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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 with 30 million visitors each year, | 0:00:06 | 0:00:11 | |
with some of the world's most famous shops, | 0:00:11 | 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 | 0:00:25 | |
The 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 | |
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 | 0:00:40 | |
Oxford Street. | 0:00:42 | 0:00:44 | |
Coming up: The battle of Oxford Street. | 0:00:45 | 0:00:48 | |
Whose is this one? | 0:00:48 | 0:00:50 | |
Police and pedicab drivers vie for supremacy... | 0:00:50 | 0:00:53 | |
I don't give a damn whether you agree or not. | 0:00:53 | 0:00:56 | |
I'm in charge on the street. | 0:00:56 | 0:00:57 | |
..there's a pop star at Debenhams... | 0:00:57 | 0:01:00 | |
# Treats me awfully... # | 0:01:00 | 0:01:02 | |
..scaffolders fight the elements on the street's tallest building... | 0:01:02 | 0:01:06 | |
You can just get a sudden gust and it will just knock you off balance. | 0:01:06 | 0:01:10 | |
..and it's Top Gear at a car park | 0:01:10 | 0:01:13 | |
as it gets ready for a celebrity opening. | 0:01:13 | 0:01:15 | |
CAR ENGINE REVS | 0:01:15 | 0:01:17 | |
One of the biggest problems on Oxford Street at the moment are these - | 0:01:23 | 0:01:26 | |
rickshaw drivers. | 0:01:26 | 0:01:28 | |
These unregulated cycle taxis converge on Oxford Street | 0:01:30 | 0:01:33 | |
to pick up tourists, but shops and other road users complain | 0:01:33 | 0:01:38 | |
they park where they're not allowed to | 0:01:38 | 0:01:40 | |
and clog up the road, waiting for fares. | 0:01:40 | 0:01:43 | |
They're also accused of overcharging passengers, | 0:01:44 | 0:01:47 | |
with some being known to charge £5 per minute per person. | 0:01:47 | 0:01:52 | |
You! | 0:01:52 | 0:01:53 | |
We've previously seen this man, Officer Andy Pescott, | 0:01:53 | 0:01:57 | |
the self-styled sheriff of Oxford Street, | 0:01:57 | 0:01:59 | |
waging a one-man war on the problem. | 0:01:59 | 0:02:02 | |
They're actually parked up in the bus lane, double yellow lines. | 0:02:02 | 0:02:06 | |
But the complaints have kept coming. | 0:02:06 | 0:02:08 | |
Oi! Clear off! | 0:02:08 | 0:02:09 | |
So much so, that Andy is now trying a new approach. | 0:02:09 | 0:02:13 | |
He wants to work with the riders to get the situation under control, | 0:02:15 | 0:02:19 | |
so he has drawn up a code of practice, | 0:02:19 | 0:02:22 | |
outlining the rules they must adhere to. | 0:02:22 | 0:02:24 | |
Most of the riders have signed up. If they break its terms, | 0:02:26 | 0:02:29 | |
they become liable for a community protection notice, | 0:02:29 | 0:02:32 | |
which can mean a fine of up to £2,500. | 0:02:32 | 0:02:36 | |
Those that are adhering to my rules and regulations, | 0:02:36 | 0:02:39 | |
I haven't got a problem with. | 0:02:39 | 0:02:41 | |
If they're outside of my rules and regulations, then, | 0:02:41 | 0:02:43 | |
as the sheriff of Oxford Street, | 0:02:43 | 0:02:45 | |
I'm going to move them on and kick them out of town. | 0:02:45 | 0:02:47 | |
Tonight, Andy is going on patrol | 0:02:49 | 0:02:51 | |
to see if the riders are sticking to his code of practice. | 0:02:51 | 0:02:54 | |
And it doesn't look good. | 0:02:55 | 0:02:58 | |
Oi! | 0:02:58 | 0:02:59 | |
What's that light? Red. | 0:02:59 | 0:03:01 | |
You're crossing the road and you've got children on board. | 0:03:01 | 0:03:05 | |
Turn that music down. | 0:03:05 | 0:03:07 | |
Move on to the footpath cos you're causing an obstruction. | 0:03:07 | 0:03:10 | |
The rider is clearly not following Andy's rules | 0:03:10 | 0:03:13 | |
and he's been warned in the past. | 0:03:13 | 0:03:15 | |
You know the rules and regulations, don't you? | 0:03:16 | 0:03:19 | |
Do you have your code of practice on you? | 0:03:19 | 0:03:21 | |
Have you bothered reading it? | 0:03:21 | 0:03:23 | |
Yeah, I read it today. | 0:03:23 | 0:03:24 | |
You read it today? Do you want me to ban you from riding on Oxford Street? | 0:03:24 | 0:03:28 | |
-No. -That's your one and only warning. OK? | 0:03:28 | 0:03:31 | |
The next time I rip up your agreement and you will be banned. | 0:03:31 | 0:03:34 | |
All right? | 0:03:34 | 0:03:36 | |
Don't let me have to tell you again, my friend, | 0:03:36 | 0:03:38 | |
I'm trying to work WITH you guys. | 0:03:38 | 0:03:40 | |
It was dangerous. | 0:03:42 | 0:03:43 | |
He cut across the junction at the crossing. | 0:03:43 | 0:03:47 | |
The lights were red to him. He had a female and two children on board. | 0:03:47 | 0:03:51 | |
The guy's a clown. | 0:03:51 | 0:03:53 | |
Across the road from Selfridges, Andy is covertly watching to see if the | 0:03:59 | 0:04:03 | |
pedicab writers are obeying the rule forbidding them from parking here. | 0:04:03 | 0:04:08 | |
One rider has been a persistent offender | 0:04:10 | 0:04:13 | |
and Andy wants to see if he's here tonight. | 0:04:13 | 0:04:16 | |
The rider in question has signed the code of practice | 0:04:16 | 0:04:19 | |
but Andy believes he's flouting its rules. | 0:04:19 | 0:04:21 | |
We may be here sometime but it'll be worth the wait. | 0:04:24 | 0:04:27 | |
It's like a little bit of fly fishing. A little bit of bait, | 0:04:27 | 0:04:31 | |
at the end of it, you're going to catch a nice big trout. | 0:04:31 | 0:04:33 | |
And, as Andy keeps watch, his trout appears. | 0:04:37 | 0:04:41 | |
Yes! | 0:04:42 | 0:04:44 | |
Oh, deary me. | 0:04:48 | 0:04:50 | |
Turn it off. | 0:04:50 | 0:04:52 | |
Step over here. | 0:04:52 | 0:04:53 | |
-You guys are supposed to be working in partnership with me. -Yes. | 0:04:53 | 0:04:57 | |
Do you know you shouldn't be here? | 0:04:57 | 0:05:01 | |
The man seems to suggest that his company supervisor, | 0:05:01 | 0:05:04 | |
a man named Mavis, | 0:05:04 | 0:05:06 | |
said it was OK to park here. | 0:05:06 | 0:05:08 | |
I don't care what Mavis had to say, OK? | 0:05:08 | 0:05:12 | |
He is a rickshaw supervisor and I am a police officer. | 0:05:12 | 0:05:16 | |
This is my footprint. | 0:05:16 | 0:05:17 | |
So, it's another rider ignoring the rules. | 0:05:17 | 0:05:21 | |
-This is your name here, is that correct? -That is correct. | 0:05:21 | 0:05:24 | |
OK, I now intend to serve you a community protection notice, | 0:05:24 | 0:05:27 | |
-which is the next stage up, OK? -OK, yes. | 0:05:27 | 0:05:30 | |
If you do not abide by the rules and regulations set out in this, OK? | 0:05:30 | 0:05:36 | |
I will summons you to court, OK? | 0:05:36 | 0:05:38 | |
You will not stop on Oxford Street, Regent Street and Bond Street | 0:05:38 | 0:05:41 | |
and Davies Street, other than for the purpose of picking up | 0:05:41 | 0:05:44 | |
and dropping off passengers at their request. | 0:05:44 | 0:05:47 | |
Unless you are flagged down by a member of the public, | 0:05:47 | 0:05:50 | |
you will not stop anywhere. | 0:05:50 | 0:05:52 | |
You will ride until your legs drop-off. | 0:05:52 | 0:05:54 | |
I'm the daddy. | 0:05:57 | 0:05:59 | |
But the smile is soon wiped off Andy's face. | 0:06:00 | 0:06:03 | |
Just down the road, his code of practice is being ignored again. | 0:06:03 | 0:06:07 | |
This is not acceptable, OK? | 0:06:07 | 0:06:12 | |
One, two, three, four, five, six, seven, eight. Clear off! | 0:06:12 | 0:06:16 | |
All the pedicabs were parked up, | 0:06:16 | 0:06:19 | |
despite being forbidden from doing so by the code. | 0:06:19 | 0:06:22 | |
Not on my footprint you don't, gentlemen. | 0:06:22 | 0:06:25 | |
Tonight, he just moves them on, but Andy is beginning to think | 0:06:25 | 0:06:29 | |
that his code of practice is falling on deaf ears. | 0:06:29 | 0:06:32 | |
I'm going to give them a couple of weeks | 0:06:32 | 0:06:34 | |
and, if there's still minor infringements, I'm just going to | 0:06:34 | 0:06:38 | |
tear up that local agreement and go back to issuing 48-hour dispersals. | 0:06:38 | 0:06:43 | |
Later, we hear the pedicab drivers' side of things, | 0:06:43 | 0:06:46 | |
as they fight back against the sheriff. | 0:06:46 | 0:06:49 | |
Once upon a time, selling goods on Oxford Street | 0:07:02 | 0:07:05 | |
meant putting products on shelves and letting customers do the rest. | 0:07:05 | 0:07:09 | |
But not any more. | 0:07:09 | 0:07:11 | |
The arrival of online shopping has made it easier than ever | 0:07:11 | 0:07:14 | |
to shop at home, so to get people to come into store, | 0:07:14 | 0:07:18 | |
Oxford Street shops more and more need to provide | 0:07:18 | 0:07:21 | |
an experience you can't get online. | 0:07:21 | 0:07:24 | |
One chain that's working hard on this is Debenhams. | 0:07:24 | 0:07:28 | |
They use their flagship Oxford Street store to run events | 0:07:28 | 0:07:31 | |
to entice in customers, and today, for the first time, | 0:07:31 | 0:07:35 | |
they're staging a live music performance by a leading pop star. | 0:07:35 | 0:07:39 | |
Brilliant singer, X Factor finalist, Rebecca Ferguson's going to be | 0:07:39 | 0:07:42 | |
doing a personal appearance in our store today in Oxford Street. | 0:07:42 | 0:07:46 | |
Making sure it all goes to plan is the job of the store's PR team, | 0:07:46 | 0:07:51 | |
led by Chris Morgan. | 0:07:51 | 0:07:53 | |
This is the first time we've been working with a big star | 0:07:53 | 0:07:56 | |
to come in and do an in-store performance. | 0:07:56 | 0:07:59 | |
I guess that the bar is now for retailers not only to offer | 0:07:59 | 0:08:01 | |
great products but also really exciting experiences | 0:08:01 | 0:08:05 | |
while people shop as well. | 0:08:05 | 0:08:07 | |
Five or ten minutes until Rebecca arrives with us. | 0:08:08 | 0:08:11 | |
I think we are all in shape. | 0:08:11 | 0:08:13 | |
As well as creating an experience for customers, there's another purpose. | 0:08:13 | 0:08:18 | |
Rebecca will be performing in one of their occasion wear dresses, | 0:08:18 | 0:08:21 | |
and they're hoping to get priceless coverage of her wearing it into the papers. | 0:08:21 | 0:08:26 | |
Other members of staff are playing a part as well. | 0:08:26 | 0:08:29 | |
They're being dressed in the same clothing line, | 0:08:29 | 0:08:31 | |
and will spread out around the store to direct people to the show. | 0:08:31 | 0:08:35 | |
I'm very happy! | 0:08:35 | 0:08:37 | |
They're my girls! | 0:08:37 | 0:08:39 | |
The dream team. | 0:08:39 | 0:08:41 | |
Oh! That's gorgeous! | 0:08:42 | 0:08:43 | |
And, bang on time, Rebecca arrives. | 0:08:44 | 0:08:47 | |
Rebecca, I'm Chris, the director of PR for Debenhams. | 0:08:47 | 0:08:51 | |
-Thanks for coming in. -Thanks for having me. | 0:08:51 | 0:08:53 | |
It's going to be really exciting event. Don't they look gorgeous? | 0:08:53 | 0:08:56 | |
-I know someone who owns this dress. -Really? -You look much nicer. | 0:08:56 | 0:08:59 | |
I think we're just going to do a very quick sound check, | 0:08:59 | 0:09:02 | |
make sure everything's all right. | 0:09:02 | 0:09:03 | |
# Oh, hey-hey... # | 0:09:05 | 0:09:06 | |
It is different being in a shop, a store, and seeing them | 0:09:07 | 0:09:11 | |
but, yeah, it's good. | 0:09:11 | 0:09:14 | |
Rebecca goes off to get ready. | 0:09:14 | 0:09:18 | |
Meanwhile, the crowd is gathering. | 0:09:18 | 0:09:20 | |
I'm getting a bit of a buzz | 0:09:20 | 0:09:22 | |
so should be coming out in the next five or ten minutes. | 0:09:22 | 0:09:24 | |
Yeah, looking forward for it to start. I want it to get going now. | 0:09:24 | 0:09:27 | |
But, ten minutes later and Rebecca's not yet out. | 0:09:30 | 0:09:32 | |
The team were planning on a photo shoot | 0:09:32 | 0:09:35 | |
and some media one-to-ones before her performance, but itineraries | 0:09:35 | 0:09:39 | |
are now going out the window for Sophie and Laura for the PR team. | 0:09:39 | 0:09:43 | |
I think we should just go straight into the performance at 6.15 | 0:09:43 | 0:09:47 | |
-if Rebecca's happy to do that. -Yeah, yeah, let's do that. | 0:09:47 | 0:09:50 | |
Laura goes to see what the hold-up is. | 0:09:50 | 0:09:52 | |
We are just waiting for Rebecca. | 0:09:52 | 0:09:55 | |
I think that, as always in these situations, | 0:09:55 | 0:09:58 | |
you have to allow for time and time is never on your side. | 0:09:58 | 0:10:03 | |
We're not if that's what the time's going to be. | 0:10:09 | 0:10:11 | |
Certainly in ten minutes, she needs to be here. | 0:10:11 | 0:10:14 | |
I just don't want, yeah, people to get all wound up. | 0:10:15 | 0:10:19 | |
These things happen. | 0:10:20 | 0:10:22 | |
I am just OCD with time and I'm probably in the wrong industry. | 0:10:22 | 0:10:26 | |
Later, the canapes and bubbly emerge, but will Rebecca? | 0:10:27 | 0:10:32 | |
Yeah, we are fine. | 0:10:32 | 0:10:33 | |
We are... | 0:10:33 | 0:10:35 | |
fine. | 0:10:35 | 0:10:37 | |
In 1966, England won the World Cup at Wembley | 0:10:43 | 0:10:47 | |
and you could have seen the stadium from the top of this building, | 0:10:47 | 0:10:51 | |
Centre Point, which was completed in the same year. | 0:10:51 | 0:10:55 | |
At 400 feet high, it's one of the tallest and most iconic buildings | 0:10:55 | 0:10:59 | |
on Oxford Street, and it's currently undergoing a massive redevelopment. | 0:10:59 | 0:11:04 | |
It's being converted from business to residential use, | 0:11:04 | 0:11:07 | |
a multi-million pound renovation job that will take two years. | 0:11:07 | 0:11:11 | |
But before work can start, | 0:11:12 | 0:11:14 | |
the building exterior needs to be scaffolded. | 0:11:14 | 0:11:17 | |
It's then being covered with a specially commissioned artwork. | 0:11:17 | 0:11:21 | |
Most of the scaffolding and the artwork wrap has been assembled, | 0:11:21 | 0:11:25 | |
but they've still got the top to do. | 0:11:25 | 0:11:28 | |
And today is the final challenge. | 0:11:28 | 0:11:30 | |
Team leader Mick Popov is taking his team to the 33rd floor, | 0:11:30 | 0:11:34 | |
to build the final level, so they can hang the last part of the artwork. | 0:11:34 | 0:11:39 | |
We're in the last few weeks of the main scaffold being finished. | 0:11:39 | 0:11:42 | |
Of course, then it's a couple of months to put the roof on. | 0:11:42 | 0:11:45 | |
Before the team can start, | 0:11:47 | 0:11:49 | |
they always take one particular precaution. | 0:11:49 | 0:11:51 | |
The first thing we have to do is let out the safety nets. | 0:11:52 | 0:11:55 | |
These nets are our barrier between where we're working and the ground. | 0:11:55 | 0:11:58 | |
This high up over Oxford Street, safety measures like that | 0:12:00 | 0:12:04 | |
are vital, but this job is even remarkable to | 0:12:04 | 0:12:07 | |
a scaffolder with a whopping 44 years' experience. | 0:12:07 | 0:12:11 | |
People think, like, scaffolding is high, high, high, | 0:12:11 | 0:12:13 | |
but this is really high for scaffolding. | 0:12:13 | 0:12:16 | |
Do you know what I mean? It's normally a lot lower than this. | 0:12:16 | 0:12:19 | |
And, unsurprisingly, | 0:12:19 | 0:12:21 | |
the team think quite a lot about their own safety too. | 0:12:21 | 0:12:24 | |
You can't run around like an idiot, | 0:12:24 | 0:12:27 | |
you've got to have your wits about you. | 0:12:27 | 0:12:29 | |
I mean, one false step and it could be, you know, see you later. | 0:12:29 | 0:12:33 | |
The team are harnessed to the scaffold for safety, | 0:12:35 | 0:12:37 | |
but, as Mick and his crew start laying the boards, | 0:12:37 | 0:12:41 | |
they're aware that the wind is getting stronger. | 0:12:41 | 0:12:43 | |
This is all about restraining the boards for the wind... | 0:12:43 | 0:12:47 | |
..so nobody gets killed down there. | 0:12:50 | 0:12:52 | |
The wind is proving a factor for the workers this morning. | 0:12:54 | 0:12:58 | |
You occasionally get a sudden gust and it'll just knock you | 0:12:58 | 0:13:01 | |
slightly off-balance and it's a little bit off-putting. | 0:13:01 | 0:13:05 | |
So, Kevin must make an extra safety check, | 0:13:05 | 0:13:08 | |
using a feature that's vital on the tallest buildings. | 0:13:08 | 0:13:11 | |
Yes, it's the wind meter and the anemometer that we have on-site, | 0:13:11 | 0:13:14 | |
so I'll check this at regular intervals. | 0:13:14 | 0:13:18 | |
At 20mph, the wind could cause problems. | 0:13:18 | 0:13:22 | |
30mph or more and work will have to be stopped. | 0:13:22 | 0:13:25 | |
-What's the wind speed, Kev? -About 20mph, Kev. | 0:13:27 | 0:13:30 | |
20 mile an hour wind at 350 feet, | 0:13:30 | 0:13:33 | |
that's a big change in conditions, isn't it? | 0:13:33 | 0:13:35 | |
It is from what it was, yeah. | 0:13:35 | 0:13:37 | |
I'll keep my eye on it and we'll just keep tubing out now, | 0:13:37 | 0:13:41 | |
we'll hold off on the boards. | 0:13:41 | 0:13:44 | |
At 20mph, the wind is not enough to stop them working, | 0:13:44 | 0:13:48 | |
but they will only be able to install safely the metal framework tubes, | 0:13:48 | 0:13:52 | |
not the all-important boards needed to make scaffold. | 0:13:52 | 0:13:56 | |
We are on a tight schedule. | 0:13:56 | 0:13:58 | |
Obviously we are, to some extent, at the mercy of the weather. | 0:13:58 | 0:14:03 | |
We lost a few hours yesterday because of the weather, | 0:14:03 | 0:14:07 | |
and it's not good for us to stop too long. | 0:14:07 | 0:14:10 | |
We try to be as efficient as we can be and work as much as we can. | 0:14:10 | 0:14:14 | |
There's a reason why the team don't want to stop. | 0:14:14 | 0:14:18 | |
Tomorrow, a second team will install the final level of sheeting - | 0:14:18 | 0:14:21 | |
or Monarflex wrap - that's going around the top floor. | 0:14:21 | 0:14:25 | |
Without the scaffold frame, it can't be put on. | 0:14:25 | 0:14:28 | |
So the team need to get their poles in at the very least. | 0:14:29 | 0:14:33 | |
These are... We're putting four metre tubes on these. | 0:14:33 | 0:14:36 | |
Almost done. | 0:14:40 | 0:14:41 | |
This last corner to complete and then we're onto the Monarflex. | 0:14:41 | 0:14:44 | |
Although the wind has slowed them down, by the end of the day, | 0:14:44 | 0:14:48 | |
they have built enough scaffold for the wrappers to take over. | 0:14:48 | 0:14:52 | |
-High-five, Kev! Well done, son. Thanks. -Good day, Kev. | 0:14:52 | 0:14:57 | |
Later: Scaffolding up, it's time to put Centre Point under wraps. | 0:14:58 | 0:15:03 | |
Oi! | 0:15:10 | 0:15:12 | |
Earlier on, we saw how pedicabs had become one of the biggest problems on Oxford Street. | 0:15:12 | 0:15:16 | |
One, two, three, four, five, six, seven, eight. Clear off! | 0:15:16 | 0:15:21 | |
The police and businesses complain they block up roads | 0:15:21 | 0:15:24 | |
and park illegally, but the pedicab drivers themselves have | 0:15:24 | 0:15:28 | |
a different view, and one of them wants to put his side of the story. | 0:15:28 | 0:15:32 | |
Murat is a pedicab driver. | 0:15:33 | 0:15:36 | |
He also owns a fleet of them and hires them out to other riders. | 0:15:36 | 0:15:39 | |
He's become something of a voice for the trade. | 0:15:39 | 0:15:42 | |
It's our empire, the rickshaw, pedicab. | 0:15:42 | 0:15:45 | |
He says drivers like himself are just working hard to try | 0:15:45 | 0:15:49 | |
and make a living, with little assistance from the authorities. | 0:15:49 | 0:15:52 | |
Right now I'm going to Oxford Street | 0:15:52 | 0:15:55 | |
and it is right now the best place to make some money. | 0:15:55 | 0:15:58 | |
People might complain about pedicabs, | 0:15:59 | 0:16:01 | |
but Murat and his fellow rickshaw drivers have gripes of their own. | 0:16:01 | 0:16:05 | |
Murat would like to see better proper parking facilities | 0:16:05 | 0:16:08 | |
and even a system of licensing. | 0:16:08 | 0:16:11 | |
He'd also like better treatment from other key road users. | 0:16:11 | 0:16:15 | |
We don't do nothing wrong to them but they hating us. | 0:16:18 | 0:16:22 | |
Murat says the main problem is the lack of parking for pedicabs. | 0:16:24 | 0:16:28 | |
Hello, hello. Excuse me. | 0:16:28 | 0:16:30 | |
Excuse me, can you come to me? | 0:16:30 | 0:16:32 | |
And on Oxford Street, one of his riders is in trouble | 0:16:32 | 0:16:36 | |
for stopping where he's not allowed to be. | 0:16:36 | 0:16:39 | |
I know it is a double line but what is the mistake which is I'm staying | 0:16:39 | 0:16:43 | |
on a double line? I don't disturb anyone and there's no traffic. | 0:16:43 | 0:16:46 | |
Murat says without proper parking facilities, his pedicabs | 0:16:47 | 0:16:51 | |
have no choice but to break the law when they come to a stop. | 0:16:51 | 0:16:55 | |
We have do stay somewhere to pick up customers. | 0:16:55 | 0:16:57 | |
If there's nowhere to park, there's nowhere to park. | 0:16:57 | 0:17:00 | |
That's why we need a park. We want a special rank for ourselves. | 0:17:00 | 0:17:04 | |
But the PCSO is well aware there's a code of practice in place | 0:17:04 | 0:17:08 | |
that, in this case, the pedicabs are now breaking. | 0:17:08 | 0:17:12 | |
Did we not get agreement before with the other officer | 0:17:12 | 0:17:16 | |
that you're only allowed to do certain things? | 0:17:16 | 0:17:18 | |
But then, earlier today, there was still three parked outside | 0:17:18 | 0:17:22 | |
Selfridges on the zigzag line. | 0:17:22 | 0:17:24 | |
That's why we need a special place for Selfridges as well. | 0:17:24 | 0:17:27 | |
There's nothing Murat can do. He moves off. | 0:17:27 | 0:17:30 | |
To compound his frustration, when he makes it up the street to | 0:17:30 | 0:17:34 | |
Selfridges, it's not a pedicab that's stopping where it shouldn't be. | 0:17:34 | 0:17:38 | |
Look at that, black cabs are parking over there, | 0:17:38 | 0:17:41 | |
no-one doesn't touch them, or nobody doesn't say, they are still here. | 0:17:41 | 0:17:45 | |
Murat's so incensed, he stops to make his point, but he's now | 0:17:45 | 0:17:49 | |
parked illegally himself, and soon drawing police intention of his own. | 0:17:49 | 0:17:54 | |
What about the black cab, sir? Over there? | 0:17:54 | 0:17:56 | |
Why don't you move them, then? | 0:17:56 | 0:17:57 | |
You were there and you saw them, you didn't move any of them, | 0:17:57 | 0:18:00 | |
you came straightaway for the rickshaw. Why us? | 0:18:00 | 0:18:04 | |
No, I'm not saying like that... | 0:18:04 | 0:18:06 | |
With things getting heated, it's not long before a familiar name is brought up. | 0:18:06 | 0:18:10 | |
Yeah, there you go, Mr Andy is coming. | 0:18:10 | 0:18:13 | |
It's the sheriff of Oxford Street himself, Andy Pescott. | 0:18:13 | 0:18:16 | |
And he's not best pleased. | 0:18:16 | 0:18:18 | |
Why are you parked up here? You know the rules. | 0:18:18 | 0:18:20 | |
What about the black cabs, though? Why don't you touch them? | 0:18:20 | 0:18:23 | |
The argument... | 0:18:23 | 0:18:25 | |
Listen, you know I have done more than anybody else to try | 0:18:25 | 0:18:28 | |
-and work with you guys. -Of course. | 0:18:28 | 0:18:30 | |
It came to a point where we had a working agreement | 0:18:30 | 0:18:32 | |
and members of your own team as well as members of the other teams | 0:18:32 | 0:18:36 | |
breached that agreement within a week. | 0:18:36 | 0:18:38 | |
It's two weeks since we last saw him, | 0:18:38 | 0:18:41 | |
and Andy's investigations have now shown beyond doubt | 0:18:41 | 0:18:44 | |
that pedicab drivers are ignoring his code of practice on a regular basis. | 0:18:44 | 0:18:49 | |
There were more people, once our agreement was in place, | 0:18:49 | 0:18:53 | |
breaching it than there was before the agreement was in place. | 0:18:53 | 0:18:56 | |
As far as Andy's concerned, his agreement is now null and void. | 0:18:56 | 0:19:01 | |
-I had egg on my face, my friend. -I know. | 0:19:01 | 0:19:03 | |
Gloves off and every single rickshaw rider | 0:19:03 | 0:19:06 | |
within our footprint will get dealt with robustly now. | 0:19:06 | 0:19:09 | |
Andy remains unmoved. | 0:19:09 | 0:19:11 | |
As far as he's concerned, | 0:19:11 | 0:19:12 | |
pedicabs still have no right to park up on the street. | 0:19:12 | 0:19:16 | |
But Murat's convinced that's impractical. | 0:19:16 | 0:19:18 | |
Murut heads off. | 0:19:27 | 0:19:29 | |
He still believes he and his fellow drivers work hard | 0:19:29 | 0:19:32 | |
and have a right to earn a living. | 0:19:32 | 0:19:34 | |
Later, Andy tears up the code of practice | 0:19:36 | 0:19:38 | |
and goes back to his traditional methods of policing. | 0:19:38 | 0:19:42 | |
I don't give a damn whether you agree or not. | 0:19:42 | 0:19:45 | |
I'm in charge on this street. | 0:19:45 | 0:19:47 | |
Department store Debenhams is getting ready for its first ever live pop performance. | 0:19:54 | 0:20:00 | |
Press and public are gathered, but as they wait for guest star | 0:20:00 | 0:20:03 | |
Rebecca Ferguson, already the schedule is slipping. | 0:20:03 | 0:20:06 | |
Sophie from the PR team is worried the large crowd are getting restless. | 0:20:06 | 0:20:12 | |
We have spoken about maybe a slight change of plan, just so we don't | 0:20:12 | 0:20:16 | |
keep the general public waiting for the live performance | 0:20:16 | 0:20:19 | |
and just because we're slightly pushed for time, | 0:20:19 | 0:20:21 | |
I think we may move a few things around. | 0:20:21 | 0:20:24 | |
But, as the minutes tick by, there's still no sign of the singer. | 0:20:25 | 0:20:28 | |
We're fine. | 0:20:30 | 0:20:32 | |
Yeah, we are fine. | 0:20:32 | 0:20:34 | |
We are... | 0:20:34 | 0:20:35 | |
..fine. | 0:20:36 | 0:20:38 | |
Luckily, they don't have to wait much longer. | 0:20:38 | 0:20:42 | |
I think we're in business, yes. Just this way. | 0:20:42 | 0:20:45 | |
CHEERING | 0:20:47 | 0:20:50 | |
Just there. | 0:20:50 | 0:20:52 | |
While the media get their photo call, | 0:20:52 | 0:20:54 | |
Chris gets ready to do the introductions. | 0:20:54 | 0:20:57 | |
Evening, everybody, and thank you for joining us | 0:20:57 | 0:20:59 | |
this evening at Debenhams on Oxford Street. | 0:20:59 | 0:21:02 | |
Really pleased and honoured to introduce Rebecca Ferguson, | 0:21:02 | 0:21:05 | |
so let's all enjoy her performance. Thanks. | 0:21:05 | 0:21:08 | |
And then it's time for Debenhams' first-ever live pop performance. | 0:21:09 | 0:21:14 | |
I love you, Rebecca! | 0:21:14 | 0:21:15 | |
I love you too. Thank you so much for coming. | 0:21:15 | 0:21:19 | |
This song's Fine And Mellow from the new album. | 0:21:20 | 0:21:23 | |
# My man, he don't love me | 0:21:23 | 0:21:26 | |
# Treats me oh so mean | 0:21:26 | 0:21:29 | |
# My man, he don't love me | 0:21:31 | 0:21:34 | |
# Treats me awfully | 0:21:34 | 0:21:37 | |
# He is the lowest man I've ever seen | 0:21:37 | 0:21:43 | |
# That boy's going to drive me away | 0:21:44 | 0:21:47 | |
# Said that boy's going to drive me away. # | 0:21:47 | 0:21:51 | |
CHEERING | 0:21:53 | 0:21:54 | |
Thank you. | 0:21:54 | 0:21:55 | |
Thank you so much. | 0:21:55 | 0:21:57 | |
The show's gone down well with customers, | 0:21:57 | 0:22:00 | |
many of whom came specially. | 0:22:00 | 0:22:02 | |
For others, it was a nice surprise. | 0:22:02 | 0:22:04 | |
Remember seeing you... Oh, my God, I'm so excited. | 0:22:08 | 0:22:11 | |
I love Rebecca Ferguson. | 0:22:13 | 0:22:16 | |
I have all her music. | 0:22:16 | 0:22:18 | |
I'm huge fan and I almost cried. I mean it was really, really good. | 0:22:20 | 0:22:25 | |
You just hear this Scouser accent and as soon as she kind of sings, | 0:22:25 | 0:22:29 | |
like this gorgeous, husky kind of perfect voice that comes out, | 0:22:29 | 0:22:33 | |
I think she's an amazing singer. | 0:22:33 | 0:22:35 | |
And with the crowd and media sated, | 0:22:35 | 0:22:37 | |
Rebecca can finally get a little time for herself. | 0:22:37 | 0:22:40 | |
Knowing me, I won't get a minute, but we'll see. | 0:22:41 | 0:22:44 | |
Hopefully I'll get to have a little, little spree. | 0:22:44 | 0:22:48 | |
But while Rebecca gets busy with some retail therapy, | 0:22:48 | 0:22:52 | |
the store's press team are working on publicity side, | 0:22:52 | 0:22:55 | |
hoping to get some coverage into the newspapers. | 0:22:55 | 0:22:58 | |
We always like to, when we do things like this, is to get | 0:22:59 | 0:23:03 | |
the photo caption out as soon as possible on, like, the evening of. | 0:23:03 | 0:23:07 | |
And with pictures appearing in a number of key news | 0:23:08 | 0:23:11 | |
and celebrity websites, the team can consider it a job well done. | 0:23:11 | 0:23:15 | |
Back at Centre Point, and a two-year programme | 0:23:25 | 0:23:28 | |
of refurbishment is going on for Oxford Street's biggest building. | 0:23:28 | 0:23:32 | |
It's taken an amazing nine months just to build the scaffolding. | 0:23:32 | 0:23:36 | |
As soon as each level of scaffolding is built, a second crew have | 0:23:37 | 0:23:41 | |
been covering it up in a Monarflex wrap, plastic sheeting specially | 0:23:41 | 0:23:45 | |
designed to keep the elements out so work can continue in all weathers. | 0:23:45 | 0:23:50 | |
Together, each level of wrap will form a specially commissioned artwork called Private View. | 0:23:50 | 0:23:55 | |
And today the wrap team are at the crucial final phase. | 0:23:55 | 0:23:59 | |
It's the last bit of the wrap that we're attaching today | 0:23:59 | 0:24:03 | |
and we've got the day to finish it. | 0:24:03 | 0:24:05 | |
The wrap is designed by the Eley Kishimoto studio, who based their | 0:24:05 | 0:24:09 | |
design on the look of the building's original 1960s architecture. | 0:24:09 | 0:24:14 | |
I mean, we've been here for, like, | 0:24:14 | 0:24:17 | |
a couple of months putting the sheeting on, the wrapping, | 0:24:17 | 0:24:20 | |
which is really important to get it right aesthetically. | 0:24:20 | 0:24:23 | |
So, it's time to finish wrapping up a London icon. | 0:24:25 | 0:24:28 | |
Each one of these rolls has a specific design. | 0:24:31 | 0:24:33 | |
The team must position each one correctly to display the pattern. | 0:24:33 | 0:24:37 | |
Yeah, that's about 30 metres long and about 100 foot, | 0:24:37 | 0:24:42 | |
so when we're ready to pass the roll out, we've got the boys, | 0:24:42 | 0:24:45 | |
as you can see, we've got the team ready. | 0:24:45 | 0:24:48 | |
The sheets are now hung over the side of the building. | 0:24:48 | 0:24:50 | |
At this point, there is no room for a mistake from the crew. | 0:24:50 | 0:24:54 | |
So, as you can see, we're just sort of working the sheet | 0:24:55 | 0:24:58 | |
along the outside of the scaffold now. | 0:24:58 | 0:25:01 | |
Working together nicely as a team. | 0:25:03 | 0:25:05 | |
The crew can't let that wonderful view distract them. | 0:25:06 | 0:25:10 | |
There's still no room for any mistakes. | 0:25:10 | 0:25:13 | |
Keep it coming then. | 0:25:13 | 0:25:15 | |
Hurray, here we go. | 0:25:18 | 0:25:20 | |
That's it, you lot, that's enough. | 0:25:21 | 0:25:24 | |
The Monarflex is rolled out and lined up in the right position, | 0:25:24 | 0:25:28 | |
and a very low-tech method will be used to keep it in place. | 0:25:28 | 0:25:31 | |
Bungees. | 0:25:31 | 0:25:32 | |
But these sturdy rubber cords have a surprising design feature. | 0:25:32 | 0:25:36 | |
This is what you tie the Monarflex to the scaffold with, | 0:25:36 | 0:25:39 | |
and if there's too much wind, that could pull the scaffold. | 0:25:39 | 0:25:41 | |
So they're designed to break, | 0:25:41 | 0:25:43 | |
so if it is too windy, the Monarflex will go, | 0:25:43 | 0:25:45 | |
rather than take the scaffold with it. | 0:25:45 | 0:25:47 | |
These bungees will now have to stay in place for two years, | 0:25:47 | 0:25:51 | |
whilst the full building work is completed. | 0:25:51 | 0:25:53 | |
The team make the finishing touches and Centre Point is now wrapped | 0:25:54 | 0:25:58 | |
and hidden from view. | 0:25:58 | 0:26:00 | |
It's been a long journey. | 0:26:01 | 0:26:03 | |
We're ready for a beer and it is a great sense of relief. Yep. | 0:26:03 | 0:26:07 | |
So we are just ready to receive the big bonus now. | 0:26:07 | 0:26:10 | |
And, on a warm sunny afternoon, the man that designed the wrap, | 0:26:13 | 0:26:16 | |
Mark Eley, has come to inspect his work. | 0:26:16 | 0:26:20 | |
It's very impressive. | 0:26:21 | 0:26:23 | |
Just the way that they've lined it up, like the scaffolders, | 0:26:23 | 0:26:26 | |
they work it like artisans themselves. | 0:26:26 | 0:26:29 | |
I know my name's not on it, | 0:26:29 | 0:26:30 | |
but in my heart I know they're looking at my work. | 0:26:30 | 0:26:33 | |
It's an honour to do something so significant in my city that I work and live. | 0:26:33 | 0:26:37 | |
Most of the 30 million people that visit Oxford Street every year | 0:26:45 | 0:26:49 | |
come by public transport. | 0:26:49 | 0:26:52 | |
But not everyone. | 0:26:52 | 0:26:54 | |
Those that can afford it come by car. | 0:26:54 | 0:26:56 | |
And catering for them, nestled just behind John Lewis, is Q-Park. | 0:26:57 | 0:27:01 | |
At £6.50 an hour, parking here isn't cheap, | 0:27:01 | 0:27:06 | |
which is why it's become the place for serious players | 0:27:06 | 0:27:10 | |
to park their wheels when they want to go shopping on the street. | 0:27:10 | 0:27:13 | |
Its 444 places are frequently filled by supercars, | 0:27:15 | 0:27:19 | |
which suits car park host and car fanatic Shin just fine. | 0:27:19 | 0:27:24 | |
This is the best car park in Oxford Street. | 0:27:26 | 0:27:28 | |
Nice car, the Mercedes SLS I believe. | 0:27:28 | 0:27:32 | |
My favourite car, Aston Martin convertible. | 0:27:32 | 0:27:35 | |
Oh, the contours. | 0:27:35 | 0:27:37 | |
This year's model, as well. What a car! | 0:27:37 | 0:27:40 | |
Shin came to London from his native Mongolia in the 1960s. | 0:27:42 | 0:27:46 | |
He's been working at the car park for the last four years. | 0:27:46 | 0:27:49 | |
What a car, sir! | 0:27:49 | 0:27:51 | |
But Shin and the car park aren't just about giving supercars access to Oxford Street. | 0:27:51 | 0:27:57 | |
It's just had a £2 million makeover | 0:27:58 | 0:28:01 | |
and a big part of that is about improving access for everyone. | 0:28:01 | 0:28:05 | |
This new lift cost £750,000. | 0:28:05 | 0:28:09 | |
It's something Shin's been pushing for for some time. | 0:28:09 | 0:28:12 | |
We fought very hard for this lift. | 0:28:12 | 0:28:14 | |
We saw that there were a lot of families with pushchairs, | 0:28:14 | 0:28:18 | |
people that is disabled find it very difficult to get up | 0:28:18 | 0:28:22 | |
and this is the outcome. A wonderful lift. | 0:28:22 | 0:28:25 | |
And, this being Oxford Street, not even a car park lift | 0:28:25 | 0:28:29 | |
can be opened without a grand celebrity launch. | 0:28:29 | 0:28:32 | |
So, tomorrow, a VIP party is being thrown, | 0:28:32 | 0:28:36 | |
and, as car park host, it's Shin's job to make sure everything's | 0:28:36 | 0:28:41 | |
perfect and the event goes without a hitch. | 0:28:41 | 0:28:44 | |
We've got to make sure that it's checked every morning | 0:28:44 | 0:28:47 | |
to make sure that the lift is working properly. | 0:28:47 | 0:28:49 | |
This is my car park, so it reflects on me, really. | 0:28:49 | 0:28:53 | |
Shin and operations manager Brian East get to work, | 0:28:55 | 0:28:58 | |
making sure everything is shipshape and Bristol fashion for the opening. | 0:28:58 | 0:29:02 | |
It's the little bits, the corners. Look at the difference. | 0:29:03 | 0:29:06 | |
-You want me to do the rubber as well? -Yeah! | 0:29:06 | 0:29:09 | |
Like all the way around. Everything you can see needs to be clean. | 0:29:09 | 0:29:13 | |
This part of the lift is where all the publicity photos will be taken. | 0:29:14 | 0:29:18 | |
-They'll look at this front section and judge the car park on that. -OK. -Yeah. | 0:29:18 | 0:29:22 | |
But while the lift's scrubbed up nicely, | 0:29:22 | 0:29:25 | |
things aren't going so swimmingly elsewhere. | 0:29:25 | 0:29:28 | |
With only hours until the opening, | 0:29:28 | 0:29:30 | |
Shin gets some unwelcome news about the car park's sprinkler system. | 0:29:30 | 0:29:34 | |
-Shin, my friend, we need some mops. -Mops? | 0:29:34 | 0:29:38 | |
-Mops, yeah, I've got one mop. -One mop. | 0:29:38 | 0:29:40 | |
Brilliant. | 0:29:43 | 0:29:44 | |
Sprinkler service technician John was called in to check | 0:29:44 | 0:29:47 | |
the car park's system ahead of the opening, | 0:29:47 | 0:29:50 | |
but while trying to drain some of the pipes, he's sprung a leak. | 0:29:50 | 0:29:53 | |
Wow, it's quite bad. | 0:29:55 | 0:29:57 | |
John opened up taps down in the basement to release excess water | 0:29:57 | 0:30:00 | |
but the drains are struggling to cope. | 0:30:00 | 0:30:04 | |
Very wet. | 0:30:04 | 0:30:05 | |
I do apologise. | 0:30:06 | 0:30:08 | |
I am more than happy to give a piggy ride! | 0:30:08 | 0:30:10 | |
With 24 hours until the grand opening, | 0:30:10 | 0:30:13 | |
Shin gets stuck in, trying to shift the blockage in the drain. | 0:30:13 | 0:30:16 | |
No bubbles come out, either. | 0:30:16 | 0:30:19 | |
All the drains are, I think, blocked way down. | 0:30:19 | 0:30:24 | |
But the ancient drainage system is not playing ball. | 0:30:24 | 0:30:28 | |
No. Cannot be cleared. | 0:30:28 | 0:30:31 | |
Which means having to soak up all the excess with a mop and bucket. | 0:30:31 | 0:30:35 | |
-HE SIGHS -I'm getting too old for this. | 0:30:35 | 0:30:38 | |
Up the stairs again! | 0:30:41 | 0:30:43 | |
After hours of manual emptying... | 0:30:43 | 0:30:45 | |
If I climb any more stairs, I think I will die. | 0:30:45 | 0:30:48 | |
..Shin has just about got to dry land. | 0:30:48 | 0:30:51 | |
But for him, it never rains, but it pours. | 0:30:51 | 0:30:54 | |
A heavy shower outside has caused a second flood, upstairs this time. | 0:30:57 | 0:31:01 | |
There are a lot of drainage issues that have got to be resolved. | 0:31:03 | 0:31:08 | |
Back to the mop and bucket for Shin. | 0:31:08 | 0:31:10 | |
Always, when there is a problem, it all comes in one go. | 0:31:11 | 0:31:15 | |
Angle, angle, from right to left. | 0:31:17 | 0:31:19 | |
Come on, brother! | 0:31:22 | 0:31:24 | |
Some more sturdy work with a rod and it's two floods dealt with today. | 0:31:24 | 0:31:28 | |
But if Shin thinks his problems are over, he's mistaken. | 0:31:28 | 0:31:32 | |
Later, it's opening day for the lift. | 0:31:32 | 0:31:35 | |
-There's a mystery celebrity in the house... -Do you not recognise him? -No. | 0:31:35 | 0:31:39 | |
..and things are going full throttle for Shin. | 0:31:39 | 0:31:42 | |
-Oh! -Whoa! | 0:31:42 | 0:31:43 | |
Whose is this one? | 0:31:50 | 0:31:51 | |
On Oxford Street, battle lines continue to be drawn | 0:31:51 | 0:31:54 | |
between pedicabs and the authorities. | 0:31:54 | 0:31:58 | |
This is not acceptable. | 0:31:58 | 0:32:00 | |
Andy Pescott's trying to work with the pedicab riders, | 0:32:00 | 0:32:03 | |
but has seen his code of practice roundly ignored. | 0:32:03 | 0:32:07 | |
-I had egg on my face, my friend. -I know... -The gloves are off. | 0:32:07 | 0:32:10 | |
So today, he's returning to issue penalties. | 0:32:10 | 0:32:14 | |
These include Section 35 dispersal orders, | 0:32:14 | 0:32:17 | |
which can ban drivers from the area for 48 hours. | 0:32:17 | 0:32:21 | |
And every single rickshaw rider within our footprint will get dealt | 0:32:21 | 0:32:25 | |
with robustly now. | 0:32:25 | 0:32:27 | |
And back on patrol, immediately there are problems. | 0:32:27 | 0:32:30 | |
-You've got three outside Gap and two on Stratford Place. -All right, OK. | 0:32:30 | 0:32:34 | |
Andy's alerted by an Oxford Street ambassador to more pedicabs | 0:32:34 | 0:32:38 | |
parked up where they're not allowed to be. | 0:32:38 | 0:32:40 | |
And this time, Andy's finally had enough. | 0:32:40 | 0:32:44 | |
-Turn that down! Now! -MUSIC CEASES | 0:32:44 | 0:32:45 | |
Andy's code of practice comes with stiff new penalties if breached. | 0:32:47 | 0:32:52 | |
And you all have a copy of the codes of practice, is that correct? | 0:32:52 | 0:32:55 | |
Yet again, you've failed to comply with it and as a result, | 0:32:55 | 0:32:58 | |
you four gentlemen are going to be issued a Section 35 dispersal. | 0:32:58 | 0:33:03 | |
That means, when I've finished your paperwork, you will leave. | 0:33:03 | 0:33:06 | |
You will not return to Oxford Street, Regent Street, Bond Street, | 0:33:06 | 0:33:10 | |
Davies Street or Marble Arch for 48 hours. | 0:33:10 | 0:33:13 | |
If you return within that time, you'll be arrested. | 0:33:13 | 0:33:16 | |
It's Andy's ultimate power to ban the riders from an area for 48 hours. | 0:33:16 | 0:33:22 | |
46 hours remaining. | 0:33:22 | 0:33:24 | |
You will leave in that direction... | 0:33:24 | 0:33:26 | |
It's rarely been used before on pedicab riders | 0:33:26 | 0:33:29 | |
and marks a major escalation in Andy's one-man war. | 0:33:29 | 0:33:33 | |
Chastened, the pedicabs leave. But Andy's not finished yet. | 0:33:34 | 0:33:38 | |
Just confirm your name for me. | 0:33:38 | 0:33:41 | |
One rider is in another level of trouble. | 0:33:41 | 0:33:44 | |
Earlier, we saw him given a formal warning | 0:33:45 | 0:33:48 | |
by Andy for parking up illegally. | 0:33:48 | 0:33:51 | |
FUZZY VOICE ON RADIO | 0:33:51 | 0:33:53 | |
-Oh, I don't remember. -Let me show you. I have one here for you. | 0:33:53 | 0:33:56 | |
And he's just gone and done it again. | 0:33:56 | 0:33:59 | |
As a result of me issuing you that community protection notice, | 0:33:59 | 0:34:02 | |
I'm informing you, OK? You do not have to say anything, | 0:34:02 | 0:34:05 | |
but it may harm your defence if you do not mention when questioned | 0:34:05 | 0:34:08 | |
something you later rely on in court. Anything you do say may be given in evidence. | 0:34:08 | 0:34:11 | |
The man is cautioned and given a court summons, | 0:34:11 | 0:34:13 | |
with a serious financial implication. | 0:34:13 | 0:34:16 | |
You will get notification from the courts to attend. | 0:34:16 | 0:34:20 | |
Then you are likely to receive a fine up to £2,500. | 0:34:20 | 0:34:26 | |
For being an extremely naughty boy. | 0:34:26 | 0:34:28 | |
Leave, don't return. | 0:34:29 | 0:34:31 | |
The man rides off. For today at least, he and the others are gone. | 0:34:32 | 0:34:36 | |
But Andy knows they'll be back. | 0:34:36 | 0:34:39 | |
And as long as they're around, he will be too. | 0:34:39 | 0:34:41 | |
I'm in charge, and they will adhere to my rules and regulations. | 0:34:43 | 0:34:46 | |
So for the foreseeable future, | 0:34:46 | 0:34:48 | |
they will get dispersal notices for 48 hours every single week, | 0:34:48 | 0:34:52 | |
all the time there is ongoing antisocial behaviour. | 0:34:52 | 0:34:55 | |
Now, I guarantee they will be back. So will I. | 0:34:55 | 0:34:58 | |
Oxford Street never sleeps. | 0:35:07 | 0:35:09 | |
But the tube underneath it does at least stop running from | 0:35:09 | 0:35:12 | |
half midnight until nearly six in the morning. | 0:35:12 | 0:35:16 | |
-TANNOY: -Oxford Circus station is now closing. | 0:35:16 | 0:35:19 | |
Which gives this man the chance he needs | 0:35:21 | 0:35:23 | |
to carry out a crucial function. | 0:35:23 | 0:35:26 | |
Saad Attar is the man that changes the advertising posters on the tube. | 0:35:26 | 0:35:32 | |
Hello, guys. Hello, Steve! | 0:35:32 | 0:35:33 | |
Selling advertising space is a huge | 0:35:33 | 0:35:36 | |
revenue stream for London Underground. | 0:35:36 | 0:35:38 | |
Worth over £100 million a year. | 0:35:38 | 0:35:40 | |
Saad's company has an exclusive contract for selling | 0:35:42 | 0:35:45 | |
the advertising across the Tube network. | 0:35:45 | 0:35:48 | |
And tonight, he's got a special challenge. | 0:35:48 | 0:35:51 | |
Take that one, please. Take that one. | 0:35:51 | 0:35:52 | |
Hold that bag, Steve. | 0:35:52 | 0:35:54 | |
A major brand has bought all 14 spaces along | 0:35:54 | 0:35:58 | |
one Oxford Circus platform. | 0:35:58 | 0:36:01 | |
It's called a domination campaign | 0:36:01 | 0:36:03 | |
and it's Saad's job to make sure that when the station opens, | 0:36:03 | 0:36:06 | |
the posters are up and ready for the tens of thousands | 0:36:06 | 0:36:09 | |
of passengers passing through. | 0:36:09 | 0:36:11 | |
Platform four, northbound, Bakerloo line. OK, Let's go. | 0:36:14 | 0:36:18 | |
Saad and his team are among the few people who get to experience | 0:36:20 | 0:36:23 | |
an empty Oxford Circus station. | 0:36:23 | 0:36:25 | |
No people at all! No passengers, no commuters. Just us. | 0:36:27 | 0:36:31 | |
Before they can get to work, there's one very important job to do. | 0:36:33 | 0:36:36 | |
This special device is called CRID. | 0:36:38 | 0:36:41 | |
We use it to test the current, to make sure the power is off. | 0:36:41 | 0:36:45 | |
We can't park on the track if the power is on. | 0:36:45 | 0:36:49 | |
And the test shows he's good to go. | 0:36:49 | 0:36:52 | |
Our call-back time is five o'clock, mind the slipping and the tripping. | 0:36:52 | 0:36:57 | |
It's time to start removing the old ads. | 0:36:57 | 0:36:59 | |
Start stripping everything, start stripping. | 0:36:59 | 0:37:02 | |
Working above the tracks is not easy, even with the power off, | 0:37:02 | 0:37:06 | |
and the team have special platforms that mount on the rails. | 0:37:06 | 0:37:09 | |
Tube billboards are some of the most lucrative advertising space in the country. | 0:37:10 | 0:37:15 | |
All because of something called "dwell time". | 0:37:15 | 0:37:18 | |
Down on the Tube, passengers are a captive audience. | 0:37:18 | 0:37:21 | |
Research shows each traveller spends a lengthy three minutes | 0:37:21 | 0:37:25 | |
taking in platform adverts. For advertisers, this time is gold dust. | 0:37:25 | 0:37:30 | |
Manager Mark Herne has come down to check on the job. | 0:37:30 | 0:37:34 | |
We've got the A-Team down here tonight. | 0:37:34 | 0:37:36 | |
As you can see, the guys have actually just about got the platform | 0:37:36 | 0:37:39 | |
stripped down now, so they're just prepping the sites, putting the tape down. | 0:37:39 | 0:37:43 | |
It's a special campaign tonight. It's for BMW. | 0:37:45 | 0:37:49 | |
You see, it's all one car but a different colour, different design. | 0:37:49 | 0:37:52 | |
The whole platform. In a specific order. | 0:37:52 | 0:37:57 | |
With 12 rolls per image, | 0:37:57 | 0:37:59 | |
he's got a 168-piece jigsaw to put together. | 0:37:59 | 0:38:03 | |
We have crosses. | 0:38:03 | 0:38:05 | |
These crosses have to be matched, top and bottom and at sides. | 0:38:05 | 0:38:09 | |
When you look at them during, like, passengers' hours, | 0:38:09 | 0:38:14 | |
you can't recognise that they are in one piece or 12 pieces. | 0:38:14 | 0:38:19 | |
Although Saad is taking special care to get everything right, | 0:38:19 | 0:38:22 | |
he isn't slowing down. | 0:38:22 | 0:38:24 | |
Because it's curved a little bit. Can you see? It's a curve. | 0:38:26 | 0:38:29 | |
Looks good. | 0:38:29 | 0:38:31 | |
The poster crew aren't the only ones who come out at night. | 0:38:31 | 0:38:35 | |
Just keep tucking your socks into your trousers, you'll be fine. | 0:38:35 | 0:38:38 | |
HE LAUGHS | 0:38:38 | 0:38:40 | |
If you don't touch them, they don't touch you. | 0:38:40 | 0:38:43 | |
But not even a visit from the tunnel residents can put them | 0:38:43 | 0:38:46 | |
off their stride. | 0:38:46 | 0:38:47 | |
Just two-and-a-half hours after they arrived, | 0:38:49 | 0:38:51 | |
the last few posters are going up. | 0:38:51 | 0:38:53 | |
Saad helps make the final adjustments to the last poster, | 0:38:54 | 0:38:58 | |
the team dismantle their work platforms and the job is done. | 0:38:58 | 0:39:02 | |
I'm just making a final check, | 0:39:03 | 0:39:05 | |
to see if everything is made to a high standard. | 0:39:05 | 0:39:08 | |
So far, everything is perfect. I'm so happy. | 0:39:08 | 0:39:11 | |
It looks good. Hopefully, everyone will be happy tomorrow when they come down. | 0:39:11 | 0:39:14 | |
The customers, when they get out, having a little walk along the platform, | 0:39:14 | 0:39:18 | |
they'll have something really beautiful to look at. | 0:39:18 | 0:39:20 | |
I'm very happy about my crew, about what they have done. | 0:39:20 | 0:39:23 | |
They worked really hard. | 0:39:23 | 0:39:25 | |
And with that, the team make their way back to the surface. | 0:39:25 | 0:39:28 | |
Most campaigns last around two weeks, | 0:39:28 | 0:39:30 | |
so it won't be long before they're back to redecorate. | 0:39:30 | 0:39:34 | |
For now, only the mice will enjoy their display | 0:39:34 | 0:39:37 | |
until the station reopens in the morning. | 0:39:37 | 0:39:39 | |
Back at Shin's car park, he and the rest of the staff are getting | 0:39:49 | 0:39:53 | |
ready for the grand opening of a new lift. | 0:39:53 | 0:39:56 | |
A host of VIPs, a fleet of supercars | 0:39:56 | 0:39:59 | |
and a mystery celebrity guest have all been booked for the event. | 0:39:59 | 0:40:03 | |
It's a big deal for the company on the back of their | 0:40:03 | 0:40:06 | |
three quarters of a million investment. | 0:40:06 | 0:40:09 | |
Shin gets busy on the final touches. | 0:40:09 | 0:40:12 | |
First up, he clears a reception area on the top floor | 0:40:12 | 0:40:16 | |
for guests when they arrive. | 0:40:16 | 0:40:17 | |
Although this causes confusion for some of the park's regular customers. | 0:40:17 | 0:40:23 | |
Er, lift for... | 0:40:23 | 0:40:24 | |
-CRASHING SOUND -Oh! -Whoa! | 0:40:24 | 0:40:26 | |
-Didn't you see the cones? -Yeah. | 0:40:26 | 0:40:29 | |
It's Shin's job too to greet the celebrity guest. | 0:40:29 | 0:40:33 | |
-Shin. -Shin, nice to see you. | 0:40:33 | 0:40:34 | |
This is our VIP for the evening. | 0:40:34 | 0:40:37 | |
Can you guess who he is? | 0:40:37 | 0:40:38 | |
-No? -No. -This is going to be the Stig. | 0:40:40 | 0:40:42 | |
-The original Stig? -Yeah! Do you not recognise him? -No. | 0:40:42 | 0:40:47 | |
-I'm Jackie Chan! -THEY LAUGH | 0:40:47 | 0:40:50 | |
-If you can get changed in the toilets. -Cool. | 0:40:50 | 0:40:53 | |
See you in a minute. | 0:40:53 | 0:40:55 | |
The company has hired a lookalike of Top Gear's Stig... | 0:40:55 | 0:40:58 | |
..to head up a fleet of luxury cars that have been hired as | 0:41:00 | 0:41:04 | |
a photo op for the event. | 0:41:04 | 0:41:06 | |
But the narrow confines of the underground car park | 0:41:06 | 0:41:09 | |
are a challenge even for the Stig. | 0:41:09 | 0:41:12 | |
Oh, whoa-whoa-whoa! | 0:41:12 | 0:41:14 | |
Come back, your skirt's right on the corner. | 0:41:14 | 0:41:16 | |
That's it... Yeah, done it. Yeah, go on. Go on. | 0:41:16 | 0:41:21 | |
That's it, straight through. | 0:41:23 | 0:41:25 | |
Done. | 0:41:25 | 0:41:26 | |
With the cars in place, the guests begin to arrive. | 0:41:26 | 0:41:30 | |
But amidst the jollity, there's a serious point to the event. | 0:41:30 | 0:41:34 | |
Helen Dolphin lost her legs and lower arms to meningitis. | 0:41:34 | 0:41:38 | |
She's a long-time disability campaigner and today's real star guest. | 0:41:38 | 0:41:43 | |
Well, London's really not a very accessible place if you're a disabled person. | 0:41:43 | 0:41:46 | |
I can't even use the Tube to come to Oxford Street because the | 0:41:46 | 0:41:49 | |
tube station is not accessible, and until very recently, I couldn't even | 0:41:49 | 0:41:53 | |
park here, because I couldn't get in the car park because there was no lift. | 0:41:53 | 0:41:56 | |
But that's all changed now, as the Stig | 0:41:58 | 0:42:01 | |
and other guests are only too happy to demonstrate. | 0:42:01 | 0:42:04 | |
So the fact that today they've opened this lift | 0:42:05 | 0:42:09 | |
and disabled people can park in the car park and now access | 0:42:09 | 0:42:12 | |
one of the major shopping places in the UK is just great news. | 0:42:12 | 0:42:17 | |
CHEERING AND APPLAUSE | 0:42:17 | 0:42:20 | |
It's got stuck to my scissors! | 0:42:20 | 0:42:22 | |
In the midst of the party, there's one guest | 0:42:22 | 0:42:24 | |
conspicuous by his absence. | 0:42:24 | 0:42:26 | |
Shin, who fought so hard to get the lift, | 0:42:26 | 0:42:29 | |
has had to attend to his regular duties downstairs. | 0:42:29 | 0:42:33 | |
But the management are keen to make it up to him. | 0:42:33 | 0:42:36 | |
If you could choose any one of the cars to go home in tonight, which one would you choose? | 0:42:36 | 0:42:41 | |
-It's the Nissan Skyline. -Let's go. -Let's go! | 0:42:41 | 0:42:44 | |
Instead of admiring the supercars today, | 0:42:44 | 0:42:47 | |
-Shin's getting a ride in one. -Let's go. | 0:42:47 | 0:42:50 | |
And a 500-brake horsepower, 0-60 in three seconds one, at that. | 0:42:50 | 0:42:56 | |
ENGINE REVS SHIN LAUGHS | 0:42:56 | 0:43:00 | |
-Thank you so much. -You're absolutely welcome. | 0:43:04 | 0:43:07 |