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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 | 0:00:07 | |
A mile and a half long, with 30 million visitors each year. | 0:00:07 | 0:00:11 | |
With some of the world's most famous shops, biggest stars... | 0:00:12 | 0:00:16 | |
-Kate Moss! -CHEERING | 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 | |
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 | 0:00:36 | |
A street that never sleeps. | 0:00:36 | 0:00:38 | |
This sort of thing wouldn't happen anywhere else. | 0:00:38 | 0:00:40 | |
Oxford Street. | 0:00:42 | 0:00:43 | |
-Coming up... shoplifters on Oxford Street. -Guys. | 0:00:47 | 0:00:51 | |
-They're trickier than ever. -It's foil-lined. | 0:00:51 | 0:00:55 | |
Burns Night comes to John Lewis. | 0:00:55 | 0:00:58 | |
Gie her a haggis. | 0:00:58 | 0:01:00 | |
CHEERING | 0:01:00 | 0:01:01 | |
And dance, dance wherever you may be - | 0:01:01 | 0:01:03 | |
Lord Of The Dance comes to Oxford Street. | 0:01:03 | 0:01:06 | |
Look at that, it's a stage! | 0:01:06 | 0:01:08 | |
To maintain its position as one of the world's premier shopping | 0:01:13 | 0:01:17 | |
destinations, Oxford Street takes the comfort | 0:01:17 | 0:01:20 | |
and security of its visitors extremely seriously. | 0:01:20 | 0:01:23 | |
SIREN BLARES | 0:01:23 | 0:01:25 | |
Which is why they have a team of specially trained undercover | 0:01:25 | 0:01:29 | |
police patrolling the street, on the lookout for those visitors who | 0:01:29 | 0:01:32 | |
aren't there just to shop. | 0:01:32 | 0:01:34 | |
One of their biggest challenges, according to team member | 0:01:38 | 0:01:40 | |
PC Paul Penrose, is dealing with shoplifters | 0:01:40 | 0:01:44 | |
and their ever-changing tactics. | 0:01:44 | 0:01:46 | |
Got a lot of high-end stores and they're selling very, | 0:01:46 | 0:01:49 | |
very high-value items. | 0:01:49 | 0:01:52 | |
So we're finding people coming in as part of gangs, and they're | 0:01:52 | 0:01:55 | |
getting very, very good, and are taking very high-value items. | 0:01:55 | 0:01:58 | |
They're always trying new tricks. | 0:01:58 | 0:02:00 | |
so we're basically trying to stay one step ahead of them. | 0:02:00 | 0:02:04 | |
Every result we get, when we get one of these guys | 0:02:04 | 0:02:06 | |
and start getting into the gangs, is a great result for us. | 0:02:06 | 0:02:10 | |
Tonight, he and his team are out keeping watch over Oxford Street, | 0:02:13 | 0:02:16 | |
looking for the telltale signs of criminal | 0:02:16 | 0:02:20 | |
behaviour. And it's not long before Paul makes a stop. | 0:02:20 | 0:02:25 | |
He's seen three men acting suspiciously, | 0:02:25 | 0:02:28 | |
-and has been following them. -OK, we're at St Christopher's Place, on the side of Oxford Street. | 0:02:28 | 0:02:32 | |
We've witnessed a male come round the corner and we've stopped | 0:02:32 | 0:02:35 | |
and had a look at him. We've watched him go into the bookmaker's. | 0:02:35 | 0:02:39 | |
He went straight downstairs. Another male caught my attention. | 0:02:39 | 0:02:43 | |
He was sat just outside the bookie's. | 0:02:43 | 0:02:46 | |
About a minute later, he went down into the bookmaker's. | 0:02:46 | 0:02:48 | |
He was carrying a green rucksack. | 0:02:48 | 0:02:51 | |
He then leaves the bookmaker's, having passed his bag over. | 0:02:51 | 0:02:56 | |
And it's at this point that I follow the male out onto | 0:02:56 | 0:02:59 | |
Oxford Street, where I detain him | 0:02:59 | 0:03:02 | |
to discuss what's happened with his bag. | 0:03:02 | 0:03:05 | |
The green rucksack is now with the man in the grey suit. | 0:03:05 | 0:03:08 | |
Off camera, he passes it to a third man sat in the bookie's, | 0:03:08 | 0:03:12 | |
then leaves. | 0:03:12 | 0:03:14 | |
It's fairly obvious that there's something going on. | 0:03:14 | 0:03:16 | |
We know that the bag is still downstairs. | 0:03:16 | 0:03:19 | |
Paul calls fellow officers Alex and Andy into action. | 0:03:19 | 0:03:23 | |
Andy and Alex then go down into the bookmaker's | 0:03:24 | 0:03:26 | |
and notice another male is sat down there with a big black bag. | 0:03:26 | 0:03:30 | |
And also the green rucksack. | 0:03:30 | 0:03:32 | |
And it's at this point that I come down to detain this third | 0:03:32 | 0:03:36 | |
male and bring the bags up and see what's going on. | 0:03:36 | 0:03:39 | |
He was a little bit chippy, plenty to say. | 0:03:39 | 0:03:41 | |
He was trying to pull away from me, | 0:03:41 | 0:03:44 | |
so I had to give him some words of advice about staying calm, | 0:03:44 | 0:03:47 | |
otherwise he was going to get handcuffed and dragged out. | 0:03:47 | 0:03:50 | |
PC Marsh comes and picks up the second bag. | 0:03:50 | 0:03:53 | |
Paul recognises a common shoplifting technique. | 0:03:53 | 0:03:57 | |
He's seen thieves meeting with an accomplice to hand over stolen | 0:03:57 | 0:04:00 | |
goods before. | 0:04:00 | 0:04:01 | |
We know that they're involved as a three. | 0:04:01 | 0:04:04 | |
One will go in, put the suits in the changing room. | 0:04:04 | 0:04:07 | |
The chap with the bag will go in and will conceal the items. | 0:04:07 | 0:04:11 | |
And generally the third person is a lookout. | 0:04:11 | 0:04:14 | |
Upstairs, the arrested men aren't happy. | 0:04:14 | 0:04:17 | |
Mate, mate. Whoa! Listen. Yeah, I know. | 0:04:17 | 0:04:22 | |
Stay calm, else you'll go on the floor. | 0:04:22 | 0:04:24 | |
They arrest me for nothing. | 0:04:24 | 0:04:26 | |
They arrest me for nothing. | 0:04:27 | 0:04:29 | |
Whether the men are shoplifters or not will depend on what Paul | 0:04:29 | 0:04:32 | |
finds in the two bags. And in one of them, he's discovered quite a haul. | 0:04:32 | 0:04:36 | |
OK, so what we've got in here is we've got two suits. | 0:04:36 | 0:04:40 | |
This jacket is worth £350. | 0:04:40 | 0:04:43 | |
Got a pair of trousers that is worth £100. | 0:04:44 | 0:04:49 | |
The second suit is more of a nice little pinstripe number. | 0:04:49 | 0:04:54 | |
They're ver... They're large. | 0:04:54 | 0:04:57 | |
They're for a large gentleman. | 0:04:57 | 0:04:59 | |
That's £100 for the trousers again, so what we up to? 350, 450, 550. | 0:04:59 | 0:05:04 | |
And the third jacket is £300. | 0:05:04 | 0:05:07 | |
So there's £850 there. | 0:05:07 | 0:05:09 | |
The men deny having stolen the suits, but there are no receipts. | 0:05:10 | 0:05:14 | |
Another officer thinks what he's found in the other bag is proof | 0:05:14 | 0:05:17 | |
the men set out to steal. | 0:05:17 | 0:05:20 | |
It's foil-lined. | 0:05:20 | 0:05:22 | |
As he hadn't got any cold drinks in there, I thought he was | 0:05:22 | 0:05:25 | |
putting the jackets into the bag to stop the security alarms going off. | 0:05:25 | 0:05:30 | |
So at the moment, he's been arrested for having articles for going equipped | 0:05:30 | 0:05:34 | |
to steal on him. | 0:05:34 | 0:05:36 | |
All three of the men are taken back to the police station for questioning. | 0:05:36 | 0:05:40 | |
Justice. | 0:05:42 | 0:05:44 | |
Later, the team are back on the hunt, | 0:05:46 | 0:05:48 | |
and the shoplifters don't like it one bit. | 0:05:48 | 0:05:50 | |
I've told you five times, stay back there! | 0:05:52 | 0:05:54 | |
In the food hall at John Lewis' Oxford Street store, | 0:06:04 | 0:06:07 | |
manager Andy has a big day ahead of him. | 0:06:07 | 0:06:10 | |
He's been tasked with trying to sell large quantities of a foodstuff | 0:06:11 | 0:06:15 | |
that divides opinion at the best of times. | 0:06:15 | 0:06:19 | |
This is haggis. | 0:06:19 | 0:06:21 | |
Scotland's national dish. | 0:06:21 | 0:06:23 | |
It's a mixture of lamb offal, oatmeal and spices. | 0:06:23 | 0:06:28 | |
The offal includes sheep's lungs, liver and heart. | 0:06:28 | 0:06:34 | |
Some people love haggis, others hate it, but today Andy has hit on a plan | 0:06:34 | 0:06:39 | |
to send sales of this Marmite of the meat product world soaring. | 0:06:39 | 0:06:43 | |
He's planning on making the most of a landmark birthday. | 0:06:43 | 0:06:47 | |
Robert Burns, as Scotland's national poet, has a day in celebration | 0:06:48 | 0:06:52 | |
of his life. And Scots across the globe get together to eat | 0:06:52 | 0:06:56 | |
haggis, drink whisky and celebrate | 0:06:56 | 0:06:59 | |
the poetry of their national poet. | 0:06:59 | 0:07:02 | |
And this year, the store is celebrating it in style. | 0:07:02 | 0:07:06 | |
To promote Burns, and obviously our sales of haggis and whisky, | 0:07:06 | 0:07:11 | |
shortbread and all things Scottish, | 0:07:11 | 0:07:13 | |
we're going to process the haggis around the store. | 0:07:13 | 0:07:17 | |
And to help Andy with his procession, the store have hired in a specialist. | 0:07:17 | 0:07:21 | |
'I'm Pipe Major Willie Cochrane, ex-King's Own Scottish Borderers. | 0:07:23 | 0:07:28 | |
'You've got to keep the bag full. | 0:07:28 | 0:07:31 | |
'And every time you take a breath, you squeeze like mad. | 0:07:31 | 0:07:34 | |
'Keep squeezing.' | 0:07:34 | 0:07:36 | |
They say it's like a good woman - you've got to squeeze her now and again. | 0:07:36 | 0:07:39 | |
Willie, Andy and colleague Fraser will parade the haggis through | 0:07:39 | 0:07:43 | |
all seven floors of the store, before opening it up to a tasting | 0:07:43 | 0:07:47 | |
session for customers. | 0:07:47 | 0:07:48 | |
The event will culminate in the ceremonial recital of Burns' | 0:07:48 | 0:07:52 | |
famous Address To A Haggis. | 0:07:52 | 0:07:54 | |
For the last few years, Scotsman Fraser has executed this duty, | 0:07:54 | 0:07:59 | |
but this year it's all change. | 0:07:59 | 0:08:01 | |
We spoke about it and we decided that Andy would do it this year. | 0:08:01 | 0:08:07 | |
Broad Scots is not, as you can tell, my natural accent. | 0:08:07 | 0:08:11 | |
And doing this poem justice isn't the easiest thing. | 0:08:11 | 0:08:14 | |
The highlight of the address is when I pull out my sgian-dubh here | 0:08:14 | 0:08:18 | |
and stab the haggis. | 0:08:18 | 0:08:20 | |
Willie, Andy and Fraser are due to make not one, | 0:08:20 | 0:08:23 | |
but three pipe parades through the store. | 0:08:23 | 0:08:27 | |
Fraser might not be doing the recital this year, | 0:08:27 | 0:08:30 | |
but he's got an equally important job. | 0:08:30 | 0:08:32 | |
Well, I'm chief haggis carrier this afternoon. | 0:08:32 | 0:08:36 | |
Very important. | 0:08:36 | 0:08:38 | |
I mustn't drop it. | 0:08:38 | 0:08:40 | |
Later, it's Scotland The Brave in the food hall, as Andy | 0:08:40 | 0:08:43 | |
and the team trench the gushing entrails bright. | 0:08:43 | 0:08:47 | |
Gie her a haggis! | 0:08:47 | 0:08:49 | |
CHEERING | 0:08:49 | 0:08:50 | |
At the east end of Oxford Street stands the Dominion Theatre. | 0:08:57 | 0:09:01 | |
This Grade II listed, Art Deco performance space is | 0:09:01 | 0:09:04 | |
one of the West End's leading theatres. | 0:09:04 | 0:09:07 | |
It was famous for its 12-year staging of the Queen musical | 0:09:07 | 0:09:12 | |
We Will Rock You. | 0:09:12 | 0:09:13 | |
But that closed, and now there's about to be a new show in town. | 0:09:13 | 0:09:18 | |
In three days' time, | 0:09:18 | 0:09:20 | |
Michael Flatley's Lord Of The Dance: Dangerous Games opens. | 0:09:20 | 0:09:23 | |
David Pearson is the theatre's general manager. | 0:09:23 | 0:09:27 | |
Competition is very high in the West End between theatres. | 0:09:27 | 0:09:30 | |
There's a whole number of theatres in a very close proximity. | 0:09:30 | 0:09:34 | |
So we have to keep on top. | 0:09:34 | 0:09:36 | |
And they're banking on Lord Of The Dance keeping them there. | 0:09:36 | 0:09:40 | |
But for the show to go on, it needs a set. | 0:09:40 | 0:09:43 | |
Bringing Lord Of The Dance into the Dominion is a challenge. | 0:09:43 | 0:09:46 | |
Michael Flatley and all his creative team are perfectionists in what they do. | 0:09:46 | 0:09:51 | |
And meeting their expectations is the job of Sacha Queiroz | 0:09:52 | 0:09:56 | |
and his 20-strong stage crew. | 0:09:56 | 0:09:59 | |
Every single member of the team has to be at the top of their game | 0:09:59 | 0:10:02 | |
to make sure this show works, make sure it opens on time, | 0:10:02 | 0:10:05 | |
and make sure it's safe for everybody concerned. | 0:10:05 | 0:10:08 | |
Today, it's the most important job for the stage team - the load-in. | 0:10:09 | 0:10:14 | |
So we start with a completely empty stage at the moment, | 0:10:14 | 0:10:17 | |
and then by the end of the day we need to have...be in a position where we | 0:10:17 | 0:10:21 | |
can start rehearsals tomorrow for the opening night on Friday night. | 0:10:21 | 0:10:24 | |
It's a big day for Sacha and his team, and with the first | 0:10:26 | 0:10:30 | |
consignment of the load-in at the stage door, they can get started. | 0:10:30 | 0:10:33 | |
I think your video wall has turned up. | 0:10:35 | 0:10:37 | |
The team start unloading the trucks. | 0:10:37 | 0:10:40 | |
All systems go, this truck will be empty in 45 minutes. | 0:10:41 | 0:10:45 | |
The set is to be made up of a giant video screen | 0:10:45 | 0:10:48 | |
covering the width of the stage. | 0:10:48 | 0:10:50 | |
It will hang from a specially designed metal truss, which the team assemble. | 0:10:50 | 0:10:55 | |
This bit's probably the most time-consuming. | 0:10:55 | 0:10:58 | |
I wouldn't say it's the hardest bit, | 0:10:58 | 0:11:00 | |
but, as you can see, I'm perspiring a bit. | 0:11:00 | 0:11:02 | |
-The truss will sit in the rafters. -I'm going up. Just saying. | 0:11:02 | 0:11:06 | |
To get it up where it needs to be, | 0:11:06 | 0:11:08 | |
electric winches must be assembled above the stage. | 0:11:08 | 0:11:11 | |
And that's the job of Ben Love. | 0:11:11 | 0:11:14 | |
We're off to the booth | 0:11:14 | 0:11:16 | |
to put some points in. | 0:11:16 | 0:11:18 | |
AKA electric hoists. | 0:11:18 | 0:11:21 | |
So that the people downstairs can lift stuff up and I can go home. | 0:11:23 | 0:11:26 | |
Cheers, lover! | 0:11:29 | 0:11:31 | |
Despite its hi-tech nature, much of the work of the stagehands | 0:11:31 | 0:11:35 | |
comes down to toil, sweat, and a dollop of elbow grease. | 0:11:35 | 0:11:39 | |
-Is that the next one? -Yes. Yeah, I've got you, lover. | 0:11:39 | 0:11:42 | |
Despite his job, Ben's no fan of Irish dancing. | 0:11:42 | 0:11:46 | |
Lord Of The Dance is on for six months, | 0:11:53 | 0:11:55 | |
and the video wall will hang there throughout the run. | 0:11:55 | 0:11:59 | |
Which means Ben can't afford any mistakes. | 0:11:59 | 0:12:02 | |
Yeah. Close enough! | 0:12:02 | 0:12:05 | |
You're installing stuff which is | 0:12:05 | 0:12:07 | |
hanging tonnes of stuff over people's heads. | 0:12:07 | 0:12:10 | |
So if you don't do your job properly, or don't | 0:12:10 | 0:12:12 | |
have any pride in your work, then, frankly, you shouldn't be here. | 0:12:12 | 0:12:15 | |
While Ben's winch is almost ready to raise the truss, | 0:12:15 | 0:12:18 | |
other stagehands move on to the all-important video wall. | 0:12:18 | 0:12:22 | |
These LED screens will be joined together in rows to create | 0:12:22 | 0:12:26 | |
the huge stage-wide screen. | 0:12:26 | 0:12:28 | |
The first row is always a bit slow. | 0:12:28 | 0:12:30 | |
Once we get the first row up, and it's all in line, | 0:12:30 | 0:12:32 | |
then every row after that is much faster. | 0:12:32 | 0:12:36 | |
-Half an hour. -Half an hour. -When this one is ready, we can start with the other one. -Brilliant. | 0:12:38 | 0:12:42 | |
But while the video wall is taking shape nicely, | 0:12:42 | 0:12:45 | |
the same can't be said for other key parts of the set. | 0:12:45 | 0:12:49 | |
Another truck, due this afternoon, is yet to arrive. | 0:12:49 | 0:12:54 | |
What's left on the truck? | 0:12:54 | 0:12:55 | |
-Costumes. -Set. Deck. | 0:12:55 | 0:12:59 | |
-Deck? -More deck for that. | 0:12:59 | 0:13:01 | |
I see a lot of crew standing around. | 0:13:01 | 0:13:04 | |
It's just a little bit frustrating, knowing that we're paying them | 0:13:04 | 0:13:08 | |
quite a lot of money to stand there and do nothing. | 0:13:08 | 0:13:11 | |
-Later, the deck arrives way behind schedule. -Five hours. | 0:13:11 | 0:13:15 | |
Can they get the stage ready, and will it meet the exacting | 0:13:15 | 0:13:18 | |
standards of the Lord of the Dance himself? | 0:13:18 | 0:13:21 | |
The undercover ORB police team are fighting an ongoing | 0:13:31 | 0:13:34 | |
war against the shoplifters of Oxford Street. | 0:13:34 | 0:13:37 | |
But catching thieves is difficult, | 0:13:37 | 0:13:40 | |
and every day of the week the team perform a complex game of cat | 0:13:40 | 0:13:43 | |
and mouse to identify their targets and try and catch them in the act. | 0:13:43 | 0:13:48 | |
Today, Paul Penrose and Hatice Iper are scanning hundreds of passers-by | 0:13:48 | 0:13:53 | |
and it's not long before two men arouse their suspicions. | 0:13:53 | 0:13:56 | |
We've seen a couple of guys who have piqued our interest. | 0:13:56 | 0:14:00 | |
Seemed to slow and take a good long look into shops. Nice. | 0:14:00 | 0:14:05 | |
One goes in, one waits outside. | 0:14:05 | 0:14:08 | |
He is nervous, he's jumping round on his toes. | 0:14:08 | 0:14:12 | |
He is keeping an eye out... | 0:14:12 | 0:14:14 | |
now...for us. | 0:14:14 | 0:14:16 | |
These are the clues that the undercover team are trained to | 0:14:16 | 0:14:19 | |
recognise. And Paul decides to follow the men. | 0:14:19 | 0:14:23 | |
They are moving now. | 0:14:23 | 0:14:25 | |
He calls in another member of the team. | 0:14:27 | 0:14:30 | |
And together the three of them begin to track the men. | 0:14:30 | 0:14:33 | |
Paul knows what he's looking for. | 0:14:37 | 0:14:39 | |
And he thinks he recognises a few tricks of the trade | 0:14:39 | 0:14:42 | |
in the movements of the men. | 0:14:42 | 0:14:45 | |
They've gone upstairs | 0:14:45 | 0:14:46 | |
and then they've turned round very quickly and run down the escalators. | 0:14:46 | 0:14:49 | |
That's classic counter surveillance, where they'll go up an escalator | 0:14:49 | 0:14:52 | |
and then come down and see who's going back up. | 0:14:52 | 0:14:55 | |
From that, they can see who's moving around with them. | 0:14:55 | 0:14:58 | |
Coming back out. | 0:14:58 | 0:15:00 | |
Further down the street, the men enter another fashion retailer. | 0:15:00 | 0:15:04 | |
Paul follows, while Hatice watches the exit. | 0:15:04 | 0:15:07 | |
-Moments later, Paul's out. -They're shoplifting. All right. | 0:15:09 | 0:15:13 | |
They've looked at a jacket, they've picked one up, | 0:15:13 | 0:15:16 | |
and then next minute you hear the tinkle, the tag's gone, | 0:15:16 | 0:15:19 | |
both tags are on the floor. | 0:15:19 | 0:15:21 | |
Hatice goes to observe the men and alerts the store security guards. | 0:15:21 | 0:15:26 | |
But it looks like the men have spotted the guards, | 0:15:26 | 0:15:29 | |
as soon afterwards they exit the shop. | 0:15:29 | 0:15:31 | |
Paul's seen enough. | 0:15:34 | 0:15:36 | |
He can't risk them giving him the slip, and moves in to make a stop. | 0:15:36 | 0:15:40 | |
Later, Paul gets his men, and turns up more than he bargained for. | 0:15:45 | 0:15:50 | |
Oh, mate, whose is that? | 0:15:50 | 0:15:52 | |
At the John Lewis food hall, Andy, Fraser and Willie are about | 0:16:00 | 0:16:03 | |
to parade the haggis throughout the store's seven floors. | 0:16:03 | 0:16:07 | |
And without further ado... | 0:16:07 | 0:16:08 | |
Ready for these escalators? | 0:16:08 | 0:16:11 | |
BAGPIPES PLAY ..it's Scots Wha Hae. | 0:16:11 | 0:16:14 | |
Once we get on the escalator and get customers' attention, | 0:16:21 | 0:16:24 | |
they seem to enjoy it. Lots of photographs taken. | 0:16:24 | 0:16:27 | |
We were just happily minding our own business in the bath section | 0:16:33 | 0:16:37 | |
and we heard a piper coming down the escalator. | 0:16:37 | 0:16:41 | |
Being a responsible, informative parent, | 0:16:41 | 0:16:43 | |
popped over here just to show her. | 0:16:43 | 0:16:45 | |
APPLAUSE | 0:16:47 | 0:16:49 | |
The piped procession has drawn quite a crowd, | 0:16:50 | 0:16:53 | |
just in time for Andy's big moment. | 0:16:53 | 0:16:55 | |
Fair fa' your honest, sonsie face, | 0:16:55 | 0:16:58 | |
Great chieftain o' the pudding-race! | 0:16:58 | 0:17:00 | |
Aboon them a' yet tak your place, Painch, tripe, or thairm... | 0:17:00 | 0:17:05 | |
While thro' your pores the dews distil | 0:17:05 | 0:17:07 | |
Like amber bead. | 0:17:07 | 0:17:10 | |
His knife see rustic Labour dight, | 0:17:10 | 0:17:14 | |
-An' cut you up wi' ready sleight... -FRASER CHEERS | 0:17:14 | 0:17:17 | |
Trenching your gushing entrails bright, | 0:17:17 | 0:17:20 | |
Like ony ditch... | 0:17:20 | 0:17:21 | |
Gie her a haggis! | 0:17:21 | 0:17:23 | |
THEY CLAP | 0:17:23 | 0:17:25 | |
BAGPIPES PLAY | 0:17:25 | 0:17:26 | |
That's the first haggis stabbed, killed and plucked. | 0:17:26 | 0:17:29 | |
LAUGHTER | 0:17:29 | 0:17:31 | |
With the haggis open for business, | 0:17:31 | 0:17:33 | |
customers can finally get a taste | 0:17:33 | 0:17:36 | |
of the great chieftain of the pudding race, | 0:17:36 | 0:17:38 | |
which is the whole point for manager Abbie. | 0:17:38 | 0:17:41 | |
A lot of it is about sales, but it's also about getting people trying some new things, | 0:17:42 | 0:17:46 | |
so lots of people who are quite nervous about haggis. | 0:17:46 | 0:17:49 | |
We will sell a couple of thousand haggis over the weekend. | 0:17:49 | 0:17:51 | |
Mm. | 0:17:51 | 0:17:53 | |
Mm. To die for. | 0:17:54 | 0:17:57 | |
Even better with the whisky. | 0:17:58 | 0:18:00 | |
With the tasting in full swing, there's no let-up | 0:18:00 | 0:18:03 | |
for Andy, Willie and Fraser. | 0:18:03 | 0:18:05 | |
I've only got to do it twice more now. | 0:18:05 | 0:18:07 | |
With three parades to perform, | 0:18:07 | 0:18:09 | |
for Andy that means the Address to the Haggis three times, as well. | 0:18:09 | 0:18:13 | |
-An' cut ye up wi' ready sleight... -FRASER CHEERS | 0:18:13 | 0:18:16 | |
His accent is quite authentic. | 0:18:16 | 0:18:18 | |
It's very, very good for an English person reciting that poem. | 0:18:18 | 0:18:22 | |
Not too bad. A bit Glaswegian. | 0:18:22 | 0:18:25 | |
But it seems they've not won over everyone. | 0:18:25 | 0:18:28 | |
We don't eat haggis. We've seen what goes into it. | 0:18:28 | 0:18:31 | |
We don't fancy it. | 0:18:31 | 0:18:32 | |
He may not fancy it, but over 2,000 other shoppers have. | 0:18:32 | 0:18:37 | |
Sales are up year on year. | 0:18:37 | 0:18:39 | |
We've had loads of people come down, lots of comments, | 0:18:39 | 0:18:41 | |
lots of tweets, so it's been really exciting today. | 0:18:41 | 0:18:45 | |
Andy, Fraser and Willie can feel satisfied | 0:18:45 | 0:18:47 | |
that they've done their bit to both entertain the crowd | 0:18:47 | 0:18:50 | |
and celebrate the memory of Scotland's national poet. | 0:18:50 | 0:18:53 | |
At the Dominion Theatre, the stage crew are awaiting a truck | 0:19:03 | 0:19:07 | |
with more of the Lord Of The Dance set. | 0:19:07 | 0:19:09 | |
It's now four hours late and they can't move on until it arrives. | 0:19:09 | 0:19:14 | |
I see a lot of the crew standing around. | 0:19:14 | 0:19:17 | |
It's just a little bit frustrating knowing that we're paying them | 0:19:17 | 0:19:20 | |
quite a lot of money to stand there and do nothing. | 0:19:20 | 0:19:23 | |
-RADIO: -'We're going to turn up on the door any second.' | 0:19:23 | 0:19:25 | |
Ooh. Ooh, success. Copy that. We're on our way. | 0:19:25 | 0:19:29 | |
At 6.30pm, two hours before they were meant to finish, | 0:19:29 | 0:19:33 | |
it finally shows up. | 0:19:33 | 0:19:35 | |
Five hours. | 0:19:35 | 0:19:37 | |
Four. Four hours. I'm doing him a disservice. | 0:19:37 | 0:19:41 | |
He was due at half past two. Never mind. Never mind. | 0:19:41 | 0:19:45 | |
The crew swing into action once again. | 0:19:45 | 0:19:48 | |
Can you just help get everything off the stage floor? | 0:19:49 | 0:19:52 | |
One of the biggest challenges for the team is the stage floor. | 0:19:52 | 0:19:55 | |
In its usual form, it has a slight slope, | 0:19:55 | 0:19:58 | |
but that's no good for Irish dancing, which involves heavy footwork | 0:19:58 | 0:20:02 | |
and a need for the audience to see the feet moving. | 0:20:02 | 0:20:05 | |
So, the team are having to install a special surface to make it flat. | 0:20:06 | 0:20:10 | |
But, despite their hard work, | 0:20:11 | 0:20:13 | |
Sacha is going to have to face the fact that it will now be too late | 0:20:13 | 0:20:17 | |
to get it all ready in time for tomorrow's rehearsals. | 0:20:17 | 0:20:20 | |
He calls it a day, | 0:20:20 | 0:20:22 | |
still confident he'll have Michael Flatley dancing tomorrow. | 0:20:22 | 0:20:26 | |
It started off really well, but, unfortunately, we got to a point | 0:20:26 | 0:20:30 | |
where the truck was delayed and delayed and delayed. | 0:20:30 | 0:20:33 | |
The next day, the team are up and working bright and early | 0:20:38 | 0:20:42 | |
and there are plenty of jobs to keep them busy. | 0:20:42 | 0:20:45 | |
Yeah, we're getting there. I hope. | 0:20:45 | 0:20:48 | |
The video screen's up and being tested, | 0:20:50 | 0:20:54 | |
but by going into a second day, | 0:20:54 | 0:20:56 | |
the team are now having to work around rehearsals. | 0:20:56 | 0:20:59 | |
-How's that one, Richie? -Good. -Good. | 0:20:59 | 0:21:02 | |
Definitely near the finish line now, and that's a relief. | 0:21:03 | 0:21:08 | |
Another hour's worth of finishing off the last bits | 0:21:08 | 0:21:10 | |
and we should be able to get fully into the rehearsal process. | 0:21:10 | 0:21:14 | |
And, with the finishing touches completed, | 0:21:14 | 0:21:16 | |
Sacha and his team have finally got there. | 0:21:16 | 0:21:19 | |
Look at that! It's a stage. | 0:21:19 | 0:21:21 | |
-When did that happen? -Beep-beep-beep-beep! | 0:21:21 | 0:21:23 | |
Dress rehearsals for the West End's latest mega-show | 0:21:23 | 0:21:27 | |
can get fully underway. | 0:21:27 | 0:21:28 | |
LORD OF THE DANCE MUSIC PLAYS | 0:21:28 | 0:21:30 | |
And just in time for none other than the Lord of the Dance himself. | 0:21:43 | 0:21:47 | |
Michael Flatley has arrived. | 0:21:47 | 0:21:50 | |
Mr Flatley is here and he seems happy. | 0:21:51 | 0:21:53 | |
He's a man of exacting standards and it's great that he's walked on stage | 0:21:53 | 0:21:57 | |
and he hasn't had any major complaints and any major problems. | 0:21:57 | 0:22:01 | |
It looks fantastic. It's all done. | 0:22:01 | 0:22:04 | |
I'm very, very pleased about it all. | 0:22:04 | 0:22:06 | |
And with that, the Lord Of The Dance is finally ready | 0:22:06 | 0:22:09 | |
to strut its stuff on Oxford Street. | 0:22:09 | 0:22:12 | |
The Oxford Street police team have been tailing | 0:22:22 | 0:22:25 | |
two suspected shoplifters. | 0:22:25 | 0:22:27 | |
PC Paul Penrose says he witnessed them | 0:22:27 | 0:22:29 | |
interfering with security tags in a clothing store. | 0:22:29 | 0:22:33 | |
He and colleague Hatice have decided it's time to make a stop. | 0:22:33 | 0:22:37 | |
Guys, police. | 0:22:38 | 0:22:40 | |
Just come and stand on the side, please. | 0:22:40 | 0:22:42 | |
I've been watching you. I've seen you with that jacket. | 0:22:42 | 0:22:47 | |
You took the tag off, so you're going to be searched. | 0:22:47 | 0:22:50 | |
The men didn't actually take the jacket. | 0:22:50 | 0:22:52 | |
Paul thinks that store security got too close and spooked them. | 0:22:52 | 0:22:56 | |
He's now looking for a magnet or other device that could have | 0:22:56 | 0:22:59 | |
been used to remove the security tag. | 0:22:59 | 0:23:02 | |
Right, who's got the de-tagger? | 0:23:02 | 0:23:04 | |
Instead he finds phones - lots of phones. | 0:23:04 | 0:23:08 | |
OK, you've got two phones. Yours? | 0:23:08 | 0:23:11 | |
-No, one is one of a friend. -Oh, that's interesting. OK. | 0:23:11 | 0:23:15 | |
These are both your phones? | 0:23:15 | 0:23:18 | |
-Oh, mate, whose is that? -Mine. | 0:23:18 | 0:23:20 | |
-That's yours, as well, is it? -Yeah. | 0:23:20 | 0:23:23 | |
There's no contacts in the phone. There's nothing. | 0:23:23 | 0:23:25 | |
It looks like the phone has been reset. | 0:23:25 | 0:23:27 | |
Paul is disappointed not to have found a de-tagging device. | 0:23:27 | 0:23:31 | |
But five phones between two men is still of interest. | 0:23:31 | 0:23:35 | |
I'm arresting you on suspicion of theft of a mobile phone. | 0:23:36 | 0:23:40 | |
You're also under arrest on suspicion of criminal damage | 0:23:40 | 0:23:44 | |
to the tag in the item that you de-tagged, | 0:23:44 | 0:23:47 | |
and you're also under arrest for attempted theft of the jacket. | 0:23:47 | 0:23:51 | |
As soon as you've de-tagged that jacket, that's an attempt, | 0:23:51 | 0:23:54 | |
all right? | 0:23:54 | 0:23:56 | |
The man's companion has convinced Hatice both his phones | 0:23:56 | 0:23:59 | |
really are his, as they do at least contain his contacts and information. | 0:23:59 | 0:24:04 | |
As Paul only saw the other man remove the security tag | 0:24:04 | 0:24:07 | |
from the jacket, this one is free to go. | 0:24:07 | 0:24:10 | |
You're going home now. Don't come back to Oxford Street, OK? | 0:24:10 | 0:24:14 | |
That man leaves and the team radio for transport | 0:24:14 | 0:24:17 | |
to take the other man to the police station. | 0:24:17 | 0:24:20 | |
He'll be interviewed with a solicitor and a translator. | 0:24:20 | 0:24:23 | |
The suspect heads off to the station, but the team's job is far from done. | 0:24:26 | 0:24:31 | |
Patrols continue into the night. | 0:24:31 | 0:24:34 | |
We're filming with Paul when a call comes through | 0:24:38 | 0:24:40 | |
that PC Darren Bond has made a stop at the other end of the street. | 0:24:40 | 0:24:45 | |
He and a colleague have identified three men acting suspiciously | 0:24:47 | 0:24:51 | |
and stopped them. | 0:24:51 | 0:24:52 | |
A search has uncovered bottles of perfume concealed in their clothing. | 0:24:52 | 0:24:56 | |
We noticed these three acting suspiciously. | 0:24:57 | 0:25:00 | |
They were looking into the store, but not apparently to shop. | 0:25:00 | 0:25:04 | |
They were looking at where the staff were | 0:25:04 | 0:25:06 | |
and where any security people were. | 0:25:06 | 0:25:07 | |
We decided to do a stop and search on them under Section 1 of Pace. | 0:25:07 | 0:25:13 | |
This guy had one bottle of perfume stuffed underneath his pants. | 0:25:13 | 0:25:16 | |
Matey here in the woolly hat didn't have anything, | 0:25:16 | 0:25:19 | |
but the third guy had three bottles of perfume, two in his pockets, | 0:25:19 | 0:25:23 | |
the other one stuffed underneath his pants, as well. | 0:25:23 | 0:25:26 | |
And one of the men has the best excuse for having | 0:25:26 | 0:25:28 | |
bottles of women's perfume in his pants that the team has ever heard. | 0:25:28 | 0:25:32 | |
The men's story gets even more unbelievable. | 0:25:39 | 0:25:43 | |
They claim they found the perfume in the street. | 0:25:43 | 0:25:46 | |
Darren's search, however, has turned up something else deeply suspicious - | 0:25:46 | 0:25:51 | |
an oddly shaped lump of metal. | 0:25:51 | 0:25:54 | |
Pliers that are used for removing security tags. | 0:25:56 | 0:25:59 | |
These tools are commonly used by shoplifters to help them steal. | 0:26:01 | 0:26:05 | |
Carrying them can be a criminal act. | 0:26:05 | 0:26:07 | |
Perhaps no surprise, then, the suspects are less than pleased. | 0:26:08 | 0:26:12 | |
SUSPECT SPEAKS OWN LANGUAGE | 0:26:12 | 0:26:14 | |
Don't you point your hand at me, in my face, OK? | 0:26:14 | 0:26:17 | |
You are...man. Not me. | 0:26:17 | 0:26:18 | |
Don't point your hand at me, OK? | 0:26:18 | 0:26:21 | |
Darren's thorough investigation is making one of the men jumpy. | 0:26:23 | 0:26:27 | |
Mate, I've told you repeatedly to stay there, OK? | 0:26:27 | 0:26:31 | |
If you're going to be like that... I've told you five times. | 0:26:31 | 0:26:34 | |
No, it's camera. It's TV. | 0:26:34 | 0:26:36 | |
I haven't got enough handcuffs for you. Your friends are in handcuffs. | 0:26:36 | 0:26:40 | |
I've repeatedly asked you to stand there, OK? | 0:26:40 | 0:26:43 | |
OK. Camera... | 0:26:43 | 0:26:44 | |
Stay still. Don't raise your hands and no problems, OK? | 0:26:44 | 0:26:49 | |
-OK. -Do you understand? Right. | 0:26:49 | 0:26:52 | |
The team run a check on the men's names and get a hit. | 0:26:52 | 0:26:56 | |
Two of the men are known to the police for shoplifting | 0:26:56 | 0:26:59 | |
and one has previous for carrying weapons. | 0:26:59 | 0:27:02 | |
But there are no outstanding warrants against them. | 0:27:02 | 0:27:06 | |
Darren decides to take one of the men in for questioning. | 0:27:06 | 0:27:09 | |
The other two men are let go. | 0:27:10 | 0:27:12 | |
Yeah, so I'll bring in the one with the de-tagger and pliers. | 0:27:14 | 0:27:17 | |
He's the one with the three bottles of perfume anyway. | 0:27:17 | 0:27:20 | |
So, you're under arrest. | 0:27:20 | 0:27:21 | |
You do not have to say anything, but it may harm your defence if you do not mention | 0:27:21 | 0:27:25 | |
something which you later rely on in court. | 0:27:25 | 0:27:27 | |
-Anything you do say may be given in evidence. -OK. | 0:27:27 | 0:27:29 | |
The suspect is taken to the station, booked in and later charged. | 0:27:31 | 0:27:35 | |
He was sentenced to 16 weeks in prison, suspended for two years. | 0:27:35 | 0:27:40 | |
The perfume was returned to the store it belonged to. | 0:27:40 | 0:27:44 | |
In the earlier attempted theft, no further action was taken | 0:27:44 | 0:27:48 | |
as the store's CCTV did not cover the removal of the tag from the jacket. | 0:27:48 | 0:27:53 | |
However, the iPhone discovered on the man was found to be | 0:27:53 | 0:27:56 | |
an illegal counterfeit. | 0:27:56 | 0:27:59 | |
In the bookie's case, after questioning and further analysis | 0:27:59 | 0:28:02 | |
of the CCTV, this man was charged | 0:28:02 | 0:28:05 | |
with handling stolen goods and going equipped to steal. | 0:28:05 | 0:28:09 | |
However, he failed to answer bail | 0:28:09 | 0:28:11 | |
and police believe he has left the country. | 0:28:11 | 0:28:14 | |
A warrant for his arrest has been circulated. | 0:28:14 | 0:28:17 | |
The other two men were not charged, | 0:28:17 | 0:28:19 | |
and both have also returned to Romania. | 0:28:19 | 0:28:22 | |
They'll keep coming, we'll keep taking them out, | 0:28:22 | 0:28:25 | |
and we'll win. We always do. | 0:28:25 | 0:28:27 |