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It's the most famous shopping street in the world, in the heart | 0:00:02 | 0:00:04 | |
of Britain's capital city. | 0:00:04 | 0:00:07 | |
A mile and a half long, with 30 million visitors each year. | 0:00:07 | 0:00:12 | |
With some of the world's most famous shops... | 0:00:12 | 0:00:14 | |
-CHEERING ..biggest stars... -Kate Moss! | 0:00:14 | 0:00:17 | |
..and busiest stations... | 0:00:17 | 0:00:19 | |
Sorry, guys, stand back for me. | 0:00:19 | 0:00:21 | |
..what does it take to keep it running 24 hours a day... | 0:00:21 | 0:00:24 | |
It is the busy street in the world, so it needs constant attention. | 0:00:24 | 0:00:27 | |
-..seven days a week... -Oi! Clear off! | 0:00:27 | 0:00:30 | |
You're going to be arrested on suspicion of attempted theft. | 0:00:30 | 0:00:33 | |
Are you ready, London?! | 0:00:33 | 0:00:36 | |
A street that never sleeps. | 0:00:36 | 0:00:38 | |
This sort of thing wouldn't happen anywhere else. | 0:00:38 | 0:00:40 | |
Oxford Street. | 0:00:42 | 0:00:44 | |
Coming up, the Oxford Street police team take on skankers... | 0:00:46 | 0:00:51 | |
Got a runner, got a runner! IC3 male! | 0:00:51 | 0:00:53 | |
..fake drug dealers with a reputation for robbery. | 0:00:53 | 0:00:56 | |
You are under arrest for offering to supply drugs. | 0:00:56 | 0:01:00 | |
What does it take to work at Britain's busiest railway station? | 0:01:00 | 0:01:03 | |
Love it. Busiest station. Something different happening every day. | 0:01:03 | 0:01:08 | |
Photographer Andy Barnes is sniffing out celebs at a department store. | 0:01:08 | 0:01:13 | |
Lovely. | 0:01:13 | 0:01:14 | |
And can a New Delhi entrepreneur make a success of her Indian | 0:01:14 | 0:01:18 | |
themed fair? | 0:01:18 | 0:01:19 | |
It doesn't work if we don't get the people inside. | 0:01:19 | 0:01:22 | |
The task of keeping Oxford Street safe falls to its police team, | 0:01:27 | 0:01:31 | |
known as ORB. | 0:01:31 | 0:01:33 | |
And tonight, their plainclothes officers have joined Operation Bobcat, | 0:01:33 | 0:01:38 | |
a special team tasked with cracking down on crime | 0:01:38 | 0:01:40 | |
on Oxford Street and in neighbouring Soho. | 0:01:40 | 0:01:43 | |
This area of tightly packed streets and lanes is a key part | 0:01:45 | 0:01:48 | |
of the capital's night-time economy, and a popular party destination. | 0:01:48 | 0:01:53 | |
For Sgt Gary Skinner and his eight-man team, | 0:01:54 | 0:01:57 | |
it promises to be a busy night. | 0:01:57 | 0:01:59 | |
Operation Bobcat has been created primarily to reduce | 0:01:59 | 0:02:02 | |
the amount of robberies. | 0:02:02 | 0:02:04 | |
Tonight, they're looking for telltale signs of robbers | 0:02:04 | 0:02:07 | |
and drug dealers, small groups of men lurking in anyways, trying to | 0:02:07 | 0:02:11 | |
attract the attention of passers-by that have had a few drinks. | 0:02:11 | 0:02:15 | |
Just about to walk down this little alleyway, this known is for robberies. | 0:02:15 | 0:02:18 | |
And it is not long before Sgt Skinner spots two men acting suspiciously. | 0:02:18 | 0:02:22 | |
Any Bobcat officers in Wardour Street, near Bourchier Street, the little alleyway? | 0:02:22 | 0:02:26 | |
The men are having discussions in a nearby courtyard. Having been | 0:02:26 | 0:02:30 | |
noticed, Sgt Skinner decides to move in for a chat. | 0:02:30 | 0:02:33 | |
Hello, mate, how are you doing? Both of you stay here. | 0:02:35 | 0:02:37 | |
Just stay there. | 0:02:37 | 0:02:39 | |
Got a runner, got a runner! IC3 male, | 0:02:39 | 0:02:41 | |
dark blue puffer jacket. Five foot ten tall. | 0:02:41 | 0:02:45 | |
Running up towards Greek Street. Left, left, left into Greek Street. | 0:02:45 | 0:02:49 | |
Other officers to assist. | 0:02:49 | 0:02:51 | |
Yeah, stop him! | 0:02:51 | 0:02:53 | |
Got him detained, one detained. | 0:02:54 | 0:02:56 | |
-Carlisle Street. -Yeah. -Why the hell did you run? Hey, why did you run?! | 0:02:56 | 0:03:00 | |
Hey?! | 0:03:00 | 0:03:02 | |
Why did you run? Right. | 0:03:02 | 0:03:04 | |
Now we do business in slow time. | 0:03:04 | 0:03:07 | |
I am Sgt Skinner. | 0:03:07 | 0:03:09 | |
Sgt Skinner suspects the man might be a drug dealer. | 0:03:09 | 0:03:12 | |
I'm going to search you under section 23, Misuse Of Drugs Act. | 0:03:12 | 0:03:15 | |
Yes, do you understand? | 0:03:15 | 0:03:16 | |
-Before we start getting into it, have you got anything on you? -No. -No? | 0:03:16 | 0:03:20 | |
-What's this? -Paracetamol. -Paracetamol. What, you got a cold? | 0:03:23 | 0:03:26 | |
-Yeah, for a headache. -Have you really? | 0:03:26 | 0:03:28 | |
The paracetamol is the only thing the man has on him, | 0:03:28 | 0:03:31 | |
but Sgt Skinner thinks it is still significant. | 0:03:31 | 0:03:34 | |
He thinks the man is a skanker. | 0:03:34 | 0:03:37 | |
What skanking is, is the criminal offers people drugs. | 0:03:37 | 0:03:42 | |
But what he will normally have is crushed up paracetamol or | 0:03:42 | 0:03:46 | |
Lemsip in the guise of drugs. | 0:03:46 | 0:03:50 | |
The victim will pay 40, £50 for this stuff, | 0:03:50 | 0:03:53 | |
think they're getting drugs, go to wherever it is | 0:03:53 | 0:03:55 | |
they're going to take these drugs and find out they have been conned. Skanking is a con. | 0:03:55 | 0:03:59 | |
Skanking is a problem that's on the rise in nightlife | 0:03:59 | 0:04:02 | |
areas across the UK. | 0:04:02 | 0:04:04 | |
The police's main concern is the more serious crimes that come with it. | 0:04:04 | 0:04:09 | |
The harsh reality of it is that 93% of the people we've | 0:04:09 | 0:04:12 | |
arrested, mainly for offering to supply drugs, are known for robbery. | 0:04:12 | 0:04:16 | |
And once they lure the victim in, | 0:04:16 | 0:04:18 | |
once they get into the dark alleyway and | 0:04:18 | 0:04:20 | |
they find that their victim has got an amount of money on them, | 0:04:20 | 0:04:23 | |
the temptation for them to rob them is, a lot of the time, too great. | 0:04:23 | 0:04:27 | |
Skanking is a massive problem. | 0:04:27 | 0:04:29 | |
To offer to supply drugs is an offence. Even if you haven't got any drugs on you. | 0:04:29 | 0:04:33 | |
The man admits to having been stopped by the police | 0:04:33 | 0:04:35 | |
-once before for smoking cannabis. -What happened then? | 0:04:35 | 0:04:38 | |
-I got a fine and tag. -You got a tag?! | 0:04:38 | 0:04:41 | |
You've done a bit more than cannabis. We don't get those tags out easy. | 0:04:41 | 0:04:45 | |
You have to earn those tags. Yeah? | 0:04:45 | 0:04:48 | |
A search on the Police National Computer reveals a bit more than that. | 0:04:54 | 0:04:57 | |
The man is wanted by Bedfordshire Police for breaching a curfew, | 0:04:57 | 0:05:01 | |
having tampered with his court-ordered ankle tag. | 0:05:01 | 0:05:04 | |
Gary has now got all the evidence he needs to make an arrest. | 0:05:04 | 0:05:08 | |
Because you made us all go for a run, | 0:05:08 | 0:05:09 | |
I'm arresting you for wilfully obstructing police. | 0:05:09 | 0:05:12 | |
When the police officer grabbed you and you ran away in your slippery coat. | 0:05:12 | 0:05:15 | |
You made us all go for a run as well. That's obstructing police, all right? | 0:05:15 | 0:05:19 | |
The team head back to Charing Cross Police Station to book the man in. | 0:05:19 | 0:05:23 | |
He's going to be dealt with for the offence that I arrested him | 0:05:23 | 0:05:26 | |
for, which was obstructing police. | 0:05:26 | 0:05:27 | |
Then he's going to be picked up by Bedfordshire Police to | 0:05:27 | 0:05:30 | |
appear at Bedfordshire Magistrate's Court tomorrow | 0:05:30 | 0:05:33 | |
morning for breach of a court order. | 0:05:33 | 0:05:35 | |
The man is locked up and separated from his headache pills. | 0:05:35 | 0:05:38 | |
They all seem to have colds. There's a lot of colds flying around amongst these type of people. | 0:05:38 | 0:05:43 | |
-Later, things threaten to get ugly... -Relax, relax! | 0:05:46 | 0:05:50 | |
..as Sgt Skinner and his team continue their battle with the skankers. | 0:05:50 | 0:05:54 | |
-Take it easy. -I'm taking it easy. You take it easy! | 0:05:54 | 0:05:57 | |
There are nearly 3,000 railway stations in the UK, | 0:06:04 | 0:06:07 | |
and the busiest of all of them is in the middle of Oxford Street. | 0:06:07 | 0:06:11 | |
Oxford Circus Tube station. | 0:06:11 | 0:06:13 | |
Here, three Tube lines converge, and 100 million passengers a year | 0:06:14 | 0:06:19 | |
use the station. | 0:06:19 | 0:06:20 | |
It gets so busy, people are regularly queueing in their thousands to | 0:06:21 | 0:06:25 | |
get in. | 0:06:25 | 0:06:26 | |
But what does it take to work at a station like this? | 0:06:29 | 0:06:33 | |
It's no surprise staff here are renowned for having | 0:06:33 | 0:06:36 | |
some of the biggest personalities and coolest heads on the network. | 0:06:36 | 0:06:41 | |
People like Greg Cousins. | 0:06:41 | 0:06:43 | |
Love it. Busy station. | 0:06:43 | 0:06:46 | |
Something different happening every day. Yeah, it is a good buzz. | 0:06:46 | 0:06:51 | |
I'm kind of known on the station anyway by a lot of the customers. | 0:06:51 | 0:06:55 | |
You know, the way I look, etc. | 0:06:56 | 0:07:00 | |
You're exactly what I aspire to be. | 0:07:00 | 0:07:03 | |
That was my photo for the interview. | 0:07:03 | 0:07:06 | |
I might not have got the job if I was like this. | 0:07:07 | 0:07:10 | |
While Greg keeps an eye on the ticket hall, down on the platforms, | 0:07:10 | 0:07:13 | |
things are getting busy for Matthew. | 0:07:13 | 0:07:15 | |
It's just where you start to get a feel how busy the platform can get. | 0:07:15 | 0:07:19 | |
At the moment, the team are on high alert. | 0:07:19 | 0:07:22 | |
In about the last ten or 15 minutes, we had quite a close call, | 0:07:22 | 0:07:25 | |
we believe, with one of the customers. | 0:07:25 | 0:07:27 | |
The lady's basically approached one of the guys on the gate line | 0:07:27 | 0:07:30 | |
and asked when the next train was due. | 0:07:30 | 0:07:33 | |
She also asked how fast the trains come in, which is | 0:07:33 | 0:07:35 | |
when obviously you do start questioning what her motives were. | 0:07:35 | 0:07:39 | |
We believe she was going to jump. She came down to the platform, | 0:07:39 | 0:07:41 | |
and we managed to bring her straight back upstairs. We tried to detain her, | 0:07:41 | 0:07:44 | |
but she managed to take off down Regent Street. | 0:07:44 | 0:07:47 | |
It means all staff must look out in case she returns. | 0:07:47 | 0:07:50 | |
-See you in a bit. -See you in a bit. | 0:07:52 | 0:07:54 | |
We've got a couple of BT people patrolling the Central Line platform. | 0:07:54 | 0:07:57 | |
We all have a description of the girl as well, | 0:07:57 | 0:07:59 | |
so it'll be all hands on deck, really. | 0:07:59 | 0:08:01 | |
Someone on the tracks is every member of staff's worst nightmare. | 0:08:01 | 0:08:05 | |
I've dealt with a person being hit by a train and all that. | 0:08:05 | 0:08:09 | |
It's not the nicest things in the world. I don't wish it on anybody. | 0:08:09 | 0:08:13 | |
But it is kind of one of those things, if you | 0:08:13 | 0:08:15 | |
work for the underground. Over a period of time, it is something | 0:08:15 | 0:08:19 | |
you're likely to see, or going to be involved with. It is not a nice thing. | 0:08:19 | 0:08:22 | |
Greg might have seen it all before, | 0:08:22 | 0:08:24 | |
but others are busy learning what to look out for. | 0:08:24 | 0:08:28 | |
On the Central Line, trainee Alex is shadowing Kola Ayanwale for the evening | 0:08:28 | 0:08:32 | |
to learn the ropes. | 0:08:32 | 0:08:34 | |
I have lost my apprentice. He's left me. | 0:08:34 | 0:08:38 | |
Oh, there he is. | 0:08:38 | 0:08:39 | |
He's hoping to qualify for a permanent position, | 0:08:39 | 0:08:41 | |
-and his performance is being closely monitored. -This is Oxford Circus. | 0:08:41 | 0:08:45 | |
You are on the eastbound Central Line platform. | 0:08:45 | 0:08:48 | |
Oxford Circus is certainly a different kettle of fish, really. | 0:08:48 | 0:08:51 | |
It is a whole other level of busy. | 0:08:51 | 0:08:54 | |
If you can do it better than I can, all good. If not... | 0:08:54 | 0:08:57 | |
When you learn stuff, it is not just about sitting down and saying, | 0:08:57 | 0:09:00 | |
"Right, I've learnt this." You have to put it into practice. | 0:09:00 | 0:09:03 | |
For your own safety, please stand behind the yellow line | 0:09:03 | 0:09:05 | |
and use the full length of the platform, using all available space. | 0:09:05 | 0:09:09 | |
I would like him to come just a little bit forward. | 0:09:09 | 0:09:12 | |
I don't want him to stand too far behind that yellow line | 0:09:12 | 0:09:15 | |
because I might get worried he's going to fall off the platform onto the track, and I don't want that. | 0:09:15 | 0:09:19 | |
-But other than that, no, he is pretty good. -Yeah, I thought that was all right. | 0:09:19 | 0:09:23 | |
Up at the ticket gates is Matthew Mitchelmore. | 0:09:23 | 0:09:25 | |
He's been working Oxford Circus for over five years, | 0:09:25 | 0:09:28 | |
despite living with Asperger's syndrome, a form of autism. | 0:09:28 | 0:09:33 | |
Asperger's is a different way that the brain deals... | 0:09:33 | 0:09:37 | |
with information. | 0:09:37 | 0:09:39 | |
In some cases it can lead to the person having a very strong | 0:09:41 | 0:09:46 | |
interest. My...my | 0:09:46 | 0:09:48 | |
Asperger's interest is in transport. | 0:09:48 | 0:09:52 | |
I have a model railway at home. | 0:09:52 | 0:09:55 | |
However, due to space constraints, I don't get to use it very often. | 0:09:55 | 0:09:59 | |
Matthew has used his love of transport to pass a special | 0:09:59 | 0:10:03 | |
training scheme, and is now a fully fledged customer service assistant. | 0:10:03 | 0:10:07 | |
I try to be kind and help people if I can. | 0:10:07 | 0:10:11 | |
He's also obsessed with something else - cleanliness. | 0:10:11 | 0:10:14 | |
That is a potential trip hazard. I'm just going to move that. | 0:10:14 | 0:10:18 | |
Actually. | 0:10:25 | 0:10:28 | |
I'm just going to bin it. | 0:10:28 | 0:10:29 | |
Don't worry, I will wash my hands with antibacterial soap late... | 0:10:29 | 0:10:35 | |
Very shortly. | 0:10:35 | 0:10:37 | |
Mind the doors, please. | 0:10:38 | 0:10:41 | |
Also, another thing... | 0:10:42 | 0:10:45 | |
Nine-five to base, over. | 0:10:45 | 0:10:47 | |
PERSON REPLIES OVER RADIO | 0:10:47 | 0:10:49 | |
Could we have an Interserve operative to the bullring to | 0:10:49 | 0:10:53 | |
deal with a build-up of litter at the bottom of exit one, please? | 0:10:53 | 0:10:58 | |
Down on the platforms, | 0:11:00 | 0:11:01 | |
Matthew is still on the lookout for the woman suspected of trying | 0:11:01 | 0:11:04 | |
to jump on the tracks, when a different call comes through. | 0:11:04 | 0:11:07 | |
But one the team also dread. | 0:11:07 | 0:11:10 | |
-MAN SPEAKS OVER THE RADIO -Call for man the gates. | 0:11:10 | 0:11:12 | |
Every customer is going to be held, because of how busy it is about to get down here. | 0:11:12 | 0:11:16 | |
Oxford Circus gets so busy, that it regularly has to | 0:11:16 | 0:11:20 | |
introduce temporary closures to stop overcrowding on the platforms. | 0:11:20 | 0:11:24 | |
Known as "manning the gates". | 0:11:24 | 0:11:26 | |
For Matthew Mitchelmore, up by the ticket gates, it's a big deal. | 0:11:27 | 0:11:31 | |
Stop. | 0:11:33 | 0:11:35 | |
This station... | 0:11:35 | 0:11:36 | |
Ladies and gentlemen, this station is temporarily | 0:11:40 | 0:11:43 | |
closed to prevent overcrowding at lower levels. | 0:11:43 | 0:11:46 | |
It's always frustrating when someone pushes past you, | 0:11:46 | 0:11:51 | |
and I would very much urge you not to do this. | 0:11:51 | 0:11:56 | |
I know you need to get your trains, | 0:11:56 | 0:11:59 | |
but we've closed the station for a reason. | 0:11:59 | 0:12:02 | |
Soon after, things reopen. | 0:12:02 | 0:12:05 | |
Ladies and gentlemen, I'm sorry for keeping you outside, you can | 0:12:05 | 0:12:08 | |
now come into the station. | 0:12:08 | 0:12:10 | |
It's another difficult situation dealt with by Matthew, | 0:12:10 | 0:12:13 | |
and shows just how far he's come in the five and a half years he's worked here. | 0:12:13 | 0:12:18 | |
Working here at Oxford Circus has massively helped | 0:12:18 | 0:12:22 | |
improve my confidence. | 0:12:22 | 0:12:24 | |
Everyone, whether you've got a disability or not, you've got | 0:12:24 | 0:12:28 | |
fantastic potential. Use it and you'll make yourself proud. | 0:12:28 | 0:12:32 | |
Someone else that's proved themselves tonight is trainee Alex. | 0:12:34 | 0:12:38 | |
He's doing brilliant. | 0:12:38 | 0:12:39 | |
Aside from the fact that we know he's an apprentice, | 0:12:39 | 0:12:42 | |
anybody else who sees him will just think he's a member of staff, | 0:12:42 | 0:12:45 | |
because he copes with it that well. | 0:12:45 | 0:12:46 | |
And there was no further sign of the woman suspected of wanting to | 0:12:46 | 0:12:50 | |
jump on the tracks, which means the staff can go home satisfied | 0:12:50 | 0:12:53 | |
another night has passed safely for the UK's busiest station. | 0:12:53 | 0:12:57 | |
It's London Fashion Week, and at House of Fraser, | 0:13:07 | 0:13:10 | |
a famous British couture label is preparing to bring its latest bespoke | 0:13:10 | 0:13:15 | |
collection to public attention in an Oxford Street first. | 0:13:15 | 0:13:18 | |
is launching a range of dresses in the department store. | 0:13:20 | 0:13:24 | |
To get as much publicity for the event as possible, | 0:13:24 | 0:13:26 | |
they are staging a red-carpet photocall, | 0:13:26 | 0:13:29 | |
with models and celebrities on the steps of the store. | 0:13:29 | 0:13:32 | |
Label bosses say the event is unique. | 0:13:33 | 0:13:37 | |
Fashion week is usually industry events, | 0:13:37 | 0:13:39 | |
so people just don't get access to it. | 0:13:39 | 0:13:41 | |
Achilleas Constantinou is the label's creative director. | 0:13:41 | 0:13:45 | |
We thought, "Why not do something different? | 0:13:45 | 0:13:47 | |
"Let's bring it to the consumer." | 0:13:47 | 0:13:49 | |
It's Alison's job to oversee the event she's been planning for months. | 0:13:49 | 0:13:54 | |
You need leaflets and you need to be out here now telling people | 0:13:54 | 0:13:57 | |
what to do. So you need to walk about... | 0:13:57 | 0:14:00 | |
I need you, first of all, do not disappear again. | 0:14:00 | 0:14:02 | |
You're all disappearing, I've got nobody here. I need you here, we'll find other people. | 0:14:02 | 0:14:05 | |
-Get the leaflets, come out here. -Right. | 0:14:05 | 0:14:08 | |
The plan today is for a team of models to wear the dresses on | 0:14:08 | 0:14:11 | |
the steps of the store, and two celebrity guests are on their way to join them. | 0:14:11 | 0:14:16 | |
Which is what has grabbed the attention of this man, | 0:14:16 | 0:14:19 | |
celebrity photographer Andy Barnes. | 0:14:19 | 0:14:22 | |
We've got Sam Faiers and we've got Stephanie Pratt today. | 0:14:22 | 0:14:25 | |
The Only Way Is Essex's Sam Faiers, | 0:14:25 | 0:14:27 | |
and Made In Chelsea's Stephanie Pratt are just the ticket for Andy, | 0:14:27 | 0:14:31 | |
who's been promised exclusive access inside the store. | 0:14:31 | 0:14:34 | |
Hello. Nice to see. | 0:14:35 | 0:14:37 | |
He's hoping to be the only photographer outside as well. | 0:14:37 | 0:14:41 | |
It would be really good if not many turn up, | 0:14:41 | 0:14:43 | |
because obviously that will increase my sales. | 0:14:43 | 0:14:45 | |
The one thing that is really up my sleeve is, I know when the | 0:14:45 | 0:14:48 | |
celebs are turning up, and I know where they are turning up as well. | 0:14:48 | 0:14:52 | |
And those shots of them | 0:14:52 | 0:14:54 | |
arriving are just as valuable as these shots out here. | 0:14:54 | 0:14:58 | |
In fact, even more so. | 0:14:58 | 0:15:00 | |
The models have already started strutting their stuff, | 0:15:00 | 0:15:03 | |
but for both the organisers and Andy, the main challenge is knowing | 0:15:03 | 0:15:07 | |
when the celebrities will arrive. | 0:15:07 | 0:15:09 | |
On a busy Saturday in London, traffic is a factor. | 0:15:09 | 0:15:13 | |
It is London Fashion Week, there's lots of events on in town, | 0:15:13 | 0:15:16 | |
and there's lots of traffic and lots of people, | 0:15:16 | 0:15:18 | |
so we'll just wait for the call to see who's arriving. | 0:15:18 | 0:15:21 | |
And word is not good. | 0:15:21 | 0:15:23 | |
Yeah, not 100%. I just... | 0:15:23 | 0:15:26 | |
heard that the celebs might not be on their way. | 0:15:26 | 0:15:28 | |
Apparently they're waiting for a phone call to confirm that, | 0:15:28 | 0:15:31 | |
so I'm a bit, a bit in shock with it all now. | 0:15:31 | 0:15:34 | |
But I must admit, they're leaving it a bit late if they are still waiting to hear from them. | 0:15:34 | 0:15:39 | |
We'll wait and see. | 0:15:39 | 0:15:41 | |
But, just seconds later, his mood lifts. | 0:15:41 | 0:15:44 | |
-Are the models on their way? -Yes. -Brilliant, lovely. | 0:15:44 | 0:15:47 | |
Andy's intel is that there is about to be an arrival at the back. | 0:15:47 | 0:15:51 | |
Is that her down there? That's her at the van. | 0:15:52 | 0:15:55 | |
-Hi, Sam, how are you doing? Are you all right? -Thank you, yes. | 0:15:59 | 0:16:02 | |
Straight ahead this way. | 0:16:02 | 0:16:04 | |
Can I just get you walking from the car towards me, | 0:16:04 | 0:16:06 | |
if it's OK? Lovely. | 0:16:06 | 0:16:08 | |
-Great. Just one more. -This is just up Andy's street. | 0:16:10 | 0:16:14 | |
The Only Way Is Essex's Sam Faiers is playing ball, | 0:16:14 | 0:16:17 | |
and he's the only photographer in sight. | 0:16:17 | 0:16:20 | |
At the front of the store, a sizeable crowd is beginning to gather. | 0:16:20 | 0:16:24 | |
Other photographers are now at work here, but with his shots of Sam | 0:16:24 | 0:16:27 | |
arriving already in the bag, Andy is feeling pretty pleased with himself. | 0:16:27 | 0:16:32 | |
Got some really nice pictures of Sam just walking in. | 0:16:32 | 0:16:35 | |
All the mags, they love those informal type pictures, | 0:16:35 | 0:16:38 | |
so that's really good, that is. Very pleased, very pleased. | 0:16:38 | 0:16:41 | |
Sam joins the models. | 0:16:41 | 0:16:44 | |
Guys, just all looking straight this way. Oh, oh. | 0:16:46 | 0:16:48 | |
Just moving along a little bit for me. That's it. That's cool. | 0:16:48 | 0:16:51 | |
Sam, straight ahead, darling. Big smiles. Brilliant. | 0:16:51 | 0:16:55 | |
Look at the crowds that we've got. It is fantastic. | 0:16:55 | 0:16:58 | |
They are really good for the brand. So we are really, really happy. | 0:16:58 | 0:17:01 | |
Things might be going well, | 0:17:01 | 0:17:02 | |
but there's still no sign of Stephanie Pratt. | 0:17:02 | 0:17:05 | |
Ironically, traffic caused by a Chelsea football match is | 0:17:05 | 0:17:09 | |
delaying the Made In Chelsea star. | 0:17:09 | 0:17:11 | |
-What about Stephanie, is she coming? -She's getting held by the match, she'll be here shortly. | 0:17:11 | 0:17:15 | |
We are just trying to work out whether we keep taking photos with Sam, | 0:17:15 | 0:17:18 | |
or whether we try and dive off and go and | 0:17:18 | 0:17:21 | |
cover Stephanie Pratt coming along. | 0:17:21 | 0:17:24 | |
Later, the chase is on for Andy and his pictures. | 0:17:24 | 0:17:27 | |
-Are you Sam Faiers' car? -No. | 0:17:27 | 0:17:30 | |
With 200 shops along its length, | 0:17:40 | 0:17:42 | |
keeping Oxford Street running takes a background army of suppliers, | 0:17:42 | 0:17:45 | |
wholesalers, manufacturers and maintenance teams. | 0:17:45 | 0:17:48 | |
And one of the most essential pieces of equipment in operation | 0:17:50 | 0:17:53 | |
is the escalator. | 0:17:53 | 0:17:56 | |
Making sure they're running smoothly today is Stuart. | 0:17:56 | 0:18:00 | |
He works for a company that maintains escalators for shops | 0:18:00 | 0:18:03 | |
up and down the street. | 0:18:03 | 0:18:04 | |
People nowadays, unfortunately, don't like to walk or do anything | 0:18:06 | 0:18:12 | |
that's too...erm, | 0:18:12 | 0:18:14 | |
labouring on their self, so to speak. | 0:18:14 | 0:18:17 | |
So if the escalator's out of service, | 0:18:17 | 0:18:19 | |
they'll just basically turn around and walk out the door. | 0:18:19 | 0:18:22 | |
Every person is a potential customer. | 0:18:22 | 0:18:24 | |
So it is imperative that the escalators are working correctly. | 0:18:24 | 0:18:29 | |
He's visiting one of his regular customers, JD Sports. | 0:18:29 | 0:18:33 | |
If he can get in. | 0:18:33 | 0:18:35 | |
Here we go. | 0:18:44 | 0:18:45 | |
They know that you are there, | 0:18:45 | 0:18:47 | |
but there's only two people with the key fob. So... | 0:18:47 | 0:18:50 | |
it's just waiting. | 0:18:50 | 0:18:52 | |
And "open sesame". | 0:18:52 | 0:18:54 | |
Smile, son, you're on candid camera. | 0:18:56 | 0:18:58 | |
It's time sensitive work. | 0:19:00 | 0:19:02 | |
He's got two hours to inspect, clean, grease and service the escalators. | 0:19:02 | 0:19:06 | |
Leaving them up and running in time for the store to open at 9am. | 0:19:06 | 0:19:10 | |
-He gets to work. -Just checking the cones here. | 0:19:10 | 0:19:13 | |
Make sure none of the teeth are broken. | 0:19:13 | 0:19:15 | |
This is the part where people's shoelaces get caught, | 0:19:15 | 0:19:19 | |
dresses get caught underneath them. | 0:19:19 | 0:19:21 | |
Right, now we've got to start working. | 0:19:21 | 0:19:25 | |
Escalators are some of the most complicated | 0:19:25 | 0:19:27 | |
pieces of equipment in operation on Oxford Street. | 0:19:27 | 0:19:30 | |
Each one is made up of thousands of moving parts. | 0:19:30 | 0:19:33 | |
It only takes one to go wrong to bring a store to a standstill. | 0:19:33 | 0:19:36 | |
Just taking the bolts out the steps. | 0:19:38 | 0:19:40 | |
And be able to take the steps out, so we can get a bit of a gap | 0:19:40 | 0:19:44 | |
and then be able to have a look on the inside. | 0:19:44 | 0:19:46 | |
They're only built from aluminium, so not overly heavy, | 0:19:46 | 0:19:49 | |
but after taking out half a machine's worth, they get heavy. | 0:19:49 | 0:19:54 | |
Basically, this switch here is the finger guard, | 0:19:54 | 0:19:57 | |
in case a child | 0:19:57 | 0:19:58 | |
or anyone else decides to push their fingers round, | 0:19:58 | 0:20:00 | |
push the button, the escalator stops immediately. | 0:20:00 | 0:20:03 | |
But as he continues to make his checks, something goes wrong. | 0:20:03 | 0:20:08 | |
This is the pain. | 0:20:08 | 0:20:09 | |
The electrical circuitry has tripped, cutting the power. | 0:20:09 | 0:20:13 | |
He heads to the top of the escalator | 0:20:13 | 0:20:16 | |
to access the control panel to see what's gone wrong. | 0:20:16 | 0:20:19 | |
He takes an expert look at the electrics inside. | 0:20:19 | 0:20:23 | |
There's nothing on fire, there's no smoke coming out of anything. | 0:20:23 | 0:20:26 | |
Generally means that it's all right. | 0:20:26 | 0:20:28 | |
But a check of the electrics alone hasn't found the problem. | 0:20:28 | 0:20:32 | |
Unfortunately, the escalator's decided to die on me again. | 0:20:32 | 0:20:36 | |
It ain't the fact that the time's against you, | 0:20:36 | 0:20:38 | |
even the escalator's against us now. | 0:20:38 | 0:20:39 | |
So, it's back to the top for more checks. | 0:20:39 | 0:20:42 | |
We need to get this job done and then get out before the store opens. | 0:20:42 | 0:20:46 | |
Later, can Stuart get his escalators escalating? | 0:20:46 | 0:20:50 | |
I'm even breaking sweat now. | 0:20:50 | 0:20:52 | |
DISTANT POLICE SIREN | 0:20:58 | 0:21:00 | |
I might need some assistance, just so you're aware of where I am. | 0:21:00 | 0:21:03 | |
Sergeant Gary Skinner and the rest of the Operation Bobcat team | 0:21:03 | 0:21:06 | |
are in Soho. | 0:21:06 | 0:21:08 | |
They've already arrested one man they suspect of being a skanker, | 0:21:08 | 0:21:12 | |
someone trying to sell over-the-counter medicines | 0:21:12 | 0:21:14 | |
as illegal drugs, | 0:21:14 | 0:21:16 | |
and more often than not, robbing their victim in the process. | 0:21:16 | 0:21:20 | |
This suspect tried to flee, but picked the wrong man to outrun. | 0:21:20 | 0:21:25 | |
I'm not a good runner, I sort of plod through, | 0:21:25 | 0:21:27 | |
um, but I've done the last 16 New York marathons. | 0:21:27 | 0:21:30 | |
The skankers have a reputation for aggression | 0:21:30 | 0:21:33 | |
and Sergeant Skinner knows his men must be on their guard. | 0:21:33 | 0:21:37 | |
And while on patrol, Gary spots one man acting suspiciously, | 0:21:37 | 0:21:41 | |
approaching another man outside a restaurant. | 0:21:41 | 0:21:43 | |
He suspects he's offered him drugs. | 0:21:43 | 0:21:45 | |
All right, don't be alarmed, don't be alarmed. Sergeant Skinner. | 0:21:45 | 0:21:48 | |
-Sure. How are you doing? -Not too bad. How's yourself, you all right? | 0:21:48 | 0:21:52 | |
-Yeah, good. -A fella just came up to you. What did he offer you? | 0:21:52 | 0:21:54 | |
Yeah, well... | 0:21:54 | 0:21:56 | |
I don't know. A bit of everything, really. | 0:21:56 | 0:21:58 | |
-Did he offer you, what, drugs? -Yeah. | 0:21:58 | 0:21:59 | |
Are you willing to give a statement regarding that, a quick statement? Cos we can nick him, then. | 0:21:59 | 0:22:03 | |
-Yeah. -You are? You're a gentleman, sir. Thanks. | 0:22:03 | 0:22:06 | |
It's all the evidence Gary needs | 0:22:06 | 0:22:08 | |
and he radios in for his team to make a stop. | 0:22:08 | 0:22:11 | |
But in the meantime, much to his frustration, | 0:22:11 | 0:22:14 | |
the suspect has disappeared. | 0:22:14 | 0:22:16 | |
OK, mate. Give it another five minutes, five, ten minutes | 0:22:16 | 0:22:18 | |
and if you can't find him, we'll have to just knock it on the head. | 0:22:18 | 0:22:22 | |
They're still busy looking for the suspect when HE comes to THEM. | 0:22:22 | 0:22:27 | |
He's with me now. Come here. | 0:22:27 | 0:22:28 | |
-Why? -INDISTINCT | 0:22:28 | 0:22:30 | |
-Really? -Yeah. | 0:22:30 | 0:22:31 | |
Well, you're under arrest. | 0:22:31 | 0:22:33 | |
-I'm a police officer... -No, relax, relax, relax... | 0:22:33 | 0:22:35 | |
-No, you relax. Put your hands out. Put your hands out. -For what? | 0:22:35 | 0:22:38 | |
I'm arresting you on suspicion of offering to supply controlled drugs. | 0:22:38 | 0:22:42 | |
You do not have to say anything but it may harm your defence If you do not mention | 0:22:42 | 0:22:45 | |
-when questioned, something... -I'm not forcing you nothing... | 0:22:45 | 0:22:48 | |
Anything you do say you may be given in evidence. Understand that? | 0:22:48 | 0:22:51 | |
-Gentleman... -Relax. -..plain clothes officer, all right? | 0:22:51 | 0:22:53 | |
Put your arm out! Put your arm out. Good. | 0:22:53 | 0:22:56 | |
Relax! Relax! | 0:22:56 | 0:22:58 | |
-I'm not moving, why the... -BLEEP | 0:22:58 | 0:23:00 | |
-Relax! -Why are you acting like a movie? | 0:23:00 | 0:23:03 | |
Relax. Relax, and take it easy. | 0:23:03 | 0:23:05 | |
I'm taking it easy, you take it easy! | 0:23:05 | 0:23:07 | |
Yeah, gents, Bobcat officers, I've got this man detained, | 0:23:07 | 0:23:10 | |
I've also got a, er, witness who's willing to give a statement. | 0:23:10 | 0:23:15 | |
-You're under arrest, all right? -I'm not against that, I'm saying you're pulling my arm off. -What? | 0:23:15 | 0:23:19 | |
-What's wrong? -You're pulling my arm... | 0:23:19 | 0:23:22 | |
-BLEEP -..my arm's hurting. | 0:23:22 | 0:23:23 | |
No, look. Your arms are fine. | 0:23:23 | 0:23:24 | |
How are you telling me how my body feels? | 0:23:24 | 0:23:26 | |
You've got to take it easy, take it on the chin. Be a man about it, you've been nicked. | 0:23:26 | 0:23:30 | |
-Relax... -You're shaking, I can feel your character. | 0:23:30 | 0:23:32 | |
No, no, no. I'm not shaking. | 0:23:32 | 0:23:34 | |
You're the one that's getting all tense. Don't do the eyes again. | 0:23:34 | 0:23:37 | |
Look into the eyes, around the eyes, is that what you're going to try and to do to me? | 0:23:37 | 0:23:41 | |
Just relax. Stop eyeballing me. | 0:23:41 | 0:23:43 | |
Gary searches the man and soon finds something very suspicious indeed... | 0:23:43 | 0:23:47 | |
paper wraps containing white powder. | 0:23:47 | 0:23:50 | |
Marked up as 0.6. | 0:23:50 | 0:23:52 | |
Marked up as 0.6? | 0:23:52 | 0:23:54 | |
-All three as 0.6. -What's in these? | 0:23:56 | 0:23:59 | |
-What's in these? -Paracetamols. -Sorry? Paracetamol? | 0:23:59 | 0:24:03 | |
We'll get it tested back at the nick. | 0:24:03 | 0:24:05 | |
Paracetamol. | 0:24:05 | 0:24:07 | |
Why have you got paracetamol? | 0:24:07 | 0:24:09 | |
Why have you got paracetamol? | 0:24:09 | 0:24:11 | |
I'm going to further arrest you, yeah? Listen to me... | 0:24:11 | 0:24:14 | |
-You're wasting... -..at 12:44, listen to me, | 0:24:14 | 0:24:16 | |
on suspicion of possession with intent to supply. | 0:24:16 | 0:24:20 | |
-BLEEPING -Just take it easy, | 0:24:20 | 0:24:22 | |
don't start adding threatening behaviour to it as well. Just relax, relax. Take it easy. | 0:24:22 | 0:24:26 | |
The man is insistent the powder is just paracetamol | 0:24:26 | 0:24:29 | |
but even if it is, it's not enough to get him off the hook. | 0:24:29 | 0:24:32 | |
Even if you didn't have anything on you, | 0:24:32 | 0:24:34 | |
-if you offer to supply drugs, that's the offence. -What do you mean? | 0:24:34 | 0:24:37 | |
I'm explaining it to you, listen to me carefully... | 0:24:37 | 0:24:40 | |
-Lovely, come over here, we'll talk about it down the nick. -No, no, no. | 0:24:40 | 0:24:43 | |
You are coming. | 0:24:43 | 0:24:45 | |
Sergeant Skinner and his team take the man back to the station. | 0:24:45 | 0:24:48 | |
On being searched, he's got three wraps containing white powder. | 0:24:53 | 0:24:57 | |
The white powder gives the appearance of being cocaine. | 0:24:57 | 0:25:00 | |
Gentleman informs me it's paracetamol. | 0:25:00 | 0:25:02 | |
I can't do this all night. | 0:25:02 | 0:25:04 | |
This ain't Come Dancing, come on. | 0:25:04 | 0:25:06 | |
For Gary, it's a very satisfying result. | 0:25:06 | 0:25:09 | |
DOOR SLAMS | 0:25:09 | 0:25:11 | |
Later... | 0:25:11 | 0:25:12 | |
OK, then. We're going to cuff you. | 0:25:12 | 0:25:14 | |
..Gary has his hands full | 0:25:14 | 0:25:15 | |
as the problem with skankers persists. | 0:25:15 | 0:25:17 | |
I never said for no-one. | 0:25:17 | 0:25:18 | |
I think they're supplying, let's go. If anything's in that van... | 0:25:18 | 0:25:21 | |
Man! What are you doing? | 0:25:21 | 0:25:24 | |
Andy Barnes is at House Of Fraser, | 0:25:30 | 0:25:33 | |
covering a London Fashion Week photo shoot for a couture brand. | 0:25:33 | 0:25:36 | |
He's managed to catch TOWIE's Sam Faiers, | 0:25:38 | 0:25:40 | |
but he's still waiting for Made In Chelsea star, Stephanie Pratt, | 0:25:40 | 0:25:44 | |
who's caught up in football traffic. | 0:25:44 | 0:25:46 | |
We need to get Stephanie getting out as well, | 0:25:46 | 0:25:49 | |
-cos she's just as important. -Fine. | 0:25:49 | 0:25:51 | |
All right, I think she's, like, literally a minute away. | 0:25:51 | 0:25:54 | |
But before the 60 seconds is up, | 0:25:54 | 0:25:56 | |
word comes through that Sam Faiers is leaving round the back. | 0:25:56 | 0:26:00 | |
-It's a keen shot for Andy. -There's a car, over here. | 0:26:00 | 0:26:04 | |
Hi, guys. | 0:26:04 | 0:26:05 | |
Are you Sam Faiers' car? | 0:26:05 | 0:26:07 | |
INDISTINCT | 0:26:07 | 0:26:09 | |
-Are you Sam Faiers' car? -No. | 0:26:09 | 0:26:11 | |
He might have the wrong car, | 0:26:13 | 0:26:15 | |
but Andy's definitely in the right place at the right time | 0:26:15 | 0:26:18 | |
for a celebrity exit. | 0:26:18 | 0:26:20 | |
Oh. | 0:26:20 | 0:26:22 | |
-No-one was there. -Next one. -Next one. | 0:26:22 | 0:26:24 | |
FAINT LAUGHTER | 0:26:24 | 0:26:25 | |
Just looking straight ahead for me, Sam. | 0:26:25 | 0:26:28 | |
-Take care, darling. -For Andy, this is gold dust. | 0:26:28 | 0:26:31 | |
He's still the only photographer getting these photos. | 0:26:31 | 0:26:34 | |
But if he's to sell big numbers, | 0:26:34 | 0:26:36 | |
he needs to get the same again with Stephanie Pratt, | 0:26:36 | 0:26:39 | |
who's still stuck in football-related traffic. | 0:26:39 | 0:26:43 | |
I'll have a bet with you that this is it. | 0:26:43 | 0:26:45 | |
It is. It is. | 0:26:45 | 0:26:46 | |
It's the star of The Hills and Made In Chelsea, Stephanie Pratt. | 0:26:51 | 0:26:56 | |
Thanks, Stephanie. | 0:26:56 | 0:26:57 | |
Are you OK? | 0:26:57 | 0:26:59 | |
-Fine, how are you? -Lovely, good. | 0:26:59 | 0:27:01 | |
Hello. That traffic is insane. | 0:27:02 | 0:27:04 | |
INDISTINCT | 0:27:04 | 0:27:05 | |
Mwah. | 0:27:09 | 0:27:10 | |
Oh, dear. Oh. | 0:27:10 | 0:27:12 | |
Thank you. | 0:27:13 | 0:27:15 | |
Andy heads inside for a shoot so exclusive | 0:27:15 | 0:27:18 | |
even we're not invited. | 0:27:18 | 0:27:20 | |
Finally, the crowd out front get what they were waiting for. | 0:27:24 | 0:27:28 | |
Guys, just all looking this way for me. | 0:27:30 | 0:27:32 | |
CAMERA CLICKS | 0:27:32 | 0:27:34 | |
Brilliant, and then can we all turn... | 0:27:34 | 0:27:35 | |
Have you finished that? That's brilliant. OK, here you go. | 0:27:35 | 0:27:39 | |
Brilliant, big smile. Great. That's lovely. | 0:27:39 | 0:27:42 | |
For couture label Ariella, it's just the buzz they wanted. | 0:27:42 | 0:27:46 | |
We've got the public involved with London Fashion Week, | 0:27:46 | 0:27:49 | |
we've brought glamorous fashion, catwalk fashion, | 0:27:49 | 0:27:52 | |
to Oxford Street, and I think that's where fashion is going. | 0:27:52 | 0:27:56 | |
But Andy's day's work is just beginning. | 0:27:56 | 0:27:58 | |
-Lovely to see you, can't wait for the pictures. -Oh, yeah. | 0:27:58 | 0:28:01 | |
What worries me a bit is that all the, er, | 0:28:01 | 0:28:04 | |
all...the two celebrities that I photographed, | 0:28:04 | 0:28:07 | |
they're going to be doing the circuit and going to other events, | 0:28:07 | 0:28:10 | |
so I really need to get these pictures out as quickly as possible | 0:28:10 | 0:28:13 | |
so we make sure we, we hit all the magazines. | 0:28:13 | 0:28:16 | |
At a secret location, | 0:28:16 | 0:28:18 | |
Andy hooks up to the net to get his pictures online as soon as possible. | 0:28:18 | 0:28:22 | |
We've got some really strong pictures there. | 0:28:22 | 0:28:25 | |
I'm looking for the likes of OK! Hello! | 0:28:25 | 0:28:28 | |
those sort of type of magazines, | 0:28:28 | 0:28:30 | |
I think they could really pick up on this, big-time. | 0:28:30 | 0:28:32 | |
Hopefully tomorrow morning when I look at the papers | 0:28:32 | 0:28:34 | |
and in a couple of weeks' time as well, looking at all the magazines, | 0:28:34 | 0:28:37 | |
I should be able to see how I got on. | 0:28:37 | 0:28:40 | |
And after we filmed, | 0:28:40 | 0:28:41 | |
a number of publications did pick up on Andy's pictures, | 0:28:41 | 0:28:45 | |
including Reveal and Now magazines | 0:28:45 | 0:28:47 | |
and the crucial Mail Online. | 0:28:47 | 0:28:50 | |
Oxford Street is a competitive place to try and do business. | 0:28:58 | 0:29:02 | |
Over 200 stores battle to catch the eye | 0:29:02 | 0:29:05 | |
of the 30 million visitors a year that come here. | 0:29:05 | 0:29:08 | |
And it's figures like these that have attracted the attention | 0:29:08 | 0:29:12 | |
of entrepreneur, Akshuna Bakshi. | 0:29:12 | 0:29:13 | |
She's selected Oxford Street as the perfect place | 0:29:15 | 0:29:18 | |
for her unique Indo-British fare | 0:29:18 | 0:29:20 | |
and this morning, she and her team have come to prepare | 0:29:20 | 0:29:23 | |
the Salvation Army's Regent Hall for the event. | 0:29:23 | 0:29:26 | |
Let's see how it looks. | 0:29:26 | 0:29:28 | |
-Oh, OK. -OK. -Good space. -Wow. -Oh, that would be, yeah. | 0:29:29 | 0:29:33 | |
Tomorrow, this room will host 35 independent designers, | 0:29:33 | 0:29:36 | |
selling Indian-influenced products. | 0:29:36 | 0:29:39 | |
The tables need to come in, the decorations need to come in, | 0:29:39 | 0:29:42 | |
the colour needs to be added, because at the moment, | 0:29:42 | 0:29:45 | |
it looks very empty, but I'm just keeping my fingers crossed | 0:29:45 | 0:29:49 | |
that our team is going to transform it completely. | 0:29:49 | 0:29:53 | |
-OK. -Akshuna has run these fairs across the world | 0:29:53 | 0:29:56 | |
and for the UK leg, she's picked Oxford Street | 0:29:56 | 0:29:59 | |
because of the high numbers of passing shoppers it attracts. | 0:29:59 | 0:30:02 | |
Today is the first day of three for the event | 0:30:03 | 0:30:06 | |
and she's determined it will be a success. | 0:30:06 | 0:30:09 | |
It's a sea of shoppers out here. | 0:30:09 | 0:30:11 | |
I think it's a perfect location for any event to happen. | 0:30:11 | 0:30:15 | |
I'm having butterflies in my stomach. | 0:30:15 | 0:30:18 | |
Akshuna's team gets decorating. It's got to look good. | 0:30:18 | 0:30:21 | |
Each designer is paid around £600 to rent a stall to sell their wares. | 0:30:21 | 0:30:27 | |
To be successful, they need to make healthy sales. | 0:30:27 | 0:30:30 | |
You know, the crux of the matter is you need to get shoppers in. | 0:30:31 | 0:30:35 | |
Once you get shoppers in, everybody is calm. | 0:30:35 | 0:30:38 | |
So, our main agenda today is to get as many people as possible inside. | 0:30:38 | 0:30:42 | |
Patrick Moriarty has hired a stall | 0:30:42 | 0:30:45 | |
to sell his paisley-patterned bags and accessories. | 0:30:45 | 0:30:48 | |
What I'm going to try and achieve today | 0:30:48 | 0:30:50 | |
is get some... lots of sales with a London audience. | 0:30:50 | 0:30:53 | |
Maybe if there's some buyers from places like John Lewis | 0:30:53 | 0:30:56 | |
and Liberty coming in and ordering your stuff to stock in their shops. | 0:30:56 | 0:31:00 | |
So, it's now a matter of us doing our best out there | 0:31:00 | 0:31:03 | |
and getting people in. | 0:31:03 | 0:31:05 | |
And Akshuna's assigned the task of achieving that | 0:31:05 | 0:31:08 | |
to assistant, Rihanna. | 0:31:08 | 0:31:10 | |
I think it's OK. It is a bit, er... | 0:31:10 | 0:31:13 | |
I think if it rains, it won't be the best of outfits, | 0:31:13 | 0:31:17 | |
but it should be all right. | 0:31:17 | 0:31:19 | |
At 11am, it's time for the event to kick off. | 0:31:19 | 0:31:22 | |
Ladies and gen... Ladies and... Oh, gosh, it's not... | 0:31:22 | 0:31:25 | |
FEEDBACK | 0:31:27 | 0:31:29 | |
Ladies and gentlemen, can I have your attention please? | 0:31:29 | 0:31:32 | |
Firstly, if we have to evacuate the building... | 0:31:32 | 0:31:37 | |
While he works on getting people out of the building, | 0:31:37 | 0:31:40 | |
on the street, the publicity team is concentrating on the exact opposite. | 0:31:40 | 0:31:45 | |
Er, guys, I think you really need to work on this, | 0:31:45 | 0:31:49 | |
because I don't know how many people are going to get in, | 0:31:49 | 0:31:52 | |
because they just look at it and they're just going to go. | 0:31:52 | 0:31:55 | |
So you really need to tell them to get in. | 0:31:55 | 0:31:57 | |
Hi, it's inside, open! Hello! | 0:31:57 | 0:32:00 | |
Please go and have a look, thank you. | 0:32:00 | 0:32:02 | |
See, that's something. | 0:32:02 | 0:32:04 | |
Yeah, OK. I'll just, I'll just... Yeah. | 0:32:04 | 0:32:06 | |
It doesn't work if you don't get the people inside. | 0:32:06 | 0:32:09 | |
You should definitely check in. | 0:32:09 | 0:32:11 | |
Yeah, but then please do come back. | 0:32:13 | 0:32:15 | |
And tell your friends! | 0:32:15 | 0:32:17 | |
But despite a few early successes... | 0:32:17 | 0:32:19 | |
It looks very good and the prices are very reasonable. | 0:32:19 | 0:32:22 | |
..by lunchtime, footfall is low. | 0:32:22 | 0:32:26 | |
Everyone in London's in a rush. You know? | 0:32:26 | 0:32:28 | |
Everyone just has their destination and anyone that gets in their path is like, "Go away!" | 0:32:28 | 0:32:34 | |
So it's... Yeah, it's a really difficult spot to do this. | 0:32:34 | 0:32:39 | |
Akshuna decides to try something new. | 0:32:39 | 0:32:41 | |
Please come take a look! | 0:33:01 | 0:33:02 | |
Da-da-da-da-da-da-da-da-da! | 0:33:02 | 0:33:04 | |
Hi! | 0:33:06 | 0:33:07 | |
Come and listen to me play, guys! | 0:33:07 | 0:33:09 | |
PLAYS FLUTE TUNELESSLY | 0:33:12 | 0:33:15 | |
It's the same note each time! | 0:33:15 | 0:33:18 | |
Just trying to make this look obvious and try to attract more | 0:33:18 | 0:33:22 | |
people to come to our event, because now it's... | 0:33:22 | 0:33:26 | |
Yes, it's not going very well. | 0:33:26 | 0:33:29 | |
The success of the fair is now dependent on Akshuna's | 0:33:30 | 0:33:33 | |
ability to get shoppers in to have a look. | 0:33:33 | 0:33:36 | |
Later, as she tries to turn things around, she brings out the big guns. | 0:33:38 | 0:33:42 | |
At JD, escalator maintenance man, Stuart, | 0:33:53 | 0:33:56 | |
has run into a problem with the machine he's working on. | 0:33:56 | 0:33:59 | |
The circuitry has tripped, cutting the power. | 0:33:59 | 0:34:03 | |
He needs to get it back up and running | 0:34:03 | 0:34:05 | |
and the rest of the machines checked before the store opens. | 0:34:05 | 0:34:09 | |
The store needs to be open in the next hour, so we need to get in, | 0:34:09 | 0:34:12 | |
get this job done and then get out before the store opens. | 0:34:12 | 0:34:15 | |
A check of the control panel hasn't shown up any faults, | 0:34:15 | 0:34:18 | |
so he has to power it down and do a full reset. | 0:34:18 | 0:34:21 | |
All right... | 0:34:24 | 0:34:25 | |
Happy escalator. | 0:34:27 | 0:34:28 | |
With the escalator working again, Stuart can go back | 0:34:31 | 0:34:34 | |
to his regular maintenance, such as cleaning beneath every step. | 0:34:34 | 0:34:38 | |
Escalators get very dirty, very quickly. | 0:34:38 | 0:34:40 | |
Moving. | 0:34:40 | 0:34:41 | |
You never get them spotless, but get 'em as close as you can. | 0:34:41 | 0:34:44 | |
I'm even breaking a sweat now. | 0:34:46 | 0:34:48 | |
There's a couple more key pieces of maintenance still to do. | 0:34:48 | 0:34:52 | |
Just checking the inside of the handrails, | 0:34:52 | 0:34:54 | |
make sure they're not worn. | 0:34:54 | 0:34:56 | |
This is the escalator's friend, known as oil. | 0:34:56 | 0:34:59 | |
You like that, don't you? | 0:34:59 | 0:35:01 | |
It's like watching honey come out of a beehive. | 0:35:01 | 0:35:05 | |
With everything in good working order, the removed steps can go back on. | 0:35:05 | 0:35:09 | |
I'm just going to give it a final test, just run it through, | 0:35:09 | 0:35:11 | |
make sure there's no loud squeaks or noises. | 0:35:11 | 0:35:14 | |
MACHINERY POWERS UP | 0:35:14 | 0:35:15 | |
Things seem to be running smoothly. | 0:35:15 | 0:35:17 | |
Like a pussycat. | 0:35:17 | 0:35:19 | |
Sounds absolutely lovely. | 0:35:19 | 0:35:21 | |
And that will be us done. | 0:35:21 | 0:35:23 | |
It's been a busy morning and hasn't all been plain sailing. | 0:35:23 | 0:35:26 | |
But these escalators at least are in good shape. | 0:35:26 | 0:35:30 | |
Which means thousands more shoppers can ride them without giving | 0:35:30 | 0:35:33 | |
a second thought to the work that goes into keeping them running. | 0:35:33 | 0:35:36 | |
I'm happy with that. | 0:35:36 | 0:35:38 | |
On to the next job. | 0:35:38 | 0:35:39 | |
Sgt Gary Skinner and his team are continuing their patrols | 0:35:50 | 0:35:54 | |
of Soho on the lookout for skankers. | 0:35:54 | 0:35:56 | |
Their main focus is on preventing robberies | 0:35:58 | 0:36:01 | |
and their work is having an effect. | 0:36:01 | 0:36:03 | |
They've only been operational for eight weeks, but already robberies in | 0:36:03 | 0:36:06 | |
the area are down 38%. | 0:36:06 | 0:36:11 | |
They've not been back on patrol long when two of Gary's team | 0:36:11 | 0:36:13 | |
radio in to say they've spotted more men acting suspiciously. | 0:36:13 | 0:36:18 | |
I just separate "He looks like a dealer" from a potential victim. | 0:36:18 | 0:36:23 | |
But this'll be a hell of a result if we get this one. | 0:36:23 | 0:36:25 | |
Gary moves in to talk to the victim. | 0:36:25 | 0:36:27 | |
All right, sir? How are you? | 0:36:27 | 0:36:29 | |
Oh, bit the worse for wear, eh? | 0:36:29 | 0:36:30 | |
The man, who has been drinking in the area, | 0:36:30 | 0:36:33 | |
says he was offered drugs by a suspect the police have stopped. | 0:36:33 | 0:36:36 | |
The search has revealed he had paracetamol on him. | 0:36:36 | 0:36:39 | |
The victim's witness testimony is crucial. | 0:36:39 | 0:36:43 | |
Without it, there will be no evidence the skankers had been offering drugs. | 0:36:43 | 0:36:46 | |
I tell you what, I never done nothing wrong! | 0:36:46 | 0:36:49 | |
Two friends of the stopped suspect are also taking an interest | 0:36:49 | 0:36:52 | |
and Gary wants to ask one of them some questions. | 0:36:52 | 0:36:55 | |
What are you doing here tonight? | 0:36:55 | 0:36:57 | |
Dave, have we got this fella's details? | 0:36:57 | 0:36:59 | |
No, no, no. Just wait a minute. | 0:37:00 | 0:37:02 | |
The man attempts to walk off, so Gary takes action. | 0:37:02 | 0:37:05 | |
In a minute I'm going to cuff you, because I've got a pair in my case. | 0:37:05 | 0:37:08 | |
OK, we're going to cuff you. All right. | 0:37:08 | 0:37:11 | |
You said you were going to walk off and we can't allow you to do that. | 0:37:11 | 0:37:14 | |
-The grounds for me stopping you is that you are in an area known for drugs. -I didn't even... | 0:37:14 | 0:37:18 | |
Listen to me! | 0:37:18 | 0:37:19 | |
The object is to see if you've got drugs on you, all right? | 0:37:19 | 0:37:22 | |
I am Sgt Skinner, attached to Charing Cross. | 0:37:22 | 0:37:24 | |
I'm sure you're an upstanding citizen... | 0:37:24 | 0:37:26 | |
The search doesn't turn up anything suspicious. | 0:37:26 | 0:37:29 | |
Everything now rests on the witnesses' testimony. | 0:37:29 | 0:37:32 | |
-He's pointed out to me just now, this chap in the white... -Yeah? | 0:37:32 | 0:37:35 | |
..and he said the words, "I can sell you coke at £50 a gram." | 0:37:35 | 0:37:39 | |
There's no drugs, but a clear attempt to extract money by offering them. | 0:37:40 | 0:37:45 | |
Blatant skanking. | 0:37:45 | 0:37:46 | |
The testimony clearly implicates the talkative man | 0:37:46 | 0:37:49 | |
Gary's just put in handcuffs. | 0:37:49 | 0:37:51 | |
-Because you're going to get nicked. -For what? | 0:37:51 | 0:37:53 | |
I'll explain in a minute. I'll give you the good news in a second. | 0:37:53 | 0:37:56 | |
Suddenly, some friends of the men in handcuffs turn up, | 0:37:59 | 0:38:02 | |
unhappy at what's happening. | 0:38:02 | 0:38:04 | |
Fellas, you need to go away! | 0:38:04 | 0:38:05 | |
On a cold, wet night, it's a fraught situation. | 0:38:05 | 0:38:08 | |
If you can get the van on the hurry up... | 0:38:08 | 0:38:10 | |
Realised I've got a few others that are starting to scurry around | 0:38:10 | 0:38:13 | |
and we'd appreciate if we can get these two out of the area fairly quickly. | 0:38:13 | 0:38:16 | |
You're under arrest for offering to supply drugs. | 0:38:16 | 0:38:19 | |
-I never spoke to no-one! -Offering to supply, let's go. | 0:38:19 | 0:38:22 | |
-..anything you do say... -Get in the van. Get up. Sit down. | 0:38:22 | 0:38:26 | |
-If anything... -My hat! My hat! What the... What're you doing? | 0:38:26 | 0:38:30 | |
-In you get. -How do you prove... | 0:38:30 | 0:38:32 | |
Superb job, gents. Superb. See you back at the ranch. | 0:38:35 | 0:38:38 | |
All right, see you. Cheers, gents. | 0:38:38 | 0:38:39 | |
For Gary, it's been a busy night, | 0:38:41 | 0:38:43 | |
but when it comes to policing the West End, things are rarely quiet. | 0:38:43 | 0:38:48 | |
What happens now, we go to custody, | 0:38:48 | 0:38:50 | |
they'll both be booked in for offering to supply controlled drugs. | 0:38:50 | 0:38:54 | |
Oi, oi, oi! Calm it down. Police officer. Put it down. | 0:38:54 | 0:38:58 | |
GLASS SMASHES | 0:38:58 | 0:38:59 | |
-You prat. -THEY LAUGH | 0:38:59 | 0:39:01 | |
Yeah, keep walking, fellas, keep walking. | 0:39:01 | 0:39:03 | |
-Fella, you with them? -Yeah, I'm with them. -Calm them down. | 0:39:03 | 0:39:05 | |
There's loads of us about and they're going to get nicked. | 0:39:05 | 0:39:08 | |
-Yeah, no, He's been... -Good man, yep. | 0:39:08 | 0:39:11 | |
Back at the station, the two suspects are booked in and charged. | 0:39:11 | 0:39:14 | |
And it looks like the team's hunches about the men have been spot on. | 0:39:14 | 0:39:17 | |
Have they got any previous for offering? | 0:39:17 | 0:39:19 | |
-Yes, offering to supply... Two drug offences... -Oh, fantastic. | 0:39:19 | 0:39:23 | |
So basically, two thieves, two robbers, yeah? Happy days. | 0:39:23 | 0:39:27 | |
They was professing their innocence, that they wasn't doing anything, | 0:39:27 | 0:39:30 | |
and they wouldn't do such a thing, and yet the records show a different story. | 0:39:30 | 0:39:35 | |
All in all, it's been a good night. | 0:39:35 | 0:39:37 | |
We got a total of six arrests tonight. | 0:39:37 | 0:39:39 | |
I've got no doubt if they were left out there, would go on to commit further offences. | 0:39:39 | 0:39:43 | |
Since we filmed, the man who ran away from police was given | 0:39:43 | 0:39:47 | |
a suspended seven-week sentence for breaching his court order. | 0:39:47 | 0:39:51 | |
No further action was taken against the man with the wraps of powder. | 0:39:51 | 0:39:56 | |
The man suspected of offering to supply class A drugs was charged | 0:39:56 | 0:40:00 | |
and has been bailed to appear in court. | 0:40:00 | 0:40:02 | |
At the Salvation Army's Regent Hall, New Delhi entrepreneur Akshuna Bakshi | 0:40:12 | 0:40:16 | |
is determined to bring a taste of India to Oxford Street | 0:40:16 | 0:40:19 | |
in the shape of The Indo British Fair. | 0:40:19 | 0:40:21 | |
But despite dozens of independent designers | 0:40:23 | 0:40:25 | |
and a number of marketing ploys... | 0:40:25 | 0:40:27 | |
SHE PLAYS FLUTE TUNELESSLY | 0:40:27 | 0:40:30 | |
Come and listen to me play, guys! | 0:40:30 | 0:40:32 | |
..customer flow is slow. | 0:40:32 | 0:40:35 | |
Would you like a leaflet? Have a lovely day. | 0:40:35 | 0:40:37 | |
Ha! People pretending they're on their phone! | 0:40:37 | 0:40:40 | |
I know they're lying! | 0:40:40 | 0:40:41 | |
And worse is to follow, | 0:40:42 | 0:40:44 | |
as the British part of the fair makes an unwelcome appearance. | 0:40:44 | 0:40:49 | |
My flyers are pretty...soaked. So I don't know if they're working. | 0:40:49 | 0:40:54 | |
So the rain might help us, let's see. | 0:40:54 | 0:40:58 | |
Akshuna refuses to let the rain get her down. | 0:40:58 | 0:41:00 | |
She's got plenty of plans to increase interest. | 0:41:00 | 0:41:03 | |
INDIAN DANCE MUSIC PLAYS | 0:41:05 | 0:41:08 | |
CHEERING AND APPLAUSE | 0:41:10 | 0:41:12 | |
The dancing goes down well inside. | 0:41:20 | 0:41:23 | |
And Akshuna's got something up her sleeve for outside as well. | 0:41:23 | 0:41:27 | |
It's like a drum, and she's going to play it, so yeah, let's see. | 0:41:27 | 0:41:32 | |
RHYTHMIC DRUM | 0:41:32 | 0:41:34 | |
SHE PLAYS DRUM | 0:41:37 | 0:41:40 | |
I'm really enjoying it, to be honest. | 0:41:47 | 0:41:49 | |
If nobody complains, we're fine. | 0:41:49 | 0:41:51 | |
The entertainment does seem to be making a difference, | 0:41:55 | 0:41:58 | |
and numbers start to increase. | 0:41:58 | 0:42:00 | |
Finally, after three hours, Patrick makes his first sale. | 0:42:00 | 0:42:04 | |
You need one to get off the ground, | 0:42:04 | 0:42:06 | |
and then hopefully it will snowball, but, yeah, we'll see. It's a good start. | 0:42:06 | 0:42:09 | |
-It's all made by artisan communities in Pakistan. -Oh. | 0:42:12 | 0:42:15 | |
-They're all pure, organic cotton. Thank you very much. -Very kind of you. | 0:42:15 | 0:42:18 | |
Have a good day, and tell everyone about us. | 0:42:18 | 0:42:20 | |
As the day winds down, Akshuna gets a chance to reflect. | 0:42:20 | 0:42:24 | |
Even on Oxford Street, | 0:42:24 | 0:42:25 | |
generating the footfalls you'd hope for has been harder than she'd thought. | 0:42:25 | 0:42:29 | |
Oxford Street is definitely not for the faint-hearted, | 0:42:29 | 0:42:32 | |
because you have to deal with so many people of different nationalities | 0:42:32 | 0:42:36 | |
and different backgrounds, so it's very difficult to convince them | 0:42:36 | 0:42:40 | |
to see something eclectic and something which is multicultural. | 0:42:40 | 0:42:44 | |
It's been a really long day, and it's been really wet and grey, | 0:42:44 | 0:42:48 | |
but we've managed to get people in, | 0:42:48 | 0:42:51 | |
and that's all that matters at the end of the day, really. | 0:42:51 | 0:42:54 | |
I think it's been quite a success. | 0:42:54 | 0:42:56 | |
With everyone back in civvies, day one is complete. | 0:42:56 | 0:43:00 | |
I had a really, really fun time. | 0:43:00 | 0:43:02 | |
Take care. | 0:43:02 | 0:43:03 | |
It's been tough, but on Oxford Street, tomorrow is always another day. | 0:43:03 | 0:43:08 |