WEBVTT - Episode 3: Cat and Mouse

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<v Speaker 1>A quick warning. This story contains adult themes, including reference

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<v Speaker 1>to sexual and child abuse and strong language. April nineteen

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<v Speaker 1>ninety eight, the backyard of a small isolated cottage in

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<v Speaker 1>the depths of the English countryside, there's a fire raging

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<v Speaker 1>in an old metal bin. A young man is throwing

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<v Speaker 1>bundles of documents onto the flames, watching them catch a

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<v Speaker 1>light burn and turn to ash.

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<v Speaker 2>I stood there, just feeding paper, keeping the fire burning,

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<v Speaker 2>making sure everything was insinerated.

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<v Speaker 1>Every now and again, he looks around, his eyes darting

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<v Speaker 1>this way and that to check his not being watched.

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<v Speaker 3>On the ground around him are.

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<v Speaker 1>Piles and piles of paper, contracts, invoices, bank statements. He's

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<v Speaker 1>acting under orders.

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<v Speaker 2>I was told to take all the paperwork in the office,

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<v Speaker 2>burn it in the ard.

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<v Speaker 3>Why did they want them burned?

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<v Speaker 2>And not to leave any evidence for the police to find?

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<v Speaker 3>Were you aware that that was what it was?

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<v Speaker 2>Ah? Yes?

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<v Speaker 1>And he needs to do it fast because time's running out.

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<v Speaker 1>He needs to escape. He's always known it might end

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<v Speaker 1>like this, And as he brushes away the sweat on

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<v Speaker 1>his forehead, he feels a little sad, but he has

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<v Speaker 1>no regrets, no regrets at all from usg Audio Blanchard

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<v Speaker 1>House and exactly right Media, this is royal swindle. I'm

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<v Speaker 1>Becky Milligan, Episode three, Cat and Mouse, two months earlier.

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<v Speaker 1>We're back at Sopwell House Hotel where the fire alarm

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<v Speaker 1>is going on, and as unlikely as it sounds, this

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<v Speaker 1>will prove a crucial turning point in the story of

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<v Speaker 1>Lilah Andre and Evelyn Burton. As Evelyn admitted on one

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<v Speaker 1>of those cassettes she recorded for her never completed memoir.

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<v Speaker 4>This is what eventually led to the whole thing coming undone.

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<v Speaker 1>Now, hotel manager Jeff Ward knew from the moment they

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<v Speaker 1>checked in that these weren't just any old guests.

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<v Speaker 4>This brand new portion nine to eleven and a beautiful

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<v Speaker 4>rolls Royce parked at the front door, facing the entrance,

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<v Speaker 4>and I thought, wow, they've done really well. I wonder

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<v Speaker 4>who they are.

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<v Speaker 1>So he asked one of his receptionists.

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<v Speaker 4>Who owns those vehicles? I'm curious.

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<v Speaker 3>What did they say?

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<v Speaker 4>Oh that's Evelyn Burton. Okay, she has two rooms. Okay,

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<v Speaker 4>tell me more. Booked him for two nights.

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<v Speaker 1>But two nights turned to three nights, turned to four nights.

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<v Speaker 1>Now Jeff has one very strict policy. This policy applies

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<v Speaker 1>to all guests, no exceptions, doesn't matter who you are

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<v Speaker 1>or how rich you are. It's one rule for everyone.

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<v Speaker 1>When the bill goes over a certain figure, they must

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<v Speaker 1>settle the account immediately. But of course Evelyn and Lilah

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<v Speaker 1>didn't settle the bill immediately, and four nights turned to

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<v Speaker 1>five nights.

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<v Speaker 4>And I just said to the deputy manager, we need

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<v Speaker 4>to get that money, we need to get payment. Let's

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<v Speaker 4>sort it out.

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<v Speaker 1>Jeff told the staff to keep chasing Evelyn to pay up,

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<v Speaker 1>but as usual, Evelyn fobbed them off.

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<v Speaker 4>Oh yes, I'll be back shortly. I sorted out when

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<v Speaker 4>I get back.

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<v Speaker 5>So they tried Lilah and they said, do you realize

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<v Speaker 5>that everyone hasn't been paying the bill?

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<v Speaker 1>Lilah played dumb. You're asking the wrong person, she said.

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<v Speaker 5>Because I don't know anything about the money. I don't

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<v Speaker 5>know anything about the bills. And they said, well, can

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<v Speaker 5>you talk to Evylin about it? And I said, I'll

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<v Speaker 5>talk to her, absolutely, but I can't tell her what

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<v Speaker 5>to do. It's her money.

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<v Speaker 1>Evelyn was stalling. Meanwhile, five nights turned to ten nights,

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<v Speaker 1>and well, you get the idea, and it's not just

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<v Speaker 1>the accommodation we're talking about here. It was the fancy dinners,

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<v Speaker 1>the fine wines, not to mention all that room service. Jeff,

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<v Speaker 1>I think it's fair to say got pretty hacked off.

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<v Speaker 3>He had a word with his deputy, so.

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<v Speaker 4>Where are we at with this account? Have they paid up?

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<v Speaker 4>And he said to me, it's over ten grand Jeff,

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<v Speaker 4>And he put his head in his hands.

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<v Speaker 1>And that's when Jeff hatches his plan, the plan which

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<v Speaker 1>he thinks will call Evelyn and Lilah's bluff. Jeff thinks

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<v Speaker 1>to himself, no more missed the nice guy.

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<v Speaker 4>I knew what I was going to do, and I

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<v Speaker 4>knew that I was only going to win the way

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<v Speaker 4>I saw it.

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<v Speaker 1>He calls an emergency staff meeting and outlines his plan

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<v Speaker 1>of attack. He rallies his whole team. They all have

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<v Speaker 1>a role to play. The staff field galvanized and the

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<v Speaker 1>adrenaline starts pumping.

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<v Speaker 4>They were really excited because we're going to get these buggers.

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<v Speaker 4>They're not going to get away with this.

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<v Speaker 1>And at the appointed hour, the plan is activated. As

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<v Speaker 1>soon as the alarm goes off, Jeff takes a very

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<v Speaker 1>important precautionary step.

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<v Speaker 4>I give the front office manager the task of clamping

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<v Speaker 4>the two vehicles.

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<v Speaker 1>He means Evelyn's rolls, Royce and Porsche. And Jeff makes

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<v Speaker 1>it clear that time is of the essence.

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<v Speaker 4>I want it done very, very quickly.

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<v Speaker 1>At the same time, senior staff was strategically positioned on

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<v Speaker 1>each floor. They instruct all the guests to take the

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<v Speaker 1>stairs and leave all their belongings in their rooms. Now

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<v Speaker 1>here's a detail that is crucial to Jeff's plan. Under

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<v Speaker 1>English law, if you don't pay your hotel bill, all

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<v Speaker 1>the possessions you've left in your hotel room can be seized.

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<v Speaker 3>Everything.

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<v Speaker 1>Jeff has assigned the most important task to the deputy manager.

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<v Speaker 4>He is specifically outside the Burton rooms, the two rooms

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<v Speaker 4>with a master key to double lock the doors, double

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<v Speaker 4>lock the doors so they can't get back in.

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<v Speaker 3>All coming together.

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<v Speaker 4>In a beautiful way, Becky, in a beautiful way.

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<v Speaker 1>Assembled on the front lawn, scores of hotel guests, many

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<v Speaker 1>of them in pajamas or fluffy white bathrobes, all looking

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<v Speaker 1>for signs of a fire.

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<v Speaker 3>Among them are.

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<v Speaker 1>Duo Evelyn and Lilah. Just like everyone else, they've left

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<v Speaker 1>all their possessions in their rooms as instructed. Now, the

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<v Speaker 1>next part of Jeff's plan swings into action. He tells

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<v Speaker 1>all the guests.

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<v Speaker 4>It's a false alarm, blah blah blah, and we start

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<v Speaker 4>inviting people back into.

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<v Speaker 1>The hotel, including Evelyn and Lilah. Jeff positions himself at

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<v Speaker 1>the bottom of the staircase, knowing full well what's going

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<v Speaker 1>to happen. When Evelyn and Lilah return to their suite.

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<v Speaker 4>Guess what they couldn't get in? They come downstairs, missus Burton,

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<v Speaker 4>please come with me. Let's go and have a little

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<v Speaker 4>coffee in the lund, shall we.

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<v Speaker 1>Evelyn is irritated, Come on, what's the problem, she asks,

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<v Speaker 1>and Jeff doesn't beat around the bush.

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<v Speaker 4>I said, I've clamped the cars. You're not going back

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<v Speaker 4>into the room. You owe me ten pounds and I

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<v Speaker 4>need paying now.

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<v Speaker 1>Jeff's got Evelyn and Lilah cornered far more than he knows.

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<v Speaker 1>In fact, for the first time in a long time,

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<v Speaker 1>Evelyn is spooked, very spooked. She knows that nobody must

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<v Speaker 1>enter that room because there's something in there, something that

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<v Speaker 1>nobody must see under any circumstances. Evelyn pleads with Jeff, leave.

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<v Speaker 3>It with me.

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<v Speaker 1>I'll get your money, but no amount of Evelyn's charm

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<v Speaker 1>can budge him, and then he does something that no

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<v Speaker 1>other hotel manager has done so far, something that horrifies

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<v Speaker 1>Evelyn and Lilah. He calls the cops. It's at that

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<v Speaker 1>point Evelyn has a realization she's lost control of the situation.

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<v Speaker 3>Think, she says to herself.

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<v Speaker 5>Think. Think.

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<v Speaker 1>She knows she has to stay clear headed. It's fight

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<v Speaker 1>or flight, and she knows she has only one option.

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<v Speaker 3>Flight.

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<v Speaker 1>They have to get out of there before the police

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<v Speaker 1>turn up. Evelyn makes a call, and a few minutes later,

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<v Speaker 1>the two women hurl themselves into the back of their

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<v Speaker 1>getaway car. They're out of there, leaving everything behind. When

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<v Speaker 1>the local police officer turns up at the hotel, staff

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<v Speaker 1>take him to the women's suite. As far as he's concerned,

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<v Speaker 1>this is simply a couple of guests who've done a runner.

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<v Speaker 1>He takes a cursory glance around the room, nothing to see.

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<v Speaker 1>He's about to leave when something catches his eye, a

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<v Speaker 1>tan leather briefcase propped up against the desk, just out

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<v Speaker 1>of interest. He flicks it open. It's stuffed full with paperwork,

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<v Speaker 1>but not just any old paperwork, contracts for millions of

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<v Speaker 1>dollars now to a regular cop. That might not seem interesting,

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<v Speaker 1>but it just so happens. He isn't just any old cop.

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<v Speaker 1>Turns out, this officer has just been time on the

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<v Speaker 1>fraud squad, so he can sense when something smells off,

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<v Speaker 1>and that's exactly what he senses here.

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<v Speaker 3>So he takes the.

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<v Speaker 1>Briefcase with him and later that day he'll drop it

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<v Speaker 1>into the local fraud team to see what they make

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<v Speaker 1>of it. It might be nothing, he'll say, but it

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<v Speaker 1>isn't nothing.

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<v Speaker 3>Far from it.

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<v Speaker 2>Now.

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<v Speaker 1>Our to ozzies, currently in their getaway car speeding north,

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<v Speaker 1>don't yet know about that local cop, but they already

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<v Speaker 1>have a very bad feeling. They're exposed, or, as Lilah

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<v Speaker 1>puts it.

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<v Speaker 5>As in ill and we are fact.

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<v Speaker 1>One week later, Lilah and Evelyn are safe for now.

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<v Speaker 1>They've decamped to a perfect English cottage in the village

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<v Speaker 1>of Snailwell in the middle the countryside, and with them

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<v Speaker 1>is a young man called Lars, Evelyn and Lilah's Swedish butler.

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<v Speaker 1>I say butler, but he's actually much more than that.

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<v Speaker 1>Lars has been working for Evelyn and Lilah for nearly

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<v Speaker 1>a year. He adores them, and the feeling is mutual.

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<v Speaker 1>They trust him with their lives with good reason as it.

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<v Speaker 5>Lars, would you jump in front of somebody if they

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<v Speaker 5>are going to shoot me?

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<v Speaker 1>Of course, ma'am, Because for twenty three year old Lars,

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<v Speaker 1>this is more than just a job. It's a childhood

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<v Speaker 1>dream come true.

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<v Speaker 2>I had this romantic notion of becoming a butler as

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<v Speaker 2>a kid.

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<v Speaker 1>He loved stories which featured butler's butler's like Jeeves in

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<v Speaker 1>the books of P. G. Woodhouse and Bunter in the

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<v Speaker 1>novels by Dorothy L.

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<v Speaker 3>Sayers. And Lars thought, that's the life for.

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<v Speaker 2>Me, touring the continent in rolls, royces and bentless and

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<v Speaker 2>having all sorts of adventures. So I thought, why not.

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<v Speaker 1>He's certainly having adventures with Evelyn and Lilah. He's very

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<v Speaker 1>quickly worked out the couple's dynamic.

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<v Speaker 2>Evelyn was the one with the pants.

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<v Speaker 1>On, but Lilah's the one with the presence an aura.

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<v Speaker 2>She could have persuaded anyone to do anything. She would

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<v Speaker 2>be able to sway anyone just by being herself. Sweeping

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<v Speaker 2>into a room full of people, she would be the center,

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<v Speaker 2>the shining light, and always over the top the pizzazz.

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<v Speaker 2>Thank you, very good word passas.

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<v Speaker 1>It's not long before Lars realizes Evelyn is not an

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<v Speaker 1>international banker, that she's not investing any of that money

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<v Speaker 1>from her investors, She's just spending it all. In short,

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<v Speaker 1>he understands he's working for a very likable swindler. Now

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<v Speaker 1>Lars could have done the dirty and duped them into

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<v Speaker 1>the police, but no, as far as he's concerned, his

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<v Speaker 1>job is suddenly.

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<v Speaker 2>More interesting, more adventurous and more fun.

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<v Speaker 3>So you were willing to go down this road with them?

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<v Speaker 5>Oh?

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<v Speaker 1>Yes, and Lars stays totally loyal.

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<v Speaker 2>I always kept my mouth shut in front of others

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<v Speaker 2>and not giving anything away.

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<v Speaker 1>But more than that, Lars actually gets involved working closely

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<v Speaker 1>with Evelyn.

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<v Speaker 5>He took over the contracts, wrote the letters, did her

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<v Speaker 5>engagements for her.

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<v Speaker 1>He sits in on some of the high level business meetings,

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<v Speaker 1>the ones where the swindling is actually happening, and he

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<v Speaker 1>goes even further. With investors who need just a little

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<v Speaker 1>bit more persuasion. He helps to win their trust, in particular.

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<v Speaker 2>To Swedish businessmen who had been talked into investing, and

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<v Speaker 2>at one time an disasperated Evelin took a phone call

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<v Speaker 2>and then looked at me, your Swedish. You talk to them,

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<v Speaker 2>keep them calm. So I spoke Swedish to them, and

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<v Speaker 2>they were so happy that they had a Swedish butler

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<v Speaker 2>because they could confide in me and hoping that I

0:16:38.320 --> 0:16:42.280
<v Speaker 2>would be on their side. So of course I deliberately

0:16:42.400 --> 0:16:43.040
<v Speaker 2>duped Yes.

0:16:46.840 --> 0:16:51.600
<v Speaker 1>So Lars, Lilah and Evelyn are all holed up in

0:16:51.680 --> 0:16:56.520
<v Speaker 1>that cottage, keeping a very low profile, and the ground

0:16:56.600 --> 0:16:57.600
<v Speaker 1>rules are clear.

0:16:59.040 --> 0:17:05.040
<v Speaker 5>We're living is We're not to entertain or talk to

0:17:05.119 --> 0:17:06.720
<v Speaker 5>anybody or anything like that.

0:17:07.960 --> 0:17:14.000
<v Speaker 1>They're not taking any chances because Evelyn is worried. She

0:17:14.119 --> 0:17:18.199
<v Speaker 1>knows her briefcase is gone. That's a concern, though she

0:17:18.280 --> 0:17:22.000
<v Speaker 1>doesn't know if anyone has actually looked inside it yet.

0:17:23.000 --> 0:17:27.240
<v Speaker 1>Maybe nobody will. But it's not just that her so

0:17:27.440 --> 0:17:32.960
<v Speaker 1>called investors are starting to get nervous, ringing all the time,

0:17:33.440 --> 0:17:36.800
<v Speaker 1>demanding to know when they are getting the big payout,

0:17:37.480 --> 0:17:44.760
<v Speaker 1>the millions she's promised. The only time Evelyn and Lilah

0:17:44.920 --> 0:17:47.640
<v Speaker 1>really speak honestly is late at.

0:17:47.640 --> 0:17:54.159
<v Speaker 5>Night, lastly, weak to talk in bid when everything was very.

0:17:54.080 --> 0:18:01.280
<v Speaker 1>Quiet, Evelyn tells Lila it looks like they are about

0:18:01.320 --> 0:18:03.240
<v Speaker 1>to get a bit hairy.

0:18:04.160 --> 0:18:07.720
<v Speaker 5>Evelyn said, this might put me back in jail again.

0:18:08.359 --> 0:18:09.120
<v Speaker 3>Did she say that?

0:18:09.200 --> 0:18:13.280
<v Speaker 5>Yes? You know what is it all about? And she said,

0:18:13.320 --> 0:18:17.240
<v Speaker 5>I'm just some other contracts went wrong and just you know,

0:18:17.280 --> 0:18:21.720
<v Speaker 5>a little bit of stuff. It'll work itself out. She thought,

0:18:21.800 --> 0:18:24.320
<v Speaker 5>no matter what she would get out of this, that

0:18:24.400 --> 0:18:27.520
<v Speaker 5>she was clever enough. Yeah, yeah, yeah exactly.

0:18:28.359 --> 0:18:32.679
<v Speaker 1>Evelyn reassures Lilah. She tells her not to worry, and

0:18:32.880 --> 0:18:37.480
<v Speaker 1>just like she always does, she calms Lilah down. Everything

0:18:37.680 --> 0:18:41.680
<v Speaker 1>is under control and they'll be fine as long as

0:18:41.680 --> 0:18:42.600
<v Speaker 1>they stick together.

0:18:43.240 --> 0:18:46.080
<v Speaker 5>Everyone kept on saying it'll be okay, It'll be okay,

0:18:46.359 --> 0:18:49.639
<v Speaker 5>don't worry, there will be money. You know, you shouldn't

0:18:49.840 --> 0:18:51.320
<v Speaker 5>concern yourself over.

0:18:51.160 --> 0:18:55.000
<v Speaker 1>This, and Lilah wants to believe her. As the two

0:18:55.040 --> 0:18:59.280
<v Speaker 1>of them lie in bed, Lilah remembers the promises Evelyn

0:18:59.359 --> 0:19:03.320
<v Speaker 1>made wedding. Are they about to be broken?

0:19:04.760 --> 0:19:04.920
<v Speaker 5>Oh?

0:19:04.960 --> 0:19:10.240
<v Speaker 1>Look at those albums. The present day, I'm in Lila's

0:19:10.280 --> 0:19:13.119
<v Speaker 1>bedroom and we're perched on a corner of her bed,

0:19:13.840 --> 0:19:16.840
<v Speaker 1>perched because we don't have a lot of space. There

0:19:16.920 --> 0:19:21.200
<v Speaker 1>is just so much stuff everywhere. Her Chihuahwa Bambi gives

0:19:21.240 --> 0:19:25.000
<v Speaker 1>me her usual death stare. Lilah flicks through an old

0:19:25.080 --> 0:19:28.600
<v Speaker 1>photograph album.

0:19:28.720 --> 0:19:35.040
<v Speaker 5>It's every them. She's so beautiful, she's gorgeous, gorgeous. Oh oh,

0:19:35.080 --> 0:19:37.879
<v Speaker 5>look there she is driving the car. We still have

0:19:38.040 --> 0:19:41.240
<v Speaker 5>driving the car because she's singing all those songs, Doris

0:19:41.359 --> 0:19:46.720
<v Speaker 5>Day songs, which was her favorite, will be Oh yes.

0:19:47.520 --> 0:19:49.840
<v Speaker 1>She shows me a photo of the two of them

0:19:49.880 --> 0:19:53.639
<v Speaker 1>on their wedding day. It's the early nineteen eighties and

0:19:53.800 --> 0:19:57.639
<v Speaker 1>official gay marriage is decades away, but Lila and Evelyn

0:19:57.640 --> 0:20:00.959
<v Speaker 1>aren't about to let that stop them. Evelyn is in

0:20:01.000 --> 0:20:04.119
<v Speaker 1>a really tight fitting white trouser suit. She's got a

0:20:04.160 --> 0:20:08.159
<v Speaker 1>big grin on her face, and Lilah looks radiant in

0:20:08.200 --> 0:20:11.159
<v Speaker 1>a traditional, very feminine wedding dress.

0:20:11.880 --> 0:20:14.080
<v Speaker 5>She chies at horrible dress for me. I hated it,

0:20:14.119 --> 0:20:14.760
<v Speaker 5>but she loved it.

0:20:15.600 --> 0:20:18.520
<v Speaker 3>Oough, I think you look very glamorous. It's lovely. Look

0:20:18.520 --> 0:20:19.280
<v Speaker 3>at your red hair.

0:20:20.680 --> 0:20:25.560
<v Speaker 1>To Evelyn, Lilah was more important than anyone else, her

0:20:25.680 --> 0:20:26.400
<v Speaker 1>number one.

0:20:27.240 --> 0:20:31.200
<v Speaker 5>Evelyn said that no matter what, I'd never want for anything,

0:20:32.200 --> 0:20:36.720
<v Speaker 5>and she would give me anything. She promised and promised

0:20:37.040 --> 0:20:38.680
<v Speaker 5>and promised me the world.

0:20:41.840 --> 0:20:44.720
<v Speaker 1>Lilah dines out on how the two met in a

0:20:44.800 --> 0:20:48.080
<v Speaker 1>brothel and she loves talking up their life in the

0:20:48.119 --> 0:20:53.240
<v Speaker 1>sex industry, how she and Evelyn thrived making loads of money.

0:20:53.359 --> 0:20:54.960
<v Speaker 3>I loved it, did you?

0:20:55.000 --> 0:20:55.480
<v Speaker 5>Oh? Yes?

0:20:56.520 --> 0:20:59.480
<v Speaker 1>But I get the feeling that she's being very selective

0:20:59.520 --> 0:21:03.080
<v Speaker 1>about what she tells me, that there's another story to

0:21:03.119 --> 0:21:08.639
<v Speaker 1>tell about her past. I start asking more questions, more

0:21:08.800 --> 0:21:12.600
<v Speaker 1>probing questions about her childhood.

0:21:12.520 --> 0:21:15.600
<v Speaker 5>As I get older. I wanted to get rid of

0:21:15.600 --> 0:21:17.840
<v Speaker 5>the past. I've been getting rid of the past for

0:21:17.920 --> 0:21:21.520
<v Speaker 5>quite a long time because I should push on forward.

0:21:21.680 --> 0:21:23.480
<v Speaker 5>It's something I don't really want to talk about.

0:21:24.320 --> 0:21:29.680
<v Speaker 1>But after a while she opens up. Like Evelyn, Lilah

0:21:29.760 --> 0:21:34.479
<v Speaker 1>grew up poor. Her mother emigrated to Australia from Eastern Europe,

0:21:34.840 --> 0:21:36.520
<v Speaker 1>leaving Lila's father behind.

0:21:37.359 --> 0:21:37.479
<v Speaker 5>Her.

0:21:37.560 --> 0:21:42.240
<v Speaker 1>Mum settled in Adelaide, and before long Lilah had a

0:21:42.320 --> 0:21:46.840
<v Speaker 1>stepdad and that's when the trouble really started.

0:21:47.400 --> 0:21:49.800
<v Speaker 5>He was not very nice to me. He abused me,

0:21:50.080 --> 0:21:55.720
<v Speaker 5>as in beshing that he was very violent man and

0:21:55.920 --> 0:21:57.280
<v Speaker 5>also sexually.

0:21:58.320 --> 0:22:02.359
<v Speaker 1>The abuse began when she was a toddler, and she

0:22:02.600 --> 0:22:04.160
<v Speaker 1>endured it for years.

0:22:04.960 --> 0:22:08.720
<v Speaker 5>I just grew up thinking that everybody lived like that.

0:22:09.920 --> 0:22:12.879
<v Speaker 1>She says, it's easier to think of herself in the

0:22:12.960 --> 0:22:16.480
<v Speaker 1>third person, as though the little girl, there's someone else

0:22:16.640 --> 0:22:18.119
<v Speaker 1>entirely now.

0:22:18.160 --> 0:22:20.480
<v Speaker 5>I just didn't think we'll how awful it was for

0:22:20.560 --> 0:22:23.240
<v Speaker 5>that poor little girl, you know, poor little thing. I

0:22:23.240 --> 0:22:26.439
<v Speaker 5>feel so sorry for her because she must have had

0:22:26.440 --> 0:22:29.320
<v Speaker 5>a very hard time. And yes, I'm sure she did.

0:22:30.280 --> 0:22:34.040
<v Speaker 1>And when she was fifteen, it all came to a head.

0:22:34.640 --> 0:22:38.160
<v Speaker 5>There was an argument between the step faa, the mama

0:22:38.240 --> 0:22:43.760
<v Speaker 5>and me and I said something out of turn and

0:22:44.119 --> 0:22:49.040
<v Speaker 5>he slapped me really hard. And I walked up to

0:22:49.160 --> 0:22:51.280
<v Speaker 5>him and I said, don't ever do it again, because

0:22:51.320 --> 0:22:53.600
<v Speaker 5>I will kill you. And I meant it. I was

0:22:53.680 --> 0:22:55.359
<v Speaker 5>going to wait until he fell asleep, and I'm going

0:22:55.440 --> 0:22:56.439
<v Speaker 5>to stab him to death.

0:22:57.640 --> 0:23:01.360
<v Speaker 1>Her stepfather kicked her out and she ended up in

0:23:01.400 --> 0:23:09.359
<v Speaker 1>Melbourne with just five dollars in her pocket. Options for

0:23:09.480 --> 0:23:13.720
<v Speaker 1>young girls alone in the city, well, there weren't many.

0:23:14.880 --> 0:23:18.560
<v Speaker 1>Like lots of teens. She had big dreams.

0:23:19.280 --> 0:23:22.199
<v Speaker 5>I wanted to be a singer and I wanted to

0:23:22.240 --> 0:23:26.399
<v Speaker 5>be on TV. I wanted to be on stage. I

0:23:26.480 --> 0:23:31.119
<v Speaker 5>knew I could sing. I was no Barbaroustreisen, but I

0:23:31.160 --> 0:23:32.080
<v Speaker 5>knew I could sing.

0:23:33.359 --> 0:23:36.919
<v Speaker 1>But dreams don't bring in money. She had to start

0:23:36.960 --> 0:23:41.199
<v Speaker 1>earning and that's when she turned to sex work.

0:23:41.600 --> 0:23:44.119
<v Speaker 5>I was a working girl, and I'd go out and

0:23:44.119 --> 0:23:46.560
<v Speaker 5>meet somebody. We'd had dinner or whatever, or just a

0:23:46.560 --> 0:23:49.600
<v Speaker 5>couple of drinks, go back to his hotel or whatever,

0:23:50.160 --> 0:23:54.800
<v Speaker 5>and do the magic whatever.

0:23:55.680 --> 0:24:00.560
<v Speaker 1>All sorts of low life criminals and gangsters were involved

0:24:00.560 --> 0:24:04.520
<v Speaker 1>in the brothels and parlors. It was a very dangerous world.

0:24:05.240 --> 0:24:08.200
<v Speaker 1>Lila was learning to survive tough.

0:24:08.080 --> 0:24:15.000
<v Speaker 5>Enough people being shot at, being kidnapped, parlors, being infiltrated,

0:24:15.359 --> 0:24:16.160
<v Speaker 5>that sort of thing.

0:24:16.840 --> 0:24:20.400
<v Speaker 1>Parlors and brothels were illegal at the time. Sex workers

0:24:20.440 --> 0:24:25.280
<v Speaker 1>were in and out of prison. Did you ever get arrested?

0:24:25.800 --> 0:24:31.960
<v Speaker 5>Oh god, yes, no, write you up, hack your fingerprints.

0:24:32.800 --> 0:24:36.959
<v Speaker 5>Has she got scarred anywhere? Hair color, eye color, you know,

0:24:37.160 --> 0:24:40.840
<v Speaker 5>the normal how tall, how fat sort of thing.

0:24:41.040 --> 0:24:43.280
<v Speaker 1>And you'd stay over in prison for a night.

0:24:43.280 --> 0:24:46.440
<v Speaker 5>Or sometimes you'd stay for a night. Sometimes you don't

0:24:46.560 --> 0:24:51.000
<v Speaker 5>stay over that hour. Never worried me ever, never worry me.

0:24:51.520 --> 0:24:55.639
<v Speaker 1>Really, I can't imagine it was that much fun. She

0:24:55.800 --> 0:24:58.439
<v Speaker 1>was never safe and constantly harassed.

0:24:58.880 --> 0:25:01.640
<v Speaker 5>The police used to come near quite often, playing clothes,

0:25:02.200 --> 0:25:04.600
<v Speaker 5>and they do smart us things like they put their

0:25:04.640 --> 0:25:08.520
<v Speaker 5>guns on the table, and they used to say you know,

0:25:08.560 --> 0:25:10.320
<v Speaker 5>I do want to come and sit with us a girly.

0:25:11.000 --> 0:25:12.439
<v Speaker 5>They would be demeaning.

0:25:13.359 --> 0:25:16.359
<v Speaker 1>That was Laida's life for many years, and I'm sure

0:25:16.400 --> 0:25:20.040
<v Speaker 1>she's still leaving a lot out what she did learn

0:25:20.119 --> 0:25:23.920
<v Speaker 1>from a young age, from her stepfather, from her clients,

0:25:24.160 --> 0:25:24.720
<v Speaker 1>the police.

0:25:25.720 --> 0:25:30.359
<v Speaker 3>Is that in her world mena pigs? Maybe yeah, well,

0:25:30.840 --> 0:25:31.600
<v Speaker 3>men a pigs.

0:25:40.600 --> 0:25:44.840
<v Speaker 1>September nineteen ninety seven at Welling Garden City Police Station,

0:25:45.520 --> 0:25:46.640
<v Speaker 1>just north of London.

0:25:47.880 --> 0:25:51.080
<v Speaker 6>My detective inspector wandered into the office with a sheet

0:25:51.119 --> 0:25:54.320
<v Speaker 6>of papers that had come from a tan leather briefcase

0:25:54.400 --> 0:25:56.320
<v Speaker 6>and said, have a read through, see what you think,

0:25:57.119 --> 0:25:58.960
<v Speaker 6>and he dumped a load of papers on my desk.

0:26:00.000 --> 0:26:01.520
<v Speaker 3>To meet Jim Frost.

0:26:02.000 --> 0:26:05.600
<v Speaker 1>He's a detective in the local fraud office and in

0:26:05.680 --> 0:26:10.159
<v Speaker 1>nineteen ninety seven he's thirty nine years old. Now, policing

0:26:10.359 --> 0:26:14.160
<v Speaker 1>wasn't originally in his game plan. He's actually a classically

0:26:14.200 --> 0:26:19.399
<v Speaker 1>trained musician, a talented pianist. But playing the piano and

0:26:19.520 --> 0:26:23.200
<v Speaker 1>investigating fraud have more in common than you might think.

0:26:23.920 --> 0:26:30.679
<v Speaker 1>Both require you to be disciplined, methodical, meticulous. Details matter,

0:26:31.960 --> 0:26:35.680
<v Speaker 1>But there's something else you need to know about Jim.

0:26:35.840 --> 0:26:39.199
<v Speaker 1>He hates to lose. At this stage in his career,

0:26:39.600 --> 0:26:44.040
<v Speaker 1>he has a reputation, a good one. His colleagues call

0:26:44.160 --> 0:26:48.080
<v Speaker 1>him a good thief taker. And for Jim, it's not

0:26:48.320 --> 0:26:50.680
<v Speaker 1>just a job, it's a mission.

0:26:50.640 --> 0:26:54.240
<v Speaker 6>A noble cause to capture baddies and look them up.

0:26:54.720 --> 0:26:59.720
<v Speaker 1>Jim has a particular dislike for fraudsters.

0:26:58.560 --> 0:27:02.200
<v Speaker 6>A lot of quite evil really, yeah, absolutely.

0:27:02.119 --> 0:27:06.439
<v Speaker 1>Because of the effect that fraud can have on its victims.

0:27:06.720 --> 0:27:09.639
<v Speaker 6>You don't just lose the money, you lose your sense

0:27:09.680 --> 0:27:12.760
<v Speaker 6>of worth because someone's had you over, as it were.

0:27:13.520 --> 0:27:16.720
<v Speaker 1>So he likes nothing more than to hold the fraudsters

0:27:16.800 --> 0:27:21.240
<v Speaker 1>to account. Yes, it's painstaking work and it can take

0:27:21.480 --> 0:27:25.000
<v Speaker 1>years to gather all the evidence, but Jim doesn't mind.

0:27:25.520 --> 0:27:27.479
<v Speaker 3>In fact, that's what he loves.

0:27:28.240 --> 0:27:30.919
<v Speaker 1>So he starts reading through the documents that were in

0:27:30.960 --> 0:27:34.760
<v Speaker 1>that Tan briefcase. They seem to belong to a banker

0:27:35.080 --> 0:27:39.040
<v Speaker 1>by the name of Evelyn Burton, but plenty of things

0:27:39.119 --> 0:27:42.640
<v Speaker 1>don't add up. He's got a feeling.

0:27:43.359 --> 0:27:47.240
<v Speaker 6>Certainly, quite early on, it was obvious that we were

0:27:47.280 --> 0:27:49.520
<v Speaker 6>going to be dealing with a very interesting job.

0:27:50.000 --> 0:28:03.240
<v Speaker 1>A man of detail and a master of understatement. Back

0:28:03.240 --> 0:28:07.400
<v Speaker 1>at the safe house, the situation is getting critical all

0:28:07.680 --> 0:28:12.119
<v Speaker 1>sorts of people, shady people Evelyn has been associating with,

0:28:12.680 --> 0:28:17.320
<v Speaker 1>are pursuing her making demands. In the dead of night,

0:28:17.680 --> 0:28:23.440
<v Speaker 1>two men turn up at the cottage, two mystery men.

0:28:23.800 --> 0:28:26.200
<v Speaker 2>With a shotgun.

0:28:26.720 --> 0:28:30.480
<v Speaker 1>A shotgun, and yes, the young man who handles the

0:28:30.560 --> 0:28:33.680
<v Speaker 1>situation is their loyal butler, Lars.

0:28:34.280 --> 0:28:36.399
<v Speaker 3>He fobs them off, tells.

0:28:36.160 --> 0:28:39.120
<v Speaker 1>Them Lila and Evelyn aren't at home, and the two

0:28:39.200 --> 0:28:44.320
<v Speaker 1>men leave with no shots fired. But it's a wake

0:28:44.480 --> 0:28:49.880
<v Speaker 1>up call. The safe house is clearly compromised and some

0:28:50.120 --> 0:28:57.600
<v Speaker 1>dangerous people aren't happy. Lars has to take the phone.

0:28:57.320 --> 0:29:05.239
<v Speaker 2>Calls from worried investors, not being able to get in

0:29:05.280 --> 0:29:08.840
<v Speaker 2>touch with either eviln or Lilah. And then I came

0:29:08.960 --> 0:29:12.920
<v Speaker 2>up with different excuses that they were abroad, they were

0:29:12.960 --> 0:29:16.160
<v Speaker 2>not available because of different reasons.

0:29:17.080 --> 0:29:22.080
<v Speaker 1>Even at this stage when she's being hounded, Evelyn is defiant.

0:29:22.720 --> 0:29:24.880
<v Speaker 5>There were a lot of times and I've said, you

0:29:24.960 --> 0:29:28.040
<v Speaker 5>really must pay some of these people, and she's saying, no.

0:29:29.440 --> 0:29:32.160
<v Speaker 3>Thought, Evelyn, she didn't want to pay anyone.

0:29:32.200 --> 0:29:35.760
<v Speaker 5>No, no, she was not ready to pay them, and

0:29:35.840 --> 0:29:37.760
<v Speaker 5>she always made up good excuses.

0:29:40.680 --> 0:29:45.680
<v Speaker 1>Something has to give, though, and eventually Evelyn appears to agree.

0:29:46.240 --> 0:29:48.959
<v Speaker 1>They set up a meeting with her so called investors.

0:29:49.560 --> 0:29:51.080
<v Speaker 1>Evelyn tells Lilah.

0:29:51.600 --> 0:29:54.800
<v Speaker 5>We were going to be paying I think there must

0:29:54.800 --> 0:29:56.560
<v Speaker 5>have been six or eight people.

0:29:56.680 --> 0:30:01.800
<v Speaker 1>But that isn't quite true. Evelyn isn't actually planning to

0:30:01.880 --> 0:30:07.960
<v Speaker 1>pay anyone, and she isn't going to meet the investors either. No,

0:30:08.400 --> 0:30:12.400
<v Speaker 1>she's got a surprise up her sleeve. Guess who's going

0:30:12.440 --> 0:30:18.200
<v Speaker 1>to have to do that, Lilah. The couple drive to

0:30:18.240 --> 0:30:22.120
<v Speaker 1>the office where the meeting has been arranged. Evelyn gives

0:30:22.200 --> 0:30:25.120
<v Speaker 1>Lilah the script eyone demeanor.

0:30:25.200 --> 0:30:29.640
<v Speaker 5>When you go up being merceda. Then everyone is in

0:30:29.840 --> 0:30:33.560
<v Speaker 5>Belgium or Germany or were then she won't be home

0:30:33.680 --> 0:30:37.600
<v Speaker 5>until next week, and she will meet all of you

0:30:38.640 --> 0:30:44.080
<v Speaker 5>in her office and pay you all. And I had

0:30:44.080 --> 0:30:45.000
<v Speaker 5>to go and tell them.

0:30:44.880 --> 0:30:50.160
<v Speaker 1>This, And where's Evelyn while all this is happening, hiding

0:30:50.240 --> 0:30:54.320
<v Speaker 1>in the car, of course. But for Lilah, this is

0:30:54.400 --> 0:30:57.360
<v Speaker 1>going to be a far from pleasant encounter.

0:31:00.800 --> 0:31:04.440
<v Speaker 5>I went upstairs and I took these guys and they

0:31:04.480 --> 0:31:09.360
<v Speaker 5>were angry, he could see in their faces, And I

0:31:09.600 --> 0:31:12.760
<v Speaker 5>told them what Evelyn had told me. You know, it'll

0:31:12.760 --> 0:31:14.680
<v Speaker 5>be there next Tuesday.

0:31:15.560 --> 0:31:17.320
<v Speaker 1>Lilah is getting a bit scared.

0:31:17.800 --> 0:31:20.959
<v Speaker 5>It was a very dangerous situation because I could feel it.

0:31:21.360 --> 0:31:27.920
<v Speaker 5>I could feel this real masculine alpham anger, and I thought,

0:31:27.960 --> 0:31:30.320
<v Speaker 5>I have got to get out of here. I really did,

0:31:30.360 --> 0:31:32.600
<v Speaker 5>because I'm sure there were a couple of people there

0:31:32.760 --> 0:31:36.480
<v Speaker 5>who would have given me a real nicety slapping the mouth.

0:31:36.960 --> 0:31:40.479
<v Speaker 1>Because they were angry, because they realized they were being calmed.

0:31:40.640 --> 0:31:41.720
<v Speaker 5>I suppose they did.

0:31:42.040 --> 0:31:43.160
<v Speaker 3>So you were in hot water.

0:31:43.520 --> 0:31:46.400
<v Speaker 5>Oh, she put me in the shoot.

0:31:47.680 --> 0:31:50.880
<v Speaker 1>This is not what Lilah signed up to. She doesn't

0:31:50.960 --> 0:31:54.880
<v Speaker 1>like to get her hands dirty. This is Evelyn's business.

0:31:55.320 --> 0:31:57.640
<v Speaker 5>I mean, I couldn't believe that she's sitting in the

0:31:57.800 --> 0:32:04.640
<v Speaker 5>car while I'm upstairs one story up talking to these guys.

0:32:05.120 --> 0:32:07.640
<v Speaker 5>That's how brazen she was.

0:32:07.960 --> 0:32:10.280
<v Speaker 3>You went up there and did her dirty work.

0:32:10.720 --> 0:32:14.440
<v Speaker 5>Hmm. Yeah, she said it would be easier coming from

0:32:14.520 --> 0:32:15.160
<v Speaker 5>you than from me.

0:32:16.680 --> 0:32:19.240
<v Speaker 1>The businessmen have been fobbed off yet again.

0:32:19.920 --> 0:32:20.800
<v Speaker 3>But for how long?

0:32:21.640 --> 0:32:25.400
<v Speaker 1>Evelyn knows this can't go on much longer. She's living

0:32:25.480 --> 0:32:32.080
<v Speaker 1>on borrow time. When I'm listening and watching Lilah tell

0:32:32.120 --> 0:32:36.960
<v Speaker 1>me all this, I notice something. There's a glimmer of

0:32:37.000 --> 0:32:40.880
<v Speaker 1>a smile in her eyes. I'm wondering if there's more

0:32:40.920 --> 0:32:44.880
<v Speaker 1>to this story than Lilah's letting on. Was she really

0:32:44.920 --> 0:32:49.200
<v Speaker 1>doing Evelyn's dirty work, or did she know that there

0:32:49.200 --> 0:32:53.040
<v Speaker 1>were no investments and that the whole thing was just

0:32:53.120 --> 0:32:57.120
<v Speaker 1>a swindle that would make this whole good cop bad

0:32:57.160 --> 0:33:01.840
<v Speaker 1>cop routine just that a routine, an act. Did she

0:33:02.160 --> 0:33:05.640
<v Speaker 1>really feel annoyed at Evelyn for dropping her in it?

0:33:06.720 --> 0:33:13.200
<v Speaker 1>Or is she spinning me a story? Am I being swindled? Anyway?

0:33:13.560 --> 0:33:18.440
<v Speaker 1>One thing is clear. Until the Sopwell House incident and

0:33:18.520 --> 0:33:23.120
<v Speaker 1>the lost briefcase and the angry investors meeting, Lilah has

0:33:23.200 --> 0:33:28.560
<v Speaker 1>never really imagined that Evelyn could actually get caught. She

0:33:28.760 --> 0:33:32.600
<v Speaker 1>may have a big mouth, but she's too clever, too

0:33:32.640 --> 0:33:37.960
<v Speaker 1>street wise. Now Lilah feels a rising tide of panic.

0:33:38.600 --> 0:33:43.400
<v Speaker 1>It feels like everything is suddenly going wrong and everyone

0:33:43.760 --> 0:33:48.680
<v Speaker 1>is closing in on them, and Lilah wants out.

0:33:49.440 --> 0:33:52.040
<v Speaker 5>I think that I worry a lot about what was

0:33:52.040 --> 0:33:55.600
<v Speaker 5>happening around us, because I remember Evelyna and now aheading

0:33:55.760 --> 0:34:00.400
<v Speaker 5>arguments we keep on putting us in this sheet. And

0:34:00.440 --> 0:34:03.280
<v Speaker 5>I said to her, I want to leave. I want

0:34:03.280 --> 0:34:08.480
<v Speaker 5>to go there time. I'm hell enough, I'm tired, Kimmy go.

0:34:14.200 --> 0:34:18.040
<v Speaker 1>Back at Welling Garden City Police Station. Detective Jim Frost

0:34:18.280 --> 0:34:21.760
<v Speaker 1>is still combing through the papers in the briefcase, searching

0:34:21.800 --> 0:34:27.000
<v Speaker 1>for evidence, and there's one document that stands out.

0:34:27.800 --> 0:34:32.200
<v Speaker 6>This sheet of paper, embossed paper with a gold sort

0:34:32.239 --> 0:34:36.719
<v Speaker 6>of crest on it, flooral pattern border, purporting to be

0:34:36.760 --> 0:34:41.200
<v Speaker 6>worth ten million dollars, And of course nothing's worth ten

0:34:41.200 --> 0:34:42.960
<v Speaker 6>million dollars on a piece of paper. I mean, it

0:34:43.080 --> 0:34:46.040
<v Speaker 6>just doesn't make sense. You smell that rat.

0:34:46.840 --> 0:34:51.879
<v Speaker 1>It's a significant moment for Jim. That document is all

0:34:52.000 --> 0:34:55.560
<v Speaker 1>he needs to launch a formal investigation.

0:34:56.239 --> 0:34:58.640
<v Speaker 6>It is now clear to us that we are definitely

0:34:58.680 --> 0:35:02.759
<v Speaker 6>dealing with frauds, as we're not with a genuine international

0:35:02.800 --> 0:35:04.200
<v Speaker 6>banker she could likeim to be.

0:35:04.920 --> 0:35:09.120
<v Speaker 1>But Jim now has a serious dilemma. He could just

0:35:09.400 --> 0:35:13.000
<v Speaker 1>arrest Evelyn straight away, but that would mean he only

0:35:13.040 --> 0:35:16.440
<v Speaker 1>has six months to gather all the evidence before he

0:35:16.520 --> 0:35:20.200
<v Speaker 1>needs to charge her, and six months in a fraud

0:35:20.280 --> 0:35:24.360
<v Speaker 1>inquiry is no time at all. Or he could invite

0:35:24.480 --> 0:35:30.640
<v Speaker 1>Evelyn in voluntarily for questioning and hope that she slips

0:35:30.719 --> 0:35:33.719
<v Speaker 1>up or he can catch her out. It's worked for

0:35:33.800 --> 0:35:38.319
<v Speaker 1>Jim before, but he knows it's a dangerous strategy.

0:35:38.920 --> 0:35:40.520
<v Speaker 6>There is a risk she could run away, and she

0:35:40.560 --> 0:35:44.280
<v Speaker 6>can flead to another country, but that's a risky run.

0:35:45.360 --> 0:35:51.200
<v Speaker 1>So Jim must decide will he break cover or bide

0:35:51.239 --> 0:35:56.759
<v Speaker 1>his time? Either way, Evelyn and Lilah have got themselves

0:35:57.160 --> 0:36:02.239
<v Speaker 1>a worthy adversary. As Jim weighs up his options in

0:36:02.320 --> 0:36:06.440
<v Speaker 1>the police station, Evelyn and Lilah weigh up their options

0:36:06.440 --> 0:36:10.279
<v Speaker 1>in the safe house, and Jim will soon find out

0:36:10.680 --> 0:36:15.800
<v Speaker 1>they're always one step ahead. This is now a battle

0:36:15.800 --> 0:36:21.120
<v Speaker 1>of wits, a game of cat and mouse, of hunter

0:36:22.480 --> 0:36:35.960
<v Speaker 1>and hunted. You've been listening to Royal Swindle at Blanchard

0:36:36.000 --> 0:36:41.400
<v Speaker 1>House production for USG Audio in partnership with Exactly Right Media,

0:36:41.440 --> 0:36:42.280
<v Speaker 1>Hosted by.

0:36:42.160 --> 0:36:43.160
<v Speaker 3>Me Becky Milligan.

0:36:43.840 --> 0:36:47.440
<v Speaker 1>It's written and produced by me Becky Milligan and Sarah Jones.

0:36:48.160 --> 0:36:52.279
<v Speaker 1>Original music is by Daniel Lloyd Evans, Louis Nagmanel and

0:36:52.400 --> 0:36:57.279
<v Speaker 1>Toby Mattimon. Sound design and mixed engineering is by Vulcan Kisseltog,

0:36:57.600 --> 0:37:02.960
<v Speaker 1>Toby Mattimoon and Daniel Lloyd Evans. Story development by Duncan Barber.

0:37:03.960 --> 0:37:09.040
<v Speaker 1>The Managing producer is Amika Schortino Nolan. Production support from

0:37:09.120 --> 0:37:13.279
<v Speaker 1>Josh la Longi at USG Audio. The Creative director at

0:37:13.320 --> 0:37:17.680
<v Speaker 1>Blanchard House is Rosy Pye. The executive producer and Head

0:37:17.719 --> 0:37:22.920
<v Speaker 1>of Content at Blanchard House is Lawrence Grisell. Our executive

0:37:22.920 --> 0:37:26.080
<v Speaker 1>producer from usg Audio is Josh Block.