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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 | 0:00:12 | |
With some of the world's most famous shops... CHEERING | 0:00:12 | 0:00:14 | |
-..biggest stars... -Kate Moss! -CHEERING | 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 | |
Busiest street in the world so it needs constant attention. | 0:00:24 | 0:00:27 | |
..seven days a week? | 0:00:27 | 0:00:29 | |
Oi! Clear off! | 0:00:29 | 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 | 0:00:44 | |
Coming up, dodgy vehicles, | 0:00:46 | 0:00:49 | |
drunks and rooftop intruders. | 0:00:49 | 0:00:52 | |
Police! Just come down here! | 0:00:52 | 0:00:54 | |
An Oxford Street policeman has a shift to remember. | 0:00:54 | 0:00:57 | |
Nutcases. | 0:00:57 | 0:00:58 | |
John Lewis unveils its latest weapon to pull in the customers. | 0:00:58 | 0:01:02 | |
Welcome to the summer retreat. | 0:01:02 | 0:01:04 | |
The secret world of bicycle couriers. | 0:01:04 | 0:01:07 | |
Yes, we're cutting it tight. | 0:01:07 | 0:01:09 | |
We need to pull out the hat for these people. | 0:01:09 | 0:01:12 | |
And the giant new station being built under Oxford Street. | 0:01:12 | 0:01:16 | |
We need to run this like a military operation. | 0:01:16 | 0:01:19 | |
With over 30 million visitors a year from hundreds of countries spending | 0:01:24 | 0:01:28 | |
billions of pounds, there's never a dull moment on Oxford Street. | 0:01:28 | 0:01:33 | |
The street's police team, known as ORB, know their shifts can | 0:01:33 | 0:01:37 | |
take in anything and everything, from bomb scares... | 0:01:37 | 0:01:41 | |
It's empty. | 0:01:41 | 0:01:42 | |
It could have been a bomb. | 0:01:42 | 0:01:43 | |
..to concerned tourists reporting dead bodies. | 0:01:45 | 0:01:48 | |
Just repeat that. | 0:01:48 | 0:01:50 | |
Excuse me, it's the police. Excuse me! Hello? | 0:01:50 | 0:01:53 | |
He's moving. He's fine and well. He was just asleep. | 0:01:53 | 0:01:57 | |
The special demands of the street means it's vital uniformed officers | 0:01:58 | 0:02:02 | |
have good people skills and an approachable character. | 0:02:02 | 0:02:06 | |
And aiming to fit that bill is PC Barry Nicholls. | 0:02:07 | 0:02:10 | |
He's been a policeman for a year and a half | 0:02:10 | 0:02:13 | |
and comes from a long line of family members in public service. | 0:02:13 | 0:02:17 | |
I've got two older brothers in the police service actually at the | 0:02:17 | 0:02:20 | |
moment, and my father was London Ambulance for most of his career. | 0:02:20 | 0:02:25 | |
Definitely proud of the service. It's a privilege. | 0:02:25 | 0:02:28 | |
Today, his ten-hour shift will see him | 0:02:28 | 0:02:31 | |
put all his people skills to the test. | 0:02:31 | 0:02:34 | |
The first problems he has to deal with are alcohol-related. | 0:02:34 | 0:02:38 | |
At Oxford Circus, halfway down the street, a homeless man is drinking | 0:02:38 | 0:02:42 | |
on the pavement outside clothes shop Benetton, a strict no-no. | 0:02:42 | 0:02:46 | |
Barry needs him gone. | 0:02:46 | 0:02:48 | |
You can either drink that up... | 0:02:49 | 0:02:52 | |
or we can pour it away, | 0:02:52 | 0:02:54 | |
but you need to do it now and then we can move you on, mate. | 0:02:54 | 0:02:59 | |
He's drinking in a controlled drinking zone. | 0:02:59 | 0:03:02 | |
It's an issue on this area at the moment and we're trying to | 0:03:02 | 0:03:05 | |
clamp down on it a bit. | 0:03:05 | 0:03:07 | |
We do have the power just to take it and pour it away, | 0:03:10 | 0:03:13 | |
but obviously that's a bit brutal. Sometimes it is necessary. | 0:03:13 | 0:03:17 | |
Do you want to knock it back or shall we pour it away? | 0:03:19 | 0:03:22 | |
I've got stuff to do, yeah? | 0:03:22 | 0:03:24 | |
And just on the back of that, if I see you drinking again today, | 0:03:24 | 0:03:28 | |
I will be confiscating it. | 0:03:28 | 0:03:30 | |
All right, mate. | 0:03:30 | 0:03:32 | |
With a touch of patience, Barry has got what he wanted all along - | 0:03:32 | 0:03:36 | |
to move the man away from Oxford Street. | 0:03:36 | 0:03:39 | |
What you could see there was a very ill man. | 0:03:39 | 0:03:41 | |
The last place he needs to be is a custody suite. | 0:03:41 | 0:03:44 | |
Further down the street there's another man who's had one too many. | 0:03:46 | 0:03:51 | |
You all right there, sir? | 0:03:51 | 0:03:53 | |
Hello, mate! You OK? | 0:03:53 | 0:03:55 | |
-SLURRED: -Yeah, I reckon... | 0:03:55 | 0:03:58 | |
Um... | 0:03:59 | 0:04:01 | |
The man, just out of the army, has been sick and is in a bad way. | 0:04:01 | 0:04:06 | |
-You can't hardly string a sentence together. -Yup. I agree. | 0:04:06 | 0:04:10 | |
And... And all I'm worried about, yeah, all I'm simply just here for, | 0:04:10 | 0:04:16 | |
if you like, is that I suppose I'm a little bit concerned, | 0:04:16 | 0:04:19 | |
in a way, how you're going to get home safely. | 0:04:19 | 0:04:22 | |
-Yeah? -Yup. -So what is the plan? | 0:04:22 | 0:04:25 | |
Get on to the next, um... | 0:04:25 | 0:04:27 | |
..er, bus without hurting anyone. | 0:04:29 | 0:04:31 | |
All right. You're coming round a bit now, I can see that. All right? | 0:04:31 | 0:04:34 | |
-Thank you, Sergeant. -I'll leave you to it, mate, yeah? | 0:04:34 | 0:04:37 | |
Satisfied the man is no danger to himself or others, | 0:04:37 | 0:04:41 | |
Barry leaves him and continues his shift. | 0:04:41 | 0:04:44 | |
As the rain starts to fall, | 0:04:44 | 0:04:46 | |
he teams up with fellow officer Daniel Sinclair. | 0:04:46 | 0:04:50 | |
This being Oxford Street, | 0:04:50 | 0:04:51 | |
they have to keep an eye out for anything which might cause a problem. | 0:04:51 | 0:04:55 | |
And with his eyes on the road, Barry spots something potentially serious. | 0:04:55 | 0:05:00 | |
-What are you doing, Barry? -I just want to... | 0:05:00 | 0:05:02 | |
You all right, mate? How did you get the damage on your car? | 0:05:06 | 0:05:09 | |
When was this? | 0:05:10 | 0:05:12 | |
Yeah, could you just pull over after the lights, mate? Cheers. | 0:05:14 | 0:05:17 | |
The side of the car has been smashed and has jagged edges. | 0:05:17 | 0:05:21 | |
Barry is worried it could hurt a pedestrian. | 0:05:21 | 0:05:23 | |
-Seeing you've got damage to the near side of the car... -Yeah. | 0:05:23 | 0:05:27 | |
Just wanted to stop and see what was going on, really. | 0:05:27 | 0:05:31 | |
When did this happen? | 0:05:39 | 0:05:40 | |
Barry thinks that's a long time to be driving a potentially | 0:05:44 | 0:05:47 | |
dangerous vehicle around. | 0:05:47 | 0:05:49 | |
If it hit someone, it would cause significant damage to a person. | 0:05:50 | 0:05:55 | |
Personally, I don't think that the vehicle's safe to be... | 0:05:55 | 0:06:00 | |
To be driving down the road, really. | 0:06:00 | 0:06:02 | |
Barry wants the car off the road and nowhere near Oxford Street, | 0:06:02 | 0:06:06 | |
but he's not sure he has sufficiently legal grounds. | 0:06:06 | 0:06:09 | |
So he plans on getting a second opinion from an expert. | 0:06:09 | 0:06:12 | |
I've just pulled over a car that's all smashed in on the nearside | 0:06:12 | 0:06:16 | |
front end. | 0:06:16 | 0:06:18 | |
Is there any traffic unit that can assist? | 0:06:18 | 0:06:21 | |
Help is on its way. | 0:06:21 | 0:06:23 | |
Traffic officers have the power to prohibit | 0:06:23 | 0:06:25 | |
a vehicle from using the roads. | 0:06:25 | 0:06:27 | |
In my opinion it's not roadworthy, but at the end of the day | 0:06:27 | 0:06:31 | |
what we're doing now is getting a traffic unit down | 0:06:31 | 0:06:33 | |
and they will have the final say on it. | 0:06:33 | 0:06:35 | |
The owner is insisting the police have previously checked | 0:06:35 | 0:06:38 | |
and OK'd the car. | 0:06:38 | 0:06:41 | |
Could Barry be wrong for stopping him? | 0:06:41 | 0:06:43 | |
Well, it's a very subjective thing, really. But in my... | 0:06:47 | 0:06:49 | |
-I'm not arguing with you, I'm... -No, no, that's fine, that's fine. | 0:06:49 | 0:06:52 | |
I just pointing out the fact... | 0:06:52 | 0:06:54 | |
I'm just saying that in my opinion, | 0:06:54 | 0:06:55 | |
if you hit a pedestrian even at 5mph... | 0:06:55 | 0:07:00 | |
-OK. -..with that, you're going to do some serious damage. | 0:07:00 | 0:07:03 | |
-Whereas if that wasn't like that... -Yeah. | 0:07:03 | 0:07:05 | |
-..things would be a lot different. -All right. | 0:07:05 | 0:07:08 | |
If the traffic officers agree with the driver, | 0:07:08 | 0:07:11 | |
then Barry will have wasted everyone's time. | 0:07:11 | 0:07:14 | |
It's a nervous wait. | 0:07:14 | 0:07:15 | |
-Is this hers? -No. | 0:07:17 | 0:07:19 | |
Later, we'll see if Barry's suspicions are correct. | 0:07:19 | 0:07:23 | |
A visit to Oxford Street is a very different experience today to | 0:07:31 | 0:07:35 | |
how it would have been even ten years ago. | 0:07:35 | 0:07:38 | |
It's no longer just about bustling streets and wall-to-wall shopping. | 0:07:38 | 0:07:41 | |
The aim recently has been to increase its appeal as a place of leisure, | 0:07:44 | 0:07:48 | |
somewhere you can go to grab a drink or a meal while out shopping. | 0:07:48 | 0:07:52 | |
So more and more, the shops are turning their efforts | 0:07:52 | 0:07:56 | |
to creating the sort of places people can relax in. | 0:07:56 | 0:08:00 | |
And about to play his part in doing that today is gardener Tony Woods. | 0:08:00 | 0:08:05 | |
OK, we've got red verbena for the pots outside Rossopomodoro. | 0:08:05 | 0:08:09 | |
Everything else is just going to fill in these little gaps | 0:08:09 | 0:08:12 | |
that have appeared around the outside bed. | 0:08:12 | 0:08:15 | |
At the moment, Tony | 0:08:15 | 0:08:16 | |
and his team are coming to the end of a very special commission. | 0:08:16 | 0:08:20 | |
They've been brought into design John Lewis's Oxford Street | 0:08:20 | 0:08:23 | |
roof garden for the summer. | 0:08:23 | 0:08:25 | |
John Lewis only opened it last year | 0:08:25 | 0:08:27 | |
and went with a traditional English theme. | 0:08:27 | 0:08:30 | |
This year they're going tropical, and today, for Tony's team, | 0:08:30 | 0:08:33 | |
it's sign-off day. | 0:08:33 | 0:08:36 | |
This is our biggest urban garden design project. | 0:08:36 | 0:08:39 | |
It's probably one of the biggest public roof gardens in London. | 0:08:39 | 0:08:42 | |
Most of it is done, but Tony | 0:08:42 | 0:08:44 | |
and his team will have an hour for finishing touches this morning before | 0:08:44 | 0:08:48 | |
the bigwigs from the store inspect the garden and say if they're happy. | 0:08:48 | 0:08:52 | |
This year's design themes have had to be adjusted or redesigned | 0:08:52 | 0:08:55 | |
or amended, and as we do that the timescale for completion get | 0:08:55 | 0:09:00 | |
shorter and shorter, so the stress levels build enormously. | 0:09:00 | 0:09:05 | |
Creating a garden on the fifth floor of any building is unusual, | 0:09:05 | 0:09:08 | |
and the top of a working department store even more so. | 0:09:08 | 0:09:12 | |
We're just unloading some plants and ready to go, basically. | 0:09:12 | 0:09:16 | |
Filippo is one of our new members of staff. | 0:09:18 | 0:09:23 | |
He is a good helper, so like one of the Three Musketeers, like. | 0:09:23 | 0:09:26 | |
Morning. Sorry. | 0:09:32 | 0:09:33 | |
Trying to pay for parking by mobile phone. | 0:09:33 | 0:09:37 | |
-OK, you've got the plants in here. -Yeah. | 0:09:37 | 0:09:39 | |
I've got the tools and we've got all our irrigation kit ready to go. | 0:09:39 | 0:09:42 | |
-Upstairs. -OK, great, let's go. | 0:09:42 | 0:09:44 | |
Before the garden can be signed off, | 0:09:46 | 0:09:48 | |
the team need to remove any dead bits of foliage, check the irrigation | 0:09:48 | 0:09:52 | |
system is working and plant the final few tropical flowers. | 0:09:52 | 0:09:56 | |
Welcome to the summer retreat. | 0:09:57 | 0:10:00 | |
It's feeling tropical. | 0:10:01 | 0:10:03 | |
It's nearly done. Unfortunately, the London weather has let us down. | 0:10:03 | 0:10:06 | |
Not quite as tropical. | 0:10:06 | 0:10:07 | |
Um, but you can see that, ultimately, it doesn't look like | 0:10:07 | 0:10:11 | |
you're in Oxford Street and we've injected a bit of a holiday feel. | 0:10:11 | 0:10:16 | |
The garden is meant to feel like a subtropical island retreat. | 0:10:16 | 0:10:21 | |
Tony and his team have installed over 1,000 plants | 0:10:21 | 0:10:23 | |
from 40 different species. | 0:10:23 | 0:10:26 | |
We've got lots of tropical plants, lots of architectural foliage | 0:10:27 | 0:10:30 | |
and bright flowers. | 0:10:30 | 0:10:32 | |
Things that you probably wouldn't normally find on a roof. | 0:10:32 | 0:10:36 | |
The team get to work. | 0:10:36 | 0:10:38 | |
Guys, we've got just under 20 minutes now, so final checks. | 0:10:38 | 0:10:41 | |
Deadheading, take any burnished leaves off that you can see... | 0:10:41 | 0:10:45 | |
Later, plants go in as John Lewis come out for sign-off. | 0:10:47 | 0:10:51 | |
We've got five minutes. They're on the way up now. | 0:10:53 | 0:10:55 | |
Oxford Street isn't just a shopper's paradise. | 0:11:01 | 0:11:04 | |
The area is one of London's creative and business hubs. | 0:11:04 | 0:11:08 | |
Hundreds of officers, advertising agencies, fashion magazines | 0:11:08 | 0:11:12 | |
and filmmakers are densely packed | 0:11:12 | 0:11:14 | |
into the roads to the north and south. | 0:11:14 | 0:11:16 | |
In this fast paced world, the post is much too slow. | 0:11:17 | 0:11:21 | |
If a company wants to move a document or hard drive across town | 0:11:21 | 0:11:25 | |
in half an hour, there's only one option. | 0:11:25 | 0:11:27 | |
The fastest way through the traffic and crowds is by bicycle. | 0:11:29 | 0:11:32 | |
119, yeah. Got some more, Rog. | 0:11:32 | 0:11:36 | |
This is the control room of one of the largest | 0:11:36 | 0:11:39 | |
courier companies in London, and Martin is one of the controllers. | 0:11:39 | 0:11:44 | |
Every day of the week we get busy. From nine till six o'clock, | 0:11:44 | 0:11:47 | |
it is absolute chaos. Controlled chaos, I will say. | 0:11:47 | 0:11:51 | |
Friday, and we've got more work than we can possibly handle. | 0:11:51 | 0:11:55 | |
Deliveries are made by van, | 0:11:55 | 0:11:57 | |
motorcycle or one of their 35 bike messengers. | 0:11:57 | 0:12:00 | |
Drop the one you're doing, collect this one | 0:12:00 | 0:12:04 | |
I'm sending you now. Sending you details of Deutsche Bank, yeah? | 0:12:04 | 0:12:07 | |
Deutsche Bank. | 0:12:07 | 0:12:08 | |
Bicycle couriers are a key cog in the silent infrastructure that | 0:12:08 | 0:12:12 | |
keeps the capital's business world working. | 0:12:12 | 0:12:15 | |
They work mostly around the city's financial district and the West End. | 0:12:15 | 0:12:19 | |
We've got a lot of riders on Oxford Street all day long. | 0:12:19 | 0:12:22 | |
It links up the entirety of the West End - | 0:12:22 | 0:12:24 | |
it goes from one side to the other. | 0:12:24 | 0:12:26 | |
If not the busiest street in London, | 0:12:26 | 0:12:28 | |
it's one of the best ones to get around as well. | 0:12:28 | 0:12:30 | |
It's Martin's job to match each of the day's hundreds of packages | 0:12:30 | 0:12:33 | |
to one of his three dozen riders. | 0:12:33 | 0:12:36 | |
One of those is Johnny. | 0:12:39 | 0:12:40 | |
All right, Johnny? Morning, morning, morning! | 0:12:40 | 0:12:42 | |
Roger-Roger. | 0:12:42 | 0:12:43 | |
Top of Oxford Street as per usual. | 0:12:43 | 0:12:45 | |
We should have a nice busy day for you. | 0:12:45 | 0:12:47 | |
It's not long before Martin gets a booking, | 0:12:47 | 0:12:49 | |
and he radios Johnny through the first pickup of the day. | 0:12:49 | 0:12:53 | |
208, 208, Johnny. | 0:12:53 | 0:12:55 | |
Get yourself to Broadwick Street, Broadwick Street. | 0:12:55 | 0:12:58 | |
We're going to get you going from there, Roger. | 0:12:58 | 0:13:00 | |
And Johnny is on his bike. Riders are self-employed and he is paid per job. | 0:13:00 | 0:13:04 | |
If he wants to make a living, | 0:13:04 | 0:13:06 | |
he's got to meet strict targets that he sets himself. | 0:13:06 | 0:13:10 | |
If you do 25 a day, you can expect to be earning over 350 a week. | 0:13:10 | 0:13:14 | |
If you can see halfway through the day that your going to | 0:13:14 | 0:13:16 | |
struggle to get 20 jobs, then your stress levels increase | 0:13:16 | 0:13:20 | |
and you're wondering where the work's going to come from. | 0:13:20 | 0:13:24 | |
Originally from Manchester, Johnny trained | 0:13:25 | 0:13:27 | |
and worked as a lab technician before his love of bikes | 0:13:27 | 0:13:30 | |
and the outdoors lured him into the world of bike couriering. | 0:13:30 | 0:13:34 | |
But before he's got the first delivery under his belt today, | 0:13:35 | 0:13:38 | |
Johnny's plan is changed. | 0:13:38 | 0:13:41 | |
'208, 208, Johnny.' | 0:13:41 | 0:13:43 | |
Just come back to Picton Place, Picton Place. | 0:13:43 | 0:13:47 | |
A new booking has come through | 0:13:47 | 0:13:49 | |
and the pickup address is on Johnny's route. He gets going. | 0:13:49 | 0:13:53 | |
Cycle couriers can ride up to 80 miles in a day, | 0:13:53 | 0:13:56 | |
the distance from Manchester to Coventry. | 0:13:56 | 0:13:59 | |
Yes, thanks a lot, cheers. | 0:13:59 | 0:14:02 | |
Packages should be picked up and delivered within | 0:14:02 | 0:14:05 | |
an hour of booking, so Johnny is back on his way to that first job. | 0:14:05 | 0:14:09 | |
Once again, he's redirected. | 0:14:09 | 0:14:11 | |
Sometimes you never know quite what the controller is doing. | 0:14:11 | 0:14:14 | |
I still haven't picked up the one in Soho, so I need to get on with it. | 0:14:14 | 0:14:19 | |
Johnny must trust that Martin is doing the right thing, | 0:14:19 | 0:14:22 | |
as it is his job to make sure all the riders are working efficiently. | 0:14:22 | 0:14:26 | |
If he's seen an opportunity for a rider to do two jobs at once, | 0:14:26 | 0:14:30 | |
he can and will reroute them. | 0:14:30 | 0:14:33 | |
OK, so, actually this is quite good. I've got something in Picton Place. | 0:14:33 | 0:14:36 | |
And it's going to Broadwick Street, which is | 0:14:36 | 0:14:38 | |
where I've actually got a pickup which I haven't done yet. | 0:14:38 | 0:14:41 | |
Johnny is in and out of the roads around Oxford Street. | 0:14:44 | 0:14:47 | |
He has a target of three parcels an hour minimum | 0:14:47 | 0:14:50 | |
if he is to make enough money. | 0:14:50 | 0:14:53 | |
I really think we need to get the first one on board, | 0:14:53 | 0:14:56 | |
because it's been over half an hour. | 0:14:56 | 0:14:58 | |
Finally, he does just that, arriving at Hearst, | 0:15:00 | 0:15:03 | |
one of the country's largest magazine publishers. | 0:15:03 | 0:15:06 | |
A bit late. | 0:15:06 | 0:15:07 | |
I think ideally they want it picked up within 20 minutes, | 0:15:07 | 0:15:10 | |
but he sent me three other jobs since then. | 0:15:10 | 0:15:14 | |
So I'm actually dropping one off | 0:15:14 | 0:15:16 | |
to the first pick-up. | 0:15:16 | 0:15:17 | |
He might have been slightly held up, | 0:15:19 | 0:15:21 | |
but thanks to Martin's logistical skills, | 0:15:21 | 0:15:23 | |
he can drop off one package and pick up another at the next desk. | 0:15:23 | 0:15:27 | |
Martin's plan has worked. | 0:15:27 | 0:15:29 | |
Later, as the Friday afternoon jobs mount up, | 0:15:33 | 0:15:35 | |
the pressure to hit deadlines and targets increases. | 0:15:35 | 0:15:39 | |
One within half an hour would be fine, | 0:15:39 | 0:15:40 | |
but a struggle with both of them. | 0:15:40 | 0:15:42 | |
Get yourself moving, all right? | 0:15:42 | 0:15:44 | |
Earlier on, we saw ORB police officer Barry Nicholls stop this vehicle. | 0:15:51 | 0:15:56 | |
It's been involved in an accident some weeks ago | 0:15:56 | 0:15:59 | |
and Barry suspects it's a danger to the public with these sharp edges. | 0:15:59 | 0:16:04 | |
Barry's not sure if the car can be prohibited, | 0:16:04 | 0:16:06 | |
and he's waiting for traffic officers to arrive and check the vehicle. | 0:16:06 | 0:16:10 | |
If he's wrong, he'll have delayed the driver for nothing | 0:16:10 | 0:16:13 | |
on one of the city's busiest streets. | 0:16:13 | 0:16:16 | |
But the first cops on the scene aren't from traffic. | 0:16:16 | 0:16:19 | |
This being Oxford Street, there's a passing VIP. | 0:16:19 | 0:16:22 | |
Finally, it's the traffic officers. | 0:16:25 | 0:16:28 | |
They'll now have to decide if the car is roadworthy. | 0:16:28 | 0:16:31 | |
If you'd have hit any pedestrian with that, | 0:16:40 | 0:16:42 | |
they'd be instantly shredded. | 0:16:42 | 0:16:44 | |
That is absolutely dangerous. | 0:16:44 | 0:16:46 | |
Barry was right - this car has dangerous faults. | 0:16:48 | 0:16:52 | |
"Dangerous body parts at his front and near-side quarter wing | 0:16:53 | 0:16:57 | |
"and head lamp cluster. | 0:16:57 | 0:16:58 | |
"Has both plastic and metal sharp edges, | 0:16:58 | 0:17:03 | |
"likely to cause more injury than necessary." | 0:17:03 | 0:17:07 | |
Not impressed at all. | 0:17:08 | 0:17:10 | |
The traffic team are clear about what happens now. | 0:17:10 | 0:17:13 | |
The vehicle has to be taken off the road. | 0:17:13 | 0:17:15 | |
It cannot be put back on the road until it is repaired | 0:17:15 | 0:17:18 | |
and then the driver will be reported for certain driving offences. | 0:17:18 | 0:17:23 | |
The traffic officers give the driver the bad news. | 0:17:23 | 0:17:26 | |
He'll have to pay for a recovery vehicle | 0:17:26 | 0:17:29 | |
and get his car taken to a mechanic for fixing and that's not all. | 0:17:29 | 0:17:33 | |
He could get £100 fine and three points, | 0:17:33 | 0:17:36 | |
or if they think it's serious enough, | 0:17:36 | 0:17:38 | |
he'll be called before the court to answer for the offence. | 0:17:38 | 0:17:43 | |
This is a dangerous vehicle off the road. | 0:17:45 | 0:17:47 | |
As you can see, Oxford Street is just over there. | 0:17:47 | 0:17:50 | |
Loads of people walking around. | 0:17:50 | 0:17:52 | |
We've just made that area that little bit safer. | 0:17:52 | 0:17:54 | |
The dangerous car is finally leaving the street in the only safe way - | 0:17:56 | 0:18:00 | |
up on the bed of a tow truck, | 0:18:00 | 0:18:01 | |
so there's no risk to people at street level. | 0:18:01 | 0:18:04 | |
Barry's firm but fair approach has paid dividends. | 0:18:05 | 0:18:08 | |
But he's not always so gentle when it comes to people breaking the law. | 0:18:11 | 0:18:15 | |
Last year, when police were chasing a drug dealer, | 0:18:17 | 0:18:20 | |
Barry saw him hiding in this West End store... | 0:18:20 | 0:18:23 | |
..and pounced. | 0:18:24 | 0:18:25 | |
The suspect has been found, lost sight of, found again, | 0:18:33 | 0:18:36 | |
lost sight of and eventually disappears altogether. | 0:18:36 | 0:18:39 | |
I've seen him and myself and a special constable ran at him | 0:18:40 | 0:18:44 | |
and obviously tackled him into the display cabinet, | 0:18:44 | 0:18:48 | |
which was unfortunately unavoidable. | 0:18:48 | 0:18:50 | |
He's been searched and he's had several wraps of heroin | 0:18:50 | 0:18:55 | |
that he's stuffed into his mouth. | 0:18:55 | 0:18:57 | |
It's earned him the nickname "Barry the Bulldozer". | 0:18:59 | 0:19:03 | |
But whether helping individuals in trouble or bringing down criminals, | 0:19:03 | 0:19:07 | |
Barry is happy to do whatever has to be done. | 0:19:07 | 0:19:09 | |
Back out on Oxford Street, | 0:19:11 | 0:19:13 | |
Barry's shift continues. | 0:19:13 | 0:19:16 | |
And it's not long before a call comes in that could be serious. | 0:19:16 | 0:19:20 | |
Barry gets moving. | 0:19:26 | 0:19:28 | |
Later, we find out who's responsible. | 0:19:28 | 0:19:30 | |
-Hey, man, how's it going? -Just north of Oxford Street, | 0:19:39 | 0:19:42 | |
Johnny is back in the saddle and dodging pedestrians and taxis | 0:19:42 | 0:19:46 | |
as he tries to hit his target | 0:19:46 | 0:19:47 | |
of making a minimum of 20 deliveries a day. | 0:19:47 | 0:19:50 | |
-HORN HONKS -It's a red light. | 0:19:53 | 0:19:55 | |
Since their heyday in the '80s and '90s, when there were thousands, | 0:19:59 | 0:20:02 | |
the number of cycle couriers in London has declined | 0:20:02 | 0:20:06 | |
to only a few hundred. | 0:20:06 | 0:20:07 | |
High-speed internet has replaced much of their work, | 0:20:07 | 0:20:10 | |
but for some clients with something physical needing urgent delivery, | 0:20:10 | 0:20:13 | |
they're still the only option. | 0:20:13 | 0:20:15 | |
Cycling at speed through London is a dangerous job. | 0:20:17 | 0:20:20 | |
Nine cycle couriers are known to have died on the roads | 0:20:20 | 0:20:24 | |
in the last 30 years. | 0:20:24 | 0:20:25 | |
You hear on a weekly basis that somebody's walked out | 0:20:25 | 0:20:29 | |
in front of a courier, a black taxi has opened up a door | 0:20:29 | 0:20:33 | |
on a bike rider, so it can be a bit of a jungle. | 0:20:33 | 0:20:38 | |
Martin can't spend long worrying, | 0:20:39 | 0:20:41 | |
as his own workload increases with a flurry of orders. | 0:20:41 | 0:20:45 | |
Negative, sir, negative. I haven't got a signature. | 0:20:46 | 0:20:49 | |
2-1-1 is just asking how we're getting on. | 0:20:49 | 0:20:51 | |
We're getting quite busy this afternoon now. | 0:20:51 | 0:20:53 | |
Friday afternoon is always frantic as businesses move packages | 0:20:53 | 0:20:57 | |
before the weekend and with so much to do, | 0:20:57 | 0:21:00 | |
Martin's instructions to Johnny are getting more and more complicated. | 0:21:00 | 0:21:05 | |
Going to have to spin you around, mate, will have to spin you around. | 0:21:05 | 0:21:08 | |
If I knew the job was there, I would have sent it down to you earlier. | 0:21:08 | 0:21:12 | |
I'm going to go that way and he's sent me to pick up that way | 0:21:12 | 0:21:15 | |
with a job going further that way. | 0:21:15 | 0:21:16 | |
I've still got one over there, so doing a bit of a loop. | 0:21:17 | 0:21:22 | |
Obviously, he's not a happy bunny, | 0:21:22 | 0:21:23 | |
but that's Johnny being spun around and doing this one. | 0:21:23 | 0:21:26 | |
Johnny has three parcels in his bag waiting for delivery, | 0:21:28 | 0:21:31 | |
but with the clock ticking, he's being made to wait for pick-up | 0:21:31 | 0:21:35 | |
by the current client because their parcel isn't ready. | 0:21:35 | 0:21:38 | |
It gets frustrating sometimes. | 0:21:39 | 0:21:41 | |
Once you've got a load of stuff on board, | 0:21:41 | 0:21:43 | |
you want to just carry on moving, keep going. | 0:21:43 | 0:21:47 | |
But while Johnny's going nowhere, for Martin, the jobs are piling up. | 0:21:47 | 0:21:51 | |
A very urgent one coming, going down to Companies House, | 0:21:51 | 0:21:53 | |
so Bravo 2-0-8, 2-0-8. | 0:21:53 | 0:21:57 | |
This goes a little bit out of your way, | 0:21:57 | 0:21:58 | |
but obviously it's for a top-end client | 0:21:58 | 0:22:00 | |
and it's going to Companies House, | 0:22:00 | 0:22:02 | |
so I'm going to need someone on this who knows what they're doing. | 0:22:02 | 0:22:04 | |
Customers for whom an hour door to door is simply too slow | 0:22:04 | 0:22:08 | |
can pay extra for priority delivery, | 0:22:08 | 0:22:11 | |
bumping their package to the top of the queue. | 0:22:11 | 0:22:13 | |
Johnny's got to get to the pick-up location and take the parcel | 0:22:13 | 0:22:17 | |
to its destination, Companies House, within half an hour, | 0:22:17 | 0:22:21 | |
but that's two miles away | 0:22:21 | 0:22:23 | |
and he's still stuck waiting just off Oxford Street in Kingly Street. | 0:22:23 | 0:22:27 | |
Yeah, 2-0-8, Kingly Street, Kingly Street. | 0:22:27 | 0:22:30 | |
I've just had a tap on the shoulder. That one's cancelled. | 0:22:30 | 0:22:34 | |
Roger, yeah. I was just waiting for him to bring it, | 0:22:34 | 0:22:37 | |
but they haven't brought it, so yep, I'll carry on, Roger. | 0:22:37 | 0:22:41 | |
That means Johnny can get on with his priority Companies House delivery. | 0:22:41 | 0:22:45 | |
From where Johnny was, he'll be able to pick up in five-ten minutes, | 0:22:46 | 0:22:49 | |
drop time of that is about 15. Yes, we're cutting it tight, | 0:22:49 | 0:22:51 | |
but this is why they pay extra for the service. | 0:22:51 | 0:22:54 | |
Proving once more that the quickest way around the city is pedal power, | 0:22:55 | 0:22:59 | |
Johnny makes it to the pick-up point just in time. | 0:22:59 | 0:23:02 | |
-Thanks a lot, see you later. -But when he gets there, | 0:23:02 | 0:23:04 | |
it turns out there's not just one priority package for him to deliver. | 0:23:04 | 0:23:08 | |
I've got two priorities in fairly different locations. | 0:23:08 | 0:23:12 | |
One within half an hour would be fine, | 0:23:12 | 0:23:14 | |
but a struggle with both of them, but I'll do my best. | 0:23:14 | 0:23:18 | |
A premium-rate client, a high-end client is paying the money | 0:23:18 | 0:23:21 | |
for this job and he was the only person available to do the job. | 0:23:21 | 0:23:24 | |
We need to pull it out the hat for these people. | 0:23:24 | 0:23:27 | |
Johnny has to put his skills to the test again, | 0:23:28 | 0:23:31 | |
but weaves through Oxford Street traffic in time | 0:23:31 | 0:23:33 | |
to drop off the first priority within the time limit. | 0:23:33 | 0:23:37 | |
He's then got to sprint to Companies House for the second. | 0:23:41 | 0:23:45 | |
Yeah, the traffic's pretty bad, so at this stage, I'm late. | 0:23:45 | 0:23:49 | |
Despite arriving a few minutes after the promised half-hour slot, | 0:23:49 | 0:23:53 | |
the documents are delivered safely | 0:23:53 | 0:23:55 | |
and Johnny can take it a bit easier, | 0:23:55 | 0:23:57 | |
delivering his last few non-priority packages. | 0:23:57 | 0:24:00 | |
And the good news is it looks like he's surpassed his 20-job target. | 0:24:01 | 0:24:06 | |
Thanks very much for that, yeah? | 0:24:06 | 0:24:07 | |
And thanks for sorting out those premiums as well. | 0:24:07 | 0:24:10 | |
-Done me a right favour there, Roge. -I kept on getting jobs. | 0:24:10 | 0:24:13 | |
Done over 25. Didn't feel like hard work today, it felt like fun. | 0:24:13 | 0:24:17 | |
It's been a manic Friday for Martin and his riders, | 0:24:17 | 0:24:20 | |
delivering over 800 parcels. | 0:24:20 | 0:24:22 | |
He and Johnny are part of a force that goes unnoticed | 0:24:22 | 0:24:25 | |
by most of the street's visitors, but one that's crucial | 0:24:25 | 0:24:28 | |
to keeping Oxford Street and the area around it working. | 0:24:28 | 0:24:32 | |
On the fifth floor of John Lewis, | 0:24:39 | 0:24:41 | |
Tony Woods and his team are putting the finishing touches | 0:24:41 | 0:24:44 | |
to the shop's summer roof garden ahead of sign-off from the store. | 0:24:44 | 0:24:48 | |
The project's a big deal for John Lewis. | 0:24:49 | 0:24:51 | |
The previous year's roof garden hosted 160,000 shoppers. | 0:24:51 | 0:24:56 | |
This year, they're expecting between 1,500 and 3,000 | 0:24:56 | 0:25:00 | |
to visit it every day. | 0:25:00 | 0:25:02 | |
It will only be up for three months, but during that period, | 0:25:02 | 0:25:05 | |
the flowers need to be kept watered. | 0:25:05 | 0:25:08 | |
So they don't have to come back and water every day, | 0:25:08 | 0:25:11 | |
they've installed an irrigation system. | 0:25:11 | 0:25:13 | |
Here is very sunny and windy, so if we don't water everything properly, | 0:25:13 | 0:25:17 | |
they're going to last for very few days. | 0:25:17 | 0:25:20 | |
So this environmentally-friendly, low-pressure dripper system | 0:25:20 | 0:25:24 | |
needs to be kept in tip-top condition. | 0:25:24 | 0:25:27 | |
It's on a timer to give the plants a drink once in the morning | 0:25:27 | 0:25:30 | |
and once every evening. | 0:25:30 | 0:25:32 | |
Designing a garden for a fifth-floor store | 0:25:32 | 0:25:35 | |
is all about keeping it low-maintenance. | 0:25:35 | 0:25:37 | |
This is probably one of the hardest gardens for us to maintain, | 0:25:37 | 0:25:40 | |
because of the sheer volume of visitors, | 0:25:40 | 0:25:42 | |
the plants, a lot of wear and tear for the ground materials as well. | 0:25:42 | 0:25:48 | |
Cos we're on the roof garden, | 0:25:48 | 0:25:50 | |
things like snails and rats, they can't come up here, | 0:25:50 | 0:25:53 | |
so it's actually a good relief for us. | 0:25:53 | 0:25:56 | |
It makes our job way, way easier. | 0:25:58 | 0:26:00 | |
With time ticking, Andrea gets on with the final planting. | 0:26:00 | 0:26:05 | |
-There's quite a few gaps in these ones here. -Yeah. | 0:26:05 | 0:26:08 | |
We just want to make it look as tropical as possible. | 0:26:08 | 0:26:10 | |
OK, guys, we've got five minutes. | 0:26:19 | 0:26:21 | |
They're on their way up now for sign-off. Everything OK? | 0:26:21 | 0:26:24 | |
Then it's time for the all-important sign-off. | 0:26:32 | 0:26:34 | |
Domenico from John Lewis is here to take a look. | 0:26:34 | 0:26:37 | |
So this is nearly finished now. What do you think? | 0:26:38 | 0:26:41 | |
This looks brilliant. The ones that you mentioned that open in the sun? | 0:26:41 | 0:26:45 | |
-Yep. -Are they in this area? | 0:26:45 | 0:26:47 | |
They're here. You can see they're closed off at the moment. | 0:26:47 | 0:26:49 | |
They'll come out when the sun shines. | 0:26:49 | 0:26:51 | |
-They just do that repeatedly? -Yeah. | 0:26:51 | 0:26:54 | |
John Lewis is happy and with that, it's done. | 0:26:54 | 0:26:57 | |
It's been a hell of a challenge, | 0:26:57 | 0:26:58 | |
taken six months, used over 1,000 plants | 0:26:58 | 0:27:01 | |
and weeks of hauling gardening equipment up to the top floor, | 0:27:01 | 0:27:05 | |
but it appears it's all been worth it. | 0:27:05 | 0:27:07 | |
We have finally got sign-off, which is fantastic. | 0:27:09 | 0:27:12 | |
It's incredible to think how far this space has come | 0:27:13 | 0:27:16 | |
from being a big rectangle of concrete to what it is now. | 0:27:16 | 0:27:20 | |
We're really pleased, I'm really pleased, | 0:27:21 | 0:27:25 | |
the client is delighted, | 0:27:25 | 0:27:27 | |
touch wood, so far, | 0:27:27 | 0:27:29 | |
so yeah, hopefully it'll be a good summer on the roof. | 0:27:29 | 0:27:32 | |
For John Lewis's Steve Mann, | 0:27:32 | 0:27:34 | |
the garden's all about what Oxford Street can offer shoppers. | 0:27:34 | 0:27:38 | |
What you can't get online is the atmosphere | 0:27:39 | 0:27:41 | |
and things like this, so for it to be a shopping experience | 0:27:41 | 0:27:45 | |
where you can buy your goods, then come up, chill out on the roof, | 0:27:45 | 0:27:48 | |
have a drink, enjoy the spectacular views across London, | 0:27:48 | 0:27:52 | |
that is somewhere that you can't do anywhere else. | 0:27:52 | 0:27:55 | |
Anything and everything can happen on Oxford Street | 0:28:02 | 0:28:05 | |
and nearing the end of his shift, | 0:28:05 | 0:28:08 | |
PC Barry Nicholls is responding to an emergency. | 0:28:08 | 0:28:11 | |
Let's go, mate. | 0:28:11 | 0:28:12 | |
Just off the street, a pregnant lady has called to say | 0:28:14 | 0:28:17 | |
there are men on the roof of her flat. | 0:28:17 | 0:28:20 | |
Barry is burning shoe rubber to get there. | 0:28:20 | 0:28:22 | |
Barry arrives and with other officers, | 0:28:24 | 0:28:26 | |
goes up to the woman's flat. | 0:28:26 | 0:28:28 | |
She doesn't want to be filmed... | 0:28:29 | 0:28:31 | |
..but lets the officers out onto her balcony. | 0:28:32 | 0:28:35 | |
Where are they? | 0:28:36 | 0:28:37 | |
Yeah, I can hear someone. | 0:28:37 | 0:28:39 | |
They see several men on the roof. | 0:28:41 | 0:28:43 | |
-It's the police. -Guys, just come down here for a second, yeah? | 0:28:44 | 0:28:46 | |
-MAN ON ROOF: -What is it? -It's the police. | 0:28:46 | 0:28:49 | |
Nutcases. | 0:28:49 | 0:28:50 | |
-Yeah, we live here. -You live there? -Yeah. | 0:28:51 | 0:28:53 | |
It's not a break-in. The men are squatters in the building next door. | 0:28:54 | 0:28:59 | |
The problem is there's a lady here, she's heavily pregnant | 0:28:59 | 0:29:01 | |
and she's very upset by what you've done. | 0:29:01 | 0:29:03 | |
-You've scared her a little bit. -Oh, sorry, but... | 0:29:03 | 0:29:05 | |
It's no good saying sorry now. Just don't come back this way. | 0:29:05 | 0:29:08 | |
Firstly, you could fall off and break your neck and secondly, | 0:29:08 | 0:29:11 | |
there's a woman crying in here. | 0:29:11 | 0:29:13 | |
Anyone else up there? | 0:29:13 | 0:29:14 | |
-Yeah, there are people... -Can you get them down as well, please? | 0:29:14 | 0:29:18 | |
Since squatting in residential properties was banned in 2012, | 0:29:18 | 0:29:22 | |
squatters have been concentrating on empty commercial properties | 0:29:22 | 0:29:26 | |
and in an area like this, anything vacant is tasty pickings for them. | 0:29:26 | 0:29:30 | |
The men ran across the woman's roof | 0:29:30 | 0:29:32 | |
to access the property they're squatting in. | 0:29:32 | 0:29:35 | |
Barry's not impressed. | 0:29:35 | 0:29:37 | |
The occupants of this address here are coming out of what they claim | 0:29:37 | 0:29:41 | |
to be their accommodation and climbing up onto the roof. | 0:29:41 | 0:29:45 | |
It's blatant to see they've been shimmying along here as well | 0:29:45 | 0:29:48 | |
and for their own safety, | 0:29:48 | 0:29:50 | |
it's really incredibly dangerous, a long drop. | 0:29:50 | 0:29:53 | |
If he was to fall off there, I doubt he'd survive, really. | 0:29:53 | 0:29:57 | |
But Barry's main concern is with the woman inside the flat. | 0:29:57 | 0:30:01 | |
Very distressing, she's got strangers outside her window. | 0:30:01 | 0:30:04 | |
She doesn't expect that, she's pregnant. | 0:30:04 | 0:30:06 | |
No-one wants that | 0:30:06 | 0:30:09 | |
and yeah, I for one can fully understand | 0:30:09 | 0:30:11 | |
why she'd be distressed about it. | 0:30:11 | 0:30:13 | |
-The main thing is you. -Yeah. | 0:30:13 | 0:30:15 | |
Don't worry about them. As you can see, | 0:30:15 | 0:30:17 | |
-all of us are here for you. -Yeah! | 0:30:17 | 0:30:20 | |
So hopefully that'll be the end of them hopping onto your balcony. | 0:30:20 | 0:30:23 | |
My colleague here has spoken to them, | 0:30:26 | 0:30:28 | |
he's given them some words of advice. | 0:30:28 | 0:30:30 | |
If it happens again, call us again, we'll come out again | 0:30:30 | 0:30:32 | |
and we'll deal with it as we see fit. | 0:30:32 | 0:30:34 | |
Thankfully, it's not an attempted break-in, | 0:30:36 | 0:30:38 | |
so Barry is happy that he's done all he can. | 0:30:38 | 0:30:41 | |
And with the nightlife in full swing, | 0:30:41 | 0:30:43 | |
he thinks he's needed back on Oxford Street. | 0:30:43 | 0:30:47 | |
We've let them know the effects | 0:30:47 | 0:30:49 | |
their behaviour is having on the lady. | 0:30:49 | 0:30:52 | |
Hopefully, that should be the end of it and if they come back across, | 0:30:52 | 0:30:55 | |
then we'll come back out and we'll take firmer action. | 0:30:55 | 0:30:58 | |
It's been an interesting day for Barry - | 0:31:00 | 0:31:02 | |
everything from drunks to death traps. | 0:31:02 | 0:31:05 | |
Now he can head off duty, | 0:31:05 | 0:31:07 | |
but tomorrow could bring even stranger fare. | 0:31:07 | 0:31:09 | |
Oxford Street is currently undergoing its biggest upheaval in 100 years. | 0:31:19 | 0:31:24 | |
And this is why - | 0:31:25 | 0:31:26 | |
Crossrail is a brand-new underground railway | 0:31:26 | 0:31:29 | |
which will run right through the centre of London in tunnels. | 0:31:29 | 0:31:32 | |
It's a mammoth project, costing £15 billion, | 0:31:34 | 0:31:37 | |
taking nine years to build | 0:31:37 | 0:31:39 | |
and leaving two giant new stations under Oxford Street. | 0:31:39 | 0:31:43 | |
The build is entering a crucial phase. | 0:31:44 | 0:31:46 | |
The east and west tunnels have been broken through, connected up | 0:31:46 | 0:31:50 | |
and all the boring is now complete. | 0:31:50 | 0:31:52 | |
Today, another small but crucial part is taking place. | 0:31:54 | 0:31:58 | |
The team are building the platforms | 0:31:58 | 0:32:00 | |
that passengers will eventually use to get on and off the trains. | 0:32:00 | 0:32:04 | |
Today, they're planning on laying the pre-cast concrete slabs, | 0:32:04 | 0:32:08 | |
or planks, as they call them, that will form these platforms. | 0:32:08 | 0:32:12 | |
And on the hottest day of the year, this promises to be hard work. | 0:32:12 | 0:32:16 | |
34 degrees up here. | 0:32:16 | 0:32:19 | |
This pumps out ventilation down into the tunnels. | 0:32:19 | 0:32:22 | |
Imperative that we've got this today, | 0:32:22 | 0:32:24 | |
otherwise it'll be an absolute sweatbox down there. | 0:32:24 | 0:32:28 | |
Grant Cowley is the construction manager for Crossrail | 0:32:28 | 0:32:31 | |
at the Bond Street site. | 0:32:31 | 0:32:32 | |
He's responsible for making sure the platforms are completed to standard | 0:32:32 | 0:32:36 | |
and on time. | 0:32:36 | 0:32:38 | |
We need to run this like a military operation. | 0:32:38 | 0:32:41 | |
These are the planks here that we need to get down. | 0:32:41 | 0:32:44 | |
We're going to get the slingers to come down and sling up these planks | 0:32:44 | 0:32:49 | |
so they're nice and secure for the crane to lift up, | 0:32:49 | 0:32:52 | |
drop it down the master ground shaft to level minus five. | 0:32:52 | 0:32:55 | |
First up, the team concentrate on getting the concrete planks | 0:32:57 | 0:33:00 | |
down the master shaft. | 0:33:00 | 0:33:02 | |
There is a bit of pressure on the team. | 0:33:04 | 0:33:05 | |
Pressure's good, it motivates people. | 0:33:05 | 0:33:09 | |
We hit targets here, we hit deadlines at Bond Street. | 0:33:09 | 0:33:12 | |
But getting the planks down to platform level is no mean feat. | 0:33:13 | 0:33:17 | |
A slinger attaches them to the crane | 0:33:17 | 0:33:19 | |
and then he and another team member guides the crane operator | 0:33:19 | 0:33:22 | |
to winch them down safely. | 0:33:22 | 0:33:24 | |
With several tonnes of concrete on the pallet, | 0:33:25 | 0:33:28 | |
they have to take their time. | 0:33:28 | 0:33:30 | |
Nice and steady, nice and slowly. | 0:33:30 | 0:33:33 | |
With the planks down, | 0:33:33 | 0:33:34 | |
the next step will be to take them to the platform tunnels. | 0:33:34 | 0:33:38 | |
The forklift's now going to take the planks | 0:33:38 | 0:33:41 | |
down into the eastbound platform. | 0:33:41 | 0:33:43 | |
The planks are to be laid on supporting walls, | 0:33:45 | 0:33:47 | |
like these in the already built westbound tunnels, | 0:33:47 | 0:33:50 | |
where work is a little further ahead | 0:33:50 | 0:33:53 | |
and the new station is starting to take shape. | 0:33:53 | 0:33:56 | |
This here is where the trains are going to be pulling in. | 0:33:56 | 0:33:59 | |
Over here is the section of platform. | 0:33:59 | 0:34:03 | |
These are the planks. This is a continuous run. | 0:34:04 | 0:34:06 | |
You can actually see from this angle the substantial size | 0:34:08 | 0:34:12 | |
of this new Crossrail platform. | 0:34:12 | 0:34:14 | |
It is an awfully lot bigger than existing Underground stations. | 0:34:14 | 0:34:18 | |
Back in the eastbound tunnels | 0:34:26 | 0:34:28 | |
and it's time for the first plank to go on. | 0:34:28 | 0:34:30 | |
How long's it going to take to do that? | 0:34:31 | 0:34:33 | |
Ten minutes each plank, all right. | 0:34:35 | 0:34:37 | |
OK, let's get the top one off, | 0:34:40 | 0:34:42 | |
lay it, | 0:34:42 | 0:34:43 | |
and then we'll reassess how much time we've got. | 0:34:43 | 0:34:48 | |
They get to work laying the plank. | 0:34:48 | 0:34:50 | |
Once constructed, the walls | 0:34:51 | 0:34:52 | |
and planks will leave a cavity underneath, | 0:34:52 | 0:34:55 | |
which will be used as a maintenance tunnel. | 0:34:55 | 0:34:57 | |
This type of construction is a first for London | 0:34:57 | 0:35:00 | |
and the Crossrail team hope will future-proof the system | 0:35:00 | 0:35:03 | |
for decades to come. | 0:35:03 | 0:35:04 | |
Lewis Turnbull is the project manager for the contractors. | 0:35:05 | 0:35:09 | |
It's his team laying the planks. | 0:35:09 | 0:35:11 | |
It's a nice, tight operation. The plank's in the air. | 0:35:12 | 0:35:14 | |
We haven't got much room in here, so it's nice and slowly, | 0:35:14 | 0:35:17 | |
nice and steady, take it down. There's a few obstacles in the way, | 0:35:17 | 0:35:20 | |
there's a mesh sticking out of the top of the wall. | 0:35:20 | 0:35:23 | |
With a tolerance of only 10mm, | 0:35:23 | 0:35:25 | |
the plank needs to go into exactly the right place. | 0:35:25 | 0:35:28 | |
The team lower it down for a test fitting. | 0:35:28 | 0:35:31 | |
Yeah. | 0:35:32 | 0:35:34 | |
At the minute, we're putting a mortar bed down | 0:35:34 | 0:35:36 | |
for the plank to sit on. | 0:35:36 | 0:35:37 | |
With the mortar laid, the plank is lowered back on top. | 0:35:39 | 0:35:42 | |
It won't move again for at least 100 years. | 0:35:42 | 0:35:45 | |
It's a critical operation, it's nice and slow. | 0:35:45 | 0:35:48 | |
It's a steady job, but once we're on the run, | 0:35:48 | 0:35:50 | |
you can get a nice good go at it. | 0:35:50 | 0:35:52 | |
The team get on with laying the remaining planks. | 0:35:57 | 0:36:00 | |
They'll work through the night for the foreseeable future | 0:36:00 | 0:36:04 | |
to make sure the project's ready for 2018. | 0:36:04 | 0:36:06 | |
We're 65% of the way through completion and us at Bond Street, | 0:36:07 | 0:36:12 | |
what I can guarantee is on the 9th December 2018, | 0:36:12 | 0:36:16 | |
you'll be able to get on a Crossrail train at Bond Street | 0:36:16 | 0:36:18 | |
and travel under central London. | 0:36:18 | 0:36:20 | |
It's another small step complete | 0:36:21 | 0:36:23 | |
for the biggest engineering project in Europe. | 0:36:23 | 0:36:26 | |
One day soon, Oxford Street visitors will step onto these platforms | 0:36:26 | 0:36:30 | |
in their tens of thousands, heading to the shops. | 0:36:30 | 0:36:33 | |
But for now, the only people that will see them | 0:36:33 | 0:36:36 | |
are the men and women building them. | 0:36:36 | 0:36:38 | |
To stay on top when it comes to tourists, | 0:36:47 | 0:36:50 | |
Oxford Street spares no expense. | 0:36:50 | 0:36:53 | |
Which is why it's invested in a team of these. | 0:36:53 | 0:36:56 | |
They're welcome ambassadors, | 0:36:56 | 0:36:58 | |
whose job it is to help visitors get where they want to go. | 0:36:58 | 0:37:01 | |
We need to know actually everything people ask you. | 0:37:03 | 0:37:06 | |
These stylish street assistants are out and about every day, | 0:37:06 | 0:37:09 | |
giving information on everything and anything... | 0:37:09 | 0:37:13 | |
-Hello, how can I help? -Hi! What exactly do you do? | 0:37:13 | 0:37:17 | |
..in dozens of languages. | 0:37:17 | 0:37:18 | |
HE SPEAKS PORTUGUESE | 0:37:18 | 0:37:21 | |
HE SPEAKS ITALIAN | 0:37:21 | 0:37:24 | |
Hello! | 0:37:24 | 0:37:26 | |
Being a good ambassador is about embracing the theatre of the job | 0:37:26 | 0:37:30 | |
and that means getting into character. | 0:37:30 | 0:37:32 | |
HE CHORTLES | 0:37:32 | 0:37:33 | |
And a big part of that is the uniform, | 0:37:33 | 0:37:35 | |
the epitome of a city gent. | 0:37:35 | 0:37:38 | |
As a welcome ambassador, appearance is everything. | 0:37:38 | 0:37:41 | |
We wear a three-piece suit and a bowler hat. | 0:37:41 | 0:37:44 | |
It's one of those traditionally English articles of clothing. | 0:37:44 | 0:37:49 | |
It just helps to put that little bit of a sheen on the whole operation. | 0:37:49 | 0:37:54 | |
And if he's to play the part successfully, | 0:37:54 | 0:37:56 | |
Ambassador Tony's uniform needs to look its best. | 0:37:56 | 0:37:59 | |
After all, he's going to be the image of the street | 0:37:59 | 0:38:02 | |
for hundreds of thousands of visitors to take home. | 0:38:02 | 0:38:05 | |
But if truth be told, Tony's bowler's in a bad way. | 0:38:05 | 0:38:08 | |
My hat's looking a little bit worn at the moment. | 0:38:09 | 0:38:11 | |
They start off quite rigid, the felt is quite hard, | 0:38:11 | 0:38:15 | |
but after a while, | 0:38:15 | 0:38:17 | |
they tend to soften | 0:38:17 | 0:38:19 | |
and they need to be replaced. | 0:38:19 | 0:38:21 | |
The bowler hat was designed by London hat makers | 0:38:22 | 0:38:25 | |
Thomas and William Bowler in 1849. | 0:38:25 | 0:38:28 | |
It's believed it was commissioned by Edward Coke, | 0:38:28 | 0:38:31 | |
the younger brother of the 2nd Earl of Leicester. | 0:38:31 | 0:38:34 | |
He wanted a close-fitting, low-crowned hat | 0:38:34 | 0:38:36 | |
his gamekeepers could wear that wouldn't be knocked off | 0:38:36 | 0:38:39 | |
by low-hanging branches while on horseback the way the top hats were. | 0:38:39 | 0:38:43 | |
In the present day, Tony's come to a local milliner | 0:38:44 | 0:38:47 | |
to get himself measured up for a new bowler | 0:38:47 | 0:38:50 | |
that will fit on his considerable head. | 0:38:50 | 0:38:53 | |
I've got somewhere between a large and an extra-large, | 0:38:53 | 0:38:56 | |
so I need to get either an extra-large | 0:38:56 | 0:38:58 | |
that needs to be padded out, | 0:38:58 | 0:39:00 | |
or I need to get a large that needs to be slightly stretched. | 0:39:00 | 0:39:03 | |
Milliner Georgina has been making hats for over a decade. | 0:39:03 | 0:39:07 | |
Let's just check your head size. | 0:39:07 | 0:39:09 | |
Yeah, it's definitely an extra-large. | 0:39:13 | 0:39:15 | |
It's full of brains, that's why. | 0:39:15 | 0:39:17 | |
Yeah, that's what I constantly say, all the time. | 0:39:17 | 0:39:21 | |
Georgina tests it out with a display model from the shop. | 0:39:21 | 0:39:25 | |
So how does that feel? | 0:39:25 | 0:39:27 | |
-I think it's good. -Yeah? | 0:39:27 | 0:39:29 | |
-I think it might have a little bit of room. -A bit a wobble sideways. | 0:39:29 | 0:39:34 | |
OK, well, I'll do an order for that | 0:39:34 | 0:39:36 | |
-and I'll send an e-mail over to the office for you. -Thank you! | 0:39:36 | 0:39:40 | |
Although she'll adjust Tony's new hat for him, | 0:39:40 | 0:39:43 | |
Georgina won't be making it. | 0:39:43 | 0:39:45 | |
For that, she'll have to go from Oxford Street to Oxfordshire, | 0:39:45 | 0:39:49 | |
where Christys' Hats is based. | 0:39:49 | 0:39:52 | |
It's over 200 years old | 0:39:52 | 0:39:54 | |
and along with keeping the Metropolitan Police in helmets, | 0:39:54 | 0:39:57 | |
they're the only company making bowlers in the traditional way, | 0:39:57 | 0:40:01 | |
Steve Clarke is the boss. | 0:40:01 | 0:40:03 | |
What we have here are some of the wonderful old machines. | 0:40:03 | 0:40:06 | |
These machines are 50, 80, 100 years old. | 0:40:06 | 0:40:09 | |
Did the job beautifully then and realistically, | 0:40:09 | 0:40:11 | |
there are no better machines for making hats like this even now. | 0:40:11 | 0:40:14 | |
Now you have the basic shape of the crown, | 0:40:16 | 0:40:18 | |
so that shape will be remembered, if you like, by the hood. | 0:40:18 | 0:40:21 | |
Today, the factory's concentrating on making other styles of hats | 0:40:21 | 0:40:25 | |
and putting the finishing touches to Tony's bowler. | 0:40:25 | 0:40:29 | |
It will have been made with the traditional methods, | 0:40:29 | 0:40:32 | |
but with one key difference. | 0:40:32 | 0:40:33 | |
What happens to it is it gets soaked in a mixture of shellac | 0:40:34 | 0:40:38 | |
and denatured alcohol | 0:40:38 | 0:40:39 | |
and that then gets drawn over a block, | 0:40:39 | 0:40:42 | |
so the hood is drawn over a block in order to give it its shape, | 0:40:42 | 0:40:45 | |
then it's baked so that it stiffens beautifully in an oven, | 0:40:45 | 0:40:48 | |
nice and gently and what you end up with | 0:40:48 | 0:40:50 | |
is that wonderful stiff finish that everybody recognises in a bowler. | 0:40:50 | 0:40:54 | |
The team select a bowler in Tony's size. | 0:40:54 | 0:40:57 | |
Currently, we're just finishing off the bowler, putting a lining in. | 0:40:57 | 0:41:01 | |
The sweatband's already in. | 0:41:01 | 0:41:03 | |
And there you go. | 0:41:05 | 0:41:07 | |
What you have here is a finished bowler hat, | 0:41:07 | 0:41:09 | |
so it's beautifully trimmed, it's bound, leather sweat band, | 0:41:09 | 0:41:13 | |
it's got the lining in, a little bow at the back. | 0:41:13 | 0:41:16 | |
And here you go. | 0:41:16 | 0:41:17 | |
A week later, Tony's back with Georgina to try on his new hat. | 0:41:17 | 0:41:22 | |
He'll be wearing it every day from now on, | 0:41:22 | 0:41:25 | |
so making sure it fits comfortably is important. | 0:41:25 | 0:41:28 | |
First of all, Georgina makes a key adjustment. | 0:41:28 | 0:41:31 | |
So what we do is we just take off the standard black band | 0:41:31 | 0:41:34 | |
and we replace it with the band in the colour | 0:41:34 | 0:41:37 | |
that matches the Oxford Street branding, | 0:41:37 | 0:41:39 | |
so that the welcome people are instantly visible. | 0:41:39 | 0:41:42 | |
Tony takes advantage of the wait to work on a new look. | 0:41:42 | 0:41:46 | |
Yeah, that's more like it. | 0:41:46 | 0:41:48 | |
Then the moment of truth. | 0:41:48 | 0:41:50 | |
Want to just pop that on? | 0:41:50 | 0:41:51 | |
Do you think maybe you need a little bit under there? | 0:41:53 | 0:41:56 | |
Maybe a little bit under the sides, | 0:41:56 | 0:41:58 | |
but it sits quite nicely at the front and back. | 0:41:58 | 0:42:01 | |
-It's nice and straight, isn't it? -Yeah. | 0:42:01 | 0:42:03 | |
Georgina adds some padding under the leather sweatband. | 0:42:03 | 0:42:07 | |
-How does that feel now? Is that OK? -Yeah, it feels good. | 0:42:07 | 0:42:10 | |
-Looking good, Tony. -Yeah. | 0:42:10 | 0:42:11 | |
I feel more aerodynamic. | 0:42:13 | 0:42:15 | |
Yeah, it's great. You get a new hat and you feel reinvigorated. | 0:42:15 | 0:42:19 | |
It feels good, it's nice and tight. Not too tight, | 0:42:19 | 0:42:24 | |
just nice and comfortable. You know it's not going to get blown off. | 0:42:24 | 0:42:28 | |
It feels good, I feel good, | 0:42:28 | 0:42:30 | |
it gives you a new lease of life. | 0:42:30 | 0:42:33 | |
Now all he's got to do is see how it fares | 0:42:33 | 0:42:35 | |
on Europe's busiest shopping street. | 0:42:35 | 0:42:38 | |
-This way? -That turning there, that's Argyle Street. -I love your hat. | 0:42:38 | 0:42:42 | |
Down there, second turning on the left, second turning on the right. | 0:42:42 | 0:42:45 | |
-Do you like my hat? -Very attractive. | 0:42:45 | 0:42:47 | |
-It's pretty cool. -I think they look like they belong here - | 0:42:48 | 0:42:51 | |
brings a bit of the olden days back to London. It looks nice. | 0:42:51 | 0:42:54 | |
New hats are a bit like new shoes. | 0:42:54 | 0:42:56 | |
For the first couple of weeks, | 0:42:56 | 0:42:57 | |
they're usually a bit uncomfortable, but this one is quite nice. | 0:42:57 | 0:43:01 | |
It fits really well and it's not at all uncomfortable. | 0:43:01 | 0:43:05 |