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It's the most famous shopping street in the world, in the heart | 0:00:02 | 0:00:04 | |
of Britain's capital city. | 0:00:04 | 0:00:07 | |
A mile and a half long, with 30 million visitors each year, | 0:00:07 | 0:00:12 | |
with some of the world's most famous shops, | 0:00:12 | 0:00:14 | |
biggest stars... | 0:00:14 | 0:00:16 | |
Kate Moss! | 0:00:16 | 0:00:17 | |
-..and busiest stations. -Sorry, guys, stand back for me. | 0:00:17 | 0:00:21 | |
What does it take to keep it running 24 hours a day... | 0:00:21 | 0:00:24 | |
It's the busiest street in the world, it needs constant attention. | 0:00:24 | 0:00:27 | |
-..seven days a week. -Oi, clear off! | 0:00:27 | 0:00:30 | |
Welcome to Oxford Street, welcome to the pickpocketing. | 0:00:30 | 0:00:33 | |
Are you ready, London? | 0:00:33 | 0:00:36 | |
A street that never sleeps. | 0:00:36 | 0:00:38 | |
This sort of thing wouldn't happen anywhere else. | 0:00:38 | 0:00:42 | |
Oxford Street. | 0:00:42 | 0:00:43 | |
Coming up... | 0:00:46 | 0:00:47 | |
Bag snatchers on Oxford Street... | 0:00:47 | 0:00:49 | |
We're looking for a specific, 35 grand bag, 105 grand in cash. | 0:00:49 | 0:00:54 | |
We're with the specialist police team as they go the extra | 0:00:54 | 0:00:57 | |
mile to get the bag back. | 0:00:57 | 0:00:59 | |
Police! Right, what are you putting down behind your back? | 0:00:59 | 0:01:02 | |
Rush hour leaves blood on the tracks at Britain's busiest station. | 0:01:02 | 0:01:06 | |
Somebody has cut their foot on the escalator, there's quite a bit of blood. | 0:01:06 | 0:01:09 | |
The Thistle Hotel are expecting a delegation from Finland, | 0:01:09 | 0:01:13 | |
-but they've lost their Finnish flag. -I need this flag. | 0:01:13 | 0:01:17 | |
And this girl doesn't know it, | 0:01:17 | 0:01:19 | |
but she's about to be asked for her hand in marriage. | 0:01:19 | 0:01:21 | |
-She's getting suspicious. -Cue violins. | 0:01:21 | 0:01:24 | |
Violins are go, violins are go. | 0:01:24 | 0:01:26 | |
But will she say yes? | 0:01:26 | 0:01:27 | |
With millions of pounds of transactions taking place | 0:01:33 | 0:01:36 | |
on Oxford Street every day, it's not surprising that some | 0:01:36 | 0:01:39 | |
unscrupulous elements are attracted to the street. | 0:01:39 | 0:01:42 | |
But those criminals that do operate here have picked a tough | 0:01:44 | 0:01:47 | |
spot to try and earn a living. Sgt Steve Stamp | 0:01:47 | 0:01:51 | |
and PC Darren Bond are part of the Metropolitan Police's | 0:01:51 | 0:01:54 | |
specialist West End undercover team, dedicated to catching those | 0:01:54 | 0:01:58 | |
shoplifters and pickpockets that want to try their luck. | 0:01:58 | 0:02:02 | |
We mainly target pickpockets, bag thieves, distraction thieves, | 0:02:02 | 0:02:07 | |
table surfers and robbers. | 0:02:07 | 0:02:09 | |
They patrol the streets in plain clothes, | 0:02:11 | 0:02:13 | |
looking for the telltale sign someone might be a thief. | 0:02:13 | 0:02:16 | |
You have to have to have that basic instinct in relation to | 0:02:18 | 0:02:22 | |
spotting somebody out the corner of your eye... | 0:02:22 | 0:02:24 | |
See these two in front? | 0:02:24 | 0:02:26 | |
They've got empty bags. | 0:02:26 | 0:02:28 | |
That split-second decision makes all the difference when we are | 0:02:28 | 0:02:31 | |
walking along a street of over 100,000 people every day. | 0:02:31 | 0:02:35 | |
The Oxford Street team even has specialist officers called | 0:02:36 | 0:02:40 | |
Super Recognisers, | 0:02:40 | 0:02:41 | |
who have memorised the faces of the street's most active thieves. | 0:02:41 | 0:02:45 | |
It's early evening, and officers Stamp and Bond are in the middle of their patrol. | 0:02:46 | 0:02:52 | |
This is Shark Alley, this is peak time. | 0:02:52 | 0:02:54 | |
Like sharks, as the sun goes down, the sharks come out to feed. | 0:02:54 | 0:02:58 | |
And it's not long before the two think they've spotted some | 0:02:58 | 0:03:01 | |
suspicious behaviour inside one of the shops. | 0:03:01 | 0:03:04 | |
Now, watch this guy, all right? | 0:03:05 | 0:03:07 | |
He's come across the road, he's starting to sweat. All right, | 0:03:07 | 0:03:10 | |
he's got an empty bag on him. | 0:03:10 | 0:03:12 | |
Darren is on it like a bee to honey. | 0:03:12 | 0:03:14 | |
Bond is just in there as close as he can, to get to him. | 0:03:14 | 0:03:19 | |
It will be a classic shoplift if he does it in here. | 0:03:19 | 0:03:23 | |
Nothing stolen, but Steve's convinced | 0:03:23 | 0:03:26 | |
he's found himself a thief. | 0:03:26 | 0:03:28 | |
They follow the man along the street and then into one | 0:03:28 | 0:03:31 | |
of its most famous stores, which doesn't wish to be identified. | 0:03:31 | 0:03:35 | |
Right, I just saw a male acting suspicious out the corner of my eye. | 0:03:35 | 0:03:38 | |
And off-camera, in the electronics department, | 0:03:38 | 0:03:40 | |
Steve thinks he's seen the man stuff a computer mouse into his clothes. | 0:03:40 | 0:03:44 | |
See the guy, flat cap, he's gone to the right. | 0:03:44 | 0:03:47 | |
The man makes a dash for the exit. | 0:03:47 | 0:03:49 | |
Steve rushes to intercept him. | 0:03:49 | 0:03:51 | |
Are you all right, mate? | 0:03:51 | 0:03:53 | |
Take your hands out of your pockets. | 0:03:53 | 0:03:56 | |
Right, my name is Sgt Stamp, Met Police, this is my colleague, | 0:03:56 | 0:03:59 | |
PC Bond. We were upstairs, we followed you in here and you have shoplifted. | 0:03:59 | 0:04:02 | |
The arrested man is taken behind the scenes to an area | 0:04:04 | 0:04:07 | |
not on view to the public, a holding room far away from the shop floor. | 0:04:07 | 0:04:11 | |
Uniformed officers haven't found anything, but Officer Bond, | 0:04:16 | 0:04:19 | |
from the pickpocket team, is prepared to be very thorough. | 0:04:19 | 0:04:23 | |
-The mouse is there. -Oh, look. | 0:04:23 | 0:04:24 | |
I don't normally do that to guys, but there's the mouse. | 0:04:27 | 0:04:29 | |
Concealed under his clothing, between his legs. I wish I had gloves on. | 0:04:29 | 0:04:33 | |
I should have gloves on. | 0:04:34 | 0:04:36 | |
But while the team is readying the suspect for custody, word comes | 0:04:37 | 0:04:40 | |
through that a much more serious crime has taken place elsewhere. | 0:04:40 | 0:04:44 | |
A visiting tourist has had their bag snatched in one | 0:04:46 | 0:04:49 | |
of the street's major stores, but it's not just any old bag theft. | 0:04:49 | 0:04:54 | |
I'm not sure, totally, of the details, | 0:04:55 | 0:04:57 | |
but a customer's bag was taken in the store | 0:04:57 | 0:05:00 | |
that contained a quite considerable amount of cash, multiple thousands. | 0:05:00 | 0:05:05 | |
In fact, the victim's told shop security that their bag | 0:05:07 | 0:05:11 | |
contained over £100,000 worth of cash. | 0:05:11 | 0:05:14 | |
The designer bag itself is worth over £30,000. | 0:05:16 | 0:05:20 | |
But now, it's gone. | 0:05:20 | 0:05:22 | |
The shopper's only chance of getting it back rests | 0:05:22 | 0:05:24 | |
with Steve Stamp and his team. | 0:05:24 | 0:05:26 | |
Steve and Darren check the CCTV footage, | 0:05:28 | 0:05:31 | |
supplied by the shop security team. | 0:05:31 | 0:05:33 | |
The actual theft isn't covered by CCTV, | 0:05:35 | 0:05:38 | |
but by getting good coverage of what her handbag looks like, | 0:05:38 | 0:05:42 | |
as you can see it's quite a distinctive, large green bag, | 0:05:42 | 0:05:45 | |
they've been able to then pick up the suspect, | 0:05:45 | 0:05:49 | |
the thief, as they have left the store. | 0:05:49 | 0:05:52 | |
You look at the exits and there we have a suspect | 0:05:52 | 0:05:55 | |
carrying a very distinctive bag. | 0:05:55 | 0:05:57 | |
Later, the Super Recognisers get to work on the bag snatch case | 0:05:59 | 0:06:02 | |
and what they find surprises even them. | 0:06:02 | 0:06:05 | |
Female suspect. My guys have viewed the CCTV. | 0:06:05 | 0:06:08 | |
Would you believe it, we know who it is. | 0:06:08 | 0:06:10 | |
Over a third of Oxford Street shops are flagship stores. | 0:06:18 | 0:06:22 | |
The competition between them is fierce. | 0:06:23 | 0:06:26 | |
One of the main weapons they have to entice | 0:06:26 | 0:06:28 | |
shoppers in is their shop window. | 0:06:28 | 0:06:30 | |
It's some of the most valuable promotional space in the world | 0:06:32 | 0:06:35 | |
and each must look eye-catching enough to grab a shopper's | 0:06:35 | 0:06:38 | |
attention in seconds. | 0:06:38 | 0:06:40 | |
And no-one knows that more than Laura Woods. | 0:06:42 | 0:06:45 | |
She's a visual merchandiser from high street fashion chain, Warehouse. | 0:06:45 | 0:06:50 | |
And tonight is one of the most important of her year. | 0:06:50 | 0:06:53 | |
She is overseeing the window | 0:06:53 | 0:06:55 | |
and store design for the store's new autumn-winter campaign. | 0:06:55 | 0:06:59 | |
Oxford Street is massive, there are so many other brands, | 0:06:59 | 0:07:02 | |
you want to make your presence known. | 0:07:02 | 0:07:05 | |
British chain, Warehouse, makes mid-range | 0:07:05 | 0:07:07 | |
clothes for twenty-something women. | 0:07:07 | 0:07:10 | |
This is their first store on Oxford Street | 0:07:10 | 0:07:12 | |
and has only been open for a few months. | 0:07:12 | 0:07:15 | |
The trading space is too valuable to shut during business hours, | 0:07:15 | 0:07:19 | |
so Laura and her team have got one night to get it dressed and ready. | 0:07:19 | 0:07:23 | |
So, we found this image in Milan, a kind of peg-board display. | 0:07:23 | 0:07:26 | |
It's a real mix and match of wood and different colours. | 0:07:26 | 0:07:30 | |
This is kind of where we landed, what the design was. | 0:07:30 | 0:07:33 | |
Peg-board, installation-based, we wanted to make it a bit | 0:07:33 | 0:07:36 | |
different for Oxford Street, it is our flagship. | 0:07:36 | 0:07:38 | |
Ready to go? Let's do it. | 0:07:38 | 0:07:40 | |
The design will be the public face of the shop for months, | 0:07:40 | 0:07:43 | |
so if it's going to compete, it's got to look great. | 0:07:43 | 0:07:47 | |
For Laura, personally, it's her first campaign for the store | 0:07:47 | 0:07:50 | |
and she's put months of work into designing it. | 0:07:50 | 0:07:53 | |
Laura's right-hand man is fellow visual merchandiser, Nathan King. | 0:07:54 | 0:07:58 | |
It's actually a really big deal for us as a British brand, | 0:07:58 | 0:08:01 | |
to be recognised on Oxford Street | 0:08:01 | 0:08:03 | |
and it's been something we've wanted for a really long time. | 0:08:03 | 0:08:06 | |
There are four parts to the installation. | 0:08:06 | 0:08:09 | |
They've got to build the peg-board window display, dress the mannequins, | 0:08:09 | 0:08:13 | |
hang the campaign photographs | 0:08:13 | 0:08:14 | |
and build another display in store. | 0:08:14 | 0:08:16 | |
It's perfect, leave it. | 0:08:20 | 0:08:21 | |
While Nathan takes over on the pegs, | 0:08:22 | 0:08:24 | |
Laura moves on to the collection's mounted photos. | 0:08:24 | 0:08:28 | |
So, we're going to put them on this wall here | 0:08:28 | 0:08:30 | |
and were going to carry the creative through... | 0:08:30 | 0:08:34 | |
When we put these up, we'll use some of the pegs to put them up. | 0:08:34 | 0:08:37 | |
Doing the fit is an experienced team from Leeds. | 0:08:37 | 0:08:40 | |
They take as much pride as anyone in how the display looks. | 0:08:40 | 0:08:44 | |
Shopfitter, Johnny Day, is a regular visitor to Oxford Street. | 0:08:44 | 0:08:48 | |
Making Laura's vision a reality is down to him. | 0:08:48 | 0:08:51 | |
We'll do probably one to the left and then one to the right. | 0:08:51 | 0:08:54 | |
Right, well, I'll put it up in the middle, and then we can... | 0:08:54 | 0:08:57 | |
-Left a bit, right a bit. -Perfect, we'll probably do that for about an hour. | 0:08:57 | 0:09:00 | |
That's perfect, I wouldn't expect anything less. | 0:09:00 | 0:09:02 | |
Right, let's get cracking and get one up. | 0:09:02 | 0:09:05 | |
But it soon becomes clear that the job isn't going to be as | 0:09:05 | 0:09:08 | |
straightforward as they'd hoped. | 0:09:08 | 0:09:10 | |
Laura wants the photos to be hung on pegs drilled into the wall, but | 0:09:18 | 0:09:22 | |
the fitting team are worried that the fixings won't be up to the job. | 0:09:22 | 0:09:25 | |
Whoever has come up with the idea of doing this hasn't | 0:09:25 | 0:09:28 | |
thought about it enough. | 0:09:28 | 0:09:29 | |
Just show Laura there, just put on that top bracket there, Josh. | 0:09:29 | 0:09:33 | |
It's just bends, it's going to slip off. | 0:09:35 | 0:09:37 | |
If this slips off and hits somebody... It needs something more substantial | 0:09:37 | 0:09:40 | |
to hold the weight of this. | 0:09:40 | 0:09:42 | |
-This 18 ml ply is heavy. -Right, OK. | 0:09:42 | 0:09:44 | |
I can't... Unless I screwed through the graphic. | 0:09:44 | 0:09:48 | |
-Straight into the wall... -OK. | 0:09:49 | 0:09:52 | |
It's not ideal but at least it's safe. | 0:09:53 | 0:09:56 | |
But the change of plan means Laura's schedule is slipping. | 0:09:56 | 0:09:59 | |
That's going to take them more than an hour to do that. | 0:09:59 | 0:10:02 | |
I'm quite calm, so... These things kind of just... | 0:10:02 | 0:10:06 | |
With only hours to go before the shop reopens, Laura and Nathan | 0:10:06 | 0:10:10 | |
will have to pull out all the stops to get things back on schedule. | 0:10:10 | 0:10:14 | |
Later, we'll see whether they managed to get the window | 0:10:14 | 0:10:17 | |
ready in time for the shop to open. | 0:10:17 | 0:10:19 | |
Oxford Street is one of the busiest roads in Britain | 0:10:28 | 0:10:31 | |
and bang in the middle of it is the country's biggest railway station, | 0:10:31 | 0:10:35 | |
Oxford Circus. | 0:10:35 | 0:10:36 | |
Never a dull moment here. | 0:10:36 | 0:10:38 | |
Never a dull moment at Oxford Circus. | 0:10:38 | 0:10:41 | |
Three major tube lines converge here | 0:10:41 | 0:10:44 | |
and 89 million passengers get on and off trains here every year. | 0:10:44 | 0:10:48 | |
That's more annual passengers than Heathrow Airport. | 0:10:48 | 0:10:51 | |
Please board the train as quickly as you can, stand clear, stand clear. | 0:10:51 | 0:10:54 | |
The biggest challenge for station staff is coping with | 0:10:54 | 0:10:57 | |
the rush-hour, when platforms can get overcrowded. | 0:10:57 | 0:11:00 | |
The front of the train is overcrowded, you are advised to move further along the westbound platform. | 0:11:00 | 0:11:05 | |
Ian manages human traffic through the station. | 0:11:05 | 0:11:07 | |
It's his job to keep people moving on and off trains | 0:11:07 | 0:11:10 | |
as quickly as possible, but that's not his only talent. | 0:11:10 | 0:11:14 | |
Please give room for your fellow passengers to exit the train first. | 0:11:14 | 0:11:17 | |
I've got a bad, bad habit of going into some kind of southern American... | 0:11:17 | 0:11:21 | |
Which some of my colleagues don't like. The quicker they exit the train, the easier it is for you | 0:11:21 | 0:11:25 | |
to board the train, please let them exit. | 0:11:25 | 0:11:27 | |
But I try not to, it's just a habit I've fallen into. | 0:11:27 | 0:11:29 | |
Please ensure that your belongings and yourselves are beyond the yellow safety line, for your safety. | 0:11:29 | 0:11:34 | |
It's now rush hour and there's disruption on one of the lines. | 0:11:34 | 0:11:38 | |
Ian wants to stop passengers bottlenecking. | 0:11:38 | 0:11:40 | |
Move along the eastbound platform, this reduces congestion, | 0:11:40 | 0:11:44 | |
please use the eastbound platform for the Bakerloo-Victoria Line interchange. | 0:11:44 | 0:11:47 | |
Further down, please, further down the platform. | 0:11:47 | 0:11:50 | |
About 90 percent of the time they do listen. | 0:11:50 | 0:11:51 | |
They need a little bit of ushering sometimes. | 0:11:51 | 0:11:53 | |
Please remain behind the yellow safety line, this train is now on the move. | 0:11:53 | 0:11:58 | |
On a weekday between 4pm and 7pm, | 0:11:59 | 0:12:01 | |
over a million passengers use the tube, but as Dwayne knows | 0:12:01 | 0:12:05 | |
only too well, rush hour and rushing passengers can lead to accidents. | 0:12:05 | 0:12:10 | |
Can I get someone with a first aid box to come to the Argyll, please. | 0:12:12 | 0:12:15 | |
Someone has cut their foot on the escalators, there is quite a bit of blood. | 0:12:15 | 0:12:19 | |
-It just hurts a lot. -What escalator did you come up? | 0:12:19 | 0:12:22 | |
-How did you cut your foot? -I just tripped. -You just tripped? -Yeah. | 0:12:24 | 0:12:29 | |
Ouch, that looks painful. | 0:12:29 | 0:12:30 | |
Canadian tourist, Alicia Kwong, has lacerated her toe | 0:12:30 | 0:12:34 | |
rushing off an escalator. | 0:12:34 | 0:12:36 | |
I was shopping at Topshop and then I was on my way home, I was | 0:12:36 | 0:12:39 | |
halfway home, but then I forgot some of my stuff, | 0:12:39 | 0:12:41 | |
so I just decided to come back right away | 0:12:41 | 0:12:44 | |
and I was kind of in a rush, so I just tripped and fell. | 0:12:44 | 0:12:47 | |
You have to be really careful when you're coming up. | 0:12:49 | 0:12:51 | |
I know, you were panicking, because you lost something... | 0:12:51 | 0:12:53 | |
There is no sign of Alicia's lost shopping, but she's been | 0:12:53 | 0:12:56 | |
advised to limp one stop up on the tube to the nearest hospital. | 0:12:56 | 0:13:01 | |
By the time she had realised how bad it was, | 0:13:01 | 0:13:04 | |
she could actually feel the pain. | 0:13:04 | 0:13:05 | |
She is one of over 2,000 people injured annually | 0:13:05 | 0:13:08 | |
when rushing on underground escalators. | 0:13:08 | 0:13:11 | |
It's another challenge dealt with, | 0:13:11 | 0:13:12 | |
but the party is just starting at Britain's busiest station. | 0:13:12 | 0:13:16 | |
Later, staff cope with drunks and disorderlies | 0:13:16 | 0:13:19 | |
as Friday night takes off. | 0:13:19 | 0:13:21 | |
The Metropolitan Police's pickpocketing team have had | 0:13:32 | 0:13:35 | |
word there has been a bag snatch on their patch. | 0:13:35 | 0:13:39 | |
A shopper's had her handbag stolen from a major department store, | 0:13:39 | 0:13:42 | |
with over £100,000 of cash inside. | 0:13:42 | 0:13:46 | |
Back at the station, Sgt Steve Stamp | 0:13:46 | 0:13:49 | |
and has team get studying the CCTV footage, | 0:13:49 | 0:13:52 | |
supplied by the shop's security team. | 0:13:52 | 0:13:55 | |
Steve asks one of his Super Recognisers to look at it. | 0:13:55 | 0:13:58 | |
A Super Recogniser is one of the Met's | 0:13:59 | 0:14:03 | |
best secret weapons | 0:14:03 | 0:14:04 | |
available to them. | 0:14:04 | 0:14:06 | |
The Super Recognisers are highly skilled and highly trained officers, | 0:14:07 | 0:14:11 | |
able to memorise the faces of Oxford Street's most prolific robbers. | 0:14:11 | 0:14:15 | |
Super Recognisers have a form of photographic memory, where | 0:14:17 | 0:14:23 | |
they can remember faces, distinctive things on faces, they can | 0:14:23 | 0:14:27 | |
remember names, they can remember dates, they can remember times. | 0:14:27 | 0:14:31 | |
It's just something that you were born with. | 0:14:31 | 0:14:33 | |
They can be brought in on cases ranging from murder to terrorism, | 0:14:37 | 0:14:41 | |
to see if their expert memories can nail a suspect. | 0:14:41 | 0:14:45 | |
We spend a lot of time at the moment out on the streets, | 0:14:48 | 0:14:51 | |
stop-searching people, for instance. We remember them. | 0:14:51 | 0:14:55 | |
A few weeks later, a few months later, | 0:14:55 | 0:14:57 | |
that person may have committed an offence that we didn't | 0:14:57 | 0:15:00 | |
know about and will pop up on camera. | 0:15:00 | 0:15:03 | |
Super Recognisers would instantly recognise that person, | 0:15:04 | 0:15:08 | |
having stopped them months previous. | 0:15:08 | 0:15:11 | |
And studying the footage, the team's Super Recogniser makes | 0:15:12 | 0:15:16 | |
a breakthrough that convinces Steve to prepare for a raid. | 0:15:16 | 0:15:20 | |
He thinks he knows who the bag snatcher is. | 0:15:20 | 0:15:23 | |
It's a she, and even better for the team, | 0:15:23 | 0:15:26 | |
they know where she lives. | 0:15:26 | 0:15:28 | |
Female suspect, we're going to hit her address now. | 0:15:28 | 0:15:31 | |
This is an immediate job, because there is no way she can spend | 0:15:31 | 0:15:34 | |
that sort of cash straightaway. | 0:15:34 | 0:15:35 | |
Let's go. | 0:15:35 | 0:15:37 | |
The team now represent the victim's only hope of seeing their bag | 0:15:38 | 0:15:42 | |
and their money again. | 0:15:42 | 0:15:44 | |
If there is any persons inside, guys, don't be afraid to handcuff them, all right? | 0:15:44 | 0:15:48 | |
They head off to the woman's address | 0:15:48 | 0:15:50 | |
and what they'll find there is a new one, even for them. | 0:15:50 | 0:15:54 | |
-Police! -All right! -Right, what are you putting down behind your back? | 0:15:54 | 0:15:57 | |
At fashion chain Warehouse's flagship Oxford Street store, | 0:16:04 | 0:16:07 | |
visual merchandiser Laura Woods is leading the overnight installation | 0:16:07 | 0:16:12 | |
of the firm's new autumn-winter collection. | 0:16:12 | 0:16:14 | |
The quality of a shop's displays can mean life or death | 0:16:14 | 0:16:17 | |
on a street like Oxford Street. | 0:16:17 | 0:16:20 | |
Laura's only got one night to get the shop dressed, | 0:16:20 | 0:16:23 | |
but already, there's a problem. | 0:16:23 | 0:16:25 | |
It just bends, it's going to slip off. | 0:16:26 | 0:16:28 | |
The delays are causing her schedule to slip. | 0:16:28 | 0:16:31 | |
Luckily, Laura's Leeds-based shopfitting team | 0:16:31 | 0:16:34 | |
are on their A-game tonight. | 0:16:34 | 0:16:36 | |
Johnny's come up with a solution for the pictures - | 0:16:36 | 0:16:39 | |
screwing them directly into the wall. | 0:16:39 | 0:16:41 | |
-Can we just get an actual position? -All right, OK. | 0:16:41 | 0:16:45 | |
-With the first one up, the others should be quicker to install... -Erm. | 0:16:45 | 0:16:49 | |
..if Laura can decide where she wants them. | 0:16:49 | 0:16:53 | |
No, it can't be the same height, it needs to be, like, a bit... | 0:16:54 | 0:16:57 | |
Yeah, I think that looks all right. | 0:16:57 | 0:16:59 | |
Actually, can we go a bit higher? | 0:17:01 | 0:17:03 | |
I don't want it to be level. | 0:17:03 | 0:17:05 | |
I'm being really pedantic, sorry. | 0:17:05 | 0:17:08 | |
Lower. | 0:17:08 | 0:17:10 | |
-Is that all right? -Yeah, OK. -Yeah? | 0:17:11 | 0:17:14 | |
Would it be nicer if it was level? | 0:17:14 | 0:17:17 | |
Only joking. | 0:17:18 | 0:17:20 | |
She might still have her sense of humour, | 0:17:20 | 0:17:22 | |
but the delays are starting to take their toll on Laura. | 0:17:22 | 0:17:25 | |
It's just this, like all this mess, | 0:17:25 | 0:17:27 | |
because you feel like you're not achieving anything right now. | 0:17:27 | 0:17:31 | |
To try and get the schedule back on track, | 0:17:32 | 0:17:34 | |
Nathan makes a start on the window mannequins. | 0:17:34 | 0:17:37 | |
Five past one now, and we want it to be done by 2-2:30am. | 0:17:38 | 0:17:43 | |
It's probably going to be more like...3am...4am. | 0:17:43 | 0:17:46 | |
Maybe 5am. | 0:17:46 | 0:17:49 | |
How these look will determine how many customers | 0:17:49 | 0:17:51 | |
they can attract inside. | 0:17:51 | 0:17:54 | |
You know, we don't want to overcrowd the window. Oxford Street | 0:17:54 | 0:17:56 | |
is the busiest street in the whole world, like, | 0:17:56 | 0:17:58 | |
she has literally got seconds to see it and get in the shop. | 0:17:58 | 0:18:02 | |
The fitters are finally ready to hang the last photo | 0:18:03 | 0:18:06 | |
under the watchful gaze of Nathan. | 0:18:06 | 0:18:09 | |
Yeah, there. Actually, up a bit. | 0:18:09 | 0:18:11 | |
No, no, up a bit more. Can we take it down, like, one brick? | 0:18:11 | 0:18:15 | |
Right...left, sorry. | 0:18:15 | 0:18:18 | |
Down a bit. | 0:18:18 | 0:18:20 | |
I could do that all night. | 0:18:22 | 0:18:24 | |
-Yeah, that's brilliant, well done. -We'll get it done. | 0:18:24 | 0:18:27 | |
We're almost there, so, like, final push. | 0:18:28 | 0:18:30 | |
But it's going to be a really long push. | 0:18:30 | 0:18:35 | |
I've hit a bit of a wall now. | 0:18:35 | 0:18:37 | |
Like, no amount of coffee or chocolate is going to fix this. | 0:18:37 | 0:18:42 | |
Leave a bit of room for error, to be fair, cos there's always something that goes wrong. | 0:18:42 | 0:18:46 | |
We're getting there. We're nearly there. | 0:18:46 | 0:18:48 | |
For Johnny, doing a good job on Oxford Street is a matter of pride. | 0:18:48 | 0:18:52 | |
I like coming down to Oxford Street, because, at the end of the day, | 0:18:52 | 0:18:55 | |
when these windows are done, I get to put a little bit of my finger | 0:18:55 | 0:18:58 | |
on that and go, "Well, I was a contributor to that." | 0:18:58 | 0:19:02 | |
Oxford Street is, you know, one of the fashion capitals of the world. | 0:19:02 | 0:19:05 | |
And that's a big thing for me. | 0:19:05 | 0:19:07 | |
When it goes right, you do get a good buzz off it. | 0:19:07 | 0:19:10 | |
The final big job is to create another mannequin display | 0:19:11 | 0:19:15 | |
at the front of the shop. | 0:19:15 | 0:19:17 | |
It's like a massive, 3-D game of Tetris. | 0:19:17 | 0:19:19 | |
There're going to tip over. | 0:19:19 | 0:19:21 | |
No they're not. | 0:19:21 | 0:19:23 | |
With the mannequins in place, the end is finally in sight. | 0:19:23 | 0:19:26 | |
-See you in a bit, bye. -See you. | 0:19:26 | 0:19:28 | |
And with a couple of finishing touches, the installation is | 0:19:28 | 0:19:31 | |
complete, and Laura and Nathan are finally able to take stock. | 0:19:31 | 0:19:35 | |
It looks great. | 0:19:35 | 0:19:37 | |
Laura had a lot to deliver, and despite the setbacks, | 0:19:37 | 0:19:40 | |
-she's pleased with her display for the store. -We done really well. | 0:19:40 | 0:19:44 | |
-A job well done. -Yeah. | 0:19:44 | 0:19:45 | |
And, when the shop does finally open for business, the new window | 0:19:48 | 0:19:52 | |
is hard at work, doing its bit to get the customers through the doors. | 0:19:52 | 0:19:56 | |
At the west end of Oxford Street | 0:20:06 | 0:20:08 | |
stands the 700-room Thistle Marble Arch. | 0:20:08 | 0:20:11 | |
Paul Walsh is the head concierge. | 0:20:12 | 0:20:15 | |
He prides himself on going the extra mile to satisfy the full gamut | 0:20:15 | 0:20:19 | |
-of his guests' requests. -Two tickets, uh, Arsenal Longside. | 0:20:19 | 0:20:24 | |
Get them in now. I'll get the money ready. Fine. Cheers. Yeah, it's done. | 0:20:24 | 0:20:27 | |
He's a member of the Society Of The Golden Keys, | 0:20:27 | 0:20:31 | |
an elite group of concierges | 0:20:31 | 0:20:32 | |
from some of the world's most prestigious hotels. | 0:20:32 | 0:20:35 | |
I'm your sort of go-to guy, so if you need anything, or if anyone needs | 0:20:35 | 0:20:38 | |
anything, they come to us. We're the Fix It guys. | 0:20:38 | 0:20:40 | |
I've seen Paul go out of the way for people. | 0:20:40 | 0:20:42 | |
I've seen him travel over to France with a case | 0:20:42 | 0:20:44 | |
because they left it in the hotel and he drove there. | 0:20:44 | 0:20:46 | |
He goes out of the box. He does, he really does. He helps everyone. | 0:20:46 | 0:20:50 | |
Today, the hotel is preparing for a large Finnish delegation. | 0:20:52 | 0:20:56 | |
Everything needs to be perfect for when the guests arrive. | 0:20:56 | 0:21:00 | |
Working hard behind the scenes | 0:21:00 | 0:21:02 | |
is assistant maintenance manager, Raul Ellison. | 0:21:02 | 0:21:06 | |
I love my work. It's a hands-on job, | 0:21:06 | 0:21:07 | |
and it gives you satisfaction to finish what you've started. | 0:21:07 | 0:21:11 | |
I think it was in me from when I was young - breaking things | 0:21:11 | 0:21:13 | |
and fixing them and putting them back together. | 0:21:13 | 0:21:16 | |
But, today, Raul's got a problem that's not as easy to fix. | 0:21:16 | 0:21:20 | |
Huh? They said that that flag was in this office here. | 0:21:20 | 0:21:24 | |
The hotel's Finnish flag has gone missing. | 0:21:24 | 0:21:27 | |
The conference starts in three days, | 0:21:27 | 0:21:29 | |
but Raul needs to put it out before the first delegates | 0:21:29 | 0:21:32 | |
start arriving, tomorrow. | 0:21:32 | 0:21:34 | |
It was a blue one in there, wrapped up in there. In that cupboard. | 0:21:34 | 0:21:37 | |
Raul gets his assistant on the case. | 0:21:39 | 0:21:42 | |
We need to call House Of Flags | 0:21:42 | 0:21:44 | |
and see if we can get a flag brought over today. | 0:21:44 | 0:21:46 | |
She calls the hotel's regular flag supplier to try | 0:21:46 | 0:21:50 | |
and order a replacement, but being a Friday, it's going to be tight. | 0:21:50 | 0:21:54 | |
We want a Finnish flag, from Finland. | 0:21:54 | 0:21:56 | |
It's going to come back on my head because I'm the one that's | 0:21:56 | 0:21:59 | |
responsible for it in the first place. | 0:21:59 | 0:22:01 | |
-Any update? -They could do pre-9am on Monday. | 0:22:01 | 0:22:04 | |
But Monday is too late for Raul. He needs it today. | 0:22:04 | 0:22:08 | |
I need this flag. | 0:22:08 | 0:22:10 | |
His best bet is to rope in some help and track down that elusive flag. | 0:22:10 | 0:22:15 | |
This is the cupboard that it should have been in, | 0:22:15 | 0:22:17 | |
but obviously it's been misplaced and moved somewhere else. | 0:22:17 | 0:22:20 | |
We'll find it. | 0:22:20 | 0:22:22 | |
It doesn't normally look like this. | 0:22:25 | 0:22:26 | |
It's a lot more clear and a lot more organised down here. | 0:22:26 | 0:22:30 | |
No, good point, though, Batman. | 0:22:34 | 0:22:37 | |
-Good morning, guys. -Morning. -I'm looking for this flag. | 0:22:37 | 0:22:40 | |
Lita, I'm looking for a blue and white flag. | 0:22:40 | 0:22:43 | |
-Has anyone given you a flag to wash? Adrian, a flag? -No. -No flag. | 0:22:43 | 0:22:48 | |
-Sorry! -No flag. That's all right, Lita. Thank you. | 0:22:48 | 0:22:51 | |
Desperation starts to set in... | 0:22:52 | 0:22:55 | |
I find myself looking in the same place over and over again. | 0:22:55 | 0:22:57 | |
..and Raul returns to the office to search increasingly unlikely | 0:22:57 | 0:23:01 | |
-hiding places. -Flags don't just get up and walk away. | 0:23:01 | 0:23:04 | |
We've looked everywhere. | 0:23:06 | 0:23:07 | |
We've turned up open cupboards, places where it shouldn't be, | 0:23:07 | 0:23:11 | |
that we thought it might be. | 0:23:11 | 0:23:13 | |
We've doubled checked on everything and we still cannot find this flag. | 0:23:13 | 0:23:16 | |
Raul's all out of ideas, | 0:23:16 | 0:23:18 | |
and he turns to the one man who might be able to help. | 0:23:18 | 0:23:23 | |
PHONE RINGS | 0:23:23 | 0:23:24 | |
Concierge Paul, how may I help? Hi, Raul. | 0:23:24 | 0:23:26 | |
Yep, OK. | 0:23:28 | 0:23:29 | |
A Finnish flag. I'll make a couple of phone calls. | 0:23:30 | 0:23:35 | |
The long shot and go for the embassy... | 0:23:35 | 0:23:38 | |
..of Finland... | 0:23:39 | 0:23:42 | |
and see how that goes. | 0:23:42 | 0:23:45 | |
They're your own ones, | 0:23:45 | 0:23:46 | |
but they're your spares for when you take them down. | 0:23:46 | 0:23:49 | |
OK, that would be amazing. | 0:23:51 | 0:23:53 | |
Paul's smart thinking pays off. | 0:23:53 | 0:23:55 | |
I can come over with a driver and pick them up as soon as possible. | 0:23:55 | 0:23:58 | |
The Finnish Embassy has a spare flag and they're willing to share. | 0:23:58 | 0:24:03 | |
It's less than ten minutes' drive from Oxford Street, | 0:24:03 | 0:24:06 | |
but Paul leaves nothing to chance and goes in person to collect it. | 0:24:06 | 0:24:10 | |
Number 38, we need. | 0:24:12 | 0:24:14 | |
That is if he can find the embassy. | 0:24:14 | 0:24:17 | |
I imagine they have a Finnish flag outside. | 0:24:17 | 0:24:19 | |
When I see it, I'll probably recognise it. | 0:24:19 | 0:24:20 | |
What's that? | 0:24:20 | 0:24:22 | |
Mexico. I need to brush up on my flags. | 0:24:22 | 0:24:26 | |
They finally locate the right place, | 0:24:26 | 0:24:28 | |
and it isn't long before Paul has his precious flag in his hands. | 0:24:28 | 0:24:32 | |
Thank you. Super. OK, perfect. Thank you. | 0:24:32 | 0:24:36 | |
Cheers. Thank you. | 0:24:36 | 0:24:37 | |
-Cheers. One Finnish flag. -Aw, my man! | 0:24:40 | 0:24:42 | |
My man. Thank you very much. | 0:24:42 | 0:24:44 | |
You've saved my life this morning. Literally saved my life. | 0:24:44 | 0:24:47 | |
Thank you very much to the Finnish Embassy. We needed that. | 0:24:47 | 0:24:50 | |
Paul has delivered and Raul is one happy assistant maintenance manager. | 0:24:50 | 0:24:55 | |
-He can now finish the job and get the flag flying. -Worked out. | 0:24:55 | 0:24:59 | |
The Metropolitan Police's under cover pickpocketing team are on | 0:25:10 | 0:25:13 | |
their way to the last known address of a bag snatcher in south London. | 0:25:13 | 0:25:18 | |
We're really close now. We're one minute away. | 0:25:18 | 0:25:20 | |
At the end of this road, take the next left. | 0:25:20 | 0:25:22 | |
They believe their suspect stole a tourist's handbag | 0:25:22 | 0:25:25 | |
from an Oxford Street store. | 0:25:25 | 0:25:27 | |
We are looking for a specific 35 grand bag. | 0:25:27 | 0:25:30 | |
All right, nearly 105 grand in cash. | 0:25:30 | 0:25:32 | |
Most importantly, guys, when we get to the address, | 0:25:32 | 0:25:35 | |
we have to check every room inside this premises, all right? | 0:25:35 | 0:25:39 | |
Sgt Steve Stamp and his team intend to get the bag back. | 0:25:39 | 0:25:43 | |
Hit the lights. Let's go slow. | 0:25:43 | 0:25:45 | |
I think it's right there. Stop. | 0:25:45 | 0:25:47 | |
The Oxford Street team are in luck - the suspect is home. | 0:25:52 | 0:25:56 | |
Open the door. | 0:25:56 | 0:25:58 | |
-Open the door now. -Five seconds, it's going in. | 0:25:58 | 0:26:02 | |
One... | 0:26:02 | 0:26:03 | |
Two... | 0:26:05 | 0:26:06 | |
Three... | 0:26:09 | 0:26:12 | |
Four... | 0:26:12 | 0:26:14 | |
-Police! -All right! -What are you putting down behind your back? | 0:26:14 | 0:26:17 | |
What are you putting down behind your back? There you go, look. | 0:26:17 | 0:26:20 | |
Look at that, right there. | 0:26:20 | 0:26:22 | |
Look at that - there's a load of cash, right there. | 0:26:22 | 0:26:25 | |
-All right. -Listen to what my colleague has to say. | 0:26:25 | 0:26:27 | |
You're under arrest on suspicion of theft for a bag | 0:26:27 | 0:26:29 | |
and a large quantity of cash. | 0:26:29 | 0:26:30 | |
It looks like the Super Recognisers got it spot on. | 0:26:30 | 0:26:33 | |
The woman's hiding a bag with a massive stack of cash. | 0:26:33 | 0:26:38 | |
It looks like tens of thousands of pounds. | 0:26:38 | 0:26:40 | |
-Can you account for this? Is this your money? -No. | 0:26:41 | 0:26:44 | |
-Whose is it? -It doesn't belong to me. | 0:26:44 | 0:26:47 | |
-Where is the bag that this money was in? -It's just there. | 0:26:47 | 0:26:51 | |
Game, set and matching handbag to the Oxford Street team. | 0:26:51 | 0:26:55 | |
They've recovered the cash and the goods. | 0:26:55 | 0:26:58 | |
-Have you spent any of the cash today on drugs or anything? -No. | 0:26:58 | 0:27:01 | |
-All the cash is there? -Yes. -Have you counted it? -No. | 0:27:01 | 0:27:04 | |
-Do you know how much is there? -No. Haven't got a clue. | 0:27:04 | 0:27:06 | |
-£105,000. -Right. | 0:27:06 | 0:27:09 | |
Today was your payday. | 0:27:09 | 0:27:10 | |
The shopper was walking round with huge amounts of cash. | 0:27:11 | 0:27:15 | |
As well as thousands in £20 notes, | 0:27:15 | 0:27:18 | |
the shopper also had these - bundles of 500 euro notes. | 0:27:18 | 0:27:22 | |
Is there more there? | 0:27:22 | 0:27:24 | |
The thief must have thought she was dreaming | 0:27:24 | 0:27:26 | |
when she looked at what she'd grabbed. | 0:27:26 | 0:27:29 | |
-This is a Hermes bag. I'm guessing it's alligator skin. -I don't know. | 0:27:29 | 0:27:34 | |
Actually, it doesn't match you. It just doesn't match you. | 0:27:34 | 0:27:37 | |
The clothing that she wore today are right here. | 0:27:38 | 0:27:41 | |
Her little hat that she wore. This. | 0:27:41 | 0:27:44 | |
But there's also vital evidence to be seized, | 0:27:44 | 0:27:47 | |
including other items known to have been in the bag when it was taken. | 0:27:47 | 0:27:51 | |
OK, very expensive rings. | 0:27:51 | 0:27:55 | |
Three very expensive rings here. | 0:27:55 | 0:27:57 | |
Can we find out what, actually, the victim had in her bag, please? | 0:27:57 | 0:28:01 | |
I just want to confirm. | 0:28:01 | 0:28:02 | |
One orange Hermes purse. Where's the purse, sweetheart? | 0:28:04 | 0:28:07 | |
Where's the orange purse? | 0:28:07 | 0:28:09 | |
There's no sign of the missing orange purse yet | 0:28:12 | 0:28:15 | |
and, with £100,000 seized, the thief is starting to get tetchy. | 0:28:15 | 0:28:19 | |
I'm just waiting here. This is a very small space. | 0:28:21 | 0:28:24 | |
-That officer. That officer has been told to not let you go. -Why? | 0:28:26 | 0:28:31 | |
She's in control of you, all right, darling? | 0:28:31 | 0:28:33 | |
Please don't have a go at her. | 0:28:33 | 0:28:35 | |
Right, systematically, guys. | 0:28:35 | 0:28:37 | |
The search for the orange purse continues. | 0:28:37 | 0:28:39 | |
Oh, well, lookie, lookie, lookie, sweetheart. | 0:28:46 | 0:28:48 | |
Lookie, lookie, lookie. | 0:28:48 | 0:28:51 | |
Look what the cat's dragged in. Right. | 0:28:51 | 0:28:54 | |
The missing orange purse was nestling under the mattress all along. | 0:28:54 | 0:28:58 | |
Off-camera, the thief had told the team she dumped the purse, | 0:29:02 | 0:29:06 | |
but she's actually already stuck her own cards and cash inside it. | 0:29:06 | 0:29:10 | |
-This is when I ask the question, darling, yes? -Yeah. | 0:29:10 | 0:29:13 | |
And you tell me you binned it, so you lied to me. | 0:29:13 | 0:29:16 | |
-Yeah, I did lie to you. -OK. | 0:29:16 | 0:29:17 | |
The purse will be returned to its owner | 0:29:17 | 0:29:19 | |
and although the thief is not happy... | 0:29:19 | 0:29:22 | |
Something in the flat has amused the Oxford Street team. | 0:29:22 | 0:29:26 | |
It's a leaflet that police officers usually hand out - | 0:29:26 | 0:29:29 | |
"Don't let a pickpocket spoil your day." That's karma. | 0:29:29 | 0:29:32 | |
Foiling this robbery is a great result for the Oxford Street team, | 0:29:34 | 0:29:38 | |
but the thief thinks it's a lot of fuss over nothing. | 0:29:38 | 0:29:41 | |
Oh, so what? She's got it back, hasn't she? | 0:29:43 | 0:29:46 | |
Don't give it all this. | 0:29:46 | 0:29:48 | |
Right, if you want to take her downstairs for us. | 0:29:48 | 0:29:51 | |
The team, the evidence and their suspect head back to the station. | 0:29:51 | 0:29:55 | |
The thief later pleaded guilty | 0:29:55 | 0:29:57 | |
and was sentenced to 30 months in prison. | 0:29:57 | 0:30:00 | |
The tourist was later reunited with her belongings. | 0:30:00 | 0:30:03 | |
All in all, for Sgt Steve Stamp, the Super Recognisers | 0:30:04 | 0:30:08 | |
and the rest of his team, it's been quite a night. | 0:30:08 | 0:30:11 | |
At Oxford Circus Tube station, the weekend's just begun, and | 0:30:23 | 0:30:27 | |
drinkers and revellers from up on the surface | 0:30:27 | 0:30:30 | |
are filtering down below. | 0:30:30 | 0:30:32 | |
Some heading home, some seeking new destinations to continue the party. | 0:30:32 | 0:30:36 | |
Oxford Circus, bro. | 0:30:36 | 0:30:38 | |
Helping people find their way is Gerry Haynes. | 0:30:38 | 0:30:41 | |
He's better known to colleagues as The Colonel. | 0:30:41 | 0:30:44 | |
-How can I get to Caledonian Road? -Platform number six. | 0:30:44 | 0:30:48 | |
Go to King's Cross, change at King's Cross, get the Piccadilly line. | 0:30:48 | 0:30:52 | |
Platform number six. | 0:30:52 | 0:30:53 | |
Yeah. We get all sorts coming through here. | 0:30:55 | 0:30:57 | |
-Ooh! Thank you! -Thanks for your help, babes! -You're welcome. | 0:30:59 | 0:31:02 | |
And amongst the passengers are officers from the British Transport Police. | 0:31:02 | 0:31:06 | |
They've been called in by staff who say a drunken couple have | 0:31:06 | 0:31:09 | |
-been abusive to them and are causing a nuisance. -Just down there. | 0:31:09 | 0:31:13 | |
It's on the left where the windows are, yeah? | 0:31:13 | 0:31:16 | |
Officers confront the couple who have clearly had a few. | 0:31:16 | 0:31:19 | |
Lie in the fresh air, anyway, and just try and stand here for a bit. | 0:31:23 | 0:31:26 | |
Try and sober yourself up a little bit. | 0:31:26 | 0:31:28 | |
Now British Transport Police are on the scene, everyone has calmed down. | 0:31:28 | 0:31:32 | |
The woman is the worse for wear, | 0:31:32 | 0:31:33 | |
but her more sober husband is promising he'll take care of her. | 0:31:33 | 0:31:37 | |
The officers want to see the woman onto a train home, | 0:31:41 | 0:31:45 | |
and with one injury already on the escalator tonight, | 0:31:45 | 0:31:48 | |
police want her husband to do the hard work. | 0:31:48 | 0:31:50 | |
Oxford Circus has brought out her romantic side. | 0:31:58 | 0:32:01 | |
It's gone midnight and the last trains are nearly due, | 0:32:15 | 0:32:19 | |
but some passengers are still making merry. | 0:32:19 | 0:32:23 | |
# ..So watch your back! # | 0:32:23 | 0:32:24 | |
-Yeah! -I'm really quite embarrassed. | 0:32:24 | 0:32:26 | |
With the time approaching half past midnight, | 0:32:26 | 0:32:29 | |
staff are keen to get everyone off the platforms and home. | 0:32:29 | 0:32:32 | |
Last eastbound Central line, last westbound, Ealing Broadway. | 0:32:32 | 0:32:36 | |
Step it up, people, step it up. Last eastbound, last eastbound. | 0:32:38 | 0:32:42 | |
Last eastbound, last eastbound. | 0:32:42 | 0:32:44 | |
And with this lot on the train, | 0:32:44 | 0:32:46 | |
Ian hopes that's all passengers clear of Oxford Circus. | 0:32:46 | 0:32:49 | |
But... | 0:32:52 | 0:32:53 | |
Sir? Sorry, the last train has gone. | 0:32:54 | 0:32:57 | |
There's no more trains, where are you going to? | 0:32:58 | 0:33:01 | |
No more trains? | 0:33:04 | 0:33:06 | |
No, where were you going to? | 0:33:06 | 0:33:08 | |
Close the gate, close the gates. | 0:33:08 | 0:33:11 | |
'All trains have now departed. Any passengers left on the platform...' | 0:33:11 | 0:33:16 | |
My colleague's just telling everyone that it's good night, from him, | 0:33:16 | 0:33:19 | |
and good night from me. Ciao. | 0:33:19 | 0:33:21 | |
'Oxford Circus station is now closing.' | 0:33:22 | 0:33:25 | |
London is the most popular destination in the world for tourists. | 0:33:35 | 0:33:39 | |
Nearly 20 million people take in its sights and sounds every year, | 0:33:39 | 0:33:43 | |
and the vast majority of them | 0:33:43 | 0:33:45 | |
take the time to visit the city's premier shopping destination. | 0:33:45 | 0:33:49 | |
But competition for foreign shoppers' money is fierce. | 0:33:49 | 0:33:53 | |
Helping to keep the street on top is the job of these people, | 0:33:53 | 0:33:57 | |
the Oxford Street ambassadors. | 0:33:57 | 0:34:00 | |
Funded by the street's Retail Association, | 0:34:00 | 0:34:02 | |
the New West End Company, | 0:34:02 | 0:34:04 | |
the team's main role is to help visitors find their destinations. | 0:34:04 | 0:34:08 | |
-It's, like, 10 minutes straight in that direction. -The 15-strong team | 0:34:08 | 0:34:12 | |
is made up of an assortment of nationalities | 0:34:12 | 0:34:15 | |
who, between them, speak 23 different languages. | 0:34:15 | 0:34:18 | |
They're up for any question. | 0:34:23 | 0:34:25 | |
Where is the toilet? | 0:34:25 | 0:34:26 | |
Victoria's Secret, it's at New Bond Street. | 0:34:26 | 0:34:29 | |
For ambassador Fleur, it's a learning process. | 0:34:35 | 0:34:38 | |
It's only her third day on the job | 0:34:38 | 0:34:40 | |
and today she's shadowing colleague Flavio. | 0:34:40 | 0:34:43 | |
Round the corner... | 0:34:43 | 0:34:44 | |
It's quite challenging, I must say, | 0:34:44 | 0:34:46 | |
because you need to know everything people ask you. | 0:34:46 | 0:34:50 | |
Luckily, Flavio is at hand. | 0:34:50 | 0:34:52 | |
Pittman Institute? | 0:34:52 | 0:34:54 | |
Pittman Institute... | 0:34:54 | 0:34:55 | |
Flavio, do you know this? | 0:34:55 | 0:34:58 | |
For ambassador Lisa, | 0:34:59 | 0:35:00 | |
her morning is about to go beyond answering questions. | 0:35:00 | 0:35:04 | |
One of the ambassador's roles is to watch out for anything which might | 0:35:04 | 0:35:08 | |
affect the shopping experience, and Lisa's run into just that. | 0:35:08 | 0:35:12 | |
A protester has chosen Oxford Street as a venue | 0:35:18 | 0:35:21 | |
to make his feelings on consumerism clear. | 0:35:21 | 0:35:23 | |
The man, Danny Shine, and his megaphone, are | 0:35:32 | 0:35:35 | |
regular features of the street. With a crowd building up around him, | 0:35:35 | 0:35:39 | |
Lisa is worried about the ease of movement for people in this busy area. | 0:35:39 | 0:35:43 | |
Just to make you aware that the regular IC1 male, who is talking | 0:35:45 | 0:35:48 | |
through a megaphone, is outside McDonald's next to Harwood Place. | 0:35:48 | 0:35:52 | |
It's a tricky situation for Lisa. Her powers are limited. | 0:36:03 | 0:36:06 | |
People have the right to protest as long as they're not causing a disruption. | 0:36:06 | 0:36:12 | |
What we can do if he is too noisy, we can phone the Westminster Noise Team and ask him to move on. | 0:36:12 | 0:36:16 | |
As long as he's not swearing or being abusive towards someone, | 0:36:16 | 0:36:20 | |
there's not a lot of things that we can actually do. | 0:36:20 | 0:36:22 | |
So, just freedom of speech at the moment. | 0:36:22 | 0:36:25 | |
The impromptu protest is visibly irritating the restaurant management. | 0:36:25 | 0:36:29 | |
It's not just the staff that are showing concern. | 0:36:35 | 0:36:38 | |
To Lisa's relief, the protester eventually decides to move on | 0:36:51 | 0:36:55 | |
and the crowd gradually begins to disperse. | 0:36:55 | 0:36:59 | |
For Lisa, it's been a tricky situation, | 0:36:59 | 0:37:01 | |
but she wouldn't have it any other way. | 0:37:01 | 0:37:03 | |
Helping people in general is what I want to do in life and, | 0:37:03 | 0:37:06 | |
I mean, what a better job than doing this, just to help people every day. | 0:37:06 | 0:37:10 | |
It's your fifth on the right, you're welcome. | 0:37:10 | 0:37:13 | |
And with their final enquiry answered, | 0:37:13 | 0:37:15 | |
Flavio and Fleur call time too. | 0:37:15 | 0:37:19 | |
I learned a lot, really a lot. | 0:37:19 | 0:37:21 | |
I wonder what tomorrow will bring me. | 0:37:21 | 0:37:24 | |
-Thank you very much, it's been a pleasure to work with you. -The ambassadors can sign off, | 0:37:24 | 0:37:28 | |
but there's no doubt what tomorrow will bring - | 0:37:28 | 0:37:31 | |
thousands more visitors in need of their help. | 0:37:31 | 0:37:33 | |
Down an unassuming alleyway just off Oxford Street lies | 0:37:42 | 0:37:45 | |
St Christopher's Place. | 0:37:45 | 0:37:47 | |
It's a historic little square filled with bars, | 0:37:47 | 0:37:50 | |
shops and restaurants, providing a welcome | 0:37:50 | 0:37:53 | |
respite for the millions of shoppers pounding the pavements next door. | 0:37:53 | 0:37:57 | |
And today, it's playing host to Leigh. | 0:37:57 | 0:37:59 | |
She doesn't know it yet, but she's but she's about to have | 0:37:59 | 0:38:02 | |
the most memorable moment of her life, | 0:38:02 | 0:38:04 | |
because, little does she know, | 0:38:04 | 0:38:06 | |
her boyfriend, Paul, has chosen it as the perfect place to propose. | 0:38:06 | 0:38:10 | |
Leigh and I have been together for a year and a half. | 0:38:13 | 0:38:16 | |
She is from Australia, moved over here, and I want to show her | 0:38:16 | 0:38:19 | |
that I am equally as committed and ask for her hand in marriage. | 0:38:19 | 0:38:23 | |
But teacher Paul's proposal is going to be a little more than just | 0:38:23 | 0:38:27 | |
a ring in a box. | 0:38:27 | 0:38:28 | |
It started off I was going to just do a nice, gentle proposal, but | 0:38:30 | 0:38:34 | |
with the input of a friend, we've now got and an a cappella, all-male choir. | 0:38:34 | 0:38:40 | |
Then it was me joining in, | 0:38:40 | 0:38:41 | |
then we've managed to talk some musicians into coming along | 0:38:41 | 0:38:45 | |
and, just a few days ago, | 0:38:45 | 0:38:46 | |
we've somehow managed to get some choreographed dancers to | 0:38:46 | 0:38:49 | |
come in as well, so, it's going to be this huge, theatrical event. | 0:38:49 | 0:38:53 | |
I'm 99.9 percent sure she will say yes, | 0:38:53 | 0:38:58 | |
but there is that horrible fear and doubt | 0:38:58 | 0:39:02 | |
that she will say no. | 0:39:02 | 0:39:04 | |
Paul's best friend, Jamie, is in charge of staging | 0:39:04 | 0:39:07 | |
and secretly filming the event. | 0:39:07 | 0:39:10 | |
We've got two cameras set up over there, we've got two over here... | 0:39:10 | 0:39:13 | |
His biggest challenge is keeping the whole thing under wraps. | 0:39:13 | 0:39:17 | |
I don't think she's that observant, | 0:39:19 | 0:39:21 | |
so, the hope is that should be completely oblivious to the | 0:39:21 | 0:39:25 | |
four large cameras that are pointing at her. | 0:39:25 | 0:39:29 | |
With only an hour to go, Jamie rounds up the singers, dancers and musicians. | 0:39:29 | 0:39:33 | |
Get in, get in, get in. | 0:39:34 | 0:39:36 | |
Jamie shepherds them upstairs for final prep. | 0:39:36 | 0:39:39 | |
There are 27 people in total and they've all got to know their cues. | 0:39:39 | 0:39:44 | |
We've got 10 minutes, is that when we're on? | 0:39:45 | 0:39:48 | |
It's called All Of Me and I believe it's by John Legend. | 0:39:49 | 0:39:53 | |
And then if everything goes well, we'll sing Happy, | 0:39:53 | 0:39:55 | |
Pharrell Williams' Happy. | 0:39:55 | 0:39:57 | |
-Yeah, if it goes well. -If she says yes. | 0:39:57 | 0:39:58 | |
-If not, we'll just going to have to make something up. -Yeah. | 0:39:58 | 0:40:01 | |
With everybody in place, Jamie gets ready for action. | 0:40:02 | 0:40:06 | |
Paul, can you see them? They've just arrived. | 0:40:06 | 0:40:08 | |
While Leigh is occupied with the menu, Paul makes his excuses | 0:40:18 | 0:40:21 | |
and leaves, | 0:40:21 | 0:40:23 | |
and then, things get going. | 0:40:23 | 0:40:26 | |
Violins are go, violins are go. | 0:40:26 | 0:40:29 | |
First into action are the musicians. | 0:40:29 | 0:40:31 | |
Quickly followed by the a cappella group. | 0:40:34 | 0:40:38 | |
# What would I do without your smart mouth...? | 0:40:38 | 0:40:42 | |
She hasn't clocked yet. | 0:40:42 | 0:40:43 | |
# I'll be all right... | 0:40:43 | 0:40:45 | |
# My head's under water | 0:40:46 | 0:40:50 | |
# But I'm breathing fine... # | 0:40:50 | 0:40:52 | |
Paul waits nervously behind the scenes. | 0:40:52 | 0:40:55 | |
# You're crazy and I'm out of my mind... # | 0:40:55 | 0:40:58 | |
She's getting suspicious. | 0:40:58 | 0:41:00 | |
With Leigh beginning to twig something's up, | 0:41:00 | 0:41:03 | |
it's time for Paul to make his entrance. | 0:41:03 | 0:41:06 | |
She's got it. | 0:41:09 | 0:41:10 | |
# Love your curves and all your edges | 0:41:10 | 0:41:14 | |
# All your perfect imperfections | 0:41:14 | 0:41:18 | |
# Give your all to me | 0:41:18 | 0:41:22 | |
# I'll give my all to you | 0:41:22 | 0:41:26 | |
# You're my end and my beginning | 0:41:26 | 0:41:30 | |
# Even when I lose I'm winning | 0:41:30 | 0:41:34 | |
# I give you all of me | 0:41:34 | 0:41:42 | |
# And you give me all of you... # | 0:41:42 | 0:41:50 | |
-Will you marry me, baby? -Yes. | 0:41:59 | 0:42:01 | |
THE CROWD CHEERS | 0:42:01 | 0:42:02 | |
Whoo! | 0:42:02 | 0:42:04 | |
# Because I'm happy | 0:42:05 | 0:42:07 | |
# Clap along if you feel like a room without a roof | 0:42:07 | 0:42:11 | |
# Because I'm happy | 0:42:11 | 0:42:12 | |
# Clap along if you feel like happiness is the truth | 0:42:12 | 0:42:16 | |
# Because I'm happy | 0:42:16 | 0:42:18 | |
# Clap along if you know what... # | 0:42:18 | 0:42:20 | |
With relief all round, the singers, dancers, filmers and happy couple, | 0:42:20 | 0:42:24 | |
can all have a celebratory drink. | 0:42:24 | 0:42:26 | |
THE CROWD CHEERS | 0:42:29 | 0:42:30 | |
She said yes. It was good fun. | 0:42:30 | 0:42:34 | |
She said yes! | 0:42:34 | 0:42:36 | |
It was perfect, total surprise, I had no idea. | 0:42:39 | 0:42:43 | |
I'm still a bit shaky, a bit nervous and, | 0:42:43 | 0:42:46 | |
it's just a bit overwhelming, really. But I'm... Yeah, it was really beautiful. | 0:42:46 | 0:42:49 | |
Over the moon. Over the moon. | 0:42:49 | 0:42:52 | |
And when they get round to it, | 0:42:52 | 0:42:54 | |
they certainly know a good street to go shopping on for a wedding dress. | 0:42:54 | 0:42:58 |