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This is The Real Hustle - Celebrity Scammers. | 0:00:02 | 0:00:05 | |
In this series, the hustlers carry out scams that are bigger, tougher and more devious than ever before. | 0:00:05 | 0:00:12 | |
With the help of their celebrity friends, | 0:00:12 | 0:00:14 | |
hustlers Alex, Jess and Paul | 0:00:14 | 0:00:18 | |
pull off the riskiest scams of all - long cons. | 0:00:18 | 0:00:24 | |
Intricate webs of lies and deception designed to separate the unwary from their money. | 0:00:24 | 0:00:30 | |
On tonight's show, | 0:00:32 | 0:00:34 | |
singer Jonathan Ansell falls over himself to become a hustler. | 0:00:34 | 0:00:38 | |
-What on earth is... -CRASHING | 0:00:38 | 0:00:39 | |
-BLEEP. Argh! -You all right? | 0:00:39 | 0:00:41 | |
Paul is on cloud nine. | 0:00:41 | 0:00:44 | |
There are no numbers in this. | 0:00:45 | 0:00:47 | |
And these people find out why | 0:00:47 | 0:00:48 | |
you shouldn't always believe men in suits. | 0:00:48 | 0:00:51 | |
Oh, my God, I trusted them. | 0:00:51 | 0:00:53 | |
The hustlers have invited celebrity friends to help them carry out their long cons. | 0:01:31 | 0:01:36 | |
They'll be thrown in at the deep end, | 0:01:36 | 0:01:38 | |
no training and no practice, just straight into the scam. | 0:01:38 | 0:01:42 | |
This week's celebrity guest hustler is classically trained tenor | 0:01:44 | 0:01:47 | |
and former member of pop-opera boy band G4, Jonathan Ansell. | 0:01:47 | 0:01:52 | |
I haven't got a clue what to expect today. | 0:01:54 | 0:01:57 | |
I am completely none the wiser to any of it. | 0:01:57 | 0:01:59 | |
I've been told to come not like I normally dress, so no suit for me today. | 0:01:59 | 0:02:04 | |
I'm in my hoodie, and I've got to mix into the background | 0:02:04 | 0:02:07 | |
and we're going to see what happens. | 0:02:07 | 0:02:09 | |
Jonathan has been told to go to a London cafe and wait for someone to tell him what to do. | 0:02:10 | 0:02:16 | |
Excuse me, got the time? | 0:02:21 | 0:02:23 | |
Yeah, nearly twenty five to one. | 0:02:23 | 0:02:25 | |
-Alex is going to be here soon... -Uh-huh. | 0:02:25 | 0:02:27 | |
-He's going to cast some people for a commercial, you're going to be lucky.. -Uh-huh. | 0:02:27 | 0:02:31 | |
-Just help him convince the others if he asks you. -OK. -Don't overdo it. -Thank you. | 0:02:31 | 0:02:36 | |
With little information, and even less time to prepare, | 0:02:38 | 0:02:41 | |
Jonathan needs to get his act together for The Audition. | 0:02:41 | 0:02:45 | |
Jonathan's role is to help rope in some marks and persuade them | 0:02:48 | 0:02:51 | |
to come to an acting audition Alex is holding later on. | 0:02:51 | 0:02:55 | |
The con is on. | 0:02:57 | 0:02:58 | |
-Hello, excuse me. -Hey. -Hi. | 0:02:59 | 0:03:04 | |
Sorry to bother you, we're doing some open casting, some open auditions, it's for an advert for the States. | 0:03:04 | 0:03:10 | |
-Right. -And we're doing a street casting so we're picking people off the street. | 0:03:10 | 0:03:14 | |
-Where is it? -It's round the corner from here. Would you be free to come at about 3 o'clock? | 0:03:14 | 0:03:19 | |
-I guess so. -Yes? It costs you nothing. | 0:03:19 | 0:03:21 | |
-All right. -If you come, we put you on tape and if you get the part, you can make a lot of money. | 0:03:21 | 0:03:25 | |
-Thanks. -Have you done anything like that before? | 0:03:25 | 0:03:28 | |
-You haven't appeared in a future commercial or anything? -No, no. -No? | 0:03:28 | 0:03:32 | |
-It'd be a nice break. -So Alex is a talent scout | 0:03:32 | 0:03:34 | |
searching for ordinary-looking members of the public | 0:03:34 | 0:03:36 | |
to star in a US TV commercial. | 0:03:36 | 0:03:39 | |
Jonathan does his part by agreeing to come along to the audition. | 0:03:39 | 0:03:43 | |
Sorry to interrupt. We're doing a street casting for a commercial... | 0:03:43 | 0:03:47 | |
But will these potential marks be as keen? | 0:03:47 | 0:03:49 | |
Pulling people off the street to audition. | 0:03:49 | 0:03:51 | |
Just put you on videotape and, along with this gentleman here as well, | 0:03:51 | 0:03:56 | |
and if you get the part, you end up making a lot of money because it's for the United States. | 0:03:56 | 0:04:01 | |
-I'll see you there. -Yeah, cheers. | 0:04:02 | 0:04:04 | |
-Brilliant. -Thanks. | 0:04:04 | 0:04:05 | |
They've obviously got that star quality Alex is looking for. | 0:04:05 | 0:04:08 | |
Oh, you get paid loads. | 0:04:11 | 0:04:12 | |
It's worth it, isn't it? | 0:04:14 | 0:04:15 | |
The marks are thrilled at their unexpected shot at fame and fortune, | 0:04:18 | 0:04:23 | |
but Jonathan's job isn't over yet. | 0:04:23 | 0:04:25 | |
-Hello, mate. Hello. -All right, hi. | 0:04:25 | 0:04:27 | |
-Sorry to bother you. -The more the merrier for this scam. | 0:04:27 | 0:04:30 | |
Cheers, man, thanks. | 0:04:30 | 0:04:31 | |
Excuse me, ladies, we're doing a street casting for a commercial for the States... | 0:04:31 | 0:04:37 | |
And once again, the bright lights of Hollywood are too temping. | 0:04:37 | 0:04:40 | |
Yeah? | 0:04:40 | 0:04:42 | |
These marks also jump at the chance of a trip to America and that starring role in a commercial. | 0:04:42 | 0:04:48 | |
What time did he say? | 0:04:50 | 0:04:52 | |
Jonathan takes the initiative and makes 100% sure the marks will turn up later. | 0:04:52 | 0:04:57 | |
I'm going to check it out. I'll see you guys later, yeah? | 0:04:57 | 0:05:00 | |
So far, so good. | 0:05:00 | 0:05:02 | |
The auditions are due to start shortly, so Jonathan joins Alex and Paul | 0:05:04 | 0:05:07 | |
as they make their way to the Hustle location. | 0:05:07 | 0:05:11 | |
They're hoping the weather won't put off the marks. | 0:05:11 | 0:05:14 | |
Jonathan's in the waiting room. | 0:05:16 | 0:05:18 | |
-Hello. -And there's Jess doing the meeting and greeting. | 0:05:20 | 0:05:24 | |
-All right, guys. -How you doing, all right? | 0:05:24 | 0:05:26 | |
Yeah. Thought I'd come down. How you doing? All right, nice to see you again. | 0:05:26 | 0:05:31 | |
It's a good turn out. All the marks are here, along with some others who have responded to Alex's flyers. | 0:05:32 | 0:05:39 | |
Ben, are you ready to pop in? | 0:05:39 | 0:05:41 | |
Time to get those auditions under way. | 0:05:42 | 0:05:44 | |
Hi, Ben. | 0:05:44 | 0:05:46 | |
Thanks for coming down. Have a seat. | 0:05:46 | 0:05:49 | |
Now, I'm going to be chatting to you, but I want you to talk straight into camera, | 0:05:49 | 0:05:53 | |
so forget the fact that I'm here. | 0:05:53 | 0:05:55 | |
Pretend I'm the camera. | 0:05:55 | 0:05:57 | |
So I'm going to throw some stuff at you. | 0:05:57 | 0:05:59 | |
Don't be embarrassed. I might ask you to do some silly stuff, so just go for it. Is that cool? | 0:05:59 | 0:06:04 | |
-Yes. -OK, well if I could ask you to stand up. | 0:06:04 | 0:06:06 | |
Can we have a mid-size please, Jess? | 0:06:06 | 0:06:09 | |
That's the one. | 0:06:09 | 0:06:11 | |
Can you walk on the spot? | 0:06:11 | 0:06:12 | |
To get the job, these guys need to demonstrate their acting skills. | 0:06:12 | 0:06:16 | |
Be very happy. Very, very happy. | 0:06:16 | 0:06:19 | |
Mmm, what am I going to have to eat tonight? | 0:06:19 | 0:06:22 | |
OK. Oh, I'm going to have a nice, hot soup when I get there, | 0:06:22 | 0:06:25 | |
and that makes you feel very, very good. | 0:06:25 | 0:06:28 | |
Conveying these complex emotions is hard enough without some workmen | 0:06:28 | 0:06:32 | |
bumbling straight through the middle of the audition. | 0:06:32 | 0:06:34 | |
Can you not make sound please, mate? | 0:06:34 | 0:06:37 | |
Because we're in the middle of recording. Thank you. | 0:06:37 | 0:06:40 | |
Paul putting the ladder right there | 0:06:40 | 0:06:42 | |
is just asking for someone to have an accident. | 0:06:42 | 0:06:46 | |
You need to open the fridge. There's no soup. | 0:06:46 | 0:06:48 | |
Oh, what am I going to have for dinner? And now you remember your neighbour is having a roast dinner. | 0:06:50 | 0:06:56 | |
When I clap my hands, I just want you to freeze, OK? | 0:06:58 | 0:07:01 | |
ALEX CLAPS | 0:07:01 | 0:07:03 | |
Now strike a very, very happy pose, ready? | 0:07:03 | 0:07:06 | |
ALEX CLAPS | 0:07:06 | 0:07:08 | |
That's great. Now, I want you to just strike a powerful pose. | 0:07:08 | 0:07:11 | |
Ready? And... | 0:07:11 | 0:07:13 | |
ALEX CLAPS | 0:07:13 | 0:07:14 | |
OK. Great, Ben. I know it was a bit weird... | 0:07:14 | 0:07:17 | |
Alex is impressed with the awesome talent he's seen so far, | 0:07:17 | 0:07:20 | |
-but there's one more hopeful left in the waiting room. -Tim... | 0:07:20 | 0:07:25 | |
To make the scam seem believable, Jonathan also needs to audition. | 0:07:25 | 0:07:29 | |
Walk on the spot, so you're walking on the spot, walking down the street. | 0:07:29 | 0:07:33 | |
OK, and you're feeling very sad. | 0:07:33 | 0:07:37 | |
Not only that, the marks listening in the waiting room need to get the impression he's an acting virtuoso. | 0:07:37 | 0:07:43 | |
That's good. Just thinking, "What am I going to have to eat?" | 0:07:43 | 0:07:47 | |
-Good. OK. -Well done. -If you wait outside. -All right. | 0:07:47 | 0:07:52 | |
Guys, can we have you all in please? | 0:07:52 | 0:07:54 | |
The waiting is over. | 0:07:54 | 0:07:56 | |
All the hopefuls get called back into the room to be told who will be the face of this big-money campaign. | 0:07:56 | 0:08:02 | |
Thanks, everyone, for coming. | 0:08:03 | 0:08:05 | |
There are a few commercials happening, one of which is this one, the Yum Gums one, | 0:08:05 | 0:08:10 | |
which is going to be the next big sort of product to hit the States. | 0:08:10 | 0:08:13 | |
For this one, Tim, we know that we want to get you back on. | 0:08:13 | 0:08:19 | |
Alex and Jess have chosen Jonathan, or Tim, as the marks know him, | 0:08:19 | 0:08:23 | |
so it sounds like the others have wasted all that time and effort. | 0:08:23 | 0:08:27 | |
-In fact, because I need you to come back... -Yes. | 0:08:27 | 0:08:30 | |
In about half hour, 40 minutes, do you want to go off, do what you have to do? | 0:08:30 | 0:08:34 | |
Jonathan leaves, triumphant, but this is his big moment. | 0:08:34 | 0:08:39 | |
The whole scam rests on what happens when he walks through that door. | 0:08:39 | 0:08:44 | |
Thanks again and I'll see you in about 45 minutes. | 0:08:44 | 0:08:47 | |
-Thanks very much. -So what I want you... | 0:08:47 | 0:08:49 | |
-Because suddenly... -CRASHING | 0:08:49 | 0:08:51 | |
Argh, BLEEP, argh! | 0:08:51 | 0:08:53 | |
-Oh, my God. -Argh. -You all right? Hello? | 0:08:53 | 0:08:56 | |
Oh, my... Are you all right? | 0:08:56 | 0:08:59 | |
The ladder. God. | 0:08:59 | 0:09:02 | |
Did you trip over the ladder? | 0:09:02 | 0:09:03 | |
-Hang on, excuse me. -Oh, my God. OK, OK, get in, get in. | 0:09:03 | 0:09:06 | |
OK, oh, oh, oh. Do you want to take him out the back? | 0:09:06 | 0:09:09 | |
Disaster. | 0:09:09 | 0:09:11 | |
Star auditionee Jonathan looks like he's seriously injured. | 0:09:11 | 0:09:15 | |
There's blood gushing from his head. | 0:09:15 | 0:09:17 | |
Come on, no, no, take him back, take him back. | 0:09:17 | 0:09:20 | |
Jess will have to take him to casualty. | 0:09:20 | 0:09:22 | |
One thing's for sure - he can't be in a toothpaste commercial with a big gash on his forehead. | 0:09:22 | 0:09:28 | |
Yes, yes, no, it's just... | 0:09:28 | 0:09:30 | |
Everyone is shaken up, but with Jonathan out of the picture, | 0:09:30 | 0:09:33 | |
that means everyone else is back in the running for the job. | 0:09:33 | 0:09:37 | |
He must have gone over the ladder. | 0:09:37 | 0:09:38 | |
And that's exactly what the hustlers were planning. | 0:09:38 | 0:09:42 | |
Before the auditions started, | 0:09:42 | 0:09:45 | |
Alex told Jonathan exactly what he had to do. | 0:09:45 | 0:09:48 | |
So Paul's going to bring this ladder in. | 0:09:48 | 0:09:50 | |
All right, this is going to be left open like that | 0:09:50 | 0:09:55 | |
-and inside, there is a sponge that's got lots of stage blood. -Uh-huh. -Ready. | 0:09:55 | 0:10:00 | |
It was down to him to use the blood-soaked sponge | 0:10:00 | 0:10:03 | |
and cause a mighty racket at exactly the right moment. | 0:10:03 | 0:10:07 | |
-Thanks very much. -So what I want you to... | 0:10:07 | 0:10:09 | |
Argh, BLEEP, argh! | 0:10:11 | 0:10:13 | |
-Argh. -You all right? Hello? Oh, my... | 0:10:13 | 0:10:16 | |
Come here. | 0:10:16 | 0:10:18 | |
There was no doubt there'd been a catastrophe. | 0:10:18 | 0:10:22 | |
Guys, do watch your step on the way out because there's a bit of blood on the floor. | 0:10:22 | 0:10:26 | |
That idiotic builder! | 0:10:26 | 0:10:30 | |
What I'm going to have to do is I'm going to ask you guys to come back and see the producer | 0:10:30 | 0:10:35 | |
because you're all good for this commercial and if he decides you get the job, | 0:10:35 | 0:10:40 | |
you've got it and we'll have to let you know by today because it shoots very quickly. | 0:10:40 | 0:10:44 | |
Alex arranges for the remaining auditionees to come back later and meet the commercial's producer. | 0:10:44 | 0:10:50 | |
Somebody in this room will get very lucky later on today, but it won't be any of the marks. | 0:10:50 | 0:10:57 | |
I'm extremely happy with what I've seen. | 0:10:59 | 0:11:02 | |
It's up to you if you want to take it. | 0:11:02 | 0:11:05 | |
When hustlers go out, they don't bring money. | 0:11:17 | 0:11:20 | |
-They go armed with prop bets. -Right. | 0:11:20 | 0:11:22 | |
But a prop bet only has one rule... | 0:11:22 | 0:11:26 | |
-Do you give up? -..And that's that the hustler always wins. -Oh! | 0:11:26 | 0:11:30 | |
-Ah! -Drinks, please. | 0:11:30 | 0:11:32 | |
Oh, no. | 0:11:32 | 0:11:33 | |
We need six of these. | 0:11:34 | 0:11:36 | |
One, two, three, four, five, six, yeah? | 0:11:37 | 0:11:39 | |
One, two, three, four, five, six. | 0:11:39 | 0:11:41 | |
Plus five... | 0:11:41 | 0:11:43 | |
We can get rid of these. | 0:11:46 | 0:11:49 | |
So there's six here, plus five. | 0:11:49 | 0:11:51 | |
You've got to make nine and use all the matches. | 0:11:51 | 0:11:54 | |
-Six plus five is? -11. | 0:11:55 | 0:11:58 | |
The benefits of education! | 0:11:58 | 0:12:00 | |
Yeah, you were like... | 0:12:00 | 0:12:01 | |
I ran out of fingers. | 0:12:01 | 0:12:03 | |
So to get out of buying Paul a drink, | 0:12:03 | 0:12:06 | |
his new friends have to add five matches to six and make nine. | 0:12:06 | 0:12:11 | |
Something doesn't add up. | 0:12:11 | 0:12:14 | |
-Make nine? -Make nine? -Yeah. | 0:12:14 | 0:12:16 | |
-I know. -You know this one? Oh, wait. -No, I don't! | 0:12:20 | 0:12:23 | |
Can we put them on top of each other like this? | 0:12:23 | 0:12:27 | |
There'll still be two there, though. Are you going to make the number nine? | 0:12:27 | 0:12:31 | |
-Yes. -A guy did that this morning. There are no numbers in this. | 0:12:31 | 0:12:35 | |
-Oh. All right. No. -We could just take some away. | 0:12:35 | 0:12:38 | |
But they've all got to be in place. | 0:12:38 | 0:12:40 | |
See, I made the rules so I just... | 0:12:40 | 0:12:43 | |
I haven't got a clue. | 0:12:43 | 0:12:45 | |
It's a toughie. | 0:12:45 | 0:12:48 | |
-All right, shall I show you? -Yes. Yes. | 0:12:48 | 0:12:50 | |
Remember what I said, you've got six matches - | 0:12:50 | 0:12:52 | |
one, two, three, four, five, six... | 0:12:52 | 0:12:56 | |
and you've got five more. | 0:12:56 | 0:12:58 | |
-Yeah. -And you're not allowed to make a number nine. | 0:12:58 | 0:13:00 | |
-It was a good guess, though. -Trying to be a bit clever, yes. | 0:13:02 | 0:13:06 | |
I didn't say anything about letters. | 0:13:06 | 0:13:07 | |
-Ah! -Ah! | 0:13:09 | 0:13:11 | |
All right, and I think you'll find that spells... | 0:13:13 | 0:13:17 | |
-Very good, very good. -Very good. | 0:13:17 | 0:13:19 | |
-How's that? That definitely makes nine. -Very clever. | 0:13:19 | 0:13:22 | |
Once you know how, it's easy. | 0:13:22 | 0:13:25 | |
Paul just spells out the word "nine" using all 11 matches in the process. | 0:13:25 | 0:13:30 | |
Now, we did say that was for a bottle. | 0:13:30 | 0:13:32 | |
I'll have to run out to the cashpoint. Yes. | 0:13:32 | 0:13:34 | |
Why don't you give me the card and the PIN number, I'll go? | 0:13:34 | 0:13:38 | |
Another day, another suburban neighbourhood that's getting a little visit from the hustlers, | 0:13:50 | 0:13:56 | |
but the residents should be on their guard, because they're about to become the target of... | 0:13:56 | 0:14:02 | |
The Telecoms Con. | 0:14:02 | 0:14:04 | |
DOORBELLS RING | 0:14:10 | 0:14:12 | |
Hello there, Mr Khan? | 0:14:12 | 0:14:14 | |
Good afternoon. We're from the Fraud Protection Office. | 0:14:14 | 0:14:17 | |
We're from the Fraud Protection Office. | 0:14:17 | 0:14:19 | |
They certainly know a thing or two about fraud. | 0:14:19 | 0:14:22 | |
-Nothing to be alarmed about, I'm here with my colleague. -Hiya. | 0:14:22 | 0:14:26 | |
One of the major stores around here has been compromised, their systems have been compromised. | 0:14:26 | 0:14:31 | |
People have been collecting credit card information. | 0:14:31 | 0:14:34 | |
-Do you use your credit card in one of the local stores? -Yeah, I do. | 0:14:34 | 0:14:38 | |
They've found that a great number of credit cards have been found on a terminal that an employees has. | 0:14:38 | 0:14:43 | |
It sounds like there's been a spate of credit card fraud in the area, and apparently, | 0:14:43 | 0:14:47 | |
these residents have their names on a list of possible victims. | 0:14:47 | 0:14:52 | |
They've given us your name and a lot of your neighbours as well. | 0:14:52 | 0:14:55 | |
So all they want you to do is to make sure that they're not on the register that they've collected. | 0:14:55 | 0:15:00 | |
What we're trying to prevent is people's details coming out and being on sale on the internet. | 0:15:00 | 0:15:05 | |
The marks are obviously concerned about criminals running up debt in their name. | 0:15:05 | 0:15:09 | |
If you could give them a quick call... | 0:15:09 | 0:15:11 | |
The hustlers advise them to make a phone call and check their card details are secure. | 0:15:11 | 0:15:15 | |
Would you be able to give them a call as soon as possible? | 0:15:15 | 0:15:18 | |
The longer you leave it, the more your credit card is at risk. | 0:15:18 | 0:15:23 | |
Don't worry about charges. So long as you register, you won't be liable for anything | 0:15:23 | 0:15:28 | |
but it's important you register. | 0:15:28 | 0:15:29 | |
They'll let you know whether you're in any risk. | 0:15:29 | 0:15:32 | |
Thank you, have a good evening. | 0:15:32 | 0:15:34 | |
The residents are all grateful for the tip-off. So where's the catch? | 0:15:34 | 0:15:38 | |
Why are the hustlers handing out all this helpful advice? | 0:15:38 | 0:15:41 | |
When they told them to make the phone call, | 0:15:43 | 0:15:45 | |
they helpfully gave them a number of a credit card task force | 0:15:45 | 0:15:49 | |
set up to handle this spate of fraud. | 0:15:49 | 0:15:52 | |
What we'd like you to do is just call the number. | 0:15:52 | 0:15:55 | |
But that number is a direct line to losing all their money... | 0:15:55 | 0:15:58 | |
because it goes straight through to Jess. | 0:15:58 | 0:16:01 | |
She's been in the Hustle van the whole time, waiting for her phone to start ringing. | 0:16:01 | 0:16:07 | |
She's even brought along call centre sound effects to add that final touch of authenticity. | 0:16:08 | 0:16:14 | |
BACKGROUND CHATTER | 0:16:14 | 0:16:16 | |
It's not long before the worried marks hit the phones, | 0:16:16 | 0:16:19 | |
wanting to check their cards and put their minds at rest. | 0:16:19 | 0:16:22 | |
Hello, credit card hotline. | 0:16:22 | 0:16:24 | |
'Hi, good evening.' | 0:16:24 | 0:16:26 | |
The callers have no idea that they're speaking to one of the hustlers | 0:16:26 | 0:16:30 | |
sitting in a van at the end of their road. | 0:16:30 | 0:16:32 | |
It's several cards. | 0:16:32 | 0:16:34 | |
Several cards. I can run a check on all of those for you. | 0:16:34 | 0:16:37 | |
Jess is happy to check as many cards as this caller can lay her hands on. | 0:16:37 | 0:16:41 | |
Can I just please take your full name and date of birth? | 0:16:41 | 0:16:44 | |
OK, can I just take the long digit number of the first card, the one on the front? | 0:16:44 | 0:16:49 | |
-Lovely. -'And expiry date is...' | 0:16:50 | 0:16:54 | |
Finally, can I have the three digit security number on the back of your card, please? | 0:16:54 | 0:16:57 | |
'Yes, it's...' | 0:16:57 | 0:16:58 | |
It's as easy as that. | 0:16:58 | 0:16:59 | |
What started out as a safety tip from two protection officers | 0:16:59 | 0:17:03 | |
has turned into a seriously bad day for these marks. | 0:17:03 | 0:17:07 | |
We told them they'd just given their credit card details to hustlers. | 0:17:07 | 0:17:12 | |
They got all my details. | 0:17:12 | 0:17:14 | |
Two card details I gave to them because I trusted them. | 0:17:14 | 0:17:17 | |
I actually thought... | 0:17:17 | 0:17:19 | |
Oh, my God, I trusted them! | 0:17:19 | 0:17:22 | |
I looked at their badges first so then I went in | 0:17:22 | 0:17:25 | |
and I called quickly because it was going to close, | 0:17:25 | 0:17:28 | |
and I went through four of my cards. | 0:17:28 | 0:17:30 | |
I feel so stupid. Oh, my God. | 0:17:30 | 0:17:32 | |
I usually wouldn't... Oh, my God! | 0:17:32 | 0:17:35 | |
The hustlers got hold of this sensitive information by setting up a fake credit card hotline, | 0:17:35 | 0:17:41 | |
but they were actually trying to demonstrate a massive security risk. | 0:17:41 | 0:17:45 | |
Criminals can listen to certain phone calls, even if you're calling your own bank. | 0:17:45 | 0:17:51 | |
Now, the way we've done this scam is we've obviously conned someone into calling us | 0:17:51 | 0:17:56 | |
so that we can get their details, but there's a way of monitoring calls without people's knowledge | 0:17:56 | 0:18:01 | |
and completely from the outside and it uses digital cordless phones, the type all of us use in this country. | 0:18:01 | 0:18:07 | |
It works like this, you have a PC with a special card | 0:18:07 | 0:18:10 | |
that's been designed to monitor the air looking for conversations between this type of technology. | 0:18:10 | 0:18:16 | |
Now when it spots it, it adds it to the list, | 0:18:16 | 0:18:18 | |
we've got quite a lot here. In fact, we've got hundreds. | 0:18:18 | 0:18:21 | |
We can't listen in to these conversations because it's so illegal we would be breaking the law | 0:18:21 | 0:18:26 | |
and we'd be liable to arrest. If we were willing to listen to them, | 0:18:26 | 0:18:29 | |
what we'd do is simply save it as a wave file, a sound file on the disc, and listen to it later. | 0:18:29 | 0:18:35 | |
What we could also do is set the computer to actually monitor certain numbers. | 0:18:35 | 0:18:39 | |
Once we've got the ID code for the base station, we can simply monitor | 0:18:39 | 0:18:43 | |
every call that they make, whether it's to the bank or a private call between two people. | 0:18:43 | 0:18:47 | |
If you do have to make a phone call to your bank, | 0:18:47 | 0:18:49 | |
or any other organisation that requires you to pass on sensitive information, | 0:18:49 | 0:18:53 | |
then try and avoid using a digital cordless phone. | 0:18:53 | 0:18:56 | |
Use a phone that's plugged directly into a wall socket. | 0:18:56 | 0:19:00 | |
That way, you and your money can stay safe. | 0:19:00 | 0:19:03 | |
Earlier today, singer Jonathan Ansell helped the hustlers | 0:19:12 | 0:19:16 | |
persuade some marks to come to an audition. | 0:19:16 | 0:19:18 | |
They gave it their all, performing for director Alex, | 0:19:20 | 0:19:23 | |
but Jonathan was ultimately chosen for the high-paying role. | 0:19:23 | 0:19:26 | |
-Argh! -Until an unfortunate accident involving a ladder | 0:19:28 | 0:19:32 | |
put an end to his acting career | 0:19:32 | 0:19:34 | |
and meant all the marks were back in the running for this dream job, in The Audition Part II. | 0:19:34 | 0:19:41 | |
It's a couple of hours later and the remaining hopefuls are back for the recall auditions. | 0:19:41 | 0:19:46 | |
First up is Ben, who gets his chance to meet the big boss, producer Paul. | 0:19:48 | 0:19:54 | |
Hiya Ben, thanks for coming back. | 0:19:54 | 0:19:56 | |
This is Rob. Ben, Rob, Rob, Ben. | 0:19:56 | 0:19:58 | |
How are you? Nice to meet you. | 0:19:58 | 0:20:00 | |
Can you just stand on the X-spot? | 0:20:00 | 0:20:03 | |
So I don't know how much you know about what's happened with us. We had somebody perfect earlier | 0:20:03 | 0:20:08 | |
and there was an accident... | 0:20:08 | 0:20:11 | |
He's had about seven stitches but he's fine. | 0:20:11 | 0:20:14 | |
That idiot of a builder that we had left there... | 0:20:14 | 0:20:17 | |
Yes. We're very keen to see what you can do. Why don't you let Ian walk you through the scene? | 0:20:17 | 0:20:22 | |
You know, try not to be conscious of the camera, give it your best. | 0:20:22 | 0:20:26 | |
Alex talks Ben through the storyboard for the commercial. | 0:20:26 | 0:20:29 | |
It's for Yum Gums, the world's first edible toothpaste. | 0:20:29 | 0:20:34 | |
OK, so put the pillow back on the chair and we'll do it from the top. | 0:20:34 | 0:20:37 | |
Time for Ben to show just what he's made of. | 0:20:37 | 0:20:40 | |
And ring ring, ring ring. | 0:20:41 | 0:20:45 | |
Bit of yawning, bit of stretching. | 0:20:45 | 0:20:47 | |
Good. You're a bachelor, you don't care. Yes, that's it. | 0:20:47 | 0:20:52 | |
Go to the kitchen first. | 0:20:52 | 0:20:54 | |
-Perfect. -God, I've really got to eat but I've got to go brush my teeth now and get ready for work. | 0:20:59 | 0:21:04 | |
And go to the mirror. There's the realisation that, | 0:21:08 | 0:21:11 | |
"Hang on a minute, I can just eat that." | 0:21:11 | 0:21:14 | |
-That's perfect. -Very good. -Yes, go on, finish off the tube, you like it so much. Brilliant. | 0:21:18 | 0:21:22 | |
And now the walk, give us the walk to camera. | 0:21:22 | 0:21:27 | |
Yes! | 0:21:27 | 0:21:29 | |
Brilliant. Brilliant, that's very good. | 0:21:29 | 0:21:32 | |
-Very good. -There's no doubt in Paul's mind... | 0:21:32 | 0:21:34 | |
this is the acting talent he's looking for. | 0:21:34 | 0:21:38 | |
We're looking for someone to come out for one week to two weeks in January. | 0:21:38 | 0:21:42 | |
The whole thing would be done in LA. | 0:21:42 | 0:21:44 | |
We would pay you an engagement fee, just to engage your services, of around £2,000. | 0:21:44 | 0:21:50 | |
We'd then pay you, the fee is 50,000 less the £2,000. | 0:21:50 | 0:21:55 | |
There are also residual fees on the back end as the commercial is used round the world, | 0:21:55 | 0:21:59 | |
so you could be looking at making a fair-sized amount of money. | 0:21:59 | 0:22:03 | |
Paul is offering him a once in a lifetime job that'll earn him a minimum of 50,000. | 0:22:03 | 0:22:10 | |
Now to just sort out the formalities. | 0:22:10 | 0:22:12 | |
When does your US visa expire? | 0:22:12 | 0:22:15 | |
Do you have a US visa? | 0:22:19 | 0:22:20 | |
Have you ever worked in the US? | 0:22:22 | 0:22:23 | |
And there's the catch. | 0:22:23 | 0:22:26 | |
In order to film the commercial in LA, the mark needs a US work visa. | 0:22:26 | 0:22:31 | |
For the second time today, that dream job could be snatched out of his hands. | 0:22:31 | 0:22:35 | |
I'm probably going to need to speak to Johnny. | 0:22:35 | 0:22:37 | |
Yes, I can get him on, he's in the office in LA, isn't he? | 0:22:37 | 0:22:41 | |
They call up their British lawyer in LA. | 0:22:41 | 0:22:43 | |
Maybe there's some way round this deal breaker of a problem. | 0:22:43 | 0:22:48 | |
-Our company has... -Johnny. -'Hello?' -Can I see up here please? | 0:22:48 | 0:22:51 | |
Yes, yes, yes. | 0:22:51 | 0:22:53 | |
-There you go. -Yes, how are you? | 0:22:55 | 0:22:58 | |
I'm good. You? | 0:22:58 | 0:23:00 | |
-Good. -But that's no lawyer and he's not in LA. | 0:23:00 | 0:23:03 | |
It's Jonathan, ready to play his final and most important role in this scam. | 0:23:03 | 0:23:08 | |
If he gets recognised as a fellow auditionee, the scam is over. | 0:23:08 | 0:23:14 | |
As you know, we'd a bit of a disaster, we've got that kid who hurt himself... | 0:23:14 | 0:23:17 | |
Ah, yes. | 0:23:17 | 0:23:19 | |
We have another candidate who has the look that they're looking for | 0:23:19 | 0:23:23 | |
but we just found out he doesn't have a US visa. | 0:23:23 | 0:23:25 | |
How do we get the visa in time for this shoot in January? | 0:23:25 | 0:23:29 | |
Well, there are forms to be filled out. | 0:23:29 | 0:23:31 | |
We need to ensure he has a valid passport | 0:23:31 | 0:23:33 | |
and then there are fees involved, I think £500 for the visa itself and all of the documentation. | 0:23:33 | 0:23:40 | |
So the mark could still get his dream gig if an emergency visa can be sorted out straight away. | 0:23:40 | 0:23:46 | |
I don't want Ben to be out of pocket. | 0:23:46 | 0:23:50 | |
Can we cover those fees for him? | 0:23:50 | 0:23:52 | |
Of course. The only issue is we need to have the money wired from his account | 0:23:52 | 0:23:56 | |
to make it a valid application, | 0:23:56 | 0:23:57 | |
otherwise there's all sorts of issues with fraudulency, | 0:23:57 | 0:24:01 | |
but we'll pay him directly back for all of the admin costs. | 0:24:01 | 0:24:05 | |
The bad news is he has to cough up £500 of the processing fee, | 0:24:05 | 0:24:09 | |
but the good news is that he'll get that money straight back, in addition to a £2,000 advance. | 0:24:09 | 0:24:17 | |
OK, so if I give Ben the forms, he takes them home | 0:24:17 | 0:24:21 | |
and then I send a courier round tomorrow morning, will that do? | 0:24:21 | 0:24:25 | |
As long as we have the money in movement for transfer straight away. | 0:24:25 | 0:24:28 | |
Ben, are you serious about this? | 0:24:28 | 0:24:30 | |
How would you pay? | 0:24:32 | 0:24:33 | |
All right, let's do that. | 0:24:36 | 0:24:37 | |
Producer Paul gives him and his mate as long as they need to get the money together. | 0:24:37 | 0:24:42 | |
To put the pressure on further, | 0:24:44 | 0:24:46 | |
Paul has a cheque for two and a half thousand pounds. | 0:24:46 | 0:24:48 | |
All he needs now is that cash in return. | 0:24:48 | 0:24:53 | |
-How can he refuse? -So, you know, I'm making the offer to you now... | 0:24:53 | 0:24:57 | |
It's up to you if you want to take it. | 0:24:57 | 0:25:00 | |
This is, when you write your biography, this is the story so... | 0:25:04 | 0:25:08 | |
The mark wants the job. | 0:25:08 | 0:25:12 | |
He gives Alex £500 and receives the visa forms and a cheque for two and a half grand. | 0:25:12 | 0:25:19 | |
Right, if I could ask you guys, on your way out, | 0:25:19 | 0:25:22 | |
don't mention anything about getting the part, because I need to audition them anyway, just as a courtesy. | 0:25:22 | 0:25:27 | |
-Yes, they've been waiting. -They've been waiting. Great. -Ben, a real pleasure. | 0:25:27 | 0:25:31 | |
No wonder the hustlers asked him to be discrete, | 0:25:31 | 0:25:34 | |
because they pulled the exact same scam on others left in the waiting room. | 0:25:34 | 0:25:39 | |
-I'm extremely happy with what I've seen. -Rob... | 0:25:39 | 0:25:42 | |
They all did their best in the audition and amazingly, all got offered the job. | 0:25:42 | 0:25:47 | |
-Yes, brilliant, good. -Perfect. | 0:25:47 | 0:25:49 | |
-Can you hear me, Jonathan? -Yes. | 0:25:49 | 0:25:52 | |
For some marks, it was all moving too fast and they didn't go for it. | 0:25:52 | 0:25:57 | |
I'm sorry you've made the wrong choice. | 0:25:57 | 0:25:59 | |
It was very nice to meet you. | 0:25:59 | 0:26:01 | |
But some of the others were happy to hand over the considerable visa fee. | 0:26:01 | 0:26:05 | |
Great, OK. | 0:26:05 | 0:26:07 | |
In return for a fake cheque and a promise of fame and fortune. | 0:26:07 | 0:26:11 | |
Really nice to meet you. I'm so happy we found you today. | 0:26:11 | 0:26:13 | |
A guy came up to us, invited us for a casting here today and I got the part. | 0:26:14 | 0:26:21 | |
I'd to hand over a £500 fee. | 0:26:21 | 0:26:23 | |
That's for the passport documentation and give me a cheque to say, | 0:26:23 | 0:26:28 | |
like, to give me my money back and obviously the £2,000 in advance. | 0:26:28 | 0:26:32 | |
For the visa, it was £500 and I gave them my card details to take that off. | 0:26:32 | 0:26:37 | |
But they did all get a cheque. | 0:26:37 | 0:26:39 | |
-Look there. -All the documentation's there. | 0:26:39 | 0:26:41 | |
Let me see it. | 0:26:41 | 0:26:44 | |
Does it look fake? | 0:26:44 | 0:26:46 | |
No, he's got his... Oh, my God! That's... | 0:26:46 | 0:26:49 | |
It does look a bit funny though. | 0:26:49 | 0:26:51 | |
It was 500 quid cash so to anyone else it might be little | 0:26:51 | 0:26:55 | |
but to us it's a lot of money sort of thing, | 0:26:55 | 0:26:57 | |
so losing that, it's just a big kick in the teeth, isn't it? | 0:26:57 | 0:26:59 | |
So how did Jonathan feel about shattering people's dreams? | 0:26:59 | 0:27:03 | |
It was a real weird thing. When the money was handed over by | 0:27:03 | 0:27:06 | |
the two guys and he literally handed over £500 cash and you're sat there knowing that this is a complete lie. | 0:27:06 | 0:27:13 | |
You could have hundreds of people coming through in a few days and do the same con on them | 0:27:13 | 0:27:17 | |
and yes, shocking that that could actually happen to people and that they believed it. | 0:27:17 | 0:27:21 | |
This is a very common scam that preys on actors, musicians or models. | 0:27:24 | 0:27:28 | |
You're asked to go to a free audition and then told that | 0:27:28 | 0:27:31 | |
you're in the running for a huge commercial or a modelling contract and then comes a request for money, | 0:27:31 | 0:27:37 | |
whether it's agency fees or modelling portfolio costs, or in this case a foreign work visa. | 0:27:37 | 0:27:43 | |
A genuine casting agency may well approach an individual in the street if they've got the right look. | 0:27:45 | 0:27:50 | |
But the difference in the process will be that they will never ask for money. | 0:27:50 | 0:27:54 | |
If somebody asks you for money in those circumstances just walk away, phone the police - it's a con. | 0:27:54 | 0:28:01 | |
Subtitles by Red Bee Media Ltd | 0:28:20 | 0:28:23 | |
E-mail [email protected] | 0:28:23 | 0:28:26 |