0:00:02 > 0:00:04It's the most famous shopping street in the world, in the heart
0:00:04 > 0:00:07of Britain's capital city.
0:00:07 > 0:00:12A mile and a half long with 30 million visitors each year.
0:00:12 > 0:00:16With some of the world's most famous shops, biggest stars...
0:00:16 > 0:00:19- Kate Moss.- ..and busiest stations.
0:00:19 > 0:00:21Sorry, guys, stand back for me.
0:00:21 > 0:00:25What does it take to keep it running 24 hours a day...
0:00:25 > 0:00:27The busiest street in the world, so it needs constant attention.
0:00:27 > 0:00:30- ..seven days a week?- Oi! Clear off.
0:00:30 > 0:00:33You're going to be arrested on suspicion of attempted theft.
0:00:33 > 0:00:35Are you ready, London?
0:00:35 > 0:00:37A street that never sleeps.
0:00:37 > 0:00:40This sort of thing wouldn't happen anywhere else.
0:00:46 > 0:00:51Coming up, it's switch-on time for the Oxford Street Christmas lights.
0:00:51 > 0:00:56- The pressure is on.- But will everything be ready for Kylie?
0:00:56 > 0:01:01- Prfff!- Police are on the trail of bike snatchers and shoplifters.
0:01:02 > 0:01:05Why would you need a completely empty bag?
0:01:05 > 0:01:08And there's a row going on about mosaics underground.
0:01:08 > 0:01:11It's incredible, actually, how dirty it has got.
0:01:16 > 0:01:21Oxford Street has its own dedicated police team known as ORB.
0:01:21 > 0:01:24Keeping the street a safe shopping destination is their job
0:01:24 > 0:01:27and they are known for making the right judgement calls
0:01:27 > 0:01:28when it counts.
0:01:33 > 0:01:36Tonight, PC Amy Campion and a colleague from the team
0:01:36 > 0:01:38are undercover on Oxford Street.
0:01:40 > 0:01:43It's coming up to Christmas, when levels of street crime rise because
0:01:43 > 0:01:47crowds of extra shoppers provide opportunities for thieves.
0:01:48 > 0:01:53People target tourists, people with open bags. They will basically
0:01:53 > 0:01:57just pop in there and with a bit of light-fingered magic, have it away.
0:01:57 > 0:01:59You will never see it again.
0:02:00 > 0:02:04Before long, the officers spot a large group of boys who Amy thinks
0:02:04 > 0:02:05are acting suspiciously.
0:02:07 > 0:02:10I just... I'd like to just observe them at the moment
0:02:10 > 0:02:12and see what happens.
0:02:15 > 0:02:19There have recently been a spate of snatch thefts by youths
0:02:19 > 0:02:23on bicycles in the West End. One particularly brazen example
0:02:23 > 0:02:26was captured by a department store's CCTV.
0:02:28 > 0:02:30The cyclist grabs the victim's phone
0:02:30 > 0:02:33and vanishes instantly into the traffic.
0:02:33 > 0:02:37As a result, officers are paying particular attention to groups
0:02:37 > 0:02:38that include cyclists.
0:02:39 > 0:02:45That lad seems intent on riding his bike in a busy street.
0:02:45 > 0:02:49Amy has spotted one such group but after following them,
0:02:49 > 0:02:52she becomes worried she has been spotted herself.
0:02:53 > 0:02:56Down here. Yeah, I know.
0:02:56 > 0:03:00Down here, round the back...and they might have gone up Oxford Street.
0:03:01 > 0:03:05Thinking her cover's blown, Amy and the other officer duck into a side
0:03:05 > 0:03:09street to drop back before trying to follow at more of a distance.
0:03:11 > 0:03:14They have timed their re-emergence onto Oxford Street perfectly
0:03:14 > 0:03:17as the boys are just ahead of them.
0:03:17 > 0:03:18Steph, got him.
0:03:18 > 0:03:22They follow the group as far as a large shop on Oxford Circus,
0:03:22 > 0:03:23which the youths enter.
0:03:23 > 0:03:26Amy now thinks they might be out to shoplift.
0:03:31 > 0:03:35The youths are all inside. Amy alerts security,
0:03:35 > 0:03:38as well as two fellow officers who keep watch on the exit.
0:03:40 > 0:03:42This is one of them. I'm just waiting to see what the rest do.
0:03:42 > 0:03:47The boy with the bike is waiting right in the shop's doorway.
0:03:47 > 0:03:50I believe they put a person outside the store on a bike in order
0:03:50 > 0:03:55to take any stolen property they may have had in the store out of it.
0:03:55 > 0:03:59There's nothing to do but wait for the youths to make a move.
0:03:59 > 0:04:02I love the game. It is my very favourite game.
0:04:04 > 0:04:08Suddenly, the group of boys all leave the shop but they split up
0:04:08 > 0:04:10and head in different directions.
0:04:10 > 0:04:14Luckily, there are now enough officers to follow each of them.
0:04:14 > 0:04:17- Amy makes her move.- Put the phone down, put the phone down.
0:04:17 > 0:04:20At the moment you are detained under Section 1 of PACE, all right,
0:04:20 > 0:04:21cos I want to search you.
0:04:21 > 0:04:24I've been observing you in the store, OK?
0:04:24 > 0:04:26I believe your behaviour is suspicious.
0:04:26 > 0:04:29I'm going to ask the male officer to search you, OK?
0:04:29 > 0:04:32The boy isn't pleased to have been stopped.
0:04:32 > 0:04:35- Wait. Can you not record this, please?- OK. Take your hand down,
0:04:35 > 0:04:36don't touch the camera.
0:04:36 > 0:04:39- Excuse me, excuse me... - He can record what he wants.
0:04:39 > 0:04:42The search doesn't turn up any stolen goods,
0:04:42 > 0:04:44but Amy is still suspicious.
0:04:44 > 0:04:46Why would you need a completely empty bag?
0:04:49 > 0:04:52Would you just not carry a bag, then?
0:04:52 > 0:04:53With nothing in your bag?
0:04:53 > 0:04:57With nothing on him, Amy is forced to let this boy go.
0:04:57 > 0:05:01But later, she catches up with another of the same group of youths,
0:05:01 > 0:05:03who isn't so lucky.
0:05:12 > 0:05:16To retain its position as THE place for festive shopping, every year
0:05:16 > 0:05:20Oxford Street is illuminated with thousands of Christmas lights.
0:05:22 > 0:05:26To make this happen, the road is closed in sections over the course
0:05:26 > 0:05:29of a month while the lights are erected.
0:05:29 > 0:05:33Once in place, the lights will be lit up by a celebrity as part
0:05:33 > 0:05:35of a huge switch-on show.
0:05:35 > 0:05:38And this year, the job of pushing the button
0:05:38 > 0:05:41will fall to antipodean pop princess Kylie Minogue.
0:05:43 > 0:05:48It's 1am on the morning of the big switch-on but before anyone can
0:05:48 > 0:05:51push anything, a team led by Dean Parker needs to get the stage
0:05:51 > 0:05:54up and ready for Kylie to stand on.
0:05:56 > 0:05:59Mark out where the stage is going to go now. Quite crucial to get it
0:05:59 > 0:06:02in the right place. It's a bit of a challenge cos we've obviously
0:06:02 > 0:06:04got live traffic running next to us
0:06:04 > 0:06:07so we've got to make sure we've got a safe area so that they can
0:06:07 > 0:06:11build it without getting run over or being accosted by the public.
0:06:13 > 0:06:17This year is going to be the street's most ambitious switch-on show ever.
0:06:18 > 0:06:21They are shutting most of the street to traffic and erecting
0:06:21 > 0:06:24a giant screen so people can watch.
0:06:25 > 0:06:29By 6am the stage is built and ready to be dressed and lit.
0:06:32 > 0:06:36The job of lighting Kylie and the rest of the stage show
0:06:36 > 0:06:38falls to a lighting team led by Paul de Villiers.
0:06:39 > 0:06:41My role during the show is to operate the lights
0:06:41 > 0:06:45and sort of make sure everything happens on the cues of the show
0:06:45 > 0:06:48because CO2 cannons coming out the sides with strobes firing up those.
0:06:48 > 0:06:50And yeah, one like the big bang.
0:06:50 > 0:06:51HE LAUGHS
0:06:51 > 0:06:55I'm very excited, I'm very scared and I hope it all works out well.
0:06:56 > 0:07:00The lighting will be controlled by a computer program Paul will operate
0:07:00 > 0:07:01from his laptop.
0:07:02 > 0:07:06This year he has had a cutting-edge rig of LED lights built
0:07:06 > 0:07:10especially for the occasion. It's the first time they've been used.
0:07:10 > 0:07:14Concept is lots and lots and lots of lights in a tiny, tiny stage.
0:07:15 > 0:07:18So hopefully they look very nice and twinkly for Ms Minogue
0:07:18 > 0:07:20but the main key is always to light the performers, which a lot
0:07:20 > 0:07:23of people don't sort of remember to do.
0:07:23 > 0:07:27The giant screen is another first for the show and Dean is getting
0:07:27 > 0:07:29things in place for its erection.
0:07:29 > 0:07:32OK, the road is closed now so you can come down and swing straight in.
0:07:32 > 0:07:35SFM know that they are expecting you.
0:07:35 > 0:07:38It comes as a shock to some drivers.
0:07:38 > 0:07:40Disgusting!
0:07:40 > 0:07:44With the road closed, the mega-fans begin to queue up.
0:07:44 > 0:07:47I arrived at 8.30 this morning to try and get a good place
0:07:47 > 0:07:49in the queue, and I am number two.
0:07:49 > 0:07:53I am just so looking forward to seeing Kylie cos I'm a massive fan.
0:07:53 > 0:07:57I have loved her since 1987. I love all her music.
0:07:57 > 0:08:01And got my tattoo done this year. Kylie signed a CD for me.
0:08:01 > 0:08:04I've been here since 8 o'clock. I was first to arrive and I'm first
0:08:04 > 0:08:06in the queue so I'm really excited.
0:08:06 > 0:08:08Really pleased cos I will be right at the front
0:08:08 > 0:08:10and I hope to see my beloved Kylie.
0:08:11 > 0:08:15They have got their front row seats booked but thousands of fans
0:08:15 > 0:08:18won't see anything without the giant screen.
0:08:18 > 0:08:21It's the biggest in Europe and is housed in this lorry.
0:08:22 > 0:08:26It extends on poles from inside the truck to about the same height
0:08:26 > 0:08:28as the 3,000 lights strung across the road.
0:08:30 > 0:08:33- Are you concerned about hitting? - Yeah. Very.
0:08:34 > 0:08:37I think if one light goes out, it puts them all out,
0:08:37 > 0:08:39it's that kind of system.
0:08:39 > 0:08:43The screen comes up from the truck but now needs to be rotated round.
0:08:43 > 0:08:46And that's when the team worry it could get a little too close
0:08:46 > 0:08:48to the suspended globes.
0:08:50 > 0:08:52I'll give him the nod now and he'll spin it.
0:08:53 > 0:08:55- Are you ready?- We are ready to go.
0:08:55 > 0:08:57The pressure is on.
0:09:03 > 0:09:04Literally millimetres.
0:09:10 > 0:09:15It passes clear but just a whisker away.
0:09:15 > 0:09:20It was just perfect. Perfect. Not a kiss in sight.
0:09:21 > 0:09:24Later, I Should Be So Lucky.
0:09:24 > 0:09:27The crowds arrive, the nerves are beginning to show.
0:09:27 > 0:09:30If we miss that moment, I probably won't be booked again.
0:09:30 > 0:09:32And here comes Kylie.
0:09:40 > 0:09:44London's underground network is the oldest of its kind in the world,
0:09:44 > 0:09:48having recently celebrated its 150th anniversary.
0:09:49 > 0:09:51Responsible for preserving its history is
0:09:51 > 0:09:55Transport for London's Design and Heritage Manager Mike Ashworth.
0:09:57 > 0:10:00And this morning he has come to Oxford Street for a very
0:10:00 > 0:10:01particular inspection.
0:10:02 > 0:10:06Tottenham Court Road station at the east end of the street is
0:10:06 > 0:10:10currently undergoing a half a billion pound rebuild.
0:10:10 > 0:10:14And right in the middle of it is a major series of public artworks -
0:10:14 > 0:10:19a set of mosaics by British pop artist Eduardo Paolozzi.
0:10:20 > 0:10:23I'm on an inspection visit today to make sure, in fact, that the plans
0:10:23 > 0:10:27that we have involve the restoration and relocation
0:10:27 > 0:10:31of over 95% of the mosaics is going according to plan.
0:10:34 > 0:10:36Born in Edinburgh, Eduardo Paolozzi
0:10:36 > 0:10:40is one of Britain's most famous pop artists whose work sells
0:10:40 > 0:10:42for hundreds of thousands of pounds.
0:10:42 > 0:10:47He designed and installed the Tottenham Court Road mosaics in 1984.
0:10:49 > 0:10:53The eye-catching multicoloured murals have always drawn mixed opinions
0:10:53 > 0:10:58but love them or hate them, few pass by without noticing them.
0:10:58 > 0:11:01They are made just like Romans made mosaics. These are made out of
0:11:01 > 0:11:03little tessera.
0:11:03 > 0:11:05In fact, a lot of these were actually made in Italy.
0:11:05 > 0:11:07And this is the first time really in nearly 30 years we have been
0:11:07 > 0:11:10able to see the mosaics with everything stripped off.
0:11:10 > 0:11:14And you can see, there's quite a lot of historic damage here.
0:11:14 > 0:11:17The murals run throughout the station and experts consider them
0:11:17 > 0:11:19one of the most important examples
0:11:19 > 0:11:22of British pop art on public display.
0:11:23 > 0:11:26In the middle of a huge building site,
0:11:26 > 0:11:28the risk of damage to them is real.
0:11:28 > 0:11:33The rotunda area contains some of the largest and most famous pieces.
0:11:33 > 0:11:36- What do you want pulled off first? - I think we'll have a look...
0:11:36 > 0:11:38Let's have a look at this bottom corner here.
0:11:41 > 0:11:44It's incredible, actually, how dirty
0:11:44 > 0:11:46it has got during 30 years of service life.
0:11:46 > 0:11:48But no, structurally, that looks fine.
0:11:48 > 0:11:51I'm more than satisfied, obviously, at this stage in the works,
0:11:51 > 0:11:54you know, the mosaics seem in good condition.
0:11:54 > 0:11:56You know, there's no obvious sign of damage.
0:11:56 > 0:11:58So far, so good down here at Tottenham Court Road.
0:11:59 > 0:12:03Mike might be happy with the state of the mosaics but plenty of other
0:12:03 > 0:12:04people are not.
0:12:05 > 0:12:06As part of the redevelopment,
0:12:06 > 0:12:09much of the old station is being demolished.
0:12:10 > 0:12:14And news has emerged that that includes some of the murals.
0:12:14 > 0:12:18In particular, the famous three-arch scene above the old escalators.
0:12:18 > 0:12:21Henrietta Billings, from the Twentieth Century Society,
0:12:21 > 0:12:23is fighting to save them.
0:12:24 > 0:12:27Just about to have a meeting with TFL and Hawkins Brown,
0:12:27 > 0:12:31their architects, to discuss the possibility of either retaining
0:12:31 > 0:12:36these two really important parts of the Paolozzi mural -
0:12:36 > 0:12:40the arches and the entrance panel - either within the new station
0:12:40 > 0:12:44or the possibility of them being relocated to another site.
0:12:44 > 0:12:46Hopefully, a museum or somewhere that they can still be seen
0:12:46 > 0:12:48on public display.
0:12:48 > 0:12:51A petition has been put together to save them,
0:12:51 > 0:12:52with over 7,000 signatures.
0:12:53 > 0:12:56A lot of it is still in really, really good condition
0:12:56 > 0:12:59and the idea that we lose it because it doesn't fit in with
0:12:59 > 0:13:03the new plans of the station is a major, major loss for us.
0:13:03 > 0:13:09Later, the station's demolished, but what will happen to the mosaics?
0:13:09 > 0:13:12Dismantling that part of the building was never going to allow us
0:13:12 > 0:13:14to take these out in a meaningful way.
0:13:22 > 0:13:26PC Amy Campion has stopped a number of youths seen acting
0:13:26 > 0:13:28suspiciously on Oxford Street.
0:13:28 > 0:13:32She thinks they might have shoplifted from a major store.
0:13:32 > 0:13:36One male she stopped had nothing on him and has been let go.
0:13:36 > 0:13:39But across the street, another officer caught up with
0:13:39 > 0:13:41a different member of the group.
0:13:46 > 0:13:49Some trainers. He tried to take some trainers.
0:13:49 > 0:13:52In the shop's back room, one of the youths Amy spotted earlier
0:13:52 > 0:13:56is now in handcuffs, having been found with a pair of trainers
0:13:56 > 0:13:57that hadn't been paid for.
0:14:08 > 0:14:12The boy, who has admitted shoplifting, is visibly upset.
0:14:18 > 0:14:19I know, I understand.
0:14:23 > 0:14:27It emerges the boy is only 13. None of the others who were stopped
0:14:27 > 0:14:30were found to have any stolen goods on them.
0:14:44 > 0:14:48After discussions with the shop manager, Amy decides not to take
0:14:48 > 0:14:52the boy back to custody where he would be charged with shoplifting.
0:14:52 > 0:14:55Instead, the store agree that on this occasion,
0:14:55 > 0:14:58he should be returned home to face the wrath of his parents.
0:15:08 > 0:15:11On this occasion, the boy wasn't charged
0:15:11 > 0:15:13and won't get a criminal record.
0:15:13 > 0:15:16But his details will be noted and any further brushes with the law
0:15:16 > 0:15:18will be taken more seriously.
0:15:20 > 0:15:22Dealing with such a young boy means
0:15:22 > 0:15:26difficult judgement calls for the ORB team.
0:15:26 > 0:15:28No joy in arresting a 13-year-old.
0:15:30 > 0:15:33I think everyone deserves to be treated reasonably
0:15:33 > 0:15:34and proportionately.
0:15:34 > 0:15:39And is it proportionate to drag into custody a crying 13-year-old?
0:15:39 > 0:15:41Is it really?
0:15:41 > 0:15:44It's not being soft, it's being fair and that's what you've got to be,
0:15:44 > 0:15:46you've got to be fair.
0:15:46 > 0:15:49Sometimes the officers capture hardened professional criminals
0:15:49 > 0:15:53but today Amy is happy the boy has seen the error of his ways.
0:15:54 > 0:15:57He was very upset. He said he was sorry on numerous occasions.
0:15:57 > 0:16:00We took him home and his family were very concerned,
0:16:00 > 0:16:03especially his mum and his sister.
0:16:03 > 0:16:07For Amy, it's vindication for her instinctive feeling that something
0:16:07 > 0:16:09wasn't right about the group.
0:16:11 > 0:16:15And a few days later, out on plain-clothes patrol is another
0:16:15 > 0:16:18officer known for his instinct for spotting criminality -
0:16:18 > 0:16:21PC Paul Penrose.
0:16:21 > 0:16:24As part of the ORB team, it's the undercover officer's job to
0:16:24 > 0:16:27keep the West End safe for shoppers.
0:16:27 > 0:16:31At Oxford Circus, one man hanging around outside a shop immediately
0:16:31 > 0:16:33captures Paul's attention.
0:16:37 > 0:16:40The man seems to be watching people around him.
0:16:40 > 0:16:43It's only because Paul is primed to spot this sort of behaviour
0:16:43 > 0:16:46after years of experience that he notices at all.
0:16:50 > 0:16:53Many criminals carry cheap pay-as-you-go phones rather than
0:16:53 > 0:16:57smartphones so they can dispose of them easily.
0:16:57 > 0:16:59And on closer inspection,
0:16:59 > 0:17:02the cheap one that man is using matches this profile.
0:17:04 > 0:17:07It's the slightest clue but Paul thinks it is enough to make it
0:17:07 > 0:17:10worthwhile following when the man heads south.
0:17:12 > 0:17:13There he is.
0:17:20 > 0:17:22Moments later, he does just that.
0:17:24 > 0:17:28He is now headed back up Regent Street.
0:17:28 > 0:17:29He's having a good look around.
0:17:29 > 0:17:33The double-back manoeuvre makes Paul doubt the man is a regular shopper.
0:17:46 > 0:17:50Paul has observed suspicious movements but nothing illegal.
0:17:50 > 0:17:52With the man about to leave on a bus,
0:17:52 > 0:17:54he's got to make a big judgement call.
0:17:57 > 0:18:00With only a second to make the decision, he moves in.
0:18:03 > 0:18:08Later, Paul gets his man and more than he bargained for.
0:18:08 > 0:18:11Where is your visa?
0:18:19 > 0:18:23Earlier, we saw the battle going on to preserve Eduardo Paolozzi's
0:18:23 > 0:18:27love-them-or-hate-them mosaics deep under Oxford Street.
0:18:28 > 0:18:31The platform murals will be preserved in situ
0:18:31 > 0:18:33but after we filmed,
0:18:33 > 0:18:37the mosaic arches above the escalators were dismantled.
0:18:37 > 0:18:39However, Transport For London
0:18:39 > 0:18:42decided to preserve the removed sections
0:18:42 > 0:18:45and they have now arranged for them to be restored.
0:18:45 > 0:18:47Eventually, they will go on display
0:18:47 > 0:18:50in Paolozzi's home town of Edinburgh.
0:18:52 > 0:18:55And on a crisp morning, Neil Lebeter,
0:18:55 > 0:18:57curator at Edinburgh University's Art Collection
0:18:57 > 0:18:59is ready to greet them.
0:18:59 > 0:19:02Today we have the arrival of the Eduardo Paolozzi murals
0:19:02 > 0:19:05from Tottenham Court Road Station. This is amazing.
0:19:05 > 0:19:07Like, stuff like this does not come around very often.
0:19:07 > 0:19:10This is a unique project.
0:19:10 > 0:19:12The team get to work unloading the mosaics,
0:19:12 > 0:19:16which had sat for over 30 years deep under Oxford Street.
0:19:18 > 0:19:21Not only was Paolozzi born in Edinburgh, but he studied and taught
0:19:21 > 0:19:23at this very art school.
0:19:25 > 0:19:28Neil gets his first look at the mosaics.
0:19:28 > 0:19:33So this is one of the kind of medium...medium sections.
0:19:33 > 0:19:36You can see that the actual tiles themselves are mostly intact.
0:19:36 > 0:19:38This is the type of size and material that
0:19:38 > 0:19:39we are going to be working with.
0:19:39 > 0:19:42It's looking not too bad, considering, you know, it has been
0:19:42 > 0:19:47removed from a building having spent 30 years in a very busy
0:19:47 > 0:19:50underground station where, you know...
0:19:50 > 0:19:52You can just tell by my hands
0:19:52 > 0:19:55just how much dust has built up over that time.
0:19:57 > 0:20:00The team will spend the next few weeks cleaning and cataloguing
0:20:00 > 0:20:02the individual fragments.
0:20:03 > 0:20:06I have no idea which part this was on so it's going to be quite
0:20:06 > 0:20:09a challenge, I think, to puzzle these all back together and see
0:20:09 > 0:20:10how it all works.
0:20:10 > 0:20:14Once catalogued, the pieces will be photographed and a computer program
0:20:14 > 0:20:17will virtually reassemble them in the right places.
0:20:19 > 0:20:23Some new individual tesserae will be ordered from the same Italian
0:20:23 > 0:20:26suppliers that Paolozzi originally used.
0:20:26 > 0:20:30This project is going to take so long!
0:20:30 > 0:20:33Because it's essentially a massive jigsaw.
0:20:33 > 0:20:37The final result is to physically rebuild this in a publicly
0:20:37 > 0:20:40accessible space where everyone can see it.
0:20:40 > 0:20:41It's going to be a challenge.
0:20:41 > 0:20:44But that day for now is some years away.
0:20:45 > 0:20:47Meanwhile, deep under Oxford Street,
0:20:47 > 0:20:51the mosaics that remain have been preserved.
0:20:51 > 0:20:53They have been given a clean and a buff up
0:20:53 > 0:20:55ahead of being reopened to the public.
0:21:03 > 0:21:08Undercover PC Paul Penrose has been trailing a suspect onto a bus.
0:21:08 > 0:21:11He has made the decision to stop and search him.
0:21:12 > 0:21:14He has not seen him commit an offence,
0:21:14 > 0:21:16but Paul's instinct tells him
0:21:16 > 0:21:19something about the man's behaviour isn't right.
0:21:21 > 0:21:22Mate, police officer.
0:21:22 > 0:21:24I just need to take someone off the bus a second.
0:21:26 > 0:21:29Sir, police officer. Can I just have a quick chat?
0:21:29 > 0:21:32Can you just come and stand over here?
0:21:32 > 0:21:35- Where are you from?- Albania. - Albania, yeah?
0:21:35 > 0:21:38We're just wondering what you're doing in the area,
0:21:38 > 0:21:39why you were waiting around up there
0:21:39 > 0:21:42and then coming all the way down to catch a bus here?
0:21:43 > 0:21:46Paul's colleague catches up and calls base
0:21:46 > 0:21:48to check out the man's ID.
0:21:48 > 0:21:51I've got a male stopped. Could you run him through the box, please?
0:21:52 > 0:21:55A quick search reveals no suspicious items,
0:21:55 > 0:21:58but it looks like Paul's instinct was correct -
0:21:58 > 0:22:01the man's documents are not in order.
0:22:01 > 0:22:04They take cover from the rain to investigate further.
0:22:06 > 0:22:08All right, where's your visa?
0:22:08 > 0:22:11Where is your visa?
0:22:11 > 0:22:14You've got no visa. Have you entered the country illegally?
0:22:17 > 0:22:20Hello, Immigration. They are saying he hasn't got a visa.
0:22:21 > 0:22:23While they wait for confirmation of the man's status,
0:22:23 > 0:22:26Sergeant Skinner, who was patrolling separately,
0:22:26 > 0:22:28arrives and gets out the handcuffs.
0:22:30 > 0:22:33We don't want you to go for a run until we work out this.
0:22:33 > 0:22:36I suspect at this moment in time you are in the country illegally,
0:22:36 > 0:22:38do you understand that?
0:22:39 > 0:22:41It was a gut feeling that prompted
0:22:41 > 0:22:43Paul to follow the man in the first place and his decision
0:22:43 > 0:22:47to stop the bus to remove him has been vindicated.
0:22:48 > 0:22:51Transport arrives and the man is taken back
0:22:51 > 0:22:53to Charing Cross Police Station.
0:22:55 > 0:22:58As an Albanian national without a visa,
0:22:58 > 0:23:01he has no legal right to be in the UK.
0:23:18 > 0:23:21Although ORB officers aren't specifically looking for
0:23:21 > 0:23:24immigration offenders, they find that those who are in the country
0:23:24 > 0:23:27illegally sometimes turn to crime.
0:23:28 > 0:23:30In this case, it is a successful result.
0:23:30 > 0:23:33The man will be passed to immigration authorities with
0:23:33 > 0:23:35the likelihood that he will be deported.
0:23:45 > 0:23:47At the switch-on of the Oxford Street lights,
0:23:47 > 0:23:50the teams behind the scenes are getting ready to make sure
0:23:50 > 0:23:54that the biggest event in the street's year goes without a hitch.
0:23:55 > 0:23:59Already, they have built a stage from scratch, rigged it with lights
0:23:59 > 0:24:01and installed Europe's biggest TV screen.
0:24:04 > 0:24:07But if everything is going to work out, they have got to be sure
0:24:07 > 0:24:10that when pop princess Kylie presses this button...
0:24:11 > 0:24:14Don't tell anybody this is the button.
0:24:14 > 0:24:17..the 3,000 illuminated balls
0:24:17 > 0:24:20that stretch the length of the street will light up.
0:24:22 > 0:24:26Nick Maclaren is responsible for them and opts for a trial run.
0:24:28 > 0:24:32I'm here to switch on this block just beside around the switch-on is
0:24:32 > 0:24:35just to make sure we are not going to have any issues.
0:24:39 > 0:24:40Whoo.
0:24:40 > 0:24:43Lights checked, road closed and stage set,
0:24:43 > 0:24:45the crowds are allowed in.
0:24:46 > 0:24:50Backstage, Del Brown is overseeing the filming of the event.
0:24:50 > 0:24:55TV news shows and other networks all want a feed of Kylie's big moment.
0:24:55 > 0:24:58And everything the crowd sees on those giant screens will be
0:24:58 > 0:24:59controlled by him.
0:25:01 > 0:25:03I'm a little bit nervous.
0:25:03 > 0:25:07They've given me... I think it's five cameras, including a jib.
0:25:07 > 0:25:09And they've basically said, "Cover the event."
0:25:09 > 0:25:11So between me and the camera operators,
0:25:11 > 0:25:14we are going to be trying to get the best angles.
0:25:14 > 0:25:17And I have got the responsibility of making sure that when all
0:25:17 > 0:25:21of the broadcasters take that shot of Kylie pressing the button,
0:25:21 > 0:25:24I've got to make sure we've got Kylie, everyone on stage and all
0:25:24 > 0:25:27of the sponsors' logos all in the same shot.
0:25:27 > 0:25:30Cos if we miss that moment, I probably won't be booked again.
0:25:32 > 0:25:34So, Ross, shall we just rehearse your move?
0:25:34 > 0:25:36So if we go from there into the stage.
0:25:38 > 0:25:40And, Nick, you will be on a 2 shot.
0:25:40 > 0:25:41On the other side of the crowd,
0:25:41 > 0:25:44Paul is waiting nervously with his lights.
0:25:45 > 0:25:48Oh, if you don't get nervous, you are not doing it right.
0:25:49 > 0:25:51This is the running order.
0:25:51 > 0:25:53Otherwise known as the book of lies.
0:25:54 > 0:25:56Finally, at 5.50...
0:25:56 > 0:25:59Yes, everyone well to record? Thank you.
0:25:59 > 0:26:01CROWD CHEERS
0:26:03 > 0:26:07Presenters Lisa Snowdon and Dave Berry take to the stage.
0:26:07 > 0:26:08- Dave Berry.- Hello.
0:26:08 > 0:26:10Welcome to one of the best things
0:26:10 > 0:26:13that's ever going to happen in our lives.
0:26:13 > 0:26:151 to 1 next. Cut 1.
0:26:15 > 0:26:17And Kylie is here, everybody.
0:26:17 > 0:26:20And Del swings into action.
0:26:20 > 0:26:24Pull back out, jib, high and wide. Come 3 next and 3 for a cutaway.
0:26:24 > 0:26:26Come to jib next. And jib.
0:26:26 > 0:26:29Oh, well. Face is covered up by the mic, brilliant.
0:26:29 > 0:26:32But once the Lord Mayor of Westminster is out of the way,
0:26:32 > 0:26:36it's time for the moment the crowd has been waiting for all day.
0:26:39 > 0:26:40Kylie is here, everyone!
0:26:40 > 0:26:42CROWD CHEERS
0:26:42 > 0:26:44Hi, Kylie!
0:26:44 > 0:26:47- You look so good.- How are you?
0:26:48 > 0:26:51Hello, puppet. Hello, everyone!
0:26:51 > 0:26:522. Have a squeeze in 2.
0:26:52 > 0:26:54How are you feeling?
0:26:55 > 0:26:58For everyone involved, and particularly Del and Paul,
0:26:58 > 0:27:01everything rests on the next few seconds.
0:27:01 > 0:27:04OK. So, everybody, you know what you have to do.
0:27:04 > 0:27:06Let's count down now.
0:27:06 > 0:27:08Ten, nine...
0:27:08 > 0:27:102 next. 2, come to 1.
0:27:10 > 0:27:16..eight, seven, six, five, four, three, two...
0:27:16 > 0:27:19- Holding on this shot cos they want it.- ..one. Do it, Kylie!
0:27:26 > 0:27:30Come to Ross. Ross stands up. Ross, it's all yours. Up on the wide.
0:27:39 > 0:27:41I think that's it.
0:27:41 > 0:27:43- 'Ladies and gentlemen...' - Yeah, that's it.
0:27:43 > 0:27:45- '..the show is now over.' - Oh, the show's over.
0:27:45 > 0:27:47'Please get home safely.'
0:27:50 > 0:27:52Ah! Thank God that's over!
0:27:52 > 0:27:55- Pfrrr!- The lights went on, everything worked.
0:27:55 > 0:27:59- I need a cup of tea now.- We'll see how it looks to the papers.
0:27:59 > 0:28:03So I just saw Kylie Minogue. It was so good.
0:28:03 > 0:28:06- We queued up for a good couple of hours and it was worth it.- Yeah.
0:28:06 > 0:28:08- It was absolutely amazing!- Yeah.
0:28:08 > 0:28:12And with that, the 45-minute show is over
0:28:12 > 0:28:16and the 17.5-hour stage preparation comes to an end.
0:28:17 > 0:28:19Get it all broken down and go home.
0:28:19 > 0:28:23With a bit of luck, we will be out by 10 o'clock. Maybe 11.
0:28:23 > 0:28:26Time to de-rig and reopen the street
0:28:26 > 0:28:28for people to do their Christmas shopping.