Browse content similar to Episode 7. Check below for episodes and series from the same categories and more!
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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... | 0:00:12 | 0:00:14 | |
CHEERING | 0:00:14 | 0:00:15 | |
-..biggest stars... -Kate Moss! | 0:00:15 | 0:00:17 | |
..and busiest stations. | 0:00:17 | 0:00:19 | |
Sorry, guys. Stand back for me! | 0:00:19 | 0:00:21 | |
What does it take to keep it running 24 hours a day... | 0:00:21 | 0:00:25 | |
It's the busiest street in the world, so it needs constant attention. | 0:00:25 | 0:00:28 | |
-..seven days a week? -Oi! Clear off! | 0:00:28 | 0:00:30 | |
SIRENS WAIL | 0:00:30 | 0:00:31 | |
You are being arrested on suspicion of attempted theft. | 0:00:31 | 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 | |
Coming up: | 0:00:47 | 0:00:48 | |
an argument at a shop requires police intervention. | 0:00:48 | 0:00:51 | |
And there's a surprise in store. | 0:00:51 | 0:00:53 | |
Oh, mate, what's this? | 0:00:53 | 0:00:55 | |
It's Carry On Oxford Street, as Barbara Windsor gets a new suit. | 0:00:56 | 0:01:00 | |
Ooh! Come on. | 0:01:00 | 0:01:02 | |
Meet the workers building Britain's newest railway. | 0:01:02 | 0:01:05 | |
And attention-seeking, Oxford Street-style - | 0:01:07 | 0:01:10 | |
Supercars hits Europe's busiest shopping street. | 0:01:10 | 0:01:14 | |
If you're going to go for a drive through central London, | 0:01:14 | 0:01:17 | |
then Oxford Street is the only place to come. | 0:01:17 | 0:01:19 | |
Tonight, PC Sarah-Jane Morrison and PC Tom May are in plain clothes | 0:01:24 | 0:01:29 | |
and, with two colleagues, on patrol on Oxford Street. | 0:01:29 | 0:01:32 | |
They are part of the Orb Team | 0:01:34 | 0:01:36 | |
that works hard to ensure the street is safe and welcoming for visitors. | 0:01:36 | 0:01:40 | |
It's usually their job to spot pickpockets and bag thieves | 0:01:41 | 0:01:45 | |
and put a stop to any nefarious goings-on. | 0:01:45 | 0:01:48 | |
The clocks have gone back, it's dark, | 0:01:48 | 0:01:51 | |
and the street's already filling with Christmas shoppers. | 0:01:51 | 0:01:55 | |
Little do the officers know that, tonight, | 0:01:55 | 0:01:57 | |
Oxford Street has something very different in store for them. | 0:01:57 | 0:02:01 | |
It's getting a lot busier. The shoppers are staying out later. | 0:02:01 | 0:02:04 | |
So there's a lot more opportunity for people to commit street thefts. | 0:02:04 | 0:02:09 | |
It's not just thieves. | 0:02:10 | 0:02:13 | |
Christmas has seen an increase in illegal begging on the street. | 0:02:13 | 0:02:16 | |
It's usually dealt with by uniformed officers, | 0:02:16 | 0:02:19 | |
but dressed in plain clothes, | 0:02:19 | 0:02:21 | |
it's Tom and Sarah-Jane that are attracting their attention. | 0:02:21 | 0:02:24 | |
Hello. Wrong person, mate. | 0:02:25 | 0:02:28 | |
HE LAUGHS | 0:02:28 | 0:02:30 | |
-Yeah? -You know you can't beg? | 0:02:30 | 0:02:33 | |
You've got more than one in there. | 0:02:33 | 0:02:36 | |
-Yeah? -You know the drill, no begging on Oxford Street. | 0:02:36 | 0:02:40 | |
-SHE SPEAKS IN HER OWN LANGUAGE -You can't do it. | 0:02:40 | 0:02:42 | |
-If I see it again this evening, I will arrest you, all right? -OK, OK, promise. | 0:02:42 | 0:02:46 | |
Many of the beggars are known to police, | 0:02:46 | 0:02:49 | |
and this isn't the first time they've been moved on. | 0:02:49 | 0:02:52 | |
-Bye. -Bye-bye. -Bye-bye. | 0:02:52 | 0:02:54 | |
They'll beg and beg and beg when you're in plain clothes. | 0:02:54 | 0:02:57 | |
As soon as you get your warrant card out, | 0:02:57 | 0:02:59 | |
totally different attitude, and they're straight up | 0:02:59 | 0:03:02 | |
and they've got a bad attitude with you and they just walk off. | 0:03:02 | 0:03:05 | |
Tom and Sarah-Jane move on. | 0:03:05 | 0:03:07 | |
As always, looking for the suspicious behaviour | 0:03:07 | 0:03:10 | |
indicative of professional thieves. | 0:03:10 | 0:03:12 | |
Instead, they walk right into a disturbance outside a shop. | 0:03:12 | 0:03:16 | |
You understand what I'm saying? | 0:03:26 | 0:03:27 | |
As they arrived, store security were separating two men. | 0:03:30 | 0:03:34 | |
This man says he asked for directions to Bond Street | 0:03:34 | 0:03:37 | |
and was insulted by the other man. | 0:03:37 | 0:03:39 | |
He seems agitated. | 0:03:39 | 0:03:40 | |
Tom is struggling to make sense of the man's story. | 0:03:52 | 0:03:56 | |
-You asked him outside? -Yes, outside, so he could talk. -Right. | 0:03:56 | 0:04:00 | |
-So we can talk. -Give my colleague your details... | 0:04:00 | 0:04:02 | |
-Yeah, yeah... -..let me go and speak to my other colleagues | 0:04:02 | 0:04:04 | |
and find out what's going on, all right? | 0:04:04 | 0:04:06 | |
The other man is with his family. | 0:04:06 | 0:04:08 | |
He doesn't speak English, | 0:04:08 | 0:04:09 | |
but a passer-by has agreed to help translate. | 0:04:09 | 0:04:12 | |
OK, what's happened then? | 0:04:13 | 0:04:15 | |
The translator says | 0:04:22 | 0:04:23 | |
when the man also tried to beg for money from the children | 0:04:23 | 0:04:26 | |
he was asked to stop and then became threatening. | 0:04:26 | 0:04:29 | |
He thought that the guy was scaring the children? | 0:04:31 | 0:04:34 | |
Right. | 0:04:40 | 0:04:42 | |
As we thought, the other stories haven't quite matched up. | 0:04:42 | 0:04:44 | |
They're saying something very different | 0:04:44 | 0:04:47 | |
to what the chap in orange is saying. | 0:04:47 | 0:04:49 | |
Meanwhile, two other constables | 0:04:50 | 0:04:52 | |
have been checking the man's identification. | 0:04:52 | 0:04:54 | |
As a contractor in this area, he will know where Bond Street is. | 0:04:54 | 0:04:59 | |
It's like... It's a strange one, yeah. | 0:04:59 | 0:05:01 | |
Security backs up the family's version of events | 0:05:03 | 0:05:06 | |
and store CCTV shows the man behaving in a threatening manner. | 0:05:06 | 0:05:11 | |
You can see him approach the male | 0:05:11 | 0:05:13 | |
and he certainly appears to be aggressive, | 0:05:13 | 0:05:15 | |
getting into his personal space, hands on the hips, | 0:05:15 | 0:05:18 | |
gesturing out in front of him, pointing at him. | 0:05:18 | 0:05:21 | |
Security intervene, but can't calm him down. | 0:05:21 | 0:05:24 | |
Certainly very angry at the man in stripes, for no apparent reason. | 0:05:24 | 0:05:28 | |
The man exits, but doesn't leave. Instead, pacing outside the shop. | 0:05:30 | 0:05:35 | |
I'd certainly be nervous if I was there with my family. | 0:05:35 | 0:05:37 | |
The family has to be escorted out. | 0:05:37 | 0:05:40 | |
The security officer is in the middle, | 0:05:40 | 0:05:42 | |
trying to prevent the suspect from getting towards the family. | 0:05:42 | 0:05:46 | |
And any second now, I think myself and my colleagues | 0:05:46 | 0:05:49 | |
are going to walk in from the left. | 0:05:49 | 0:05:51 | |
Back on the street, | 0:05:54 | 0:05:55 | |
Tom thinks the man in orange's behaviour seems erratic, | 0:05:55 | 0:05:58 | |
and he doesn't believe the man would need to ask directions | 0:05:58 | 0:06:01 | |
to a station he should know well. | 0:06:01 | 0:06:03 | |
I can't smell anything. | 0:06:06 | 0:06:08 | |
I'll go and have a sniff! | 0:06:08 | 0:06:10 | |
Sarah-Jane has been speaking to the family | 0:06:10 | 0:06:12 | |
and now, satisfied that the man was harassing them, | 0:06:12 | 0:06:15 | |
Tom decides to arrest him under the Public Order Act. | 0:06:15 | 0:06:19 | |
Just pop your hands behind your back. | 0:06:19 | 0:06:21 | |
-Other arm. -Just relax. | 0:06:21 | 0:06:22 | |
All right, stay there. | 0:06:25 | 0:06:26 | |
Come outside. | 0:06:29 | 0:06:31 | |
-Officer... -It's all right... -What did I do? -Easy, right? | 0:06:32 | 0:06:35 | |
We'll just take you outside, all right? Chill out. | 0:06:35 | 0:06:37 | |
The man continues to protest, | 0:06:37 | 0:06:39 | |
and Tom is becoming more and more concerned by his behaviour. | 0:06:39 | 0:06:42 | |
Later, a search of the man might have turned up the reason | 0:06:44 | 0:06:47 | |
why he's acting so strangely. | 0:06:47 | 0:06:49 | |
That's nothing? | 0:06:50 | 0:06:51 | |
It's 10am, and just off Oxford Street, tailor Stephen Williams | 0:07:00 | 0:07:04 | |
is getting ready for another day's work, | 0:07:04 | 0:07:06 | |
making bespoke suits for the rich and famous. | 0:07:06 | 0:07:10 | |
All set for today, with my kit. I hope. | 0:07:10 | 0:07:13 | |
Stephen's clients have included David Beckham, Samuel L Jackson | 0:07:15 | 0:07:19 | |
and even Michael Portillo. | 0:07:19 | 0:07:21 | |
But one of his favourites and one of his regulars is due later today, | 0:07:21 | 0:07:25 | |
wanting a very special suit for a very important occasion. | 0:07:25 | 0:07:29 | |
He's using the salon at this restaurant | 0:07:30 | 0:07:33 | |
to measure up Barbara Windsor. | 0:07:33 | 0:07:35 | |
Barbara and I have been working together for about six years now. | 0:07:35 | 0:07:39 | |
She's so old-school, so respectful of what I do. | 0:07:39 | 0:07:42 | |
She's an absolute credit and a joy to work with. | 0:07:42 | 0:07:45 | |
Barbara is fronting this year's Poppy Day Appeal. | 0:07:45 | 0:07:48 | |
A major photo shoot has been organised for the launch | 0:07:48 | 0:07:51 | |
and she needs a new suit to stand out proud, | 0:07:51 | 0:07:54 | |
while being respectful to the cause. | 0:07:54 | 0:07:56 | |
She's left it very late to ask for one, | 0:07:56 | 0:07:59 | |
but Stephen would do anything for her. | 0:07:59 | 0:08:01 | |
My concern is going to get everything made quick as possible. | 0:08:01 | 0:08:05 | |
I've got ten days, | 0:08:05 | 0:08:06 | |
but we will make it happen. | 0:08:06 | 0:08:08 | |
Moments later, the Queen of the East End arrives up West | 0:08:09 | 0:08:12 | |
to discuss what she wants. | 0:08:12 | 0:08:14 | |
-I've got my ammunition! -SHE GIGGLES | 0:08:14 | 0:08:16 | |
I'm only 4'10, I've got the little bosom... | 0:08:16 | 0:08:19 | |
But I am not easy to make for at all. | 0:08:19 | 0:08:22 | |
I'm here today now to get my new poppy suit. | 0:08:22 | 0:08:25 | |
-Hello! -Hello, hello! | 0:08:26 | 0:08:27 | |
-It's that time again. -It is, it is. | 0:08:27 | 0:08:30 | |
-Hello, sweetheart. -Great to see you. -Lovely to see you, my darling. | 0:08:30 | 0:08:33 | |
Welcome. So, what were you thinking of? What sort of style would you like to go for? | 0:08:33 | 0:08:37 | |
Well, I'm a lady of a certain age now, | 0:08:37 | 0:08:38 | |
I shouldn't be seen in trousers when there's royalty around. | 0:08:38 | 0:08:41 | |
-I'm going to definitely have a skirt. -OK. | 0:08:41 | 0:08:44 | |
But I want it to be a little bit more patterned, | 0:08:44 | 0:08:46 | |
I wanted more red in it, I want more blue. | 0:08:46 | 0:08:49 | |
Barbara wants to look patriotic and Stephen has just the thing. | 0:08:50 | 0:08:54 | |
-How about going for something... -SHE GASPS | 0:08:55 | 0:08:57 | |
..really striking, like this? | 0:08:57 | 0:08:59 | |
-It's very bold, isn't it? -Yes. -SHE CHUCKLES | 0:08:59 | 0:09:02 | |
Time to get the tape measure out. | 0:09:02 | 0:09:04 | |
This is all the secrets measurements. | 0:09:07 | 0:09:10 | |
It's all starting to feel a bit Carry On Camping. | 0:09:10 | 0:09:13 | |
"Ooh! Come on, do that!" | 0:09:13 | 0:09:14 | |
They still ask me to do it at the age of... I'm 78. | 0:09:14 | 0:09:18 | |
They ask me to do it. | 0:09:18 | 0:09:20 | |
It's all Carry On this and Carry On that, or, "Get out my pub!" | 0:09:20 | 0:09:24 | |
-STEPHEN CHUCKLES -So there we go! | 0:09:24 | 0:09:27 | |
All done. | 0:09:27 | 0:09:29 | |
-I'll make it happen, don't you worry. -Ten days! -Ten days. | 0:09:29 | 0:09:32 | |
-Thank you so much, God bless. -Bye! | 0:09:32 | 0:09:34 | |
When I meet all the Armed Forces, they're terrific. | 0:09:34 | 0:09:37 | |
They really are, it's great. It puts a smile on my face. | 0:09:37 | 0:09:40 | |
It'll be wonderful. | 0:09:40 | 0:09:42 | |
Barbara heads off. | 0:09:42 | 0:09:44 | |
Stephen will use the measurements to get the suit made | 0:09:44 | 0:09:46 | |
ready in time for the Poppy Day launch. | 0:09:46 | 0:09:49 | |
We normally require four weeks to make garment. | 0:09:49 | 0:09:52 | |
Um, but we've just got to make it happen. | 0:09:52 | 0:09:55 | |
She's a wonderful lady, and I will make it happen. | 0:09:55 | 0:09:57 | |
Ten days later, and it's the morning of the suit-fitting. | 0:10:02 | 0:10:06 | |
Can I track a parcel, please? | 0:10:06 | 0:10:07 | |
But only two hours before he's due to meet Barbara for her fitting, | 0:10:08 | 0:10:12 | |
Stephen's miles away at home, | 0:10:12 | 0:10:14 | |
still waiting for the suit to turn up. | 0:10:14 | 0:10:16 | |
Well, it's with the driver, | 0:10:17 | 0:10:19 | |
but I'm not going to get it for a few hours yet, | 0:10:19 | 0:10:21 | |
so I have to sit and wait. | 0:10:21 | 0:10:22 | |
It's all I can do. | 0:10:22 | 0:10:23 | |
-Right, that's it, OK. -DOG YAPS | 0:10:26 | 0:10:28 | |
That's going to be DHL - so, quickly... | 0:10:28 | 0:10:30 | |
Hey! | 0:10:30 | 0:10:31 | |
Thank you very much indeed. Thank you for bringing it so quickly. | 0:10:34 | 0:10:38 | |
He's now got to get the suit across town to his fitting with Barbara. | 0:10:40 | 0:10:43 | |
Let's go! | 0:10:45 | 0:10:46 | |
-Hi, how are you? Has Barbara arrived yet? -No, not yet. -Oh, fantastic. | 0:10:49 | 0:10:52 | |
-I'll go upstairs and get everything ready. -Yes. -Thank you. | 0:10:52 | 0:10:55 | |
Hopefully the suit fits. | 0:10:55 | 0:10:57 | |
And, not a moment too soon, Barbara arrives. | 0:11:00 | 0:11:04 | |
-Hello! -Hello, darling! | 0:11:04 | 0:11:06 | |
It's the moment of truth. | 0:11:06 | 0:11:08 | |
Will the suit tickle her fancy? | 0:11:08 | 0:11:10 | |
-It's really, really... Oh, that's Beautiful. -Scott? -Yeah? | 0:11:11 | 0:11:15 | |
Quick, come and have a look at the jacket. It's absolutely amazing. | 0:11:15 | 0:11:18 | |
Quickly. | 0:11:18 | 0:11:19 | |
Scott is her manager and husband. | 0:11:19 | 0:11:20 | |
-Wow. -Isn't that fantastic? -Elegant. | 0:11:20 | 0:11:22 | |
Because there's all this shaking-hands and hugging... | 0:11:22 | 0:11:25 | |
Cuddle the soldiers, the sailors and all the rest of it. | 0:11:25 | 0:11:28 | |
-It's the only reason she goes. -Oh, of course! Yes. | 0:11:28 | 0:11:30 | |
-THEY LAUGH -I would! | 0:11:30 | 0:11:32 | |
-You look amazing. Delighted. -Well done. -Absolutely delighted. | 0:11:32 | 0:11:35 | |
-Well done, ten out of ten! -Thank you. | 0:11:35 | 0:11:38 | |
And I think maybe a gold star. | 0:11:38 | 0:11:40 | |
Lovely! | 0:11:40 | 0:11:41 | |
My mum used to put me in certain little outfits. | 0:11:41 | 0:11:44 | |
She'd say, "That's proper, Babs. That's proper." | 0:11:44 | 0:11:46 | |
Well, I feel proper Barbara today. | 0:11:46 | 0:11:49 | |
Barbara and Scott head off. | 0:11:49 | 0:11:51 | |
It's been a busy ten days, but Stephen is pleased. | 0:11:51 | 0:11:54 | |
My assistant is happy and I'm happy. | 0:11:55 | 0:11:57 | |
It was a busy day and she's been running around all day. | 0:11:57 | 0:12:01 | |
Later, it's launch day for the Appeal. | 0:12:01 | 0:12:04 | |
That photographers are out in force | 0:12:04 | 0:12:06 | |
and Barbara's got an announcement to make. | 0:12:06 | 0:12:08 | |
-BARBARA SPEAKS OVER TANNOY: -'Mind the gap | 0:12:08 | 0:12:10 | |
'between the train and the platform.' | 0:12:10 | 0:12:12 | |
In 2018, Crossrail comes to Oxford Street. | 0:12:19 | 0:12:22 | |
This brand-new railway will run right under the centre of London | 0:12:23 | 0:12:27 | |
and will include two stations on the street. | 0:12:27 | 0:12:30 | |
It's a mammoth project, | 0:12:31 | 0:12:33 | |
costing £15 billion and taking nine years to build. | 0:12:33 | 0:12:38 | |
But it's not just the people of London who are benefiting from it. | 0:12:38 | 0:12:41 | |
The vast scale of the scheme | 0:12:43 | 0:12:45 | |
is creating work for people all over the UK. | 0:12:45 | 0:12:48 | |
And in a factory in Birmingham, Jim and his team are doing their bit. | 0:12:48 | 0:12:52 | |
He's employed by an engineering firm. | 0:12:54 | 0:12:57 | |
They're working on a new innovation being used for the first time | 0:12:57 | 0:13:01 | |
on a major scheme like this in the UK - modules. | 0:13:01 | 0:13:04 | |
This is called a module. | 0:13:06 | 0:13:07 | |
Modules are six-metre sections of pipes and boxing | 0:13:09 | 0:13:13 | |
which will eventually hold cables and sprinklers. | 0:13:13 | 0:13:16 | |
On most building sites, | 0:13:16 | 0:13:18 | |
each of these systems would be installed by separate teams. | 0:13:18 | 0:13:22 | |
But, by pre-fabricating them together like this, away from site, | 0:13:22 | 0:13:26 | |
they save on man hours and installation costs. | 0:13:26 | 0:13:29 | |
The modules will eventually be linked up on site | 0:13:30 | 0:13:33 | |
to create one giant system half a kilometre long. | 0:13:33 | 0:13:37 | |
If you can imagine a giant jigsaw, | 0:13:37 | 0:13:39 | |
they get them to site | 0:13:39 | 0:13:41 | |
and they'll work off a big layout schematic | 0:13:41 | 0:13:43 | |
and literally put these pieces of the jigsaw in place. | 0:13:43 | 0:13:47 | |
The Chinese and the Japanese have been doing it for years. | 0:13:47 | 0:13:50 | |
It helps us construct a building ahead of programme, | 0:13:50 | 0:13:54 | |
what would normally be like a 12-month programme | 0:13:54 | 0:13:56 | |
we can achieve in half the time. | 0:13:56 | 0:13:58 | |
The team building them is a close-knit one, | 0:13:58 | 0:14:01 | |
largely from the local area. | 0:14:01 | 0:14:03 | |
I'm from literally ten minutes away, which is a real plus point. | 0:14:03 | 0:14:07 | |
We're like a close community, really. | 0:14:07 | 0:14:09 | |
Got a lot of friends here, and also a lot of family members as well. | 0:14:09 | 0:14:13 | |
I'll just introduce you to my brother, Ryan. | 0:14:13 | 0:14:15 | |
This is Ryan, he's an electrician that works in the facility as well. | 0:14:15 | 0:14:19 | |
All right, mate? | 0:14:19 | 0:14:20 | |
Obviously, we have our ups and downs, | 0:14:20 | 0:14:22 | |
but we always finish with a kiss and cuddle at the end of the day, | 0:14:22 | 0:14:25 | |
so everyone's happy. | 0:14:25 | 0:14:26 | |
That close bond is about to come into play. | 0:14:28 | 0:14:31 | |
Today's shipment is ready for its trip down south. | 0:14:31 | 0:14:35 | |
Here comes the first module now, as we speak. | 0:14:35 | 0:14:38 | |
Each one weighs between 100 and 500 kilos | 0:14:40 | 0:14:43 | |
and is worth thousands of pounds. | 0:14:43 | 0:14:46 | |
The team have to get them through the warehouse | 0:14:46 | 0:14:48 | |
and safely loaded onto the truck. | 0:14:48 | 0:14:50 | |
OK, mate, nice and steady then. | 0:14:50 | 0:14:52 | |
A bit further over, Carl. Away from you, mate. Away from you. | 0:14:52 | 0:14:57 | |
About half a metre, mate. Keep going. | 0:14:57 | 0:14:59 | |
Easy there with that, mate! | 0:14:59 | 0:15:01 | |
One down, two to go. | 0:15:03 | 0:15:05 | |
This is Carl, he's a professional crane driver by trade, | 0:15:05 | 0:15:09 | |
but he's a West Bromwich Albion fan, so... | 0:15:09 | 0:15:13 | |
I support the one and only Aston Villa. | 0:15:13 | 0:15:16 | |
Massive club. Seven FA Cups, | 0:15:17 | 0:15:20 | |
one European Cup - and many more to follow! | 0:15:20 | 0:15:23 | |
Probably not in my lifetime. | 0:15:23 | 0:15:25 | |
Carl carefully cranes each module through the warehouse, | 0:15:25 | 0:15:28 | |
where he and Jim coordinate landing them. | 0:15:28 | 0:15:31 | |
Keep going, keep inching, | 0:15:31 | 0:15:33 | |
keep inching, keep inching, | 0:15:33 | 0:15:35 | |
keep inching, and down at that, mate. | 0:15:35 | 0:15:38 | |
Perfect. | 0:15:39 | 0:15:41 | |
You're going to have to send that in round there, mate, | 0:15:44 | 0:15:46 | |
you'll have to go round there | 0:15:46 | 0:15:47 | |
Oh, fits like a glove. | 0:15:52 | 0:15:54 | |
Steady as she goes, mate. | 0:15:56 | 0:15:58 | |
Down she goes. | 0:16:00 | 0:16:01 | |
To think that we can do all this in such... | 0:16:03 | 0:16:06 | |
what I'd say is a small environment, | 0:16:06 | 0:16:08 | |
and producing major-scale projects | 0:16:08 | 0:16:11 | |
I think is a great achievement for everybody involved. | 0:16:11 | 0:16:14 | |
With all the modules loaded, | 0:16:14 | 0:16:16 | |
they're driven off towards London. | 0:16:16 | 0:16:18 | |
Later, the cranes are out | 0:16:20 | 0:16:21 | |
as the Crossrail team get to work on their end of the jigsaw puzzle. | 0:16:21 | 0:16:26 | |
Pull back out, yeah? Pull back out. | 0:16:26 | 0:16:28 | |
Eric Van Peterson is a jewellery designer. | 0:16:36 | 0:16:39 | |
-Hello! -Hello. | 0:16:39 | 0:16:40 | |
I've got so much of your...lovely jewellery on me. Isn't it pretty? | 0:16:40 | 0:16:44 | |
Having started out over 30 years ago with a stall at Camden Market, | 0:16:44 | 0:16:49 | |
he now runs his own design business, | 0:16:49 | 0:16:51 | |
with a shop in Chelsea catering to the rich and famous. | 0:16:51 | 0:16:55 | |
I'm loving some of the stuff over there. | 0:16:55 | 0:16:58 | |
His pieces don't come cheap. | 0:16:58 | 0:17:00 | |
We sell this gear for about £1,100. | 0:17:00 | 0:17:03 | |
But pricey isn't all he does. | 0:17:03 | 0:17:05 | |
For the last 15 years, he's worked in collaboration | 0:17:05 | 0:17:08 | |
with high-street chain Debenhams | 0:17:08 | 0:17:10 | |
on an annual mass-market collection at high-street prices. | 0:17:10 | 0:17:14 | |
But just how does a collection get from the drawing board | 0:17:15 | 0:17:19 | |
to the Oxford Street counter? | 0:17:19 | 0:17:20 | |
Today, Eric's taking the first step for his autumn-winter range. | 0:17:23 | 0:17:27 | |
He's got the Debenhams buyers coming to his shop | 0:17:27 | 0:17:29 | |
to discuss his ideas, | 0:17:29 | 0:17:31 | |
and he's desperately hoping they're going to like them. | 0:17:31 | 0:17:34 | |
It's my job, really, to keep showing new ideas and new things. | 0:17:34 | 0:17:38 | |
You're never quite sure what these buyers are going to like | 0:17:38 | 0:17:41 | |
and what they don't like. | 0:17:41 | 0:17:43 | |
Eric's collection is a big deal for the store, and it has to sell well. | 0:17:43 | 0:17:47 | |
And this year, as ever, | 0:17:47 | 0:17:49 | |
they'll be launching it in their Oxford Street flagship store. | 0:17:49 | 0:17:53 | |
Eric's already come up with a theme for the range. | 0:17:53 | 0:17:56 | |
It's all about the leaves, it's all about nature. | 0:17:56 | 0:17:58 | |
These are the things that our Debenhams customers | 0:17:58 | 0:18:02 | |
have responded to over the years. | 0:18:02 | 0:18:04 | |
Eric wants to base some of the new collection | 0:18:04 | 0:18:07 | |
on the high-end items he sells in his own shop. | 0:18:07 | 0:18:09 | |
Things that we already have in the shop | 0:18:09 | 0:18:11 | |
that are made in 18-carat gold, | 0:18:11 | 0:18:13 | |
I'm going to try and persuade Debenhams to do the same thing | 0:18:13 | 0:18:17 | |
in sterling silver. | 0:18:17 | 0:18:18 | |
We've got these, we've got turtles. We've even made this owl pendant. | 0:18:18 | 0:18:24 | |
You could keep some tablets in here, | 0:18:24 | 0:18:26 | |
you could keep a message in here, a reminder or whatever. | 0:18:26 | 0:18:28 | |
And it's kind of a fun idea. I hope Debenhams likes them. | 0:18:28 | 0:18:32 | |
Moments later, Delia and Richard from Debenhams hove in to view. | 0:18:33 | 0:18:37 | |
Eric wants to broaden the range | 0:18:37 | 0:18:39 | |
and there are just certain things that we know are cost-prohibitive. | 0:18:39 | 0:18:42 | |
We'll edit it, basically, | 0:18:42 | 0:18:44 | |
to get back to what we think is the real core. | 0:18:44 | 0:18:47 | |
Nice to see you. | 0:18:47 | 0:18:49 | |
Eric's first idea is for a cheaper version of a bird necklace. | 0:18:49 | 0:18:53 | |
-That's really beautiful. -That's lovely. -Beautiful. | 0:18:53 | 0:18:55 | |
-There's such detail in the feet. -Mm-hm. | 0:18:55 | 0:18:57 | |
And I like the fact it's got stone in it as well. | 0:18:57 | 0:18:59 | |
It makes it very delicate, very pretty. | 0:18:59 | 0:19:01 | |
-I think that would be really great starting point for the collection. -Yeah, really lovely. | 0:19:01 | 0:19:05 | |
Encouraged by the response to the bird, | 0:19:05 | 0:19:08 | |
Eric moves on to some of his riskier pieces. | 0:19:08 | 0:19:11 | |
We've never done anything quite like this at Debenhams, | 0:19:11 | 0:19:14 | |
birds and bees and butterflies and... | 0:19:14 | 0:19:16 | |
-Something a bit different, more special. -Yeah. Why turtles? | 0:19:16 | 0:19:19 | |
I'm not sure about that one, I have to say. | 0:19:19 | 0:19:20 | |
I didn't think they're pretty enough. | 0:19:20 | 0:19:22 | |
Eric's turtles have been given the cold shoulder. | 0:19:22 | 0:19:26 | |
Will his owl fare any better? | 0:19:26 | 0:19:28 | |
It's a little bit conceptual. | 0:19:28 | 0:19:31 | |
Wow. It's quite chunky. | 0:19:31 | 0:19:32 | |
-At that scale, it would be just far too expensive. -Yeah. | 0:19:32 | 0:19:36 | |
I just don't think that is completely right for us, | 0:19:36 | 0:19:38 | |
as it is, but I definitely think there's something in the owl. | 0:19:38 | 0:19:42 | |
Lovely to see you, Eric, as always. | 0:19:44 | 0:19:45 | |
'Discussion over, Debenhams head off. | 0:19:45 | 0:19:47 | |
'It's now up to Eric to turn his ideas into fully formed designs.' | 0:19:47 | 0:19:52 | |
I'm going to develop the butterflies, | 0:19:52 | 0:19:55 | |
birds, bumblebees - | 0:19:55 | 0:19:57 | |
these are the things that they seem to be mostly enthusiastic about. | 0:19:57 | 0:20:01 | |
Later, the samples are back. But the problems are just beginning. | 0:20:01 | 0:20:07 | |
I'm not quite sure about this. | 0:20:07 | 0:20:08 | |
There's definitely something wrong here, without a doubt. | 0:20:08 | 0:20:12 | |
Back on Oxford Street, and Constables May and Morrison | 0:20:22 | 0:20:25 | |
have interrupted their undercover patrol | 0:20:25 | 0:20:28 | |
to deal with a disturbance outside a shop. | 0:20:28 | 0:20:30 | |
Come outside. | 0:20:30 | 0:20:31 | |
Easy, right? Just take you outside, all right? | 0:20:35 | 0:20:38 | |
Tom arrested this man after a family claimed he threatened them. | 0:20:38 | 0:20:41 | |
With the family safely inside with Sarah-Jane, | 0:20:45 | 0:20:48 | |
Tom needs to search the man. | 0:20:48 | 0:20:50 | |
It doesn't take long to find something. | 0:20:50 | 0:20:52 | |
What's this? | 0:20:54 | 0:20:55 | |
The man has two Viagra pills in his pocket. | 0:20:58 | 0:21:01 | |
But he also has something else. | 0:21:01 | 0:21:03 | |
That's nothing? | 0:21:06 | 0:21:08 | |
OK, I think I might need a separate bag for that one. | 0:21:09 | 0:21:12 | |
Meth? | 0:21:13 | 0:21:14 | |
Thought it might be. | 0:21:14 | 0:21:16 | |
It looks like methamphetamine, | 0:21:16 | 0:21:18 | |
a powerful illegal stimulant known as crystal meth. | 0:21:18 | 0:21:21 | |
OK, I'm going to place you under further arrest. | 0:21:22 | 0:21:25 | |
The reason, I have just found this little bag in your pocket | 0:21:25 | 0:21:28 | |
with a suspicious-looking substance in it. | 0:21:28 | 0:21:30 | |
I think it might be drugs. | 0:21:30 | 0:21:32 | |
If the bag does contain what the officers suspect, | 0:21:32 | 0:21:34 | |
it could provide an explanation for some of the man's actions tonight. | 0:21:34 | 0:21:39 | |
Erratic behaviour, aggressive, | 0:21:39 | 0:21:42 | |
so, it wouldn't surprise me | 0:21:42 | 0:21:43 | |
if this gentleman has taken some this evening. | 0:21:43 | 0:21:46 | |
Tom continues his search | 0:21:46 | 0:21:48 | |
and finds something else in the man's sock. | 0:21:48 | 0:21:52 | |
Oh, mate, what's this? | 0:21:53 | 0:21:54 | |
What's this for? | 0:21:56 | 0:21:58 | |
Your water? Really? | 0:21:59 | 0:22:02 | |
Stashed in your sock? | 0:22:02 | 0:22:03 | |
It looks empty. However... | 0:22:06 | 0:22:08 | |
He's saying it's water. It's not water. | 0:22:08 | 0:22:10 | |
He doesn't admit it, | 0:22:10 | 0:22:11 | |
but officers suspect the bottle may have contained GHB, | 0:22:11 | 0:22:15 | |
another illegal recreational drug. | 0:22:15 | 0:22:17 | |
Moments later, the man makes a not entirely unexpected admission. | 0:22:22 | 0:22:28 | |
I don't think he's hospital-worthy, | 0:22:28 | 0:22:29 | |
-he said he's taken some meth about an hour ago. -So it is meth? | 0:22:29 | 0:22:33 | |
That's what he said. He's claimed it's meth. | 0:22:33 | 0:22:35 | |
Unbelievably, the man says he was on his way to work. | 0:22:35 | 0:22:39 | |
He's working nights, | 0:22:39 | 0:22:41 | |
so it's quite an interesting packed lunch he's got himself. | 0:22:41 | 0:22:44 | |
Despite the danger he could have caused | 0:22:44 | 0:22:46 | |
to his colleagues on a building site, | 0:22:46 | 0:22:48 | |
he seems mostly concerned | 0:22:48 | 0:22:50 | |
about missing out on the weekend he had planned. | 0:22:50 | 0:22:53 | |
-Boss, is this Friday night? -Sorry? | 0:22:53 | 0:22:55 | |
It is Friday. | 0:22:57 | 0:22:58 | |
Huh? Oh, mate... We're far away from that at the moment. | 0:23:02 | 0:23:05 | |
Transport arrives, and Tom takes the man | 0:23:07 | 0:23:09 | |
back to Charing Cross Police Station to be interviewed. | 0:23:09 | 0:23:12 | |
The family agree to give a statement | 0:23:12 | 0:23:15 | |
but, because they don't speak English, | 0:23:15 | 0:23:17 | |
Sarah-Jane takes them to a different station | 0:23:17 | 0:23:19 | |
and they communicate through an interpreter. | 0:23:19 | 0:23:22 | |
He's explained that it's been a totally unprovoked attack | 0:23:24 | 0:23:27 | |
upon him and his family, | 0:23:27 | 0:23:29 | |
to the point where his daughter's shaken up by it. | 0:23:29 | 0:23:32 | |
The reason they're over here | 0:23:32 | 0:23:33 | |
is to get some medical treatment for his daughter, who's really sick. | 0:23:33 | 0:23:36 | |
And he thinks that it's really going to affect her. | 0:23:36 | 0:23:39 | |
It's looking like it's going to be a late night. | 0:23:39 | 0:23:42 | |
Sarah-Jane now has to walk back to Charing Cross Police Station | 0:23:42 | 0:23:45 | |
to catch up with Tom. | 0:23:45 | 0:23:47 | |
Before she gets there, she gets a call. | 0:23:47 | 0:23:50 | |
Oh, God. | 0:23:50 | 0:23:51 | |
He's going to hospital. | 0:23:54 | 0:23:55 | |
The arrested man has collapsed in custody. | 0:23:57 | 0:23:59 | |
By the time Sarah-Jane reaches the station, | 0:23:59 | 0:24:02 | |
paramedics have arrived | 0:24:02 | 0:24:04 | |
and Tom is outside with the ambulance. | 0:24:04 | 0:24:06 | |
He was fine. We were chatting outside custody | 0:24:06 | 0:24:09 | |
when he just slumped over on his chair, | 0:24:09 | 0:24:11 | |
we put him in the recovery position, called an ambulance | 0:24:11 | 0:24:15 | |
and he sort of deteriorated quite rapidly. | 0:24:15 | 0:24:18 | |
He started fitting, | 0:24:18 | 0:24:19 | |
he's been in and out of three or four fits on the floor. | 0:24:19 | 0:24:22 | |
He's now stable, and confessed to Tom what he'd taken. | 0:24:22 | 0:24:26 | |
He said he took... | 0:24:26 | 0:24:28 | |
He's had meth, methadone, | 0:24:28 | 0:24:31 | |
a bottle of GHB... | 0:24:31 | 0:24:33 | |
-Is that what that was? -Yeah. | 0:24:33 | 0:24:35 | |
So he'd had a lot of that, vodka during the day, | 0:24:35 | 0:24:38 | |
-and about three double shots. -That's quite a lot of drugs. -Yeah. | 0:24:38 | 0:24:41 | |
So he crashed pretty hard. | 0:24:41 | 0:24:42 | |
A contractor, apparently on his way to work | 0:24:42 | 0:24:45 | |
despite having taken a cocktail of illegal and prescription drugs, | 0:24:45 | 0:24:49 | |
was not what the officers expected from tonight. | 0:24:49 | 0:24:52 | |
But it demonstrates the challenges they face policing Oxford Street. | 0:24:52 | 0:24:57 | |
There was only room for him to go in the car on his own, | 0:24:57 | 0:24:59 | |
so he's kind of had to deal with it by himself, | 0:24:59 | 0:25:02 | |
which is quite stressful, especially when someone's collapsing on you. | 0:25:02 | 0:25:06 | |
It's been an emotionally draining evening, | 0:25:06 | 0:25:08 | |
and Tom must now accompany the arrested man to hospital. | 0:25:08 | 0:25:11 | |
He's fortunate to have been in Tom's care, | 0:25:11 | 0:25:13 | |
and not out on the street where he collapsed. | 0:25:13 | 0:25:16 | |
We had a chat later on, | 0:25:18 | 0:25:19 | |
and the man has been going through some tough times, | 0:25:19 | 0:25:22 | |
you know, he says. | 0:25:22 | 0:25:24 | |
He's certainly had some issues. | 0:25:24 | 0:25:27 | |
He was a different man when we got to the hospital | 0:25:27 | 0:25:30 | |
and he came down off whatever it was he'd taken. | 0:25:30 | 0:25:32 | |
He was very apologetic about what had happened | 0:25:32 | 0:25:36 | |
and he thanked us for looking after him when he'd had a bit of a turn. | 0:25:36 | 0:25:40 | |
The man was later charged for a Public Order Offence. | 0:25:40 | 0:25:43 | |
No further action was taken over the drugs. | 0:25:43 | 0:25:46 | |
A different pair of tights... | 0:25:55 | 0:25:57 | |
Barbara Windsor has got a West End tailor to make her a bespoke suit | 0:25:57 | 0:26:01 | |
to wear when she fronts the Poppy Day Appeal. | 0:26:01 | 0:26:04 | |
-Ten out of ten! -Thank you, Barbara. | 0:26:04 | 0:26:06 | |
-And I think maybe a gold star. -Oh, lovely! | 0:26:06 | 0:26:10 | |
The appeal is launching with a photo shoot on the tube, | 0:26:10 | 0:26:13 | |
and Oxford Street celebrity photographer Andy Barnes | 0:26:13 | 0:26:16 | |
is one of just a handful of snappers to be invited to cover the event. | 0:26:16 | 0:26:20 | |
It's at a tube station, | 0:26:20 | 0:26:21 | |
so you never know where they're going to take you | 0:26:21 | 0:26:23 | |
and what the restrictions are. | 0:26:23 | 0:26:25 | |
They've sort of said there's a few things we can do and we can't do, | 0:26:25 | 0:26:28 | |
and it's one of these things | 0:26:28 | 0:26:29 | |
where you've always got to play a little bit by the ear | 0:26:29 | 0:26:32 | |
at the last minute. | 0:26:32 | 0:26:33 | |
Andy heads in. | 0:26:33 | 0:26:35 | |
And soon after, Barbara arrives, dressed to the nines. | 0:26:35 | 0:26:39 | |
-And just one more. Are you pleased with the outfit? -I love it. | 0:26:39 | 0:26:43 | |
Looks good, looks good. Look? Look, look, look! | 0:26:43 | 0:26:46 | |
For the photo shoot, Barbara will drive a tube train | 0:26:47 | 0:26:50 | |
and make announcements on board. | 0:26:50 | 0:26:52 | |
This could be really good if we get some pictures on the tube. | 0:26:52 | 0:26:56 | |
Straight ahead, Barbara. Fabulous. | 0:26:56 | 0:26:58 | |
It's been really, really, really good. | 0:26:58 | 0:27:00 | |
But I do it every year, don't I? | 0:27:00 | 0:27:02 | |
But this is different, because normally we get on the buses. | 0:27:02 | 0:27:05 | |
Totally different down here, you know what I mean? | 0:27:05 | 0:27:08 | |
Barbara's train arrives, and Andy's getting excited. | 0:27:08 | 0:27:12 | |
This could be... This could be really cool, this. | 0:27:12 | 0:27:16 | |
But there's an official Poppy Day camera crew in the driver's cab, | 0:27:16 | 0:27:20 | |
so Andy and the other photographer | 0:27:20 | 0:27:22 | |
will have to wait in the adjoining carriage. | 0:27:22 | 0:27:25 | |
For now, Andy can just sit back | 0:27:25 | 0:27:27 | |
and enjoy the experience of having Barbara Windsor driving his train. | 0:27:27 | 0:27:31 | |
-BARBARA OVER TANNOY: -'..national rail services | 0:27:33 | 0:27:35 | |
'and for riverboat services from Blackfriars Pier.' | 0:27:35 | 0:27:40 | |
The passengers are beginning to notice something special's going on. | 0:27:40 | 0:27:44 | |
-Like -BEEP -it was! | 0:27:46 | 0:27:48 | |
-He didn't believe us, did he? -He's not impressed! | 0:27:48 | 0:27:51 | |
The event might be tickling Andy pink, | 0:27:51 | 0:27:53 | |
but there's still work to do. | 0:27:53 | 0:27:55 | |
To get the best publicity for the campaign, | 0:27:55 | 0:27:58 | |
the shot he really wants is Barbara driving the train. | 0:27:58 | 0:28:02 | |
But despite being promised access, the cabin door is still shut. | 0:28:02 | 0:28:06 | |
-BARBARA OVER TANNOY: -'Embankment.' | 0:28:06 | 0:28:08 | |
Seven, eight, nine, ten, 11, 12, 13, 14 stops! | 0:28:08 | 0:28:10 | |
If we don't get something out of that, we're in the wrong job. | 0:28:10 | 0:28:13 | |
Yeah, definitely. Ah! | 0:28:13 | 0:28:15 | |
Moments later, the door opens. | 0:28:15 | 0:28:18 | |
You all right, Barbara? | 0:28:18 | 0:28:19 | |
Take a seat there a second? | 0:28:19 | 0:28:21 | |
There's a new photo op. | 0:28:21 | 0:28:22 | |
Oh, yes! Here you go. Big smile, Barbara. | 0:28:24 | 0:28:27 | |
But it's not the one Andy wants. | 0:28:27 | 0:28:29 | |
He tries turning on the charm to get access to the driver's cab. | 0:28:29 | 0:28:33 | |
-..a quick picture just of her in the cab? -Er, probably not. | 0:28:34 | 0:28:38 | |
Because we can't hold the train up. | 0:28:38 | 0:28:40 | |
All I need is her just sat there, two seconds. | 0:28:40 | 0:28:43 | |
I'll see what we can do. | 0:28:43 | 0:28:44 | |
Oh, thank you. I really appreciate it, | 0:28:44 | 0:28:46 | |
because it's like... It'd be absolutely brilliant, that. | 0:28:46 | 0:28:49 | |
Things might be looking up, | 0:28:49 | 0:28:51 | |
but he's running out of stations before Barbara gets off. | 0:28:51 | 0:28:54 | |
I'm hoping that we'll get in there at the last minute. | 0:28:54 | 0:28:58 | |
We've only got a couple more stops to go. | 0:28:58 | 0:29:00 | |
-BARBARA OVER TANNOY: -'Now, the next station is Aldgate. | 0:29:00 | 0:29:03 | |
'So mind the gap between the train and the platform! | 0:29:03 | 0:29:06 | |
'I've always wanted to say that! "Mind the Gap!"' | 0:29:06 | 0:29:10 | |
ANDY LAUGHS | 0:29:10 | 0:29:11 | |
Barbara's finished, but Andy hasn't got his photo. | 0:29:12 | 0:29:16 | |
One last chance. | 0:29:16 | 0:29:18 | |
Do you mind if I get one very quick picture of you | 0:29:21 | 0:29:24 | |
just sat in the seat, Barbara? | 0:29:24 | 0:29:25 | |
-No, the train can't be delayed, sorry. Sorry. -No, don't worry. | 0:29:25 | 0:29:29 | |
It's absolutely fine. | 0:29:29 | 0:29:30 | |
It was a bit of a resounding "no" from everyone in the cab. | 0:29:30 | 0:29:33 | |
Andy's shoot's in danger of going up the Khyber. | 0:29:35 | 0:29:38 | |
But with Barbara carrying on regardless, | 0:29:39 | 0:29:42 | |
Andy spots the perfect picture. | 0:29:42 | 0:29:45 | |
Lovely. Show me the poppies, guys! | 0:29:45 | 0:29:47 | |
-CAMERA SHUTTER CLICKS -Lovely. | 0:29:47 | 0:29:49 | |
Absolutely brilliant, guys. | 0:29:49 | 0:29:51 | |
-That's the picture. That's the picture. -The one? | 0:29:51 | 0:29:54 | |
That's the one. | 0:29:54 | 0:29:56 | |
Yeah! | 0:29:56 | 0:29:57 | |
We got the shot. Absolutely brilliant. | 0:29:57 | 0:30:01 | |
Two seamen puckering up to an English Rose | 0:30:01 | 0:30:03 | |
is just the shot to get the campaign maximum publicity. | 0:30:03 | 0:30:06 | |
I was really worried I wasn't going to get anything out of this, | 0:30:07 | 0:30:11 | |
but patience has really paid off. I'm so pleased. | 0:30:11 | 0:30:13 | |
I've got to go, I've got to get these out, sent out straightaway. | 0:30:13 | 0:30:17 | |
The photos are in the bag and the shoot is over. | 0:30:17 | 0:30:21 | |
Barbara got her suit, | 0:30:21 | 0:30:23 | |
Andy got his shots. | 0:30:23 | 0:30:25 | |
It's a classic Carry On-type picture, there, isn't it? | 0:30:25 | 0:30:29 | |
Barbara Windsor on the train. | 0:30:29 | 0:30:30 | |
And the appeal got its publicity. | 0:30:30 | 0:30:33 | |
Even if it has been a bit of a carry on getting there. | 0:30:33 | 0:30:36 | |
At the Tottenham Court Road Crossrail site | 0:30:45 | 0:30:48 | |
at the east end of Oxford Street, | 0:30:48 | 0:30:50 | |
Welshman Lee Boulter is leading the team | 0:30:50 | 0:30:52 | |
waiting to receive a consignment of modules | 0:30:52 | 0:30:55 | |
fresh off the factory floor from Birmingham. | 0:30:55 | 0:30:58 | |
He and his team will have the delicate task | 0:31:00 | 0:31:02 | |
of winching each module down five floors | 0:31:02 | 0:31:05 | |
to the bottom level, known as "-5". | 0:31:05 | 0:31:08 | |
They'll then install them. | 0:31:08 | 0:31:10 | |
A big logistical programme. | 0:31:11 | 0:31:12 | |
You need to get them lowered down from street level, | 0:31:12 | 0:31:15 | |
down to -5. | 0:31:15 | 0:31:17 | |
It's very challenging to get them all down smoothly and safely. | 0:31:17 | 0:31:22 | |
It normally runs like clockwork | 0:31:22 | 0:31:24 | |
and everything goes into place. | 0:31:24 | 0:31:26 | |
It's one of the fiddliest jobs they do, | 0:31:28 | 0:31:30 | |
bringing most of the site to a standstill. | 0:31:30 | 0:31:33 | |
It's Jim's job to make sure it all goes to plan. | 0:31:33 | 0:31:36 | |
-RADIO: -There's a pallet here on the left, mate. It's in the way. | 0:31:39 | 0:31:42 | |
And at six o'clock, the module-bearing lorry arrives. | 0:31:42 | 0:31:46 | |
The team now have to shut Europe's busiest shopping street | 0:31:46 | 0:31:50 | |
to traffic at rush hour, | 0:31:50 | 0:31:51 | |
while they get the giant truck on to site. | 0:31:51 | 0:31:54 | |
-RADIO BEEPS -Hold on! | 0:31:54 | 0:31:56 | |
TRUCK HORN HONKS | 0:31:56 | 0:31:57 | |
-RADIO: -'Pull back out, yeah? Pull back out.' | 0:31:57 | 0:31:59 | |
-RADIO: -'Keep it coming, mate. Keep it coming.' | 0:32:01 | 0:32:03 | |
-RADIO: -'Start straightening her up, mate. Start straightening her up.' | 0:32:06 | 0:32:10 | |
He's in now. He's in now. | 0:32:10 | 0:32:11 | |
Right, can we close the gate and get transportation ready, please? | 0:32:12 | 0:32:16 | |
Good driver. No problems. | 0:32:20 | 0:32:22 | |
Sometimes it's very tight, so it's difficult to bring the lorry in. | 0:32:22 | 0:32:26 | |
Delivery's just come onto site. | 0:32:26 | 0:32:28 | |
The boys are taking the straps off | 0:32:28 | 0:32:30 | |
and then the crane team will take over | 0:32:30 | 0:32:32 | |
and lower them down the mole hole. | 0:32:32 | 0:32:34 | |
The crane team get busy, | 0:32:37 | 0:32:38 | |
strapping up the first module so they can winch it over the hole. | 0:32:38 | 0:32:42 | |
All right, Ben? Here we are. | 0:32:45 | 0:32:46 | |
The crane team have finished, it's ready now. | 0:32:46 | 0:32:48 | |
It's about to be lifted, right? | 0:32:48 | 0:32:50 | |
And then the delicate bit. | 0:32:50 | 0:32:51 | |
The crane takes the frame | 0:32:55 | 0:32:56 | |
and the modules are soon dangling 100 feet over a hole | 0:32:56 | 0:33:00 | |
on Europe's largest construction project. | 0:33:00 | 0:33:02 | |
Them boys lift it down and then we take over then, down on -4. | 0:33:07 | 0:33:10 | |
With the modules landed, | 0:33:16 | 0:33:17 | |
they're trollied down to a second smaller hole | 0:33:17 | 0:33:20 | |
and an A-frame winch, | 0:33:20 | 0:33:22 | |
to drop them down to the fifth floor | 0:33:22 | 0:33:23 | |
and their final home in the Crossrail tunnels themselves. | 0:33:23 | 0:33:27 | |
The modules will run for 250 metres | 0:33:29 | 0:33:31 | |
on both sides of the tunnels, all down. | 0:33:31 | 0:33:34 | |
Basically underneath the platform. | 0:33:34 | 0:33:37 | |
Instead of four teams of fitters, | 0:33:37 | 0:33:40 | |
the modules only need three men to install. | 0:33:40 | 0:33:42 | |
And Lee's brought a specialist team with him, | 0:33:42 | 0:33:45 | |
all the way from the Valleys. | 0:33:45 | 0:33:47 | |
We've got Matt, we've got Lloyd at the back, and we've got Ben here. | 0:33:47 | 0:33:52 | |
They're Welsh finest lads. They're the best you can buy. | 0:33:52 | 0:33:55 | |
These boys, this is what they do, day in, day out. | 0:33:55 | 0:33:57 | |
All the modules winched in tonight are fitted in a matter of hours. | 0:33:58 | 0:34:02 | |
In a few months' time, | 0:34:04 | 0:34:06 | |
these modules will be fitted out with the cabling and operating systems. | 0:34:06 | 0:34:10 | |
It's a technique which the team, | 0:34:10 | 0:34:13 | |
and everyone that's been involved | 0:34:13 | 0:34:14 | |
in the UK's biggest construction project, | 0:34:14 | 0:34:17 | |
are confident will allow them to open their giant new railway | 0:34:17 | 0:34:20 | |
on time in 2018. | 0:34:20 | 0:34:23 | |
I've got a beautiful wife back home, and four children. | 0:34:25 | 0:34:29 | |
Next time we're actually up in London as a family, | 0:34:29 | 0:34:31 | |
I'll be bringing them here to Tottenham Court Road | 0:34:31 | 0:34:33 | |
and basically tell them that I built that. | 0:34:33 | 0:34:36 | |
Jewellery designer Eric Van Peterson | 0:34:45 | 0:34:48 | |
is creating a high-street collection for Debenhams, | 0:34:48 | 0:34:50 | |
to be launched at their flagship Oxford Street store. | 0:34:50 | 0:34:54 | |
It's ten weeks since they visited his shop. | 0:34:56 | 0:34:59 | |
Since then, Eric's been to the store's head office | 0:34:59 | 0:35:02 | |
with refined designs, including a smaller owl... | 0:35:02 | 0:35:05 | |
You were not too keen on my giant owl. | 0:35:05 | 0:35:08 | |
This guy is much smaller. | 0:35:08 | 0:35:10 | |
..and a less intricate bird. | 0:35:10 | 0:35:13 | |
Let's do a bird. | 0:35:13 | 0:35:14 | |
Let's try to avoid those really delicate parts. | 0:35:14 | 0:35:18 | |
And now he's back at the head office | 0:35:20 | 0:35:22 | |
and the roles are about to be reversed. | 0:35:22 | 0:35:25 | |
Richard has taken Eric's designs and worked them up | 0:35:25 | 0:35:29 | |
into practical samples with Debenhams' usual manufacturers. | 0:35:29 | 0:35:33 | |
Eric's here to see them for the first time. | 0:35:33 | 0:35:35 | |
We start with the feather story, then, Eric. | 0:35:35 | 0:35:38 | |
So, we were really keen on the feather story. | 0:35:38 | 0:35:40 | |
-What do you think of that? -It looks beautiful. | 0:35:40 | 0:35:42 | |
What we've also done is we've developed a hoop earring. | 0:35:42 | 0:35:46 | |
I love this group, guys. | 0:35:46 | 0:35:47 | |
Then, if we look at the animal story, | 0:35:47 | 0:35:50 | |
a little evolution of the bird. | 0:35:50 | 0:35:51 | |
So, we've removed the stone from the mouth. | 0:35:51 | 0:35:54 | |
The sterling silver being quite soft at the tip of the beak | 0:35:54 | 0:35:56 | |
meant it was breaking off quite easily. | 0:35:56 | 0:35:59 | |
The remodelled bird and other pieces are ready for production. | 0:35:59 | 0:36:02 | |
But what became of Eric's owl? | 0:36:02 | 0:36:05 | |
Now, I'm not quite sure about this. | 0:36:05 | 0:36:08 | |
You guys are the only anti-owl people I've ever met. | 0:36:08 | 0:36:11 | |
It's not that I'm anti-owl! | 0:36:11 | 0:36:12 | |
I just think here it's not been very successful. | 0:36:12 | 0:36:14 | |
I still think that's quite young. When you look at the... | 0:36:14 | 0:36:16 | |
It doesn't have the level of sophistication. | 0:36:16 | 0:36:18 | |
-There's definitely something wrong. -Yeah. | 0:36:18 | 0:36:20 | |
There's definitely something wrong here, without a doubt. | 0:36:20 | 0:36:23 | |
The owl can't be saved. | 0:36:23 | 0:36:24 | |
But Eric, Richard and Delia are happy with the rest of the collection. | 0:36:24 | 0:36:28 | |
-From here, we will see it in Oxford Street. -How long does that take? | 0:36:28 | 0:36:31 | |
-So, it will be in about 12 weeks' time. -Fantastic. | 0:36:31 | 0:36:34 | |
And 12 weeks later, at the Oxford Street store, | 0:36:36 | 0:36:39 | |
Richard is waiting for Eric to see the finished collection | 0:36:39 | 0:36:42 | |
on sale for the first time. | 0:36:42 | 0:36:44 | |
-Are we ready? -Yes, all ready. | 0:36:44 | 0:36:45 | |
-Have all of the watches been polished? -All polished and priced. | 0:36:45 | 0:36:48 | |
-Counter's been cleaned? -Yes. -They've been priced? | 0:36:48 | 0:36:50 | |
It is always a bit daunting when the designers come down. | 0:36:50 | 0:36:53 | |
-Morning. -Hey! | 0:36:53 | 0:36:55 | |
-I'm hoping you're going to like what you're going to see today. -Me too. | 0:36:55 | 0:36:59 | |
-What do you think? -It looks fabulous. | 0:36:59 | 0:37:01 | |
-It looks great, doesn't it? -It looks really good. | 0:37:01 | 0:37:04 | |
Overall, Eric's happy that his designs have made it | 0:37:04 | 0:37:07 | |
from his drawing board to the Oxford Street counter - | 0:37:07 | 0:37:10 | |
albeit refined along the way. | 0:37:10 | 0:37:12 | |
Moments after launch - the most important thing. | 0:37:14 | 0:37:17 | |
The first sale's proved customers like the look of them. | 0:37:17 | 0:37:20 | |
It's always exciting to see someone actually purchasing something | 0:37:20 | 0:37:25 | |
and, even after all this time, | 0:37:25 | 0:37:28 | |
you go through the same process. | 0:37:28 | 0:37:30 | |
But it's just as exciting now as it's always been. | 0:37:30 | 0:37:33 | |
Oxford Street is the place to see and be seen. | 0:37:42 | 0:37:46 | |
And when it comes to flaunting it, | 0:37:46 | 0:37:48 | |
there's more on show than just fashion and celebrities. | 0:37:48 | 0:37:51 | |
There's a new phenomenon amongst wealthy drivers | 0:37:52 | 0:37:55 | |
to cruise through central London in supercar convoys, | 0:37:55 | 0:37:58 | |
trying to turn heads with their exotic vehicles. | 0:37:58 | 0:38:02 | |
While foreign businessmen may have drawn most of the attention, | 0:38:02 | 0:38:05 | |
there's a home-grown movement that wants a piece of the action too. | 0:38:05 | 0:38:09 | |
Our passion and hobby is cars. | 0:38:09 | 0:38:12 | |
And we get together, drive down Oxford Street, Leicester Square, | 0:38:12 | 0:38:15 | |
Piccadilly Circus, | 0:38:15 | 0:38:16 | |
and then just enjoy the crowds, the scene. It's amazing. | 0:38:16 | 0:38:19 | |
You go anywhere else, you will not get that sort of reaction | 0:38:19 | 0:38:22 | |
just purely from the love of cars. | 0:38:22 | 0:38:24 | |
Kash is on his way to central London to lead just such a cruise. | 0:38:29 | 0:38:33 | |
He's meeting the other members of his club at a park near Oxford Street. | 0:38:34 | 0:38:38 | |
I see a Lamborghini Aventador right there. | 0:38:41 | 0:38:45 | |
That's a nice little line-up there, isn't it? | 0:38:45 | 0:38:47 | |
He's looking forward to sharing his heavily modified Nissan GT-R | 0:38:47 | 0:38:51 | |
with the Oxford Street inhabitants. | 0:38:51 | 0:38:53 | |
What better way to enjoy it than let everyone else enjoy it with us? | 0:38:53 | 0:38:56 | |
With his crew assembled, Kash explains the plan. | 0:38:56 | 0:38:59 | |
One of the main challenges | 0:38:59 | 0:39:00 | |
is making sure his friends can contain their excitement. | 0:39:00 | 0:39:03 | |
We're going to leave from here. | 0:39:03 | 0:39:05 | |
Head to Oxford Street, yeah? | 0:39:05 | 0:39:06 | |
-Put on a little bit of a... -ENGINE REVS | 0:39:06 | 0:39:09 | |
Sorry! Can't hear you! | 0:39:09 | 0:39:12 | |
Drivers, James, come on! Shabs! | 0:39:13 | 0:39:16 | |
You all need to come round here, because you need instructions. | 0:39:16 | 0:39:20 | |
Kash has been planning this cruise for months, | 0:39:20 | 0:39:22 | |
and he wants to make sure everyone sticks to their positions in convoy. | 0:39:22 | 0:39:27 | |
The team will use legally allowed walkie-talkies to keep in contact. | 0:39:27 | 0:39:32 | |
The whole idea is to get maximum impact, | 0:39:32 | 0:39:34 | |
and the only way you can do that | 0:39:34 | 0:39:35 | |
is by keeping the cars together in form. | 0:39:35 | 0:39:37 | |
Come on, let's go. | 0:39:39 | 0:39:40 | |
Kash leads the convoy of vehicles round Marble Arch. | 0:39:48 | 0:39:52 | |
Even though I've been doing this for 15 years, | 0:39:52 | 0:39:55 | |
I don't ever get bored of it. | 0:39:55 | 0:39:57 | |
Before heading down Oxford Street. | 0:39:57 | 0:39:59 | |
It doesn't take long for his car to start drawing plenty of attention. | 0:40:01 | 0:40:05 | |
CROWD MEMBERS SHOUT | 0:40:05 | 0:40:07 | |
You can see everyone's got their phones out, | 0:40:07 | 0:40:09 | |
everyone's just loving it. | 0:40:09 | 0:40:10 | |
People waving, people going absolutely crazy for us. | 0:40:10 | 0:40:12 | |
Look, look, look! | 0:40:12 | 0:40:14 | |
The amount of people that have got their phones out is unreal. | 0:40:14 | 0:40:17 | |
But just a few junctions down the street | 0:40:17 | 0:40:20 | |
and concentrating on the adoring hordes, | 0:40:20 | 0:40:23 | |
Kash hasn't noticed he left most of his crew behind | 0:40:23 | 0:40:26 | |
at the last set of traffic lights. | 0:40:26 | 0:40:29 | |
-RADIO: -'You need to pull up, bro. | 0:40:29 | 0:40:30 | |
'We're waiting for the rest of the cars.' | 0:40:30 | 0:40:32 | |
-The rest of the cars are at the lights. -It's just us two! | 0:40:32 | 0:40:36 | |
Fortunately, the traffic phasing | 0:40:36 | 0:40:38 | |
means the other cars are soon back together, | 0:40:38 | 0:40:41 | |
and Kash can make the maximum impact he planned. | 0:40:41 | 0:40:43 | |
ENGINE ROARS | 0:40:43 | 0:40:46 | |
The cars can be heard the length of the street, | 0:40:46 | 0:40:48 | |
and by the time they reach Oxford Circus | 0:40:48 | 0:40:51 | |
the huge crowd that gathers here anyway is in raptures. | 0:40:51 | 0:40:54 | |
Have a look around you. | 0:40:54 | 0:40:55 | |
I mean, this is... | 0:40:55 | 0:40:56 | |
This is Oxford Street. This is London. | 0:40:56 | 0:40:59 | |
Kash does his best to impress. | 0:41:01 | 0:41:03 | |
HE LAUGHS | 0:41:05 | 0:41:07 | |
The cars keep giving the people what they want | 0:41:07 | 0:41:09 | |
and make several trips around Oxford Circus. | 0:41:09 | 0:41:12 | |
I just came in here just now, and it's amazing. I can't explain it. | 0:41:15 | 0:41:19 | |
This is the area to see this kind of stuff. I love it. | 0:41:19 | 0:41:23 | |
I have no idea what's going on, but it's exciting. | 0:41:23 | 0:41:26 | |
SIREN WAILS | 0:41:30 | 0:41:32 | |
The crowd might be loving it, but word has reached the authorities, | 0:41:32 | 0:41:35 | |
who are keen to find out what's going on. | 0:41:35 | 0:41:38 | |
An armed police response team arrives to investigate. | 0:41:38 | 0:41:42 | |
Keep moving! | 0:41:42 | 0:41:43 | |
The drivers aren't breaking the law, | 0:41:43 | 0:41:45 | |
but interest in their vehicles has caused huge crowds to build up. | 0:41:45 | 0:41:49 | |
The police make sure the cars keep moving | 0:41:52 | 0:41:54 | |
and clear the crowd from the road. | 0:41:54 | 0:41:57 | |
As his new fans put away their phones, | 0:41:57 | 0:41:59 | |
Kash heads on towards the meet-up point. | 0:41:59 | 0:42:02 | |
My days. What a cruise. | 0:42:05 | 0:42:08 | |
There was thousands and thousands of people there today. | 0:42:08 | 0:42:10 | |
The police might have taken an interest in his parade, | 0:42:10 | 0:42:13 | |
but he understands why they were there. | 0:42:13 | 0:42:15 | |
They're there for everyone's safety. | 0:42:15 | 0:42:18 | |
To keep things moving, keep the traffic flowing. | 0:42:18 | 0:42:21 | |
All the cars meet up again in a quieter street nearby. | 0:42:21 | 0:42:24 | |
Crazy. I loved it. | 0:42:25 | 0:42:27 | |
It's just gives you such a... Like an adrenaline buzz, going down it. | 0:42:27 | 0:42:30 | |
These people, they can only see these sorts of cars in magazines. | 0:42:30 | 0:42:33 | |
For Kash, it's been a success. | 0:42:33 | 0:42:35 | |
Hundreds have seen and heard what he can do to a car. | 0:42:35 | 0:42:39 | |
I've been cruising since I was a kid. Do you know what I mean? | 0:42:39 | 0:42:41 | |
We used to have rubbish cars back then. | 0:42:41 | 0:42:44 | |
Now, obviously, we're driving much nicer cars, | 0:42:44 | 0:42:47 | |
we want to show them off and carry on doing the same thing. | 0:42:47 | 0:42:50 | |
And with that, the crew rev up again | 0:42:50 | 0:42:52 | |
and start the long drive back to Essex. | 0:42:52 | 0:42:55 | |
It's been a spectacle Oxford Street won't forget in a hurry. | 0:42:55 | 0:42:59 |