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It's the most famous shopping street in the world | 0:00:02 | 0:00:04 | |
in the heart of Britain's capital city. | 0:00:04 | 0:00:06 | |
A mile and a half long, | 0:00:06 | 0:00:08 | |
with 30 million visitors each year. | 0:00:08 | 0:00:11 | |
With some of the world's most famous shops... | 0:00:11 | 0:00:14 | |
-CHEERING -..biggest stars... | 0:00:14 | 0:00:16 | |
Kate Moss! CHEERING | 0:00:16 | 0:00:18 | |
-..and busiest stations. -Sorry, guys! Stand back for me! | 0:00:18 | 0:00:21 | |
What does it take to keep it running 24 hours a day... | 0:00:21 | 0:00:25 | |
Busiest street in the world, so it needs constant attention. | 0:00:25 | 0:00:27 | |
-..seven days a week? -Oi! Clear off! | 0:00:27 | 0:00:30 | |
Welcome to Oxford Street. Welcome to the pickpocket team. | 0:00:30 | 0:00:33 | |
Are you ready, London?! | 0:00:33 | 0:00:35 | |
A street that never sleeps. | 0:00:35 | 0:00:38 | |
This sort of thing wouldn't happen anywhere else. | 0:00:38 | 0:00:40 | |
Oxford Street. | 0:00:42 | 0:00:44 | |
Coming up... | 0:00:46 | 0:00:47 | |
There's a pop superstar coming to Oxford Street. | 0:00:47 | 0:00:51 | |
Can shop security cope? | 0:00:51 | 0:00:52 | |
CHEERING | 0:00:52 | 0:00:54 | |
This man has set up home on the pavement. | 0:00:54 | 0:00:57 | |
Don't. No, don't. | 0:00:57 | 0:00:59 | |
When police move in to arrest him, he's far from happy. | 0:00:59 | 0:01:02 | |
It's a good day for me making you lot look like idiots. | 0:01:02 | 0:01:04 | |
It's shut down time at Britain's busiest station. | 0:01:04 | 0:01:08 | |
Could we man the gates, please? | 0:01:08 | 0:01:10 | |
Staff and passengers are pushed to the limit. | 0:01:10 | 0:01:13 | |
Stand back for me! Oh! | 0:01:13 | 0:01:15 | |
SIRENS WAIL | 0:01:18 | 0:01:21 | |
Oxford Street has its own dedicated law enforcement team. | 0:01:22 | 0:01:26 | |
Can I have a PNC on a person, please? Oxford Street. | 0:01:26 | 0:01:28 | |
And it's paying off. | 0:01:28 | 0:01:30 | |
Crime on the street has fallen 15% in recent years. | 0:01:30 | 0:01:34 | |
OK, so these are our beats. We've got west Oxford Street here. | 0:01:34 | 0:01:37 | |
Police constable Karen Spencer | 0:01:37 | 0:01:40 | |
is part of the Oxford Street team, known as ORB. | 0:01:40 | 0:01:43 | |
They police one of the busiest shopping destinations in the world. | 0:01:43 | 0:01:47 | |
Oxford Circus, east Oxford Street... | 0:01:47 | 0:01:49 | |
While stores on Oxford Street target customers | 0:01:49 | 0:01:51 | |
looking for high fashion and glamour, | 0:01:51 | 0:01:53 | |
today the ORB team have their eyes | 0:01:53 | 0:01:56 | |
on a different type of frequent visitor - | 0:01:56 | 0:01:58 | |
beggars. | 0:01:58 | 0:02:00 | |
They're attracted by the millions of shoppers | 0:02:00 | 0:02:03 | |
looking to spend money on the street. | 0:02:03 | 0:02:05 | |
But begging is a criminal offence | 0:02:05 | 0:02:07 | |
and targeting them is a top priority for the ORB team. | 0:02:07 | 0:02:10 | |
Usually outside John Lewis | 0:02:10 | 0:02:12 | |
or Selfridge's. | 0:02:12 | 0:02:15 | |
Today, Karen's on the lookout for known persistent beggars, | 0:02:15 | 0:02:18 | |
in particular ones that live rough in the area. | 0:02:18 | 0:02:22 | |
VOICE OVER POLICE RADIO | 0:02:22 | 0:02:24 | |
And it doesn't take long for Karen to find one of her regulars. | 0:02:24 | 0:02:28 | |
Date of birth, 2-0-0-5 | 0:02:28 | 0:02:30 | |
1-9-6-5. | 0:02:30 | 0:02:32 | |
A man playing the accordion outside John Lewis. | 0:02:32 | 0:02:35 | |
He's been warned previously for begging on the street. | 0:02:35 | 0:02:39 | |
Can you tell me when he was last known and whether it was for | 0:02:40 | 0:02:43 | |
begging, yes or no? Over. | 0:02:43 | 0:02:45 | |
He was arrested on the 24th of July. | 0:02:45 | 0:02:48 | |
Unfortunately for Karen, she's not seen him actually begging today, | 0:02:48 | 0:02:52 | |
so she can't arrest him. | 0:02:52 | 0:02:54 | |
But his track record means she can | 0:02:54 | 0:02:56 | |
move him and his accordion on with a warning. | 0:02:56 | 0:02:58 | |
No more on Oxford Street. OK? | 0:02:58 | 0:03:01 | |
You get found again today, you get arrested. | 0:03:01 | 0:03:05 | |
You're lucky, because you would be going back to the police station. | 0:03:05 | 0:03:08 | |
I gave him a cease and desist notice in Romanian. | 0:03:09 | 0:03:12 | |
We've got them in English and Romanian | 0:03:12 | 0:03:14 | |
just to explain that certain behaviours will not be tolerated. | 0:03:14 | 0:03:18 | |
If he's seen again today, he's in big trouble. | 0:03:18 | 0:03:21 | |
And further down the street, Karen spots another regular | 0:03:23 | 0:03:26 | |
who's hurriedly trying to get away. | 0:03:26 | 0:03:29 | |
Her colleague, Warren Shackleton | 0:03:29 | 0:03:31 | |
from the British Transport Police, moves in. | 0:03:31 | 0:03:35 | |
Come and have a chat to us, young lady. | 0:03:35 | 0:03:37 | |
No, no, no, no. Come and speak to us, OK? | 0:03:37 | 0:03:41 | |
We know what you were doing. | 0:03:41 | 0:03:43 | |
The woman is one of Karen's regulars | 0:03:43 | 0:03:45 | |
and has been warned repeatedly. | 0:03:45 | 0:03:47 | |
Enough's enough, OK? Begging is a no-no around here, OK? | 0:03:47 | 0:03:52 | |
Again, they haven't seen her begging so can't arrest her, | 0:03:52 | 0:03:55 | |
but they've seen where she's been sitting and it's enough for them | 0:03:55 | 0:03:58 | |
to give her a cease and desist letter and move her on. | 0:03:58 | 0:04:00 | |
Begging. No. | 0:04:00 | 0:04:02 | |
Had I seen her begging with her hand out | 0:04:04 | 0:04:07 | |
or something on the floor, she'd have come in today. | 0:04:07 | 0:04:09 | |
But further down the street is a much harder problem to solve. | 0:04:11 | 0:04:14 | |
Chester Lashley has become a permanent fixture | 0:04:18 | 0:04:21 | |
on the Oxford Street pavement, | 0:04:21 | 0:04:23 | |
having pitched up some months ago. | 0:04:23 | 0:04:25 | |
His presence and that of all of his belongings | 0:04:25 | 0:04:28 | |
is a constant nuisance for shops and shoppers alike, | 0:04:28 | 0:04:31 | |
and his behaviour has led to numerous complaints. | 0:04:31 | 0:04:34 | |
A lot of complaints have come in from local businesses | 0:04:35 | 0:04:38 | |
of him causing an obstruction, | 0:04:38 | 0:04:41 | |
blocking doorways, | 0:04:41 | 0:04:43 | |
there's detritus from the dog fouling, | 0:04:43 | 0:04:46 | |
and being a general nuisance. | 0:04:46 | 0:04:48 | |
Homelessness is a difficult problem for the authorities. | 0:04:48 | 0:04:51 | |
The reasons people are driven to it | 0:04:51 | 0:04:53 | |
are often complex and not easy to solve. | 0:04:53 | 0:04:56 | |
But on such a vital shopping street, | 0:04:56 | 0:04:58 | |
having people making a home for themselves outside landmark stores | 0:04:58 | 0:05:02 | |
is a no-no for business. | 0:05:02 | 0:05:05 | |
This ain't, this ain't policing. | 0:05:05 | 0:05:07 | |
You moving me ain't policing. | 0:05:07 | 0:05:09 | |
Chester's ignored previous warnings from the police | 0:05:09 | 0:05:12 | |
and refused a number of offers | 0:05:12 | 0:05:14 | |
of accommodation from support groups. | 0:05:14 | 0:05:17 | |
He has been offered accommodation. | 0:05:17 | 0:05:19 | |
Unfortunately, he's not willing to take it. | 0:05:19 | 0:05:22 | |
He wants a three-bedroom house of his own or something, | 0:05:22 | 0:05:26 | |
which is unrealistic. | 0:05:26 | 0:05:28 | |
Today, it's enough for Karen to move Chester on. | 0:05:28 | 0:05:31 | |
They don't want to arrest him, as that's a last resort. | 0:05:31 | 0:05:34 | |
They're hoping he'll get the message and not come back. | 0:05:34 | 0:05:37 | |
But a few weeks later, | 0:05:39 | 0:05:41 | |
and Chester has been spotted by plain-clothes officers, | 0:05:41 | 0:05:44 | |
living rough on Oxford Street again | 0:05:44 | 0:05:46 | |
with all his belongings. | 0:05:46 | 0:05:48 | |
A male with thick dreadlocks and a stick poking out of him | 0:05:50 | 0:05:53 | |
was kind of yelling at them and following them down the road. | 0:05:53 | 0:05:56 | |
From that description, I think it's probably Chester. | 0:05:56 | 0:05:59 | |
You need to go to the housing, man. | 0:05:59 | 0:06:01 | |
Now Karen and her team have been authorised to go and arrest him. | 0:06:01 | 0:06:05 | |
Chester is used to being asked to move on, | 0:06:06 | 0:06:08 | |
but getting arrested might come as a surprise. | 0:06:08 | 0:06:11 | |
-You are under arrest. -It's easy. If you want me to move, I'll move. | 0:06:12 | 0:06:16 | |
We have asked you continuously, | 0:06:16 | 0:06:18 | |
all my team, to move. You haven't moved. | 0:06:18 | 0:06:21 | |
You've been offered accommodation, | 0:06:21 | 0:06:23 | |
there are numerous complaints | 0:06:23 | 0:06:25 | |
-about you being here, you don't listen to reason... -I will move now. | 0:06:25 | 0:06:28 | |
..so therefore... No, no, no, no. | 0:06:28 | 0:06:29 | |
-You've been given too many opportunities. -Listen... | 0:06:29 | 0:06:32 | |
This officer will be taking you to the station. | 0:06:32 | 0:06:34 | |
-No, you can't arrest me without my belongings. -You've been arrested. | 0:06:34 | 0:06:37 | |
But Chester's belongings present a more complicated problem | 0:06:37 | 0:06:40 | |
for police to mull over. | 0:06:40 | 0:06:42 | |
There are lots of them and, having arrested him, | 0:06:42 | 0:06:44 | |
they'll need to take them all with them. | 0:06:44 | 0:06:47 | |
Later in the programme, | 0:06:47 | 0:06:48 | |
Karen's tussle with Chester takes a dramatic turn. | 0:06:48 | 0:06:51 | |
It's taking for ever. This is ridiculous. | 0:06:51 | 0:06:54 | |
Don't rush me! So you want me to hurry up, it ain't happening! | 0:06:54 | 0:06:57 | |
Some shops have been on Oxford Street for so long | 0:07:04 | 0:07:07 | |
that they've become part of the furniture. | 0:07:07 | 0:07:10 | |
HMV at number 363 | 0:07:10 | 0:07:12 | |
is one such store. | 0:07:12 | 0:07:15 | |
The first ever HMV store was opened here | 0:07:16 | 0:07:19 | |
by the composer Elgar in 1921 | 0:07:19 | 0:07:22 | |
and The Beatles cut one of their first demos here. | 0:07:22 | 0:07:25 | |
The Art Deco shop front has even been listed. | 0:07:25 | 0:07:29 | |
But music downloads have hit HMV hard over the last few years. | 0:07:31 | 0:07:35 | |
It's decided to fight back using this... | 0:07:35 | 0:07:39 | |
It's state-of-the-art 200-capacity performance space | 0:07:40 | 0:07:44 | |
is the only one of its kind on Oxford Street, | 0:07:44 | 0:07:46 | |
designed to showcase live music and stage celebrity signings. | 0:07:46 | 0:07:51 | |
And today, it's being used for one of the biggest events of the year. | 0:07:51 | 0:07:55 | |
International pop star and TV presenter Nicole Scherzinger | 0:07:56 | 0:08:00 | |
has a new album out | 0:08:00 | 0:08:02 | |
and the venue has been chosen for her to meet fans and sign copies | 0:08:02 | 0:08:05 | |
of her new record. | 0:08:05 | 0:08:07 | |
Simon Winter is its events manager | 0:08:09 | 0:08:11 | |
and has worked for the company for 25 years. | 0:08:11 | 0:08:14 | |
She'll be signing her new album | 0:08:14 | 0:08:17 | |
and saying hi to all her fans. It should be great. | 0:08:17 | 0:08:19 | |
It's Simon's job to make sure the album signing is a success. | 0:08:19 | 0:08:24 | |
Before that, we've got to get everything ready. | 0:08:24 | 0:08:27 | |
So we're going to just turn all the lights on in here, | 0:08:27 | 0:08:30 | |
get the sound system sort of warmed up and ready to go. | 0:08:30 | 0:08:34 | |
The event's been heavily promoted, | 0:08:34 | 0:08:36 | |
but it's still tough to predict fan numbers. | 0:08:36 | 0:08:39 | |
You don't know how it's going to go. We haven't sold tickets. | 0:08:40 | 0:08:43 | |
So, if I was a venue, I could sell 200 tickets in advance | 0:08:43 | 0:08:46 | |
and I'd know it would be a sell-out. | 0:08:46 | 0:08:48 | |
But here we're inviting people to come along, | 0:08:48 | 0:08:50 | |
but we don't actually know who will come along. | 0:08:50 | 0:08:52 | |
The signing's at 6pm, | 0:08:52 | 0:08:54 | |
but Nicole's due to arrive at 4:30. | 0:08:54 | 0:08:57 | |
And, with half an hour to go, Simon checks outside | 0:08:57 | 0:09:00 | |
to see if everything's in order. | 0:09:00 | 0:09:02 | |
He's immediately collared by an unauthorised paparazzi photographer. | 0:09:02 | 0:09:06 | |
-Hello. -Do you know what time she's turning up? -Uh... | 0:09:06 | 0:09:08 | |
-Are you on the list? -No, no, no. We're covering the arrivals... | 0:09:08 | 0:09:11 | |
Well, I can't really tell you what time she's arriving. | 0:09:11 | 0:09:13 | |
She'll arrive when she arrives. | 0:09:13 | 0:09:14 | |
The presence of the paparazzi jostling for pictures | 0:09:15 | 0:09:18 | |
makes security more of a challenge. | 0:09:18 | 0:09:22 | |
The company is leaving nothing to chance | 0:09:22 | 0:09:24 | |
and they have a team of security guards on hand | 0:09:24 | 0:09:27 | |
to ensure Nicole's safety. | 0:09:27 | 0:09:29 | |
Downstairs, already there's a photographer hanging around, | 0:09:29 | 0:09:32 | |
so just keep an eye out for guys with their photo bags or whatever. | 0:09:32 | 0:09:35 | |
No worries. We'll have a team of four or five to bring her in | 0:09:35 | 0:09:37 | |
and then we'll start to deploy everyone through the building. | 0:09:37 | 0:09:40 | |
Once she's in the building, we know she's safe upstairs. | 0:09:40 | 0:09:42 | |
With 10 minutes to go, Simon heads back out to greet her. | 0:09:44 | 0:09:48 | |
But there's bad news. | 0:09:48 | 0:09:50 | |
So I just had a text from Nicole's product manager. | 0:09:51 | 0:09:56 | |
She's running a little bit late, so won't be here until five o'clock now. | 0:09:56 | 0:09:59 | |
Things often change, you know. | 0:09:59 | 0:10:01 | |
People get stuck in traffic, flights can get delayed, all sorts. | 0:10:01 | 0:10:04 | |
So we've just got to work with it really. | 0:10:04 | 0:10:07 | |
But as 5pm approaches, | 0:10:09 | 0:10:11 | |
there's still no sign of the elusive pop star. | 0:10:11 | 0:10:13 | |
Meanwhile, he's joined by Simon Forbes, | 0:10:15 | 0:10:18 | |
Nicole's UK promoter, | 0:10:18 | 0:10:19 | |
who's meeting her at the store. | 0:10:19 | 0:10:21 | |
One minute away, one minute away. | 0:10:23 | 0:10:26 | |
The long wait is over. | 0:10:26 | 0:10:27 | |
Now it's a matter of getting her past the photographers, | 0:10:27 | 0:10:30 | |
who are once again trying their luck. | 0:10:30 | 0:10:33 | |
OK, this is where it gets interesting. | 0:10:33 | 0:10:35 | |
And there she is. | 0:10:42 | 0:10:45 | |
CAMERAS CLICK | 0:10:45 | 0:10:47 | |
-Nicole! -Are you OK? Are you OK? | 0:10:48 | 0:10:50 | |
Nicole! Nicole! | 0:10:50 | 0:10:52 | |
ANIMATED CHATTER | 0:10:53 | 0:10:55 | |
Nicole's safely inside. | 0:11:01 | 0:11:03 | |
Now Simon's got to get her comfortable | 0:11:03 | 0:11:05 | |
and brief her for the signing. | 0:11:05 | 0:11:08 | |
Later, her fans get the glimpse they've been waiting for | 0:11:08 | 0:11:11 | |
and it's an emotional moment. | 0:11:11 | 0:11:13 | |
Oxford Street is the busiest shopping street in Europe | 0:11:22 | 0:11:26 | |
and at its hub is Oxford Circus tube station, | 0:11:26 | 0:11:29 | |
the busiest station in the entire UK network, | 0:11:29 | 0:11:32 | |
with 130 million passenger movements per year. | 0:11:32 | 0:11:36 | |
Every weekday, over 125,000 people | 0:11:36 | 0:11:40 | |
enter the station, meaning overcrowding is a constant issue. | 0:11:40 | 0:11:44 | |
Keeping everything running comes down to a team of experienced staff. | 0:11:44 | 0:11:48 | |
It's a fabulous station, | 0:11:48 | 0:11:50 | |
there's always something different happening every day. | 0:11:50 | 0:11:53 | |
Customer Services Assistant Laura Shelton | 0:11:53 | 0:11:56 | |
has been working at Oxford Circus for two years. | 0:11:56 | 0:11:58 | |
BEEPING | 0:11:58 | 0:12:00 | |
I love working for London Underground, | 0:12:00 | 0:12:02 | |
it's the best thing I've ever done. | 0:12:02 | 0:12:03 | |
Let's have a look, my love. It needs some more money, sweetheart. | 0:12:03 | 0:12:06 | |
Story of my life. | 0:12:06 | 0:12:08 | |
I was a stay-at-home mum for 23 years | 0:12:08 | 0:12:11 | |
and decided to go back to work and ended up here. | 0:12:11 | 0:12:14 | |
It already thinks you're in, my love. Come on in. | 0:12:14 | 0:12:17 | |
I haven't regretted a day of it. | 0:12:17 | 0:12:19 | |
Every evening, tens of thousands of shoppers and workers | 0:12:19 | 0:12:23 | |
use Oxford Circus to get home, | 0:12:23 | 0:12:25 | |
putting the station under intense pressure. | 0:12:25 | 0:12:27 | |
-Are you just going to Waterloo and that's it? -That's it, yeah. | 0:12:27 | 0:12:31 | |
The overcrowding often reaches the stage | 0:12:31 | 0:12:34 | |
where staff on the concourse, or - as they call it - bullring, | 0:12:34 | 0:12:38 | |
have to take the ultimate step. | 0:12:38 | 0:12:40 | |
They shut all four entry points. | 0:12:40 | 0:12:43 | |
This is known as "manning the gates." | 0:12:43 | 0:12:45 | |
When we man the gates, you do get an adrenaline rush, | 0:12:45 | 0:12:49 | |
cos you never quite know what's going to happen when you get up there. | 0:12:49 | 0:12:52 | |
Yeah, base to all radios, base to all radios. | 0:12:52 | 0:12:55 | |
It's one of the toughest decisions a station controller | 0:12:55 | 0:12:58 | |
will ever have to make, with major implications for the passengers | 0:12:58 | 0:13:02 | |
and other stations down the line. | 0:13:02 | 0:13:04 | |
-Your tea, my lord. -Thank you. | 0:13:04 | 0:13:06 | |
The man in hot seat tonight is Michael Kemp. | 0:13:06 | 0:13:10 | |
It's not easy, no. | 0:13:10 | 0:13:12 | |
But it's us keeping a calm head as well, keeping in control | 0:13:12 | 0:13:14 | |
and, you know, um, | 0:13:14 | 0:13:16 | |
keeping everyone safe and getting everyone home safely. | 0:13:16 | 0:13:19 | |
Maybe a little bit late for dinner, but they will get there eventually. | 0:13:19 | 0:13:22 | |
In the control room, Michael has access to 300 cameras | 0:13:22 | 0:13:26 | |
dotted around the station. | 0:13:26 | 0:13:27 | |
So far this afternoon, things look relatively quiet, | 0:13:27 | 0:13:31 | |
although that's not a term Laura likes. | 0:13:31 | 0:13:34 | |
I won't use the Q word, because I'm not going to tempt fate. | 0:13:34 | 0:13:37 | |
As soon as you utter that word, that's when, um, | 0:13:37 | 0:13:41 | |
things go wrong. | 0:13:41 | 0:13:43 | |
But just as it hits 5pm, there's an influx of passengers | 0:13:43 | 0:13:47 | |
and the platforms rapidly fill up. | 0:13:47 | 0:13:50 | |
We need to act as quick as we can. Things can happen in a split second. | 0:13:50 | 0:13:53 | |
Michael makes the decision everyone's been dreading. | 0:13:53 | 0:13:57 | |
Yeah, base to the bullring. Base to the bullring. | 0:13:58 | 0:14:00 | |
Can we man the gates, please? Can we man the gates, please? | 0:14:00 | 0:14:03 | |
Laura and her colleagues race up the stairs to close the entry points | 0:14:03 | 0:14:07 | |
as quickly as possible. | 0:14:07 | 0:14:10 | |
Excuse me, please! | 0:14:11 | 0:14:13 | |
Guys, can you just hang back there for me? | 0:14:13 | 0:14:15 | |
Don't push through, I'm a human being. | 0:14:15 | 0:14:17 | |
Stand back, please! TANNOY ANNOUNCEMENT | 0:14:17 | 0:14:20 | |
Oh, I hate this one. SHE GROANS | 0:14:20 | 0:14:23 | |
That's it. | 0:14:23 | 0:14:25 | |
I'm really sorry, guys. We'll be as quick as we can, all right? | 0:14:25 | 0:14:29 | |
TANNOY: 'Congestion. Do not enter.' | 0:14:29 | 0:14:32 | |
It's obviously really frustrating, having to wait here. | 0:14:37 | 0:14:40 | |
Above ground, crowds swamp the staircases. | 0:14:40 | 0:14:43 | |
But on the bullring, things are very different. | 0:14:43 | 0:14:46 | |
It does become very eerie when you close up | 0:14:47 | 0:14:49 | |
and everything becomes empty, | 0:14:49 | 0:14:51 | |
which, in some respects, it's quite nice, cos you get a break. | 0:14:51 | 0:14:55 | |
But the trouble is is the second you open those gates, | 0:14:55 | 0:14:58 | |
it's like an army. | 0:14:58 | 0:15:00 | |
They're just running at you. So... | 0:15:00 | 0:15:02 | |
you pay for having that little bit of quietness | 0:15:02 | 0:15:04 | |
when they all come back in. | 0:15:04 | 0:15:06 | |
But while the bullring's quiet, | 0:15:06 | 0:15:08 | |
down on the platforms and the interconnecting tunnels, | 0:15:08 | 0:15:11 | |
things are round to bursting. | 0:15:11 | 0:15:13 | |
It's easy to see why they've had to man the gates. | 0:15:13 | 0:15:16 | |
In the control room, Michael calculates | 0:15:17 | 0:15:19 | |
when he can reopen the station. | 0:15:19 | 0:15:21 | |
The system can tell him the current load | 0:15:21 | 0:15:24 | |
of each 1,000-person-capacity train | 0:15:24 | 0:15:27 | |
and how many new passengers it can take. | 0:15:27 | 0:15:30 | |
If we put the train details into the computer, | 0:15:30 | 0:15:32 | |
it tells us how busy that train is. | 0:15:32 | 0:15:34 | |
At the moment, we've got 940 people on that train. | 0:15:34 | 0:15:36 | |
There's enough space for another, what, 60 people. | 0:15:36 | 0:15:40 | |
Whereas we've got more than 60 people on our platform here. | 0:15:40 | 0:15:43 | |
Unfortunately, this train is already so busy that the 60 people | 0:15:43 | 0:15:47 | |
it still has room for won't do much to clear the overcrowded platform. | 0:15:47 | 0:15:51 | |
It's quite busy down there. It might remain closed for the time being. | 0:15:51 | 0:15:54 | |
After ten minutes, the crowds are still backing up on Oxford Street. | 0:15:54 | 0:15:58 | |
But it's a different story on the platforms and Michael is satisfied | 0:15:58 | 0:16:02 | |
that the numbers are back down to safe levels. | 0:16:02 | 0:16:04 | |
Base to the bullring, could you reopen, please? Reopen the bullring. | 0:16:04 | 0:16:07 | |
It's the news everyone's been waiting for | 0:16:07 | 0:16:10 | |
and they're eager to be on their way. | 0:16:10 | 0:16:12 | |
Sorry, guys. | 0:16:12 | 0:16:13 | |
Let me get the gates open before you...rush me, please. | 0:16:13 | 0:16:18 | |
There you go. In you come. | 0:16:18 | 0:16:20 | |
TANNOY: 'We'd like to apologise for...' | 0:16:20 | 0:16:22 | |
With the entrances open, Laura and Michael | 0:16:22 | 0:16:25 | |
will hope they don't have to man the gates again this evening. | 0:16:25 | 0:16:28 | |
The decision to close isn't taken lightly. | 0:16:28 | 0:16:31 | |
We're trying to prevent there being a serious incident. | 0:16:32 | 0:16:35 | |
If we didn't close the gates | 0:16:35 | 0:16:37 | |
and people just continued to come in, | 0:16:37 | 0:16:39 | |
once that platform's full, there's nowhere for people to go, | 0:16:39 | 0:16:42 | |
other than on the track. | 0:16:42 | 0:16:44 | |
Later in the programme, Laura's hopes for a quiet night are dashed. | 0:16:44 | 0:16:47 | |
Man the gates, please. Man the gates to the bullring, please. | 0:16:47 | 0:16:50 | |
Sorry, guys. Sorry. | 0:16:50 | 0:16:52 | |
And she's not the only person unhappy about it. | 0:16:52 | 0:16:55 | |
So I don't know if he's going to come down and give us any grief. | 0:16:55 | 0:16:58 | |
Chester Lashley is one of the Metropolitan Police's | 0:17:07 | 0:17:10 | |
main problems on Oxford Street. | 0:17:10 | 0:17:12 | |
More often than not, he's living rough on the street, | 0:17:12 | 0:17:15 | |
setting up home on the pavement and refusing offers of accommodation. | 0:17:15 | 0:17:19 | |
This officer will be taking you to the station. | 0:17:19 | 0:17:22 | |
Following his failure to act on their previous warnings, | 0:17:22 | 0:17:25 | |
PC Karen Spencer and colleagues | 0:17:25 | 0:17:27 | |
have today arrested him for not moving on. | 0:17:27 | 0:17:30 | |
All they've got to do now is take Chester down to the station. | 0:17:30 | 0:17:34 | |
-You can't arrest me without my belongings. -You've been arrested. | 0:17:34 | 0:17:37 | |
Problem is that means taking all of his belongings with them. | 0:17:37 | 0:17:40 | |
Stop asking me stupid questions! | 0:17:40 | 0:17:42 | |
It's my belongings, so obviously it's coming with me! | 0:17:42 | 0:17:45 | |
My only thing is will we get accusations | 0:17:45 | 0:17:47 | |
of having stuff taken if we don't take it back to the station with us? | 0:17:47 | 0:17:51 | |
That's my USB key. | 0:17:51 | 0:17:53 | |
That is my USB key, man. It was in my speaker. | 0:17:53 | 0:17:56 | |
So I would take it back to the station, | 0:17:56 | 0:17:58 | |
especially bearing in mind we've got whatever that contraption is. | 0:17:58 | 0:18:01 | |
Most vans deliver to Oxford Street, | 0:18:03 | 0:18:06 | |
but this one will be making a removal. | 0:18:06 | 0:18:09 | |
There's these two boxes here and that one. | 0:18:10 | 0:18:13 | |
OK, that, this there and this. | 0:18:13 | 0:18:16 | |
Yeah. | 0:18:16 | 0:18:18 | |
Chester is less than happy about being arrested | 0:18:25 | 0:18:28 | |
and isn't being particularly cooperative. | 0:18:28 | 0:18:30 | |
You can't lift it up by the handle. | 0:18:30 | 0:18:32 | |
I'm not lifting it up by the handle, Chester. | 0:18:32 | 0:18:34 | |
I'm just letting you know, that's all I'm doing. | 0:18:34 | 0:18:36 | |
I said to you, you need a bag to go underneath it | 0:18:36 | 0:18:39 | |
to stop it from falling out. | 0:18:39 | 0:18:40 | |
Chester, stop arguing, more packing, please. | 0:18:40 | 0:18:43 | |
-I'm not arguing. -You are. | 0:18:43 | 0:18:45 | |
After half an hour of back and forth, | 0:18:45 | 0:18:48 | |
the arrest is starting to fray Karen's nerves. | 0:18:48 | 0:18:50 | |
It's taking forever. This is ridiculous. | 0:18:50 | 0:18:53 | |
Right, guys, we really need to get him moving. | 0:18:53 | 0:18:55 | |
So don't rush me! Cos I've got a whole heap of stuff! | 0:18:55 | 0:18:58 | |
So you want me to hurry up, it ain't happening. | 0:18:58 | 0:19:00 | |
But arguments or not, the clearing continues. | 0:19:00 | 0:19:04 | |
Chester, we've got your suitcase, we've got these three bags. | 0:19:04 | 0:19:06 | |
These are all definites. | 0:19:06 | 0:19:09 | |
You don't know how good we are at packing. | 0:19:14 | 0:19:16 | |
Homelessness is a difficult problem | 0:19:22 | 0:19:24 | |
for the police to deal with anywhere, | 0:19:24 | 0:19:26 | |
but having people setting up home outside landmark stores | 0:19:26 | 0:19:29 | |
is not an option for a street which styles itself | 0:19:29 | 0:19:32 | |
as the most important shopping thoroughfare in the world. | 0:19:32 | 0:19:36 | |
Local retailers are only too happy to see Chester on his bike. | 0:19:37 | 0:19:41 | |
Is that it? | 0:19:41 | 0:19:43 | |
And even HE has found a silver lining on the day's events. | 0:19:43 | 0:19:47 | |
The good thing that's going to come out of it | 0:19:47 | 0:19:49 | |
is that I'm going to show you police how to do your job properly. | 0:19:49 | 0:19:52 | |
All of you are going to be so sorry that you're doing what you're doing. | 0:19:52 | 0:19:55 | |
You're arresting a good man and not a bad man. | 0:19:55 | 0:19:57 | |
So really and truly, it's a good day for me | 0:19:57 | 0:19:58 | |
-making you lot look like idiots. -Chester, let's go. | 0:19:58 | 0:20:01 | |
-No, no, no, no, no. -In the van now, please. | 0:20:01 | 0:20:04 | |
Let me finish my water. | 0:20:04 | 0:20:06 | |
It's going to take hours to even go through that stuff | 0:20:07 | 0:20:11 | |
and get it put down on the custody record. | 0:20:11 | 0:20:13 | |
Well, we've done the right thing, but it has taken an hour | 0:20:13 | 0:20:16 | |
to get all that stuff in the back of a van, | 0:20:16 | 0:20:18 | |
which was no mean feat. | 0:20:18 | 0:20:21 | |
And with that, Chester's stay on Oxford Street comes to an end. | 0:20:21 | 0:20:25 | |
And it seems the police's forceful action has had an effect. | 0:20:25 | 0:20:29 | |
Since we filmed, Chester hasn't returned | 0:20:29 | 0:20:32 | |
and is believed to have based himself elsewhere in London. | 0:20:32 | 0:20:36 | |
With him gone, shoppers can expect a slightly quieter | 0:20:36 | 0:20:39 | |
if less colourful shopping experience from now on. | 0:20:39 | 0:20:43 | |
At number 363 Oxford Street, | 0:20:50 | 0:20:53 | |
pop star Nicole Scherzinger has arrived for a signing | 0:20:53 | 0:20:56 | |
-to promote her new album. -It's a bit surreal that it's out. | 0:20:56 | 0:20:59 | |
Social media has worked its magic | 0:20:59 | 0:21:01 | |
and there are lots of fans waiting in store. | 0:21:01 | 0:21:04 | |
That was fun getting her in there. | 0:21:04 | 0:21:06 | |
Meanwhile, Simon talks Melissa, Nicole's manager, | 0:21:06 | 0:21:09 | |
through his comprehensive plan for the signing session. | 0:21:09 | 0:21:12 | |
The signing's on the desk here, | 0:21:12 | 0:21:13 | |
so you can have guys either side of the table if we decide | 0:21:13 | 0:21:18 | |
if there's photographs, if there's no photographs - | 0:21:18 | 0:21:20 | |
that's the one thing that fans always ask. | 0:21:20 | 0:21:22 | |
It's hard if everybody asks for a photo. She feels like she has to... | 0:21:22 | 0:21:26 | |
talk to every... You know, take everyone a photo, | 0:21:26 | 0:21:29 | |
and I think we'll be here for the next ten hours. | 0:21:29 | 0:21:31 | |
Luckily, the experienced events staff have a strategy | 0:21:31 | 0:21:34 | |
-for keeping things moving. -Yeah, get the music on. | 0:21:34 | 0:21:36 | |
I take the photo, I give them back the camera, | 0:21:36 | 0:21:38 | |
so they can't do selfies, they can't get in there. | 0:21:38 | 0:21:40 | |
-And they get one, that's it. -Yeah. | 0:21:40 | 0:21:42 | |
-Is there any hand sanitiser around here? -I have some, yeah. I do, yep. | 0:21:42 | 0:21:45 | |
-That we could just put, like, behind there. -Uh-huh. | 0:21:45 | 0:21:48 | |
At last, the excited fans are ushered up to the second floor. | 0:21:51 | 0:21:55 | |
No selfies, you'll have a photo taken. | 0:21:55 | 0:21:58 | |
She'll be down for six o'clock. | 0:21:58 | 0:22:00 | |
Upstairs, Nicole is looking forward to meeting her fans. | 0:22:00 | 0:22:04 | |
I like being one-on-one with people and seeing people in person, | 0:22:04 | 0:22:07 | |
so I can't wait to get down there. | 0:22:07 | 0:22:09 | |
I couldn't imagine a better place to do a signing | 0:22:09 | 0:22:11 | |
and to release the album than here | 0:22:11 | 0:22:13 | |
at HMV on Oxford Street. | 0:22:13 | 0:22:15 | |
A lot of history here. | 0:22:15 | 0:22:17 | |
-We're ready when you are. -Great. | 0:22:17 | 0:22:19 | |
It's showtime. | 0:22:19 | 0:22:21 | |
CHEERING AND WHISTLING | 0:22:22 | 0:22:25 | |
The event starts with a photo call | 0:22:25 | 0:22:27 | |
and then it's on with meeting the loyal fans. | 0:22:27 | 0:22:30 | |
-CROWD MEMBER: -Whoo! | 0:22:30 | 0:22:31 | |
With the signing finally underway, | 0:22:32 | 0:22:34 | |
her management team is able to breathe a sigh of relief. | 0:22:34 | 0:22:38 | |
I'm feeling good now she's there and she's sat and she's signing | 0:22:38 | 0:22:40 | |
looking marvellous. | 0:22:40 | 0:22:42 | |
And Simon's not the only one who's feeling good. | 0:22:42 | 0:22:45 | |
Nicole's fans are absolutely thrilled. | 0:22:45 | 0:22:48 | |
I've met Nicole quite a few times now. | 0:22:48 | 0:22:51 | |
It's definitely made my bucket list a lot smaller. | 0:22:51 | 0:22:53 | |
I came all the way from Sardinia just today. | 0:22:53 | 0:22:56 | |
I'm a really crazy fan. | 0:22:56 | 0:22:59 | |
She's amazing. She's so perfect. | 0:22:59 | 0:23:01 | |
I can't believe how long she's speaking to everyone. | 0:23:01 | 0:23:03 | |
It's really cool. | 0:23:03 | 0:23:05 | |
The signing was only meant to last two hours, | 0:23:06 | 0:23:09 | |
but things are already running over. | 0:23:09 | 0:23:12 | |
It's about two and a half hours now and counting. | 0:23:12 | 0:23:14 | |
It's not the fastest signing I've ever had, | 0:23:14 | 0:23:16 | |
but that's great for the fans, | 0:23:16 | 0:23:18 | |
cos they're all going to have a good quality meet and greet. | 0:23:18 | 0:23:20 | |
We're not going anywhere, we're happy | 0:23:20 | 0:23:23 | |
-and I think she's doing a brilliant job. -Bye, girls. | 0:23:23 | 0:23:25 | |
But just as the signing has hit its stride, | 0:23:25 | 0:23:28 | |
The powers that be threaten to intervene. | 0:23:28 | 0:23:32 | |
That was security just letting us know | 0:23:32 | 0:23:34 | |
they're going to shut the store at half nine, so, er... | 0:23:34 | 0:23:37 | |
which is in 25 minutes. | 0:23:37 | 0:23:41 | |
With the store about to close, | 0:23:41 | 0:23:42 | |
there's nothing for it but to bring the signing to an end. | 0:23:42 | 0:23:46 | |
You got the very last signing. | 0:23:46 | 0:23:48 | |
Nicole says goodbye to her last fan | 0:23:48 | 0:23:50 | |
and HMV says good night to a successful event. | 0:23:50 | 0:23:54 | |
Thank you. She was lovely. She was really, really great. | 0:23:54 | 0:23:57 | |
-Everybody was walking out happy. -What we want, right? | 0:23:57 | 0:24:00 | |
You know, they say that I'm there for them a lot, | 0:24:00 | 0:24:02 | |
but they don't understand how much they are there for me | 0:24:02 | 0:24:04 | |
and how much their support and their belief just | 0:24:04 | 0:24:08 | |
really lifts my spirits and means to me. | 0:24:08 | 0:24:10 | |
Well, thank you, guys, again for everything. Much appreciated. | 0:24:10 | 0:24:13 | |
That's it now. All finished, all done. I think that went brilliantly. | 0:24:13 | 0:24:16 | |
It may have run over a bit longer, but that doesn't matter. | 0:24:16 | 0:24:19 | |
And ultimately everyone's gone away and they've had a great experience. | 0:24:19 | 0:24:23 | |
And with that, Oxford Street watches another star | 0:24:23 | 0:24:26 | |
disappearing into the night. | 0:24:26 | 0:24:28 | |
At Oxford Circus Tube station, | 0:24:36 | 0:24:38 | |
dangerous levels of overcrowding have meant London Underground staff | 0:24:38 | 0:24:42 | |
have already had to close the station once this evening. | 0:24:42 | 0:24:45 | |
There you go. | 0:24:45 | 0:24:47 | |
Customer Service Assistant Laura Shelton | 0:24:47 | 0:24:49 | |
is hoping that will be the only time tonight. | 0:24:49 | 0:24:52 | |
But just an hour later, | 0:24:52 | 0:24:54 | |
the rush hour has seen numbers swell at the UK's busiest station. | 0:24:54 | 0:24:58 | |
In the control room, Michael's once again forced to make the call. | 0:24:58 | 0:25:01 | |
Man the gates, please. Man the gates to the bullring, please. | 0:25:01 | 0:25:04 | |
-And Laura swings into action. -Guys, can you stand back, please?! | 0:25:04 | 0:25:07 | |
I need to close the gates! Stand back, please! | 0:25:07 | 0:25:11 | |
GATE SLAMS SHUT I'm really sorry. | 0:25:11 | 0:25:13 | |
Laura then races to the other side of the bullring | 0:25:15 | 0:25:18 | |
to shut the final entry point. | 0:25:18 | 0:25:21 | |
Sorry, guys. Hang back for me, please. | 0:25:21 | 0:25:23 | |
Sorry, guys. Sorry. | 0:25:23 | 0:25:26 | |
We'll be as quick as we can, OK? | 0:25:26 | 0:25:28 | |
I would, sir, yes, cos I can't allow them in. I'm really sorry. | 0:25:30 | 0:25:34 | |
The man is a London Underground contractor | 0:25:34 | 0:25:36 | |
and he feels that an exception should have been made for him. | 0:25:36 | 0:25:39 | |
Laura immediately goes to see her supervisor. | 0:25:39 | 0:25:42 | |
So I don't know if he's going to come down and give us any grief. | 0:25:42 | 0:25:45 | |
But what am I supposed to do, open the gate and say, | 0:25:45 | 0:25:49 | |
-"Please, come in, but the rest of you stay out"? -No, cos you can't... | 0:25:49 | 0:25:52 | |
Just makes me feel a little bit... VOICE OVER RADIO | 0:25:52 | 0:25:56 | |
I don't know, a little bit gutted in a way, | 0:25:56 | 0:25:58 | |
because they sort of take it out on you personally. | 0:25:58 | 0:26:01 | |
I got to open up now, my love. Wasn't too long, were we? | 0:26:01 | 0:26:05 | |
Let me get them open before you trample me, all right? | 0:26:05 | 0:26:08 | |
I want to get home tonight. | 0:26:08 | 0:26:09 | |
Oh! I hate this gate. | 0:26:09 | 0:26:11 | |
There we are. Thank you very much. | 0:26:11 | 0:26:13 | |
With the gates reopened, | 0:26:13 | 0:26:15 | |
Laura and the contractor sort out their issue from earlier. | 0:26:15 | 0:26:18 | |
This might have been a storm in a teacup, | 0:26:18 | 0:26:20 | |
but in a high-pressure situation, | 0:26:20 | 0:26:22 | |
passengers often take their frustrations out on staff | 0:26:22 | 0:26:25 | |
and sometimes things go a lot further. | 0:26:25 | 0:26:28 | |
I was assaulted on the top of exit two | 0:26:28 | 0:26:31 | |
by a gentleman who wouldn't allow me to close the gates. | 0:26:31 | 0:26:35 | |
He went absolutely... | 0:26:35 | 0:26:38 | |
berserk. He screamed in my face | 0:26:38 | 0:26:40 | |
and pushed me really hard. | 0:26:40 | 0:26:42 | |
It really hurt my shoulder, my elbow, my wrist and my thumb. | 0:26:42 | 0:26:45 | |
Lots of BTP officers arrived | 0:26:45 | 0:26:48 | |
and it actually took, I believe, about four or five | 0:26:48 | 0:26:52 | |
to be able to arrest him and take him from the station. | 0:26:52 | 0:26:55 | |
With things back to normal in the bullring, | 0:26:55 | 0:26:58 | |
up in the control room, Michael's feeling optimistic | 0:26:58 | 0:27:00 | |
they won't have to man the gates again today. | 0:27:00 | 0:27:03 | |
It's getting to 6:30 now, so a lot of people have started going home. | 0:27:03 | 0:27:06 | |
So hopefully we may be able to cope without having to close everything this time. | 0:27:06 | 0:27:10 | |
But Michael spoke too soon. | 0:27:10 | 0:27:12 | |
Despite rush hour being almost over, | 0:27:12 | 0:27:14 | |
passenger numbers have grown so fast | 0:27:14 | 0:27:16 | |
that this evening Michael is forced to put out the call | 0:27:16 | 0:27:19 | |
not once more... | 0:27:19 | 0:27:21 | |
Man the gates! Excuse me, please! SHE GROANS | 0:27:21 | 0:27:23 | |
..but twice. | 0:27:23 | 0:27:25 | |
And twice more, Laura has to race into action. | 0:27:25 | 0:27:28 | |
Sorry, guys! Stand back, please! | 0:27:28 | 0:27:30 | |
Oh. This running is not good for me. | 0:27:30 | 0:27:33 | |
It's unusual, but not unheard of, | 0:27:33 | 0:27:35 | |
for the station to have to shut its gates four times in one night. | 0:27:35 | 0:27:39 | |
-HE LAUGHS: -They're lucky it's not raining today. | 0:27:39 | 0:27:42 | |
Sometimes it is raining and they end up getting wet while standing there. | 0:27:42 | 0:27:45 | |
Base to the bullring, base to the bullring. | 0:27:45 | 0:27:47 | |
Can we reopen, please? Can we reopen? | 0:27:47 | 0:27:49 | |
Eventually, Michael gives the final all clear. | 0:27:49 | 0:27:52 | |
Peak time has now passed | 0:27:52 | 0:27:54 | |
and passenger numbers are down to safe levels. | 0:27:54 | 0:27:57 | |
Come round, my love. Are you all right? | 0:27:57 | 0:28:00 | |
With no more calls to man the gates, | 0:28:00 | 0:28:02 | |
Laura can get back to the part of the job she loves best - | 0:28:02 | 0:28:05 | |
helping customers. | 0:28:05 | 0:28:07 | |
Yeah, once you've gone through, it won't let you in again, my darling. | 0:28:07 | 0:28:10 | |
All right? | 0:28:10 | 0:28:11 | |
There's the people that come through who take the time out to say, | 0:28:11 | 0:28:14 | |
"Hello", "Are you all right?" "Have a lovely day," | 0:28:14 | 0:28:16 | |
and it really makes the difference. It really does. | 0:28:16 | 0:28:20 | |
-SHE LAUGHS -Bless him. | 0:28:21 | 0:28:22 |