Browse content similar to Episode 3. Check below for episodes and series from the same categories and more!
Line | From | To | |
---|---|---|---|
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 | 0:00:07 | |
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... -Kate Moss! | 0:00:14 | 0:00:17 | |
..and busiest stations. | 0:00:17 | 0:00:19 | |
Sorry, guys. Stand back for me. | 0:00:19 | 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 so it needs constant attention. | 0:00:24 | 0:00:27 | |
-..seven days a week? -Oi! Clear off! | 0:00:27 | 0:00:30 | |
You're going to be arrested on suspicion of attempted theft. | 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 | 0:00:41 | |
Oxford Street. | 0:00:41 | 0:00:43 | |
Coming up - distraction thieves on Oxford Street. | 0:00:46 | 0:00:51 | |
The police track them down. | 0:00:51 | 0:00:53 | |
If you're big enough to go out stealing, | 0:00:53 | 0:00:55 | |
you're big enough to wear those nice bracelets, do you understand? | 0:00:55 | 0:00:59 | |
It's ooh-la-la at Debenhams as a French make-up line launches. | 0:00:59 | 0:01:03 | |
Yes, it's strange! | 0:01:03 | 0:01:05 | |
And Oxford Street from above. | 0:01:05 | 0:01:08 | |
Oxford Street attracts a lot of visitors with money to spend | 0:01:12 | 0:01:15 | |
in its shops, restaurants, flagship stores and fashion chains. | 0:01:15 | 0:01:20 | |
It's a very safe place to shop | 0:01:20 | 0:01:22 | |
and the job of keeping it that way falls to the Oxford Street | 0:01:22 | 0:01:25 | |
police team, Orb, and in particular their plain-clothes squad. | 0:01:25 | 0:01:31 | |
At the moment, their priority is the small number of thieves trying | 0:01:31 | 0:01:34 | |
to take advantage of the street's attractions. | 0:01:34 | 0:01:37 | |
There's upward of 200,000 people passing through Oxford Street | 0:01:37 | 0:01:40 | |
every day and the pickings can be from a £10 wallet | 0:01:40 | 0:01:44 | |
to, you know, there's people walking around carrying £50,000 | 0:01:44 | 0:01:47 | |
in envelopes in bags, so when there's that kind of money | 0:01:47 | 0:01:51 | |
sloshing around on Oxford Street, you're always going to get that | 0:01:51 | 0:01:54 | |
kind of criminal coming down and trying to get it. | 0:01:54 | 0:01:56 | |
On the street, thieves can use cunning distractions | 0:01:57 | 0:02:00 | |
and work with accomplices to get whatever they can and when police | 0:02:00 | 0:02:04 | |
get a call about pickpockets loose on the street, they respond quickly. | 0:02:04 | 0:02:09 | |
And today is one of those occasions. | 0:02:09 | 0:02:11 | |
Paul Penrose of the plain-clothes team is in a desperate hurry to | 0:02:11 | 0:02:15 | |
get onto the street, where he's had word a crime has just been committed. | 0:02:15 | 0:02:20 | |
Yeah, OK. Right. I'm coming, I'm coming. | 0:02:20 | 0:02:22 | |
Paul has had a phone call from a store detective on Oxford Street | 0:02:25 | 0:02:29 | |
who believes he's just witnessed a robbery. | 0:02:29 | 0:02:32 | |
The store detective is following four suspected pickpockets | 0:02:32 | 0:02:35 | |
as they prowl the street, and he's called Paul in to come | 0:02:35 | 0:02:39 | |
and find him and take over the surveillance. | 0:02:39 | 0:02:41 | |
-But Paul can't find him. -Where are you? | 0:02:41 | 0:02:45 | |
Over the phone, the store detective is trying to give Paul | 0:02:45 | 0:02:48 | |
the suspects' positions, | 0:02:48 | 0:02:49 | |
but they're constantly moving and Paul is trying to catch up. | 0:02:49 | 0:02:53 | |
He said he was at Jessops, opposite the Plaza - | 0:02:53 | 0:02:56 | |
that's why I sprinted down here. | 0:02:56 | 0:02:58 | |
He keeps saying they're doubling back and they're not. | 0:02:58 | 0:03:01 | |
He's saying they're heading down this way, doubling back to there and he says... | 0:03:01 | 0:03:04 | |
Finally, Paul makes contact with the security guard. | 0:03:06 | 0:03:11 | |
-Sorry. Right. Where are we? Who are we looking at? -Them four. Them four. | 0:03:11 | 0:03:14 | |
-Yeah. Right. -He's already dipped. | 0:03:14 | 0:03:16 | |
He's trying to dip the Chinese, he went like that. | 0:03:16 | 0:03:18 | |
-Did you see him actually touch... -The one in the blue, yeah. | 0:03:18 | 0:03:21 | |
Right. So I can nick her? | 0:03:21 | 0:03:22 | |
The store detective says he's just witnessed a gang of four | 0:03:22 | 0:03:26 | |
trying to take a man's wallet. Paul calls for assistance. | 0:03:26 | 0:03:29 | |
Right, get up here, we've got four. | 0:03:30 | 0:03:32 | |
He's witnessed them trying to do one dip, | 0:03:32 | 0:03:34 | |
so I've got enough to nick the girl, apparently. | 0:03:34 | 0:03:37 | |
We're outside, I've got four. | 0:03:37 | 0:03:41 | |
Paul's over the road from the gang, who are highlighted here. | 0:03:41 | 0:03:44 | |
I'm going to have to go in and start pulling them in, | 0:03:46 | 0:03:49 | |
because they're on the move again. | 0:03:49 | 0:03:51 | |
He crosses the road to tail them. | 0:03:51 | 0:03:53 | |
And with the gang just yards in front of him, they strike again. | 0:03:56 | 0:04:00 | |
Our camera's view is obscured by other passers-by, | 0:04:02 | 0:04:05 | |
but Paul believes he's just seen the gang trying to take | 0:04:05 | 0:04:08 | |
a purse from a bag using a common distraction technique | 0:04:08 | 0:04:12 | |
known in the trade as a shoulder roll. | 0:04:12 | 0:04:15 | |
If I was to bump into someone, | 0:04:15 | 0:04:16 | |
someone's very much aware that I've bumped into them. | 0:04:16 | 0:04:18 | |
If, however, there's two or three people all around me, I'm not sure | 0:04:18 | 0:04:21 | |
who's bumped into me and while someone's bumping into | 0:04:21 | 0:04:24 | |
my right shoulder, my left pocket is being picked. | 0:04:24 | 0:04:28 | |
So my attention is drawn to my right shoulder, to the person there. | 0:04:28 | 0:04:31 | |
The actual thief is probably behind me, putting their hand in the bag. | 0:04:31 | 0:04:35 | |
Right, hang on. Yeah, I'm doing it, I'm doing it. | 0:04:35 | 0:04:37 | |
This shopper notices and the attempt fails, but Paul's seen enough. | 0:04:37 | 0:04:42 | |
Even on his own, he decides it's time to move in. | 0:04:42 | 0:04:45 | |
We'll see how he gets on later. | 0:04:45 | 0:04:48 | |
Guys, guys, guys, guys, guys! Listen to me. | 0:04:48 | 0:04:50 | |
I'm in charge here. | 0:04:50 | 0:04:51 | |
Beauty and cosmetic products are big business in Britain, | 0:04:58 | 0:05:02 | |
worth £17 billion a year | 0:05:02 | 0:05:05 | |
and nowhere is more important for sales than Oxford Street. | 0:05:05 | 0:05:09 | |
It's the first thing you see | 0:05:09 | 0:05:10 | |
entering one of the street's department stores, | 0:05:10 | 0:05:13 | |
and competition is fierce. | 0:05:13 | 0:05:15 | |
Launching a new brand into the market can be tough. | 0:05:15 | 0:05:18 | |
But today, at Debenhams, one make-up company is trying to do just that. | 0:05:18 | 0:05:24 | |
And being a French brand, it plans to enter the market with a splash | 0:05:24 | 0:05:28 | |
by using a little je ne sais quoi. | 0:05:28 | 0:05:30 | |
They're taking over one of the store's front windows to do | 0:05:30 | 0:05:33 | |
live body painting with models. Making sure the launch goes to plan | 0:05:33 | 0:05:38 | |
is the job of visual supervisor Emily Gaffney. | 0:05:38 | 0:05:42 | |
There's going to be live painting, live movement, live dancing. | 0:05:42 | 0:05:45 | |
Very different to anything we've normally done before. | 0:05:45 | 0:05:48 | |
We're going to have quite a crowd. | 0:05:48 | 0:05:50 | |
After months of planning, it's Emily's job to make sure the window | 0:05:50 | 0:05:54 | |
is ready for the body painting event. | 0:05:54 | 0:05:56 | |
It's just turned eight. | 0:05:56 | 0:05:57 | |
We've got till ten till the models are due into the windows, | 0:05:57 | 0:06:00 | |
but we don't like to have any of our team in the windows past half nine | 0:06:00 | 0:06:03 | |
when the store opens. | 0:06:03 | 0:06:04 | |
Perfection is Emily's watchword, | 0:06:04 | 0:06:07 | |
but she's already been thrown a curveball this morning. | 0:06:07 | 0:06:11 | |
The window interior has been painted black to showcase | 0:06:11 | 0:06:14 | |
the performance, but the introduction of white electric fans | 0:06:14 | 0:06:17 | |
and cables is threatening to ruin the effect. | 0:06:17 | 0:06:20 | |
-Have you got any black extension leads? -No, we haven't. -No. | 0:06:20 | 0:06:24 | |
We might be able to get some black tape. | 0:06:24 | 0:06:26 | |
I know it's small, but something like a white extension cable | 0:06:26 | 0:06:28 | |
just throws the whole look off. | 0:06:28 | 0:06:30 | |
The models might not be due in the window for another two hours, | 0:06:30 | 0:06:34 | |
but what the team have planned is a little more complicated than | 0:06:34 | 0:06:37 | |
eyeliner and lipstick. | 0:06:37 | 0:06:39 | |
They've had to get started early. | 0:06:39 | 0:06:41 | |
It's a good day. | 0:06:41 | 0:06:43 | |
I like my face today. | 0:06:44 | 0:06:46 | |
But, back at the window, | 0:06:46 | 0:06:48 | |
Emily's black performance space is again under threat. | 0:06:48 | 0:06:51 | |
Messy workmen have left dusty footprints all over the floor. | 0:06:51 | 0:06:55 | |
-Hello. -Are you OK? -Yeah, I'm trying to clean the floor. | 0:06:55 | 0:06:58 | |
Emily and the team get busy taping up the white cables | 0:07:01 | 0:07:04 | |
and clearing the floor. | 0:07:04 | 0:07:06 | |
But ladders have left deep scratches in it, which also need covering. | 0:07:06 | 0:07:10 | |
I'm going to go get some paint and just touch up all these dents. | 0:07:10 | 0:07:15 | |
She heads to the back office for some paint. | 0:07:15 | 0:07:17 | |
There's a reason she's taking such pains. | 0:07:17 | 0:07:20 | |
Shop windows are a store's most valuable advertising space and on | 0:07:20 | 0:07:24 | |
Oxford Street, shops have only a few seconds to catch a passer-by's eye. | 0:07:24 | 0:07:29 | |
The strength of a window display can be | 0:07:29 | 0:07:31 | |
the difference between the success and failure of the product. | 0:07:31 | 0:07:34 | |
Emily heads back to the window, but she's running over time | 0:07:34 | 0:07:38 | |
and by now the shop is open. | 0:07:38 | 0:07:40 | |
I've just had to walk past a stream of customers with a pot full of paint. | 0:07:40 | 0:07:43 | |
It's not got too busy yet, so it's fine. | 0:07:43 | 0:07:46 | |
The visual merchandising team aren't the ones supposed to be drawing | 0:07:46 | 0:07:50 | |
attention to themselves. | 0:07:50 | 0:07:52 | |
They're arriving in about 20 minutes, so we're just going to | 0:07:52 | 0:07:55 | |
finish these last pictures off, have a final sweep and then vacate. | 0:07:55 | 0:07:59 | |
Finally, half an hour late, the window is ready | 0:07:59 | 0:08:01 | |
and Emily can head upstairs to check on the models' preparations. | 0:08:01 | 0:08:06 | |
As well as the live body painting, | 0:08:06 | 0:08:08 | |
there'll be a dance performance in store and the models are warming up. | 0:08:08 | 0:08:12 | |
It's all very dramatic. They're going to dance in super-high heels. | 0:08:16 | 0:08:21 | |
On y va. Let's go. | 0:08:21 | 0:08:23 | |
The time for rehearsals has come to an end. | 0:08:23 | 0:08:27 | |
OK, let's go. | 0:08:27 | 0:08:29 | |
It's now the main event. | 0:08:29 | 0:08:31 | |
Later, strike a pose - the models get painted | 0:08:32 | 0:08:35 | |
and the French take over. | 0:08:35 | 0:08:38 | |
For me, it's really amazing. | 0:08:38 | 0:08:40 | |
Earlier, we saw Oxford Street undercover officer Paul Penrose | 0:08:47 | 0:08:51 | |
tailing a gang of pickpockets. | 0:08:51 | 0:08:53 | |
Paul believes he's seen the gang try and take | 0:08:53 | 0:08:57 | |
a purse from a shopper's bag using a common distraction technique. | 0:08:57 | 0:09:01 | |
While someone's bumping into my right shoulder, | 0:09:01 | 0:09:03 | |
my left pocket is being picked. | 0:09:03 | 0:09:06 | |
Having seen enough, he moves in. | 0:09:06 | 0:09:10 | |
But there are four suspects and only one police officer. | 0:09:10 | 0:09:13 | |
-Paul will have to single-handedly hold them. -Guys, all stay here. | 0:09:13 | 0:09:18 | |
-Guys, come here, please. Police. -Yes, no problem. -Police. | 0:09:18 | 0:09:21 | |
-Please, please, come here. You just stand behind him. -Yes, yes. | 0:09:21 | 0:09:25 | |
Right, all four of you now. | 0:09:25 | 0:09:27 | |
OK, gentlemen, stand there just while I talk to you, OK? | 0:09:29 | 0:09:33 | |
You stand behind him. | 0:09:33 | 0:09:35 | |
Do not move anywhere, all right? You understand? | 0:09:36 | 0:09:39 | |
He's what? | 0:09:41 | 0:09:43 | |
I don't care whether he's nine years. | 0:09:43 | 0:09:45 | |
I'm cuffing two people up because there's me and there's four of you. | 0:09:45 | 0:09:48 | |
So if you're big enough to go out stealing, | 0:09:48 | 0:09:51 | |
you're big enough to wear those nice bracelets, do you understand? | 0:09:51 | 0:09:54 | |
With the suspect gang detained, | 0:09:54 | 0:09:56 | |
Paul calls the shoppers back to check nothing has been taken. | 0:09:56 | 0:10:00 | |
The shoppers seem confused, so Paul checks with the store detective. | 0:10:00 | 0:10:04 | |
Which one did you see do it? He just tried to get that girl there, yeah? | 0:10:04 | 0:10:09 | |
-Listen, I saw the girl turn around, all right? -No... -Listen to me. | 0:10:09 | 0:10:12 | |
-Don't be a liar, please. -Guys, guys, guys, guys, guys! Listen to me. | 0:10:12 | 0:10:16 | |
You shout, if you raise your voice, all right, | 0:10:16 | 0:10:19 | |
you will go straight into a police car, all right? | 0:10:19 | 0:10:22 | |
Probably via the floor. I'm in charge here. | 0:10:22 | 0:10:25 | |
This man... I have seen you coming down, | 0:10:25 | 0:10:28 | |
one of you just tried to steal out of that girl's bag, which was you. | 0:10:28 | 0:10:31 | |
-No! -That's why she turned round and grabbed at her bag. | 0:10:31 | 0:10:33 | |
And one gang member is insulting the store detective, | 0:10:33 | 0:10:36 | |
who is British-Asian. | 0:10:36 | 0:10:37 | |
Right, you are under arrest now. Racially aggravated words. | 0:10:39 | 0:10:43 | |
Paul needs to keep control. | 0:10:43 | 0:10:45 | |
Shut up! Let me work out what is going on. | 0:10:45 | 0:10:49 | |
Let's assume that I am used to people like you telling | 0:10:49 | 0:10:52 | |
lies to me. Let's assume I have seen with my own eyes what you did. | 0:10:52 | 0:10:56 | |
Let's assume that this man, who I trust | 0:10:56 | 0:10:58 | |
because I've dealt with before, has seen what you've done. | 0:10:58 | 0:11:01 | |
With this situation turning ugly, | 0:11:01 | 0:11:03 | |
Paul's glad to see more officers arrive. | 0:11:03 | 0:11:05 | |
Bobs, Bobs! | 0:11:05 | 0:11:06 | |
And with the plain-clothes team present, | 0:11:08 | 0:11:10 | |
they take a look for stolen goods. | 0:11:10 | 0:11:12 | |
The store detective witnessed an attempted robbery earlier, | 0:11:14 | 0:11:17 | |
but one of the gang is still being abusive to him. | 0:11:17 | 0:11:20 | |
Mate, no, no, no. Final time - do not use that language again. | 0:11:23 | 0:11:27 | |
Do you understand? I'm telling you now, if you call him that again... | 0:11:27 | 0:11:30 | |
OK. | 0:11:30 | 0:11:32 | |
There is no stolen property but a records check reveals this man | 0:11:32 | 0:11:36 | |
has a previous conviction for shoplifting. | 0:11:36 | 0:11:39 | |
With the gang in custody, it is job done for the store detective. | 0:11:39 | 0:11:43 | |
But the suspects are in for bad news. | 0:11:43 | 0:11:45 | |
You are going to be arrested for attempted theft. | 0:11:45 | 0:11:48 | |
You do not have to say anything but it may harm your defence | 0:11:48 | 0:11:50 | |
if you do not mention, when questioned, | 0:11:50 | 0:11:52 | |
something which you later rely on in court. | 0:11:52 | 0:11:54 | |
And the rest of the gang are suspects for both the robbery | 0:11:54 | 0:11:57 | |
the store detective witnessed and the attempt Paul saw. | 0:11:57 | 0:12:01 | |
The allegation is the witness has seen you all crowd round | 0:12:01 | 0:12:05 | |
the man while this gentleman has tried to take his bag, OK? | 0:12:05 | 0:12:08 | |
When I have seen you down here, I've seen you try and take the bag. | 0:12:08 | 0:12:12 | |
Because you have all tried to distract the man, | 0:12:12 | 0:12:15 | |
you are all going to be arrested on suspicion of attempted theft | 0:12:15 | 0:12:18 | |
as well, because you were all involved in the theft. | 0:12:18 | 0:12:22 | |
Police transport has arrived. | 0:12:22 | 0:12:24 | |
This vehicle will take two of the suspects to the station. | 0:12:24 | 0:12:27 | |
Paul hopes that this man will think about what he is saying. | 0:12:27 | 0:12:31 | |
Just tell the truth and it'll be dealt with easier, all right? | 0:12:31 | 0:12:34 | |
The quicker we get there, the better, all right? | 0:12:34 | 0:12:37 | |
-Thank you. -No worries. | 0:12:37 | 0:12:39 | |
Processing the prisoners could take a while... | 0:12:39 | 0:12:42 | |
DOOR SLAMS | 0:12:42 | 0:12:44 | |
..which is time Paul was hoping to spend elsewhere. | 0:12:46 | 0:12:49 | |
But, in the back, these two are looking at porridge. | 0:12:59 | 0:13:03 | |
The attempted theft has a potential 12-week sentence | 0:13:03 | 0:13:07 | |
if they are convicted. | 0:13:07 | 0:13:08 | |
This arrest was tricky but Paul is pleased with the result. | 0:13:09 | 0:13:13 | |
This is the kind of thing that we are looking for everyday. | 0:13:13 | 0:13:16 | |
Really, really pleased we've got them. | 0:13:16 | 0:13:18 | |
We are in the process of booking them in. | 0:13:18 | 0:13:20 | |
From there, justice hopefully will be served. | 0:13:20 | 0:13:23 | |
But, as far as a result for the team goes, this is a really, | 0:13:23 | 0:13:25 | |
really good one. It is kind of unique. | 0:13:25 | 0:13:28 | |
Normally we will catch the odd ones and twos, | 0:13:28 | 0:13:30 | |
but this was a gang of four. | 0:13:30 | 0:13:31 | |
I haven't seen that myself on the street. | 0:13:31 | 0:13:34 | |
I have seen people working in pairs. | 0:13:34 | 0:13:36 | |
The only way I can describe it, they were roaming like a pack. | 0:13:36 | 0:13:39 | |
The offence that I saw, they had gone into the female's bag, | 0:13:39 | 0:13:42 | |
they'd caught her doing it, but they just regrouped | 0:13:42 | 0:13:45 | |
and just carried on the street like nothing was happening. | 0:13:45 | 0:13:48 | |
They were just hunting as a pack. | 0:13:48 | 0:13:49 | |
They just carried on, went after the next victim. | 0:13:49 | 0:13:52 | |
The gang were interviewed, charged and bailed. | 0:13:54 | 0:13:57 | |
But that's not the end of the story. | 0:13:57 | 0:14:00 | |
Not long after this, | 0:14:00 | 0:14:01 | |
more evidence came to light relating to the gang, including this. | 0:14:01 | 0:14:06 | |
It's a photograph taken by a member of the public from a bus | 0:14:06 | 0:14:09 | |
who spotted the gang acting suspiciously. | 0:14:09 | 0:14:13 | |
She took this photograph just as the suspect pulled | 0:14:13 | 0:14:15 | |
something from the rucksack of the shopper in front of him. | 0:14:15 | 0:14:19 | |
Paul thinks it's key evidence. | 0:14:19 | 0:14:21 | |
This is down on Piccadilly about 30 minutes before we encountered them. | 0:14:21 | 0:14:26 | |
They're coming up on the two victims, | 0:14:26 | 0:14:29 | |
who are all looking at the bus because the witness is | 0:14:29 | 0:14:31 | |
hammering on the bus window to get their attention. | 0:14:31 | 0:14:34 | |
Once again, you can see how the four have come close, | 0:14:34 | 0:14:37 | |
so as he makes an attempt, if they turn around they are just | 0:14:37 | 0:14:40 | |
aware of a lot of people around them. | 0:14:40 | 0:14:42 | |
They won't know who has done it. | 0:14:42 | 0:14:44 | |
And I believe from this picture that he has got a phone in his hand, | 0:14:44 | 0:14:48 | |
where he has already taken it from the bag. | 0:14:48 | 0:14:51 | |
Later, on the back of the new evidence, | 0:14:51 | 0:14:53 | |
Paul goes to arrest the gang again. | 0:14:53 | 0:14:55 | |
Open up! | 0:14:57 | 0:14:58 | |
Staff at Debenhams are getting ready for live body painting | 0:15:07 | 0:15:10 | |
in their front window to announce the launch | 0:15:10 | 0:15:13 | |
of a new line of French cosmetics. | 0:15:13 | 0:15:15 | |
Emily has prepared an all-black window for maximum effect. | 0:15:15 | 0:15:19 | |
Now it is time for the models and make-up artists to step up. | 0:15:19 | 0:15:23 | |
Body painting in the window is an Oxford Street first. | 0:15:26 | 0:15:29 | |
Emily is confident she has done enough to get one up | 0:15:29 | 0:15:32 | |
on the neighbouring stores. | 0:15:32 | 0:15:34 | |
In respect of the other stores on the high street, | 0:15:34 | 0:15:36 | |
I think we are doing quite well at the moment. | 0:15:36 | 0:15:38 | |
In order to make sure we get as many customers as possible | 0:15:38 | 0:15:40 | |
coming into our store as opposed to others, the window is the first | 0:15:40 | 0:15:43 | |
point where we can sort of use as a platform to sell our products. | 0:15:43 | 0:15:48 | |
But it looks like Emily's attention to detail might have been overkill. | 0:15:48 | 0:15:52 | |
Can't actually see the floor, but at least we have aimed for perfection. | 0:15:52 | 0:15:56 | |
The models and artists have only been in the window for a few minutes | 0:15:56 | 0:15:59 | |
and already a curious crowd has gathered. | 0:15:59 | 0:16:03 | |
Amazing, is what I first thought. Colourful. Good grief! | 0:16:03 | 0:16:06 | |
-He is a bit of a showman, your model. -He is a bit. | 0:16:08 | 0:16:10 | |
I think he's enjoying himself. | 0:16:10 | 0:16:12 | |
It's really good, very unusual. | 0:16:13 | 0:16:16 | |
Especially your guy there, he's brilliant. | 0:16:16 | 0:16:18 | |
Even the staff are impressed. | 0:16:18 | 0:16:20 | |
Better than I think our imaginations could even dream. | 0:16:20 | 0:16:23 | |
The live body painting is causing quite a stir. | 0:16:25 | 0:16:29 | |
It's strange... | 0:16:29 | 0:16:31 | |
but funny sometimes. | 0:16:31 | 0:16:32 | |
I have no time to look at the street like that. | 0:16:33 | 0:16:37 | |
Yes, it's strange. | 0:16:37 | 0:16:39 | |
But the store is hoping to get more publicity than just passers-by. | 0:16:39 | 0:16:44 | |
They are hoping for a big media hit as well. | 0:16:44 | 0:16:47 | |
To add to the interest, | 0:16:47 | 0:16:48 | |
PR manager Cassandra Robinson has arranged for fashion photographer | 0:16:48 | 0:16:52 | |
Rankin to come along to lend a little extra stardust to proceedings. | 0:16:52 | 0:16:57 | |
It's Rankin's campaign photos that hang in the window. | 0:16:57 | 0:17:01 | |
-It's great, I love it. -It looks really cool, right? | 0:17:01 | 0:17:04 | |
No, it looks fantastic. | 0:17:04 | 0:17:05 | |
I told them the body painting would go down brilliantly in the UK. | 0:17:05 | 0:17:09 | |
The hubbub on the street shows no sign of coming down. | 0:17:09 | 0:17:14 | |
A bit chaotic but actually this is exactly what we want. | 0:17:14 | 0:17:16 | |
We want all of this hype, we want all this excitement. | 0:17:16 | 0:17:18 | |
This is perfect. It is absolutely perfect. | 0:17:18 | 0:17:21 | |
Emily and her team have put their all into the window display | 0:17:21 | 0:17:24 | |
but there's something else planned for inside the store that | 0:17:24 | 0:17:28 | |
perhaps only the French could have dreamt up. | 0:17:28 | 0:17:31 | |
Let me please introduce the most exuberant live body art show | 0:17:31 | 0:17:35 | |
from Make Up For Ever UK. | 0:17:35 | 0:17:37 | |
DANCE MUSIC PLAYS | 0:17:37 | 0:17:39 | |
Dany Sanz is the founder of the make-up company. | 0:17:47 | 0:17:50 | |
Oxford Street is a very iconic place, | 0:17:50 | 0:17:54 | |
so to do body painting and a show like that for me is really amazing. | 0:17:54 | 0:18:00 | |
The show has gone down well inside. | 0:18:01 | 0:18:04 | |
Outside, there has been a crowd all morning. | 0:18:04 | 0:18:07 | |
It is now time for Cassandra to make sure everyone's hard work | 0:18:07 | 0:18:10 | |
is converted into column inches and picture spreads. | 0:18:10 | 0:18:14 | |
We've now got to get all the images back from our photo call, | 0:18:14 | 0:18:16 | |
get them into a press release and get them out to every single | 0:18:16 | 0:18:19 | |
news agency that ever existed in the world to try and get some coverage. | 0:18:19 | 0:18:23 | |
-Splash the news everywhere. -Exactly. | 0:18:23 | 0:18:24 | |
I think the team put a lot of effort in. | 0:18:24 | 0:18:27 | |
We've had overnights all week. | 0:18:27 | 0:18:28 | |
A lot of painting, a lot of black paint - I'm still covered. | 0:18:28 | 0:18:31 | |
But, yeah, it was really good to see the windows | 0:18:31 | 0:18:34 | |
finally finished. | 0:18:34 | 0:18:35 | |
It was a spectacle Oxford Street is unlikely to forget in a hurry | 0:18:35 | 0:18:39 | |
and an escalation of the lengths the shops will go to | 0:18:39 | 0:18:43 | |
to outdo their rivals. | 0:18:43 | 0:18:44 | |
All that remains to be seen is how much of the fuss | 0:18:44 | 0:18:47 | |
will translate into sales. | 0:18:47 | 0:18:49 | |
Oxford Street attracts all sorts of visitors. | 0:18:58 | 0:19:01 | |
Some come from overseas, some from other parts of the UK, | 0:19:01 | 0:19:05 | |
and some from even more surprising directions. | 0:19:05 | 0:19:08 | |
Starting his journey to the street this morning is Jason Hawkes. | 0:19:10 | 0:19:14 | |
But he's beginning 23 miles away. | 0:19:14 | 0:19:18 | |
I've got a job up in town, so we are heading down to Redhill Aerodrome. | 0:19:18 | 0:19:23 | |
Jason's a professional aerial photographer. | 0:19:23 | 0:19:26 | |
Today, he's been commissioned by a marketing company to get | 0:19:26 | 0:19:29 | |
photographs of iconic Oxford Street shopping scenes from a helicopter. | 0:19:29 | 0:19:34 | |
It's his job to get the best-looking, | 0:19:34 | 0:19:36 | |
most impactful images he can. | 0:19:36 | 0:19:38 | |
Oxford Street's great, | 0:19:38 | 0:19:39 | |
a really interesting place to fly and there are so many people, | 0:19:39 | 0:19:42 | |
especially when you come over the top of Oxford Circus | 0:19:42 | 0:19:45 | |
and you see on the people pouring down into the Oxford Circus Tube | 0:19:45 | 0:19:48 | |
and things like that. | 0:19:48 | 0:19:49 | |
But this kind of photography isn't cheap. | 0:19:49 | 0:19:52 | |
Hire of the helicopter alone is £1,300 an hour. | 0:19:52 | 0:19:56 | |
It means the pressure's on Jason to get the shots the client wants. | 0:19:56 | 0:19:59 | |
I think you're going to be flying in TVHD, | 0:19:59 | 0:20:02 | |
which we're going to get out of the hanger and we will prep for you. | 0:20:02 | 0:20:05 | |
Cool. | 0:20:05 | 0:20:06 | |
Jason checks his equipment. | 0:20:06 | 0:20:08 | |
When you're thousands of feet up, you need to be prepared. | 0:20:08 | 0:20:12 | |
We have a range of lenses, which I guess the longest | 0:20:12 | 0:20:15 | |
is about a 400mm lens. | 0:20:15 | 0:20:17 | |
So you can sit, you know, right at the edge here | 0:20:17 | 0:20:20 | |
and you can crop right in just to see the tops of people's head | 0:20:20 | 0:20:23 | |
or you can just take a really wide 20mm lens | 0:20:23 | 0:20:26 | |
and see the whole of the landscape. | 0:20:26 | 0:20:28 | |
And with his kit working well, | 0:20:28 | 0:20:30 | |
things are looking good for the shoot. | 0:20:30 | 0:20:32 | |
The weather is looking pretty good and if you look right | 0:20:32 | 0:20:34 | |
over to the horizon, you can see it is really nice and clear. | 0:20:34 | 0:20:37 | |
Jason's is not the only machine planning a trip | 0:20:37 | 0:20:40 | |
over the capital today and with Miles the pilot arriving, | 0:20:40 | 0:20:43 | |
it is time to get going. | 0:20:43 | 0:20:45 | |
Weather's good, air traffic is good, no restrictions. | 0:20:45 | 0:20:48 | |
-We are good to go. -Cool. -All ready? | 0:20:48 | 0:20:50 | |
Jason wears a harness to keep himself | 0:20:50 | 0:20:53 | |
and his equipment firmly inside the helicopter. | 0:20:53 | 0:20:56 | |
Once he's up in the sky, | 0:20:56 | 0:20:57 | |
he'll be opening the door to get his shots. | 0:20:57 | 0:21:00 | |
-Yeah, that looks good. -Yeah. | 0:21:00 | 0:21:02 | |
ROTORS WHIR | 0:21:06 | 0:21:07 | |
The A355 helicopter has a cruising speed of 140mph, | 0:21:11 | 0:21:16 | |
a ceiling of 11,000 feet | 0:21:16 | 0:21:18 | |
and a range of 437 miles. | 0:21:18 | 0:21:21 | |
Today, however, Jason and Miles are planning | 0:21:23 | 0:21:26 | |
on just over an hour's flying time. | 0:21:26 | 0:21:28 | |
And countryside soon becomes city as London's famous landmarks | 0:21:34 | 0:21:38 | |
hove into view. | 0:21:38 | 0:21:39 | |
Something exciting is going on in the Queen's back garden | 0:21:42 | 0:21:46 | |
and Jason can't resist a few snaps. | 0:21:46 | 0:21:49 | |
But he's not there just to admire the view. | 0:21:54 | 0:21:57 | |
After ten minutes, they near their destination. | 0:21:57 | 0:22:00 | |
They sweep past the city's famous financial district | 0:22:04 | 0:22:08 | |
and on to the major shopping districts of the West End. | 0:22:08 | 0:22:11 | |
The main shot I'm looking for, the kind of hero shot, | 0:22:15 | 0:22:19 | |
is a graphic top shot looking straight down. | 0:22:19 | 0:22:22 | |
So we're at Oxford Circus right now, | 0:22:22 | 0:22:24 | |
so I'm going to whack open this door and I'm going to lean out | 0:22:24 | 0:22:27 | |
a little bit and I'm going to get some shots looking straight down. | 0:22:27 | 0:22:31 | |
Oxford Circus is where two of London's great retail avenues meet - | 0:22:31 | 0:22:35 | |
Regent Street and Oxford Street. | 0:22:35 | 0:22:38 | |
It's also the key point for Jason's shoot today. | 0:22:38 | 0:22:42 | |
Time for Jason to earn his keep. | 0:22:42 | 0:22:45 | |
We are going to head up Oxford Street again | 0:22:53 | 0:22:55 | |
and I'm going to get some shots looking down | 0:22:55 | 0:22:57 | |
off the top of Selfridge's. | 0:22:57 | 0:22:59 | |
Miles is going to put it sideways and we're going to fly | 0:23:00 | 0:23:03 | |
sideways quite slowly the whole way back down again. | 0:23:03 | 0:23:06 | |
It is amazing how busy it always is. | 0:23:11 | 0:23:13 | |
When you look straight down, there's just hundreds of buses | 0:23:13 | 0:23:16 | |
always lined up and that always looks really dramatic. | 0:23:16 | 0:23:19 | |
And there's so much development going round here. | 0:23:22 | 0:23:24 | |
It's incredible how many buildings they tear down | 0:23:24 | 0:23:26 | |
and then put straight up again. | 0:23:26 | 0:23:28 | |
And, with that, Jason's job is done for the day. | 0:23:32 | 0:23:35 | |
He's been in the air and hour and a half | 0:23:35 | 0:23:38 | |
and taken hundreds of pictures, but now it is time to head for home. | 0:23:38 | 0:23:42 | |
It is lovely to see a city like this from above. | 0:23:50 | 0:23:53 | |
It looks beautiful and it is great to see how the images of what | 0:23:53 | 0:23:55 | |
it really looks like from up there. We got loads of nice shots today. | 0:23:55 | 0:23:59 | |
Really good job - a job well done, I think. | 0:23:59 | 0:24:01 | |
All in all, not a bad day at the office. | 0:24:01 | 0:24:03 | |
All right, cool, cheers. | 0:24:03 | 0:24:05 | |
Take care. Cheers. | 0:24:05 | 0:24:07 | |
Earlier, we saw Paul Penrose | 0:24:15 | 0:24:16 | |
of the Oxford Street plain-clothes police team | 0:24:16 | 0:24:19 | |
catch four suspected pickpockets dipping into bags. | 0:24:19 | 0:24:22 | |
The gang were charged and bailed, | 0:24:23 | 0:24:26 | |
but since then a new offence has come to light. | 0:24:26 | 0:24:30 | |
Now, this member of public has actually taken a picture of | 0:24:30 | 0:24:34 | |
the actual offence happening, which you can see quite clearly here | 0:24:34 | 0:24:39 | |
that he has got a phone in his hand | 0:24:39 | 0:24:41 | |
where he has already taken it from the bag. | 0:24:41 | 0:24:44 | |
Paul wants to charge the gang with the new offence | 0:24:46 | 0:24:49 | |
but, to do that, he has got to find them again. | 0:24:49 | 0:24:51 | |
So, this morning, | 0:24:52 | 0:24:53 | |
with the help of a uniform team from the Territorial Support Group, | 0:24:53 | 0:24:57 | |
he is on his way into the London suburbs to the address | 0:24:57 | 0:25:01 | |
the gang gave him when he arrested them before. | 0:25:01 | 0:25:04 | |
We are just going to go in, hopefully pick them up, | 0:25:04 | 0:25:06 | |
bring them back to the station and get them | 0:25:06 | 0:25:08 | |
charged with the secondary offences now. | 0:25:08 | 0:25:10 | |
Anywhere here, mate. | 0:25:13 | 0:25:14 | |
But Paul is very aware that the suspects may have | 0:25:15 | 0:25:18 | |
lied about their address. | 0:25:18 | 0:25:20 | |
Whether they will be there or not, he is about to find out. | 0:25:20 | 0:25:24 | |
The Territorial Support Group moves swiftly to the door. | 0:25:24 | 0:25:28 | |
A woman inside the house lets them in. | 0:25:28 | 0:25:30 | |
We have got 16 officers here | 0:25:30 | 0:25:31 | |
but we don't know how many people are in the building, | 0:25:31 | 0:25:33 | |
so we will generally come in as a group | 0:25:33 | 0:25:36 | |
to make sure that the place is safe. | 0:25:36 | 0:25:39 | |
-No-one up there? -No. -Thank you. | 0:25:41 | 0:25:43 | |
OK, I'm just going to check the back garden. | 0:25:43 | 0:25:45 | |
A search turns up no sign of the suspects. | 0:25:46 | 0:25:49 | |
It certainly doesn't look like six people live here. For sure. | 0:25:49 | 0:25:53 | |
But Paul and the TSG don't give up easily. | 0:25:53 | 0:25:57 | |
These people are a bit of a burden, with all the thefts | 0:25:57 | 0:26:00 | |
that they're committing up town, and it would have been nice to get them. | 0:26:00 | 0:26:04 | |
Paul has evidence linking the suspects | 0:26:04 | 0:26:06 | |
to a second address at a London hotel. | 0:26:06 | 0:26:09 | |
Now, I know they were living there | 0:26:09 | 0:26:10 | |
because I saw a hotel receipt that he showed us. | 0:26:10 | 0:26:13 | |
He was trying to use it as a bail address. | 0:26:13 | 0:26:15 | |
The team head to the second address - a hotel above a betting shop. | 0:26:15 | 0:26:20 | |
OK, so we are going up into the hotel to the room in question now. | 0:26:28 | 0:26:32 | |
They head in in force, hoping for better luck. | 0:26:33 | 0:26:36 | |
Open up! | 0:26:38 | 0:26:40 | |
There is no answer from inside. Rather than kick the door down... | 0:26:49 | 0:26:52 | |
Could you just open the door to 107, please? That would be great. | 0:26:52 | 0:26:55 | |
Thank you. | 0:26:55 | 0:26:56 | |
..they call the manager. | 0:26:56 | 0:26:59 | |
Hello. Police. | 0:26:59 | 0:27:00 | |
No, I think they have left for the day. | 0:27:02 | 0:27:04 | |
It is a disappointment. The officers search the room, | 0:27:04 | 0:27:07 | |
but it is soon apparent these aren't the suspects' belongings. | 0:27:07 | 0:27:11 | |
The team show photos of the suspects to the manager. | 0:27:11 | 0:27:15 | |
This one, this one, the lady. | 0:27:15 | 0:27:18 | |
-Do they live here? -They left, I think, two weeks ago. | 0:27:20 | 0:27:24 | |
-Thank you, mate. -All right, thanks a lot, meat. | 0:27:24 | 0:27:26 | |
They were here, but it is now clear they are long gone. | 0:27:26 | 0:27:30 | |
And there is a reason the manager remembers the suspects so well. | 0:27:30 | 0:27:34 | |
About two weeks ago, they fight me, they punch me. | 0:27:34 | 0:27:37 | |
Oh, right, really? You've reported it, have you? | 0:27:37 | 0:27:40 | |
Yeah, we phoned the police, they come, | 0:27:40 | 0:27:41 | |
and after that, two days after, | 0:27:41 | 0:27:44 | |
-they left here. -Right, OK. -OK? -No problem. Thanks a lot, mate. | 0:27:44 | 0:27:47 | |
Good. Take care. Bye-bye. | 0:27:47 | 0:27:49 | |
For Paul, it is disappointing, but all is far from lost. | 0:27:49 | 0:27:53 | |
It may well be that they have fled the country, which is good news | 0:27:53 | 0:27:57 | |
in some respects to the taxpayer, obviously, that they are gone. | 0:27:57 | 0:28:00 | |
When they come back and if they come back, we will be able to | 0:28:00 | 0:28:03 | |
pick them up straight away as soon as they come into the country again. | 0:28:03 | 0:28:06 | |
So they are not going to get away with it - | 0:28:06 | 0:28:08 | |
we are going to win this battle. | 0:28:08 | 0:28:10 | |
The gang are already bailed to appear in court | 0:28:10 | 0:28:13 | |
on the earlier charges, but Paul thinks the likelihood | 0:28:13 | 0:28:16 | |
is they will stay out of the country. | 0:28:16 | 0:28:19 | |
But if the suspects do choose to come back and try their luck, | 0:28:19 | 0:28:22 | |
they can be sure Paul and his team will be ready | 0:28:22 | 0:28:25 | |
and waiting to give them alternative accommodation. | 0:28:25 | 0:28:28 |