lost fob from the floor. | 0:18:35 | 0:18:39 | |
-Is this yours? -Oh! | 0:18:39 | 0:18:41 | |
I'll knock 60 quid off the lens, if you could give her 100 quid. | 0:18:41 | 0:18:44 | |
OK, that's fine. | 0:18:44 | 0:18:46 | |
She then handed the mark the fob in return for that cash reward. | 0:18:46 | 0:18:50 | |
Polly waves goodbye to the mark, as he waves goodbye to 100 quid. | 0:18:50 | 0:18:54 | |
He's been ripped off and all he's left with is a cheap, empty bag | 0:18:54 | 0:18:58 | |
and a useless fob. | 0:18:58 | 0:19:00 | |
I feel like an idiot. | 0:19:01 | 0:19:03 | |
I feel angry and stupid. | 0:19:03 | 0:19:05 | |
By all means, help somebody if they seem to be having a problem, | 0:19:08 | 0:19:11 | |
but as soon as money is mentioned and you're asked to put your hand in your own pocket, | 0:19:11 | 0:19:16 | |
you should just take a step back and ask yourself what's really going on. | 0:19:16 | 0:19:19 | |
Earlier today, this guy came to an Edinburgh antiques warehouse | 0:19:33 | 0:19:36 | |
to buy a Victorian picture viewer. | 0:19:36 | 0:19:39 | |
You want to buy them, find the person I'll sell them to, | 0:19:39 | 0:19:41 | |
and buy them off them. You're not buying them off me. | 0:19:41 | 0:19:43 | |
But he's ended up acting as middleman in an ongoing | 0:19:43 | 0:19:47 | |
dispute between art dealer Rob Marx and his bitter rival Ian Steel, | 0:19:47 | 0:19:51 | |
who've been fighting for years over a set of leg irons | 0:19:51 | 0:19:54 | |
and handcuffs that once belonged to escape artist Harry Houdini. | 0:19:54 | 0:19:58 | |
As two separate items, you would pay 1,500, | 0:19:58 | 0:20:00 | |
and getting them together for 1,000 is a fantastic price. | 0:20:00 | 0:20:03 | |
In auction, you'd sell it for seven to ten, easily. | 0:20:03 | 0:20:06 | |
-Does that sound fair to you? -Yeah, yeah, of course. | 0:20:06 | 0:20:09 | |
Paul's agreed to cut him an amazing deal on the picture viewer. | 0:20:09 | 0:20:13 | |
But in return, he's asked the mark to help him get the cuffs from Alex. | 0:20:13 | 0:20:17 | |
He's already given him £2,000 in cash to secure the cuffs | 0:20:17 | 0:20:20 | |
and he's agreed to meet Alex tonight to do the deal | 0:20:20 | 0:20:24 | |
in The Feud part two. | 0:20:24 | 0:20:27 | |
True to his word, the mark turns up bang on time to meet Lucien, | 0:20:27 | 0:20:32 | |
who's agreed to be on hand to broker the deal. | 0:20:32 | 0:20:34 | |
-Thank you. See you soon. -Pleasure. | 0:20:34 | 0:20:36 | |
Take care. | 0:20:38 | 0:20:39 | |
I'll see you soon. Take it easy. Bye-bye. | 0:20:39 | 0:20:41 | |
The mark recognises the two girls he met earlier at the warehouse. | 0:20:43 | 0:20:46 | |
It's Polly and Jess, and they also seem to have been having | 0:20:46 | 0:20:50 | |
a meeting with Lucien, but are now just on their way out. | 0:20:50 | 0:20:53 | |
-Take a seat. Dive in. -Thank you. -How are you, man? Are you all right? -Good, good. -You well? -Yeah. -Good. | 0:20:53 | 0:20:59 | |
-Well, the situation is, Ian is on his way with the handcuffs. -All right. | 0:20:59 | 0:21:03 | |
And Rob is stuck in traffic at the moment. | 0:21:03 | 0:21:08 | |
Fine. How are you? | 0:21:08 | 0:21:09 | |
I'm all right. It's been a long, long day. | 0:21:09 | 0:21:11 | |
The mark buys Lucien's explanation. | 0:21:11 | 0:21:14 | |
And right on cue, here comes Alex with the goods. | 0:21:14 | 0:21:18 | |
-Hey! -How are you? -I'm good. How are you? You all right? | 0:21:18 | 0:21:22 | |
Hi, I'm George. Nice to meet you. | 0:21:22 | 0:21:24 | |
-George? -Yeah, George. -Nice to meet you. | 0:21:24 | 0:21:26 | |
-Thanks for setting this up. -Not a problem. It's fantastic. | 0:21:26 | 0:21:30 | |
They get straight down to business. | 0:21:30 | 0:21:33 | |
Sorry, don't mind me asking, | 0:21:33 | 0:21:35 | |
but are you in the antiques game, are you...? | 0:21:35 | 0:21:38 | |
That's handy. Neither's Alex. | 0:21:40 | 0:21:42 | |
Now, you mentioned that you gentlemen might be | 0:21:42 | 0:21:45 | |
interested in a pair of Houdini handcuffs. | 0:21:45 | 0:21:48 | |
Yeah, that's right. | 0:21:48 | 0:21:49 | |
Do you want to have, shall I...? | 0:21:49 | 0:21:51 | |
-Yeah. -Sorry, I don't mean to rush everybody. -No, no, no. -I'd love to | 0:21:51 | 0:21:55 | |
spend more time, it's just that I have, I only come up for | 0:21:55 | 0:21:58 | |
a very short period of time, because I'm based out of London, so I've got a meeting | 0:21:58 | 0:22:03 | |
to go to after this. | 0:22:03 | 0:22:04 | |
And there they are. | 0:22:06 | 0:22:08 | |
Harry Houdini's very own handcuffs. | 0:22:08 | 0:22:10 | |
Are you interested? | 0:22:10 | 0:22:12 | |
The price for these that I'm happy to let them go for is 4,000. | 0:22:13 | 0:22:17 | |
There seems to be a misunderstanding here | 0:22:17 | 0:22:19 | |
about the price Paul gave the mark earlier. | 0:22:19 | 0:22:21 | |
One, two, three, four... | 0:22:21 | 0:22:24 | |
£2,000. | 0:22:24 | 0:22:25 | |
-Sorry, but the price is four. -4,000. -Yeah. How is that with you? | 0:22:31 | 0:22:36 | |
Do you want me to give you...? | 0:22:39 | 0:22:42 | |
I've got a bit of time, but I'll give you a couple of minutes | 0:22:42 | 0:22:44 | |
so you guys can talk about it. | 0:22:44 | 0:22:45 | |
That's a big problem. | 0:22:45 | 0:22:47 | |
Paul told the mark the cuffs would cost £2,000, | 0:22:47 | 0:22:51 | |
but Alex is now asking for double that. | 0:22:51 | 0:22:53 | |
What's he going to do? | 0:22:53 | 0:22:55 | |
Alex heads outside to give them some time to work the money out. | 0:22:55 | 0:23:00 | |
All I can think of is if we give Rob a call | 0:23:00 | 0:23:03 | |
and see what he says about the situation, yeah? | 0:23:03 | 0:23:06 | |
Lucien calls Paul to let him know the money situation | 0:23:10 | 0:23:13 | |
and check if he's still stuck in traffic. | 0:23:13 | 0:23:15 | |
Hey, buddy, how are you? | 0:23:15 | 0:23:17 | |
The situation is, Ian's saying four for the handcuffs. | 0:23:17 | 0:23:19 | |
-You're kidding? -How far away are you? | 0:23:19 | 0:23:22 | |
Maybe 20 minutes, but I'm just sitting in traffic right now. | 0:23:22 | 0:23:25 | |
The thing is, he's got to go, he's got a flight to catch, | 0:23:25 | 0:23:27 | |
I'm guessing, back to London, so... | 0:23:27 | 0:23:29 | |
I mean, if you've got two grand on you, Lucien, why don't you | 0:23:29 | 0:23:32 | |
give it to the, throw it in there. I mean, I'll cover it, of course. | 0:23:32 | 0:23:35 | |
I know you'll cover it. I haven't got the two on me now though. | 0:23:35 | 0:23:38 | |
-I know you're 20 minutes away, but... -You're kidding? | 0:23:38 | 0:23:42 | |
He's in traffic. Do you want to speak to him? Want to talk to him? | 0:23:42 | 0:23:45 | |
-Yeah, of course. -I'm going to pass you on now, bro. All right? -All right, OK. | 0:23:45 | 0:23:48 | |
So, Lucien's not got a spare two grand on him. | 0:23:48 | 0:23:51 | |
But maybe the mark can help. | 0:23:51 | 0:23:53 | |
-Let me tell you what I'll do. I'll make you an offer that you can't refuse. OK? -Yeah. | 0:23:53 | 0:23:58 | |
You've got 4,000 on you right now, including my two, yes? | 0:23:58 | 0:24:01 | |
Right, if you pay for the cuffs, I will give you the 4,000, so you're covered. | 0:24:03 | 0:24:08 | |
You haven't lost a penny. | 0:24:08 | 0:24:10 | |
I will give you the viewer with the cards as a fee | 0:24:12 | 0:24:17 | |
for doing this for me. | 0:24:17 | 0:24:19 | |
So you'll walk away with every penny you brought with you today, | 0:24:19 | 0:24:24 | |
plus the viewer. | 0:24:24 | 0:24:25 | |
Paul has asked the mark | 0:24:28 | 0:24:29 | |
if he can put the two grand he has with him for the viewer, | 0:24:29 | 0:24:32 | |
together with the two grand that Paul gave him earlier. | 0:24:32 | 0:24:35 | |
That'll make up the required four grand to buy the handcuffs from Alex. | 0:24:35 | 0:24:38 | |
And in return for this, | 0:24:38 | 0:24:40 | |
he's offering the mark the viewer for free. | 0:24:40 | 0:24:42 | |
The mark's still not biting, and suggests that they ask Alex | 0:24:49 | 0:24:52 | |
to wait a bit longer until Paul arrives with the cash. | 0:24:52 | 0:24:56 | |
But here's the thing, Paul's not stuck in traffic at all. | 0:24:56 | 0:25:00 | |
In fact, he's parked right outside in the Hustle van with Polly and Jess. | 0:25:00 | 0:25:04 | |
And someone else who looks remarkably like Ian Steel. | 0:25:04 | 0:25:08 | |
It's time for Alex to go back in and nail the deal. | 0:25:08 | 0:25:14 | |
No, no, no, no. I've got to be out of here in the next ten minutes. | 0:25:15 | 0:25:19 | |
But we can negotiate on price, if that's the problem. | 0:25:19 | 0:25:22 | |
That, I can't do. You know, I can meet you at three and a half. | 0:25:26 | 0:25:31 | |
I have to give a phone call. I'm sorry. | 0:25:31 | 0:25:34 | |
No, no. Do so. I've got five, ten minutes. | 0:25:34 | 0:25:38 | |
The mark excuses himself | 0:25:38 | 0:25:39 | |
and goes outside to call a friend for some advice. | 0:25:39 | 0:25:41 | |
If this doesn't work, then the deal is most definitely off. | 0:25:41 | 0:25:45 | |
The mark heads back to the table. | 0:25:45 | 0:25:47 | |
Well, I said we could negotiate. | 0:25:49 | 0:25:51 | |
-This guy drives a hard bargain. -35 cash now? | 0:25:54 | 0:25:57 | |
-Cash now. -Fine. Deal. | 0:25:57 | 0:25:59 | |
Finally, the Mark hands over Paul's £2,000, along with £1,500 of his own cash. | 0:26:00 | 0:26:07 | |
Hey! | 0:26:07 | 0:26:08 | |
You're all right? | 0:26:08 | 0:26:10 | |
Here come the girls again. | 0:26:10 | 0:26:12 | |
-This is Georgie. -Hi, there. I'm Daisy. How are you? Are you all right? -Nice to meet you. | 0:26:12 | 0:26:17 | |
We just bought this and we forgot our bags. | 0:26:17 | 0:26:19 | |
Seems they left their bag earlier and have come back to get it. | 0:26:19 | 0:26:23 | |
-Is this the one? -Oh! -I'll put you in the taxi. -Oh, fantastic, thank you. | 0:26:23 | 0:26:28 | |
-Lovely to meet you. Take care, bye. -Bye. | 0:26:28 | 0:26:32 | |
I'm going to give you a book of photographs with the cuffs, but the problem is I've got them in the car, | 0:26:32 | 0:26:36 | |
so I'm just quickly going to get in the car. | 0:26:36 | 0:26:39 | |
I'm going to give you the key as well. | 0:26:39 | 0:26:41 | |
I'm going to be back in one tiny second, yeah? | 0:26:41 | 0:26:43 | |
Alex legs it straightaway, | 0:26:45 | 0:26:47 | |
but the mark can't wait to get a closer look at the antique cuffs. | 0:26:47 | 0:26:50 | |
I don't think Houdini ever wore those. | 0:26:50 | 0:26:54 | |
The mark chases after Alex, but it's too late, | 0:26:54 | 0:26:57 | |
and the mark is left wondering what just happened. | 0:26:57 | 0:27:01 | |
-Oh, hi there, I'm Daisy. -How are you? | 0:27:02 | 0:27:04 | |
Distracted by Polly and Jess coming back to get their bag, | 0:27:04 | 0:27:07 | |
the mark didn't notice Alex slickly switching the Houdini cuffs box | 0:27:07 | 0:27:11 | |
with an identical one containing the cheap furry ones. | 0:27:11 | 0:27:14 | |
Alex dropped the original box into the girls' bag | 0:27:14 | 0:27:18 | |
and they quickly left with Lucien, | 0:27:18 | 0:27:20 | |
running straight out to meet Paul, who had the Hustle van running. | 0:27:20 | 0:27:23 | |
Then, all Alex had to do was join them. It was that easy. | 0:27:23 | 0:27:27 | |
I'm really angry that somebody that I trusted used me. | 0:27:31 | 0:27:36 | |
I give them £3,500 and they left me here with something like this. | 0:27:36 | 0:27:43 | |
I have just been involved in a crime and, you know what, | 0:27:43 | 0:27:45 | |
put the handcuffs on. | 0:27:45 | 0:27:47 | |
My top tip for anyone out there to not get hustled, | 0:27:48 | 0:27:51 | |
if it sounds too good to be true, usually, | 0:27:51 | 0:27:53 | |
well, it probably is going to be too good to be true. | 0:27:53 | 0:27:56 | |
You don't get nothing in this world for free. | 0:27:56 | 0:27:59 | |
The trick that fraudsters have used | 0:27:59 | 0:28:00 | |
here is that they've tried to | 0:28:00 | 0:28:01 | |
speed up the action, | 0:28:01 | 0:28:03 | |
so you end up making a decision, | 0:28:03 | 0:28:05 | |
an important decision, far too quickly. | 0:28:05 | 0:28:07 | |
Take a deep breath and try and slow down the action. | 0:28:07 | 0:28:11 | |
Making decisions hurriedly about important things | 0:28:11 | 0:28:15 | |
will almost always end in tears. | 0:28:15 | 0:28:17 | |
If you want to know more about how the show is made, go to... | 0:28:24 | 0:28:27 | |
Subtitles by Red Bee Media Ltd | 0:28:52 | 0:28:55 |