0:00:02 > 0:00:04It's the most famous shopping street in the world, in the heart
0:00:04 > 0:00:07of Britain's capital city.
0:00:07 > 0:00:12A mile and a half long with 30 million visitors each year.
0:00:12 > 0:00:16With some of the world's most famous shops, biggest stars...
0:00:16 > 0:00:19- Kate Moss.- ..and busiest stations.
0:00:19 > 0:00:21Sorry, guys, stand back for me.
0:00:21 > 0:00:25What does it take to keep it running 24 hours a day...
0:00:25 > 0:00:27The busiest street in the world, so it needs constant attention.
0:00:27 > 0:00:30- ..seven days a week?- Oi! Clear off.
0:00:30 > 0:00:33You're going to be arrested on suspicion of attempted theft.
0:00:33 > 0:00:35Are you ready, London?
0:00:35 > 0:00:37A street that never sleeps.
0:00:37 > 0:00:40This sort of thing wouldn't happen anywhere else.
0:00:46 > 0:00:51Coming up, it's switch-on time for the Oxford Street Christmas lights.
0:00:51 > 0:00:56- The pressure is on.- But will everything be ready for Kylie?
0:00:56 > 0:01:01- Prfff!- Police are on the trail of bike snatchers and shoplifters.
0:01:02 > 0:01:05Why would you need a completely empty bag?
0:01:05 > 0:01:08There's a row going on about mosaics underground.
0:01:08 > 0:01:12It's incredible actually how dirty it has got.
0:01:12 > 0:01:14The high-tech future of advertising...
0:01:14 > 0:01:17It's going to start off with nonsense but over time, hopefully,
0:01:17 > 0:01:19it will make more and more sense.
0:01:19 > 0:01:22..and the department store is having
0:01:22 > 0:01:25a video shoot for their Christmas windows.
0:01:25 > 0:01:26Our dress is not going down very well.
0:01:31 > 0:01:35Oxford Street has its own dedicated police team known as ORB.
0:01:37 > 0:01:40Keeping the street a safe shopping destination is their job
0:01:40 > 0:01:43and they are known for making the right judgement calls when it counts.
0:01:48 > 0:01:52Tonight, PC Amy Campion and a colleague from the team
0:01:52 > 0:01:54are undercover on Oxford Street.
0:01:55 > 0:01:59It's coming up to Christmas when levels of street crime rise because
0:01:59 > 0:02:02crowds of extra shoppers provide opportunities for thieves.
0:02:04 > 0:02:08People target tourists, people with open bags. They will basically
0:02:08 > 0:02:13just pop in there and with a bit of light-fingered magic, have it away.
0:02:13 > 0:02:14You will never see it again.
0:02:15 > 0:02:19Before long, the officers spot a large group of boys who Amy thinks
0:02:19 > 0:02:21are acting suspiciously.
0:02:22 > 0:02:26I just... I'd like to just observe them at the moment
0:02:26 > 0:02:27and see what happens.
0:02:31 > 0:02:34There have recently been a spate of snatched thefts by youths
0:02:34 > 0:02:39on bicycles in the West End. One particularly brazen example
0:02:39 > 0:02:41was captured by a department store's CCTV.
0:02:43 > 0:02:45The cyclist grabs the victim's phone
0:02:45 > 0:02:48and vanishes instantly into the traffic.
0:02:48 > 0:02:52As a result, officers are paying particular attention to groups
0:02:52 > 0:02:54that include cyclists.
0:02:55 > 0:03:01That lad seems intent on riding his bike in a busy street.
0:03:01 > 0:03:04Amy has spotted one such group but after following them,
0:03:04 > 0:03:07she becomes worried she has been spotted herself.
0:03:08 > 0:03:11Down here. Yeah, I know.
0:03:11 > 0:03:15Down here, round the back...and they might have gone up Oxford Street.
0:03:17 > 0:03:20Thinking her cover's blown, Amy and the other officer duck into a side
0:03:20 > 0:03:25street to drop back before trying to follow at more of a distance.
0:03:26 > 0:03:30As soon as they became aware, they were gone and away across the street
0:03:30 > 0:03:33so we are trying to find them now cos I have a very genuinely
0:03:33 > 0:03:37honestly held belief they are probably involved in crime.
0:03:37 > 0:03:40They have timed their re-emergence onto Oxford Street perfectly
0:03:40 > 0:03:43as the boys are just ahead of them.
0:03:43 > 0:03:47Steph, got him. Yes, yellow coat.
0:03:47 > 0:03:50They follow the group as far as a large shop on Oxford Circus
0:03:50 > 0:03:52which the youths enter.
0:03:52 > 0:03:54Amy now thinks they might be out to shoplift.
0:04:14 > 0:04:18The youths are all inside. Amy alerts security as well as two fellow
0:04:18 > 0:04:20officers who keep watch on the exit.
0:04:22 > 0:04:25This is one of them. I'm just waiting to see what the rest do.
0:04:25 > 0:04:29The boy with the bike is waiting right in the shop's doorway.
0:04:29 > 0:04:33I believe they put a person outside the store on a bike in order
0:04:33 > 0:04:37to take any stolen property they may have had in the store out of it.
0:04:37 > 0:04:41There's nothing to do but wait for the youths to make a move.
0:04:41 > 0:04:45I love the game. It is my very favourite game.
0:04:46 > 0:04:51Suddenly, the group of boys all leave the shop but they split up
0:04:51 > 0:04:53and head in different directions.
0:04:53 > 0:04:56Luckily, there are now enough officers to follow each of them.
0:04:56 > 0:04:59- Amy makes her move.- Put the phone down, put the phone down.
0:04:59 > 0:05:03At the moment you are detained under Section 1 of PACE, all right,
0:05:03 > 0:05:04cos I want to search you.
0:05:04 > 0:05:07I've been observing you in the store, OK?
0:05:07 > 0:05:10I believe your behaviour is suspicious. Out of respect for you,
0:05:10 > 0:05:13I'm going to ask the male officer to search you, OK?
0:05:13 > 0:05:16The boy isn't pleased to have been stopped.
0:05:16 > 0:05:19- Wait. Can you not record this, please?- OK. Take your hand down,
0:05:19 > 0:05:20don't touch the camera.
0:05:20 > 0:05:23- Excuse me, excuse me...- He can record what he wants.
0:05:23 > 0:05:28The search doesn't turn up any stolen goods but Amy is still suspicious.
0:05:28 > 0:05:30Why would you need a completely empty bag?
0:05:33 > 0:05:35Would you just not carry a bag then?
0:05:36 > 0:05:37With nothing in your bag?
0:05:37 > 0:05:41With nothing on him, Amy is forced to let this boy go.
0:05:41 > 0:05:45But later, she catches up with another of the same group of youths,
0:05:45 > 0:05:47who isn't so lucky.
0:05:56 > 0:06:00To retain its position as THE place for festive shopping, every year
0:06:00 > 0:06:04Oxford Street is illuminated with thousands of Christmas lights.
0:06:05 > 0:06:09To make this happen, the road is closed in sections over the course
0:06:09 > 0:06:12of a month while the lights are erected.
0:06:12 > 0:06:16Once in place, the lights will be lit up by a celebrity as part
0:06:16 > 0:06:19of a huge switch-on show.
0:06:19 > 0:06:23And this year the job of pushing the button will fall to antipodean
0:06:23 > 0:06:25pop princess Kylie Minogue.
0:06:27 > 0:06:31It's 1am on the morning of the big switch-on but before anyone can
0:06:31 > 0:06:35push anything, a team led by Dean Parker needs to get the stage
0:06:35 > 0:06:37up and ready for Kylie to stand on.
0:06:39 > 0:06:43Mark out where the stage is going to go now. Quite crucial to get it
0:06:43 > 0:06:46in the right place. It's a bit of a challenge cos we've obviously
0:06:46 > 0:06:47got live traffic running next to us
0:06:47 > 0:06:50so we've got to make sure we've got a safe area so that they can
0:06:50 > 0:06:54build it without getting run over or being accosted by the public.
0:06:57 > 0:07:01This year is going to be the street's most ambitious switch-on show ever.
0:07:02 > 0:07:05They are shutting most of the street to traffic and erecting
0:07:05 > 0:07:07a giant screen so people can watch.
0:07:09 > 0:07:13By 6am the stage is built and ready to be dressed and lit.
0:07:16 > 0:07:19The job of lighting Kylie and the rest of the stage show
0:07:19 > 0:07:22falls to a lighting team led by Paul de Villiers.
0:07:23 > 0:07:25My role during the show is to operate the lights
0:07:25 > 0:07:28and sort of make sure everything happens on the cues of the show
0:07:28 > 0:07:32because CO2 cannons coming out the sides with strobes firing up those.
0:07:32 > 0:07:34And yeah, one like the big bang.
0:07:34 > 0:07:35HE LAUGHS
0:07:35 > 0:07:39I'm very excited, I'm very scared and I hope it all works out well.
0:07:40 > 0:07:43The lighting will be controlled by a computer program Paul will operate
0:07:43 > 0:07:45from his laptop.
0:07:46 > 0:07:49This year he has had a cutting-edge rig of LED lights built
0:07:49 > 0:07:54especially for the occasion. It's the first time they've been used.
0:07:54 > 0:07:57Concept is lots and lots and lots of lights in a tiny, tiny stage.
0:07:59 > 0:08:01So hopefully they look very nice and twinkly for Ms Minogue
0:08:01 > 0:08:04but the main key is always to light the performers, which a lot
0:08:04 > 0:08:07of people don't sort of remember to do.
0:08:07 > 0:08:10The giant screen is another first for the show and Dean is getting
0:08:10 > 0:08:13things in place for its erection.
0:08:13 > 0:08:16We're getting to the point now where we are going to close
0:08:16 > 0:08:17the rest of Oxford Street.
0:08:17 > 0:08:21OK, the road is closed now so you can come down and swing straight in.
0:08:21 > 0:08:23SFM know that they are expecting you.
0:08:23 > 0:08:26It comes as a shock to some drivers.
0:08:26 > 0:08:28Disgusting!
0:08:28 > 0:08:31With the road closed, the mega-fans begin to queue up.
0:08:31 > 0:08:35I arrived at 8.30 this morning to try and get a good place
0:08:35 > 0:08:37in the queue, and I am number two.
0:08:37 > 0:08:41I am just so looking forward to seeing Kylie cos I'm a massive fan.
0:08:41 > 0:08:45I have loved her since 1987. I love all her music.
0:08:45 > 0:08:49And got my tattoo done this year. Kylie signed a CD for me.
0:08:49 > 0:08:52I've been here since 8 o'clock. I was first to arrive and I'm first
0:08:52 > 0:08:54in the queue so I'm really excited.
0:08:54 > 0:08:56Really pleased cos I will be right at the front
0:08:56 > 0:08:58and I hope to see my beloved Kylie.
0:08:59 > 0:09:03They have got their front row seats booked but thousands of fans
0:09:03 > 0:09:05won't see anything without the giant screen.
0:09:05 > 0:09:09It's the biggest in Europe and is housed in this lorry.
0:09:10 > 0:09:14It extends on poles from inside the truck to about the same height
0:09:14 > 0:09:16as the 3,000 lights strung across the road.
0:09:18 > 0:09:21- Are you concerned about hitting? - Yeah. Very.
0:09:22 > 0:09:24I think if one light goes out, it puts them all out,
0:09:24 > 0:09:27- it's that kind of system.- Do you want to bring it forward?
0:09:27 > 0:09:30Is that what you're going to say, have to bring it forward?
0:09:30 > 0:09:32- Wherever it needs to be, put it, OK? - As far back as possible.
0:09:32 > 0:09:34But as far back as possible, yeah.
0:09:34 > 0:09:36I'm not really sure the total height that goes out.
0:09:36 > 0:09:40I reckon...if it goes to the height of them three windows,
0:09:40 > 0:09:41the third window up...
0:09:41 > 0:09:45That is high enough, isn't it?
0:09:45 > 0:09:47The lorry with the screen is manoeuvred into place
0:09:47 > 0:09:50but then comes the hazardous bit.
0:09:50 > 0:09:55The screen comes up from the truck but now needs to be rotated round.
0:09:55 > 0:09:58And that's when the team worry it could get a little too close
0:09:58 > 0:10:00to the suspended globes.
0:10:01 > 0:10:03I'll give him the nod now and he'll spin it.
0:10:05 > 0:10:07- Are you ready?- We are ready to go.
0:10:07 > 0:10:08The pressure is on.
0:10:14 > 0:10:16Literally millimetres.
0:10:22 > 0:10:26It passes clear but just a whisker away.
0:10:26 > 0:10:31It was just perfect. Perfect. Not a kiss in sight.
0:10:33 > 0:10:35Later, I Should Be So Lucky.
0:10:35 > 0:10:39The crowds arrive, the nerves are beginning to show.
0:10:39 > 0:10:42If we miss that moment, I probably won't be booked again.
0:10:42 > 0:10:44And here comes Kylie.
0:10:52 > 0:10:56London's underground network is the oldest of its kind in the world,
0:10:56 > 0:11:00having recently celebrated its 150th anniversary.
0:11:01 > 0:11:03Responsible for preserving its history is
0:11:03 > 0:11:07Transport for London's Design and Heritage Manager Mike Ashworth.
0:11:09 > 0:11:12And this morning he has come to Oxford Street for a very
0:11:12 > 0:11:13particular inspection.
0:11:14 > 0:11:18Tottenham Court Road station at the east end of the street is
0:11:18 > 0:11:21currently undergoing a half a billion pound rebuild.
0:11:21 > 0:11:26And right in the middle of it is a major series of public artworks -
0:11:26 > 0:11:30a set of mosaics by British pop artist Eduardo Paolozzi.
0:11:31 > 0:11:34I'm on an inspection visit today to make sure, in fact, that the plans
0:11:34 > 0:11:39that we have involve the restoration and relocation
0:11:39 > 0:11:43of over 95% of the mosaics is going according to plan.
0:11:45 > 0:11:47Born in Edinburgh, Eduardo Paolozzi
0:11:47 > 0:11:51is one of Britain's most famous pop artists whose work sells
0:11:51 > 0:11:54for hundreds of thousands of pounds.
0:11:54 > 0:11:59He designed and installed the Tottenham Court Road mosaics in 1984.
0:12:01 > 0:12:05The eye-catching multicoloured murals have always drawn mixed opinions
0:12:05 > 0:12:09but love them or hate them, few pass by without noticing them.
0:12:09 > 0:12:13They are made just like Romans made mosaics. These are made out of
0:12:13 > 0:12:14little tessera.
0:12:14 > 0:12:16In fact, a lot of these were actually made in Italy.
0:12:16 > 0:12:19And this is the first time really in nearly 30 years we have been
0:12:19 > 0:12:21able to see the mosaics with everything stripped off.
0:12:21 > 0:12:25And you can see, there's quite a lot of historic damage here.
0:12:25 > 0:12:29The murals run throughout the station and experts consider them
0:12:29 > 0:12:33one of the most important examples of British pop art on public display.
0:12:35 > 0:12:38In the middle of a huge building site,
0:12:38 > 0:12:40the risk of damage to them is real.
0:12:40 > 0:12:45The rotunda area contains some of the largest and most famous pieces.
0:12:45 > 0:12:48- What do you want pulled off first? - I think we'll have a look...
0:12:48 > 0:12:49Let's have a look at this bottom corner here.
0:12:53 > 0:12:55It's incredible, actually how dirty
0:12:55 > 0:12:58it has got during 30 years of service life.
0:12:58 > 0:13:01But no, structurally, that looks fine, really.
0:13:01 > 0:13:03It's difficult working round these things, isn't it?
0:13:03 > 0:13:06- Yeah, definitely.- In the middle of a building site finding works of art.
0:13:06 > 0:13:09You know, it's not exactly Pompeii
0:13:09 > 0:13:13but, you know, a fair amount of work needs to be done to keep these safe.
0:13:13 > 0:13:16I'm into art but I've looked at it, it's very different.
0:13:17 > 0:13:19I'd say that much.
0:13:19 > 0:13:22I'm more than satisfied, obviously, at this stage in the works,
0:13:22 > 0:13:24you know, the mosaics seem in good condition.
0:13:24 > 0:13:26You know, there's no obvious sign of damage.
0:13:26 > 0:13:29So far, so good down here at Tottenham Court Road.
0:13:30 > 0:13:33Mike might be happy with the state of the mosaics but plenty of other
0:13:33 > 0:13:34people are not.
0:13:35 > 0:13:40As part of the redevelopment, much of the old station is being demolished.
0:13:41 > 0:13:44And news has emerged that that includes some of the murals.
0:13:44 > 0:13:49In particular, the famous three-arch scene above the old escalators.
0:13:49 > 0:13:52Henrietta Billings, from the Twentieth Century Society,
0:13:52 > 0:13:54is fighting to save them.
0:13:55 > 0:13:57Just about to have a meeting with TFL and Hawkins Brown,
0:13:57 > 0:14:02their architects, to discuss the possibility of either retaining
0:14:02 > 0:14:07these two really important parts of the Paolozzi mural - the arches
0:14:07 > 0:14:10and the entrance panel - either within the new station
0:14:10 > 0:14:14or the possibility of them being relocated to another site.
0:14:14 > 0:14:17Hopefully, a museum or somewhere that they can still be seen
0:14:17 > 0:14:19on public display.
0:14:19 > 0:14:23A petition has been put together to save them with over 7,000 signatures.
0:14:24 > 0:14:26A lot of it is still in really, really good condition
0:14:26 > 0:14:29and the idea that we lose it because it doesn't fit in with
0:14:29 > 0:14:33the new plans of the station is a major, major loss for us.
0:14:33 > 0:14:35You know, it would be a tragic loss.
0:14:36 > 0:14:42Later, the station is demolished but what will happen to the mosaics?
0:14:42 > 0:14:45Dismantling that part of the building was never going to allow us
0:14:45 > 0:14:47to take these out in a meaningful way.
0:14:55 > 0:14:59PC Amy Campion has stopped a number of youths seen acting
0:14:59 > 0:15:01suspiciously on Oxford Street.
0:15:01 > 0:15:05She thinks they might have shoplifted from a major store.
0:15:05 > 0:15:09One male she stopped had nothing on him and has been let go.
0:15:09 > 0:15:12But across the street, another officer caught up with
0:15:12 > 0:15:13a different member of the group.
0:15:19 > 0:15:21Some trainers. He tried to take some trainers.
0:15:21 > 0:15:25In the shop's back room, one of the youths Amy spotted earlier
0:15:25 > 0:15:28is now in handcuffs having been found with a pair of trainers
0:15:28 > 0:15:30that hadn't been paid for.
0:15:41 > 0:15:44The boy, who has admitted shoplifting, is visibly upset.
0:15:51 > 0:15:52I know, I understand.
0:15:56 > 0:16:00It emerges the boy is only 13. None of the others who were stopped
0:16:00 > 0:16:03were found to have any stolen goods on them.
0:16:17 > 0:16:21After discussions with the shop manager, Amy decides not to take
0:16:21 > 0:16:25the boy back to custody where he would be charged with shoplifting.
0:16:25 > 0:16:29Instead, the store agree that on this occasion he should be returned home
0:16:29 > 0:16:31to face the wrath of his parents.
0:16:41 > 0:16:44On this occasion, the boy wasn't charged
0:16:44 > 0:16:46and won't get a criminal record.
0:16:46 > 0:16:49But his details will be noted and any further brushes with the law
0:16:49 > 0:16:51will be taken more seriously.
0:16:53 > 0:16:55Dealing with such a young boy means
0:16:55 > 0:16:58difficult judgement calls for the ORB team.
0:16:58 > 0:17:00No joy in arresting a 13-year-old.
0:17:03 > 0:17:06I think everyone deserves to be treated reasonably
0:17:06 > 0:17:07and proportionately.
0:17:07 > 0:17:12And is it proportionate to drag into custody a crying 13-year-old?
0:17:12 > 0:17:14Is it really?
0:17:14 > 0:17:17It's not being soft, it's being fair and that's what you've got to be,
0:17:17 > 0:17:19you've got to be fair.
0:17:19 > 0:17:22Sometimes the officers capture hardened professional criminals
0:17:22 > 0:17:25but today Amy is happy the boy has seen the error of his ways.
0:17:26 > 0:17:30He was very upset. He said he was sorry on numerous occasions.
0:17:30 > 0:17:33We took him home and his family were very concerned,
0:17:33 > 0:17:37especially his mum and his sister.
0:17:37 > 0:17:40For Amy, it's vindication for her instinctive feeling that something
0:17:40 > 0:17:42wasn't right about the group.
0:17:44 > 0:17:48And a few days later, out on plain-clothes patrol is another
0:17:48 > 0:17:51officer known for his instinct for spotting criminality -
0:17:51 > 0:17:54PC Paul Penrose.
0:17:54 > 0:17:57As part of the ORB team, it's the undercover officer's job to
0:17:57 > 0:17:59keep the West End safe for shoppers
0:17:59 > 0:18:03and that means being on patrol in all weathers.
0:18:03 > 0:18:06As you can see, it's horrible.
0:18:06 > 0:18:09It's rainy, it's a bit windy, it's cold.
0:18:09 > 0:18:15It's not dampening our spirits. We're out still looking for thieves.
0:18:15 > 0:18:19At Oxford Circus, one man hanging around outside a shop immediately
0:18:19 > 0:18:20captures Paul's attention.
0:18:24 > 0:18:27The man seems to be watching people around him.
0:18:27 > 0:18:31It's only because Paul is primed to spot this sort of behaviour
0:18:31 > 0:18:34after years of experience that he notices at all.
0:18:38 > 0:18:41Many criminals carry cheap pay-as-you-go phones rather than
0:18:41 > 0:18:45smartphones so they can dispose of them easily.
0:18:45 > 0:18:46And on closer inspection,
0:18:46 > 0:18:50the cheap one that man is using matches this profile.
0:18:51 > 0:18:55It's the slightest clue but Paul thinks it is enough to make it
0:18:55 > 0:18:57worthwhile following when the man heads south.
0:18:59 > 0:19:00There he is.
0:19:07 > 0:19:10Moments later, he does just that.
0:19:12 > 0:19:15He is now headed back up Regent Street.
0:19:15 > 0:19:17He's having a good look around.
0:19:17 > 0:19:21The double-back manoeuvre makes Paul doubt the man is a regular shopper.
0:19:33 > 0:19:37Paul has observed suspicious movements but nothing illegal.
0:19:37 > 0:19:39With the man about to leave on a bus,
0:19:39 > 0:19:41he's got to make a big judgement call.
0:19:45 > 0:19:48With only a second to make the decision, he moves in.
0:19:51 > 0:19:56Later, Paul gets his man and more than he bargained for.
0:19:56 > 0:19:58Where is your visa?
0:20:06 > 0:20:10At Debenhams head office in London, Ian and Amanda from the visual
0:20:10 > 0:20:13merchandising team are working on a festive window design
0:20:13 > 0:20:17for the chain's flagship Oxford Street store.
0:20:18 > 0:20:19We have a modern building so we need
0:20:19 > 0:20:22to come up with something that's very modern.
0:20:22 > 0:20:23It needs to be theatrical,
0:20:23 > 0:20:26it needs to be something that's eye-catching, show-stopping.
0:20:26 > 0:20:30Quite embryonic yet so we have got a lot of work to do on it.
0:20:30 > 0:20:33It's one of the most important jobs in the company.
0:20:33 > 0:20:38Each window has just a few seconds to grab a passers-by's attention.
0:20:38 > 0:20:39And the competition
0:20:39 > 0:20:42between Oxford Street's department stores is massive.
0:20:43 > 0:20:46You have got Selfridge's there, John Lewis.
0:20:46 > 0:20:49Everyone is there so we have got to do something really spectacular.
0:20:49 > 0:20:52We've got to really pull something out of the hat.
0:20:52 > 0:20:56Colleague Ian has been working on the concept. The plan is to build
0:20:56 > 0:20:58a display of mannequins and stars
0:20:58 > 0:21:01around a video installation of a real-life model.
0:21:03 > 0:21:08She is a gorgeous sky goddess or a snow queen and she's got a box.
0:21:08 > 0:21:11And she opens this box, pulls the ribbon and the sides fall open.
0:21:11 > 0:21:17As she blows...the stars start to break up and they burst into
0:21:17 > 0:21:20a thousand stars which travel throughout the window.
0:21:20 > 0:21:22It carries with her breath.
0:21:23 > 0:21:26It feels like we've got plenty of time to get this together
0:21:26 > 0:21:28but we really haven't, so the race is on.
0:21:30 > 0:21:34And firing the starting gun, Ian and Amanda arrive at a film studio
0:21:34 > 0:21:36to put the all-important video together.
0:21:38 > 0:21:41The company is investing a lot of money in the windows
0:21:41 > 0:21:43and has exacting standards.
0:21:43 > 0:21:46Their video must be perfect.
0:21:46 > 0:21:50It's quite scary, really. I think neither of us slept much last night.
0:21:50 > 0:21:52We are making a bit of an outfit for the model.
0:21:52 > 0:21:55You're not going to see any of it except for when the wind blows it
0:21:55 > 0:21:59into the shop, so hopefully you'll just get bits of ribbon
0:21:59 > 0:22:01that are flying through.
0:22:01 > 0:22:05The film will be shot against a green screen so images can be
0:22:05 > 0:22:07superimposed by a computer later.
0:22:07 > 0:22:11But some of the shoot will involve more traditional real-world props,
0:22:11 > 0:22:14including the gift box itself.
0:22:14 > 0:22:15The dreaded boxes.
0:22:17 > 0:22:18The model will open the box...
0:22:20 > 0:22:21..and then the sides fall open.
0:22:21 > 0:22:23HE BLOWS
0:22:23 > 0:22:28And there you have it. But, yeah...hopefully it will work.
0:22:28 > 0:22:31- With the model made up and ready... - Yeah, it is good.
0:22:31 > 0:22:33I just wish I had a party to go to.
0:22:35 > 0:22:37..the shoot can begin.
0:22:37 > 0:22:39Let's get you upstairs.
0:22:43 > 0:22:46What are we looking for with the movement of the fabric?
0:22:46 > 0:22:49Kind of ethereal. As kind of like slow and billowing as possible.
0:22:49 > 0:22:51- So nothing too crazy.- OK.
0:22:51 > 0:22:54So maybe if you try with the fan on.
0:22:58 > 0:23:01But the fan is not having the desired effect.
0:23:01 > 0:23:04- Her dress is not going down very well.- Well, we had to try.
0:23:04 > 0:23:06HE SNIGGERS
0:23:06 > 0:23:08The dress might not be billowing
0:23:08 > 0:23:12but the bigger concern right now is that box.
0:23:12 > 0:23:13How is that coming along?
0:23:14 > 0:23:16- And will we be able to slow that movement down?- Yeah.
0:23:16 > 0:23:19Let me go and add some thread. I'll be back in five minutes.
0:23:19 > 0:23:23- So it'll just open to that point. - Yes.- Good, great.
0:23:23 > 0:23:26We want it to look really, really elegant so we don't want it
0:23:26 > 0:23:27to fall open too fast.
0:23:27 > 0:23:30At the moment it's just dropping.
0:23:30 > 0:23:32Ian adds some threat to slow down the opening.
0:23:34 > 0:23:36Meanwhile, in front of the cameras,
0:23:36 > 0:23:38the team are getting ready for action.
0:23:39 > 0:23:44I am on the number-one priority, which is the chair swivel.
0:23:44 > 0:23:48- Very important job.- Very, very important job.- Action!
0:23:54 > 0:23:57And cut. OK, that was nice.
0:23:57 > 0:23:59Seemed to go really well.
0:23:59 > 0:24:02But the box still isn't opening smoothly enough.
0:24:03 > 0:24:06Would you be better having a CGI box? Can you do that?
0:24:06 > 0:24:08With the real box it would be much, much easier.
0:24:08 > 0:24:10Let's just refine the ribbon then.
0:24:10 > 0:24:12Ian works on the box once more,
0:24:12 > 0:24:15this time concentrating on the ribbon.
0:24:15 > 0:24:17Right, this is lovely.
0:24:18 > 0:24:19Is that better?
0:24:22 > 0:24:24OK, I really hope the new box is going to work.
0:24:24 > 0:24:28The simplest thing has also caused a lot of problems.
0:24:28 > 0:24:30And action.
0:24:37 > 0:24:41- That's a nice take overall.- Yeah. - Great, I think we got it.
0:24:42 > 0:24:43- Phew!- That's a wrap.
0:24:46 > 0:24:48Nailed it.
0:24:49 > 0:24:53Later, its installation time for the Debenhams windows.
0:24:53 > 0:24:55I am so excited, I can't even sleep.
0:25:04 > 0:25:07Oxford Street sees millions of visitors a year
0:25:07 > 0:25:10and putting adverts in front of them is big business.
0:25:10 > 0:25:15But how do advertisers know that anyone is paying attention?
0:25:15 > 0:25:17Oxford Street is about to find out
0:25:17 > 0:25:21with the latest in technological evolution for the advertising poster.
0:25:25 > 0:25:29We got a special that is going into Oxford Street, an artificial
0:25:29 > 0:25:31intelligent poster.
0:25:34 > 0:25:38Ryan is due to install an experimental new type of poster,
0:25:38 > 0:25:43designed by a team from ad company M&C Saatchi led by Dave Cox.
0:25:45 > 0:25:48What we are doing is making a poster that writes its own ads.
0:25:48 > 0:25:52It's kind of the first artificial intelligent poster, we think.
0:25:52 > 0:25:55The poster has a camera with a sensor that can read and recognise
0:25:55 > 0:25:59people's faces and interpret their reactions to what it's displaying
0:25:59 > 0:26:01as being positive or negative.
0:26:03 > 0:26:07It looks like it's doing something. Is it picking me up?
0:26:07 > 0:26:10It's going a bit wild at the moment, isn't it? It's happy? No.
0:26:11 > 0:26:15They are preparing the equipment for a special experiment the next day
0:26:15 > 0:26:16on Oxford Street.
0:26:17 > 0:26:19To see how the equipment works,
0:26:19 > 0:26:23they are going to trial an advert for a made-up brand of coffee.
0:26:23 > 0:26:27The computer will randomly show different images and slogans and will
0:26:27 > 0:26:31judge from people's reactions which elements they respond to best.
0:26:31 > 0:26:34It will then adapt the advert accordingly
0:26:34 > 0:26:36or at least, that's the plan.
0:26:37 > 0:26:41The idea is that it will gradually get better and better
0:26:41 > 0:26:43at being an ad and making people look at it.
0:26:43 > 0:26:48After two weeks, they will find out which combination worked best.
0:26:48 > 0:26:51It should evolve to be the best ad for that spot on Oxford Street.
0:26:52 > 0:26:56Next day, Ryan and Joseph set about making it happen.
0:26:57 > 0:27:01A normal poster takes seconds to install. This is going to take
0:27:01 > 0:27:03about a good hour and a half.
0:27:03 > 0:27:06If it starts to rain, it makes it a little bit more difficult.
0:27:06 > 0:27:08Obviously, we are installing electric equipment.
0:27:08 > 0:27:11We don't really want to get it wet.
0:27:11 > 0:27:13We will prevail. We will get the job done.
0:27:16 > 0:27:21- Dave is on the street to supervise installation.- Today is our big day.
0:27:21 > 0:27:22We have never seen it out in the wild before.
0:27:22 > 0:27:24It's pouring down with rain.
0:27:24 > 0:27:26Hopefully that won't be too big an issue, I don't know, really.
0:27:26 > 0:27:28At least we are in a bus shelter.
0:27:29 > 0:27:32Out with the old and in with the new.
0:27:32 > 0:27:36- Yeah, here it comes.- One PC with content.
0:27:36 > 0:27:37It should all just...
0:27:37 > 0:27:41It should all just start up and look after itself, we hope.
0:27:41 > 0:27:44- Would you like to do the honours and switch it on?- All right then.
0:27:44 > 0:27:46Here goes.
0:27:53 > 0:27:54The fan is not spinning up.
0:27:55 > 0:27:58It's not ideal to install it in the rain.
0:27:59 > 0:28:02The plug-it trick. It went on and off.
0:28:02 > 0:28:05- But eventually...- Here goes.
0:28:06 > 0:28:08Whoa. We're on.
0:28:09 > 0:28:13..the computer starts by randomly selecting an image and a slogan
0:28:13 > 0:28:15for Dave's imaginary coffee brand.
0:28:17 > 0:28:20Hey! There you go. Janis Joplin.
0:28:20 > 0:28:24"Assemble a silly angry stunning bottle every dusk."
0:28:24 > 0:28:27Depending on how people react to it, it will adapt both the imagery
0:28:27 > 0:28:28and the wording.
0:28:28 > 0:28:31It's going to start off with nonsense, basically.
0:28:31 > 0:28:35But over time the idea is it will gradually sort of, hopefully,
0:28:35 > 0:28:36make more and more sense.
0:28:38 > 0:28:40But we'll see. You know, it's an experiment.
0:28:40 > 0:28:43It is actually looking fabulous.
0:28:46 > 0:28:50The advert is in place for two weeks, catching the eye of the public
0:28:50 > 0:28:51and collecting its data.
0:28:55 > 0:28:59And a fortnight later, what does the machine think is the most effective
0:28:59 > 0:29:02way of advertising coffee on Oxford Street?
0:29:02 > 0:29:04It started off with around 20 images
0:29:04 > 0:29:07and then I think whittled it down to maybe eight or so.
0:29:07 > 0:29:10It seems to be converging on black-and-white images,
0:29:10 > 0:29:14which is interesting because you don't see many black-and-white ads
0:29:14 > 0:29:16on Oxford Street.
0:29:16 > 0:29:20And what were the photo and slogan that emerged as the most popular?
0:29:20 > 0:29:23The most popular line was - "The boss of both reasons."
0:29:23 > 0:29:29That sort of implies, I don't know. That's a really confusing sentence!
0:29:29 > 0:29:31So it's quite weird but then, people are looking at it.
0:29:31 > 0:29:33And maybe they're looking at it cos they're weird.
0:29:33 > 0:29:36It's not just coming out with stuff at random, it is
0:29:36 > 0:29:38starting to converge on certain things that seem to be working,
0:29:38 > 0:29:41so it's coming up with some sort of strategy.
0:29:41 > 0:29:45Perhaps the advertising copywriters' jobs are safe for the time being.
0:29:45 > 0:29:49Either way, Dave is sure the technology has a big future.
0:29:49 > 0:29:51And whenever it is finally ready,
0:29:51 > 0:29:53Oxford Street will be the first to see it.
0:30:02 > 0:30:05Ian and Amanda from Debenhams are in charge of designing
0:30:05 > 0:30:09and installing the festive windows at the Oxford Street flagship store.
0:30:11 > 0:30:14They have already shot a video installation which will form
0:30:14 > 0:30:16the centrepiece of the display.
0:30:18 > 0:30:19Nailed it.
0:30:21 > 0:30:24And today Ian is on to the next step of the journey.
0:30:24 > 0:30:29He is in Leeds to see the prototypes for the rest of the installation.
0:30:29 > 0:30:32Jason works for the shop fitting company that has been building them.
0:30:34 > 0:30:37We are waiting with bated breath and anticipation. It's going to be
0:30:37 > 0:30:38exciting, who knows what's going to happen.
0:30:38 > 0:30:42- How's it going?- All right. You? Are you ready for this?
0:30:42 > 0:30:45- I'm ready. Come on, let's go. We've got to see it.- Let's go, let's go.
0:30:47 > 0:30:52- Oh, my God!- Now, that's the reaction we wanted.- Oh, my God.
0:30:52 > 0:30:54Can it not be bigger?
0:30:54 > 0:30:57The windows are only so big.
0:30:57 > 0:31:01Ian gets to work and the constructive criticism is soon flowing.
0:31:01 > 0:31:04You're going have to move that back but we're going to need it deeper.
0:31:04 > 0:31:07This I don't think is big enough.
0:31:07 > 0:31:09And we also don't have the ones with the neon yet.
0:31:09 > 0:31:12But we need to decide what colour and what material
0:31:12 > 0:31:13- each fascia is going to be.- Yes.
0:31:13 > 0:31:16- So is that working for you? - Yeah. 100%.
0:31:16 > 0:31:18Let me take a picture. Well, I'm really, really pleased.
0:31:18 > 0:31:22- Like, it is gorgeous.- His reaction could have gone either way.
0:31:22 > 0:31:24So this is the one we wanted, so, yeah, definitely happy.
0:31:26 > 0:31:30Over the next three months, Jason and Ian refine the design
0:31:30 > 0:31:33until, by the end of October, it is ready to go into the store.
0:31:35 > 0:31:38Over the course of three nights, new lighting is installed,
0:31:38 > 0:31:42decorations added and the mannequins go in.
0:31:42 > 0:31:45Right, she is going up here.
0:31:47 > 0:31:50I'm so excited, I can't even sleep.
0:31:50 > 0:31:54The TV screen that will host the all-important video installation
0:31:54 > 0:31:57is also up and running.
0:31:57 > 0:32:00So it's just a question of pressing a couple of buttons now.
0:32:02 > 0:32:03I think we are there.
0:32:03 > 0:32:06I think it's one of those high-five moments.
0:32:06 > 0:32:11The work continues until it is just a case of a few finishing touches.
0:32:11 > 0:32:13Just one final push and I just need a coffee.
0:32:15 > 0:32:17They are opening the doors.
0:32:19 > 0:32:22The final nail just to get this mannequin in place
0:32:22 > 0:32:24and then we can say we are done.
0:32:26 > 0:32:31Just time to head outside to Oxford Street itself to inspect the
0:32:31 > 0:32:33culmination of all their hard work.
0:32:35 > 0:32:36Oh, my God.
0:32:36 > 0:32:40These, these are my favourite things, the infinity stars.
0:32:40 > 0:32:43- It's great, isn't it?- Yeah. - It's all come together.- I know.
0:32:43 > 0:32:45I'm so relieved that it looks amazing.
0:32:56 > 0:33:00Earlier, we saw the battle going on to preserve Eduardo Paolozzi's
0:33:00 > 0:33:04love-them-or-hate-them mosaics deep under Oxford Street.
0:33:05 > 0:33:09The platform murals will be preserved in situ but after we filmed,
0:33:09 > 0:33:14the mosaic arches above the escalators were dismantled.
0:33:14 > 0:33:18However, Transport For London decided to preserve the removed sections
0:33:18 > 0:33:22and they have now arranged for them to be restored.
0:33:22 > 0:33:26Eventually, they will go on display in Paolozzi's home town of Edinburgh.
0:33:29 > 0:33:31And on a crisp morning, Neil Lebeter,
0:33:31 > 0:33:34curator at Edinburgh University's Art Collection
0:33:34 > 0:33:36is ready to greet them.
0:33:36 > 0:33:39Today we have the arrival of the Eduardo Paolozzi murals
0:33:39 > 0:33:41from Tottenham Court Road Station. This is amazing.
0:33:41 > 0:33:44Like, stuff like this does not come around very often.
0:33:44 > 0:33:46This is a unique project.
0:33:46 > 0:33:49The team get to work unloading the mosaics,
0:33:49 > 0:33:53which had sat for over 30 years deep under Oxford Street.
0:33:54 > 0:33:58Not only was Paolozzi born in Edinburgh, but he studied and taught
0:33:58 > 0:34:00at this very art school.
0:34:02 > 0:34:05Neil gets his first look at the mosaics.
0:34:05 > 0:34:09So this is one of the kind of medium...medium sections.
0:34:09 > 0:34:13You can see that the actual tiles themselves are mostly intact.
0:34:13 > 0:34:15This is the type of size and material that
0:34:15 > 0:34:16we are going to be working with.
0:34:16 > 0:34:19It's looking not too bad, considering, you know, it has been
0:34:19 > 0:34:23removed from a building having spent 30 years in a very busy
0:34:23 > 0:34:27underground station where, you know...
0:34:27 > 0:34:29You can just tell by my hands
0:34:29 > 0:34:31just how much dust has built up over that time.
0:34:33 > 0:34:37The team will spend the next few weeks cleaning and cataloguing
0:34:37 > 0:34:38the individual fragments.
0:34:39 > 0:34:43I have no idea which part this was on so it's going to be quite
0:34:43 > 0:34:45a challenge, I think, to puzzle these all back together and see
0:34:45 > 0:34:47how it all works.
0:34:47 > 0:34:51Once catalogued, the pieces will be photographed and a computer program
0:34:51 > 0:34:54will virtually reassemble them in the right places.
0:34:56 > 0:35:00Some new individual tesserae will be ordered from the same Italian
0:35:00 > 0:35:03suppliers that Paolozzi originally used.
0:35:03 > 0:35:06This project is going to take so long!
0:35:06 > 0:35:10Because it's essentially a massive jigsaw.
0:35:10 > 0:35:14The final result is to physically rebuild this in a publicly
0:35:14 > 0:35:16accessible space where everyone can see it.
0:35:16 > 0:35:18It's going to be a challenge.
0:35:18 > 0:35:20But that day for now is some years away.
0:35:22 > 0:35:24Meanwhile, deep under Oxford Street,
0:35:24 > 0:35:27the mosaics that remain have been preserved.
0:35:27 > 0:35:30They have been given a clean and a buff up
0:35:30 > 0:35:32ahead of being reopened to the public.
0:35:40 > 0:35:45Undercover PC Paul Penrose has been trailing a suspect onto a bus.
0:35:45 > 0:35:48He has made the decision to stop and search him.
0:35:49 > 0:35:53He has not seen him commit an offence but Paul's instinct tells him
0:35:53 > 0:35:56something about the man's behaviour isn't right.
0:35:57 > 0:35:59Mate, police officer.
0:35:59 > 0:36:01I just need to take someone off the bus a second.
0:36:02 > 0:36:05Sir, police officer. Can I just have a quick chat?
0:36:05 > 0:36:09Can you just come and stand over here?
0:36:09 > 0:36:12- Where are you from?- Albania. - Albania, yeah?
0:36:12 > 0:36:14We're just wondering what you're doing in the area,
0:36:14 > 0:36:16why you were waiting around up there
0:36:16 > 0:36:18and then coming all the way down to catch a bus here?
0:36:20 > 0:36:25Paul's colleague catches up and calls base to check out the man's ID.
0:36:25 > 0:36:28I've got a male stopped. Could you run him through the box, please?
0:36:29 > 0:36:33A quick search reveals no suspicious items but it looks like Paul's
0:36:33 > 0:36:38instinct was correct - the man's documents are not in order.
0:36:38 > 0:36:41They take cover from the rain to investigate further.
0:36:42 > 0:36:45All right, where's your visa?
0:36:45 > 0:36:48Where is your visa?
0:36:48 > 0:36:50You've got no visa. Have you entered the country illegally?
0:36:54 > 0:36:56Hello, Immigration. They are saying he hasn't got a visa.
0:36:58 > 0:37:01While they wait for confirmation of the man status, Sergeant Skinner,
0:37:01 > 0:37:05who was patrolling separately, arrives and gets out the handcuffs.
0:37:07 > 0:37:10We don't want you to go for a run until we work out this.
0:37:10 > 0:37:13I suspect at this moment in time you are in the country illegally,
0:37:13 > 0:37:14do you understand that?
0:37:15 > 0:37:17It was a gut feeling that prompted
0:37:17 > 0:37:20Paul to follow the man in the first place and his decision
0:37:20 > 0:37:23to stop the bus to remove him has been vindicated.
0:37:25 > 0:37:27Transport arrives and the man is taken back
0:37:27 > 0:37:29to Charing Cross Police Station.
0:37:32 > 0:37:36As an Albanian national without a visa, he has no legal right
0:37:36 > 0:37:37to be in the UK.
0:37:55 > 0:37:58Although ORB officers aren't specifically looking for
0:37:58 > 0:38:01immigration offenders, they find that those who are in the country
0:38:01 > 0:38:03illegally sometimes turn to crime.
0:38:04 > 0:38:07In this case, it is a successful result.
0:38:07 > 0:38:10The man will be passed to immigration authorities with
0:38:10 > 0:38:12the likelihood that he will be deported.
0:38:22 > 0:38:24At the switch-on of the Oxford Street lights
0:38:24 > 0:38:27the teams behind the scenes are getting ready to make sure
0:38:27 > 0:38:31that the biggest event in the street's year goes without a hitch.
0:38:32 > 0:38:35Already, they have built a stage from scratch, rigged it with lights
0:38:35 > 0:38:38and installed Europe's biggest TV screen.
0:38:41 > 0:38:44But if everything is going to work out, they have got to be sure
0:38:44 > 0:38:47that when pop princess Kylie presses this button...
0:38:48 > 0:38:51Don't tell anybody this is the button.
0:38:51 > 0:38:54..the 3,000 illuminated balls
0:38:54 > 0:38:56that stretch the length of the street will light up.
0:38:58 > 0:39:02Nick Maclaren is responsible for them and opts for a trial run.
0:39:05 > 0:39:09I'm here to switch on this block just beside around the switch-on is
0:39:09 > 0:39:12just to make sure we are not going to have any issues.
0:39:15 > 0:39:17Whoo.
0:39:17 > 0:39:21Lights checked, road closed and stage set, the crowds are allowed in.
0:39:23 > 0:39:27Backstage, Del Brown is overseeing the filming of the event.
0:39:27 > 0:39:31TV news shows and other networks all want a feed of Kylie's big moment.
0:39:31 > 0:39:35And everything the crowd sees on those giant screens will be
0:39:35 > 0:39:36controlled by him.
0:39:38 > 0:39:40I'm a little bit nervous.
0:39:40 > 0:39:44They've given me... I think it's five cameras, including a jib.
0:39:44 > 0:39:46And they've basically said, "Cover the event."
0:39:46 > 0:39:48So between me and the camera operators,
0:39:48 > 0:39:51we are going to be trying to get the best angles.
0:39:51 > 0:39:54And I have got the responsibility of making sure that when all
0:39:54 > 0:39:57of the broadcasters take that shot of Kylie pressing the button,
0:39:57 > 0:40:01I've got to make sure we've got Kylie, everyone on stage and all
0:40:01 > 0:40:03of the sponsors' logos all in the same shot.
0:40:03 > 0:40:07Cos if we miss that moment, I probably won't be booked again.
0:40:09 > 0:40:12So, Ross, shall we just rehearse your move? So if we go
0:40:12 > 0:40:13from there into the stage.
0:40:14 > 0:40:17And, Nick, you will be on a 2 shot.
0:40:17 > 0:40:21On the other side of the crowd, Paul is waiting nervously with his lights.
0:40:22 > 0:40:25Oh, if you don't get nervous, you are not doing it right.
0:40:26 > 0:40:28This is the running order.
0:40:28 > 0:40:30Otherwise known as the book of lies.
0:40:31 > 0:40:33Finally, at 5.50...
0:40:33 > 0:40:36Yes, everyone well to record? Thank you.
0:40:36 > 0:40:37CROWD CHEERS
0:40:40 > 0:40:43Presenters Lisa Snowdon and Dave Berry take to the stage.
0:40:43 > 0:40:45- Dave Berry.- Hello.
0:40:45 > 0:40:47Welcome to one of the best things
0:40:47 > 0:40:50that's ever going to happen in our lives.
0:40:50 > 0:40:511 to 1 next. Cut 1.
0:40:51 > 0:40:54And Kylie is here, everybody.
0:40:54 > 0:40:56And Del swings into action.
0:40:56 > 0:41:01Pull back out, jib, high and wide. Come 3 next and 3 for a cutaway.
0:41:01 > 0:41:03Come to jib next. And jib.
0:41:03 > 0:41:06Oh, well. Face is covered up by the mic, brilliant.
0:41:06 > 0:41:09But once the Lord Mayor of Westminster is out of the way,
0:41:09 > 0:41:12it's time for the moment the crowd has been waiting for all day.
0:41:15 > 0:41:17Kylie is here, everyone!
0:41:17 > 0:41:19CROWD CHEERS
0:41:19 > 0:41:20Hi, Kylie!
0:41:20 > 0:41:23- You look so good.- How are you?
0:41:25 > 0:41:27Hello, puppet. Hello, everyone!
0:41:27 > 0:41:292. Have a squeeze in 2.
0:41:29 > 0:41:30How are you feeling?
0:41:32 > 0:41:35For everyone involved, and particularly Del and Paul,
0:41:35 > 0:41:38everything rests on the next few seconds.
0:41:38 > 0:41:41OK. So, everybody, you know what you have to do.
0:41:41 > 0:41:42Let's count down now.
0:41:42 > 0:41:44Ten, nine...
0:41:44 > 0:41:462 next. 2, come to 1.
0:41:46 > 0:41:53..eight, seven, six, five, four, three, two...
0:41:53 > 0:41:56- Holding on this shot cos they want it.- ..one. Do it, Kylie!
0:42:02 > 0:42:06Come to Ross. Ross stands up. Ross, it's all yours. Up on the wide.
0:42:16 > 0:42:17I think that's it.
0:42:17 > 0:42:20- 'Ladies and gentlemen...' - Yeah, that's it.
0:42:20 > 0:42:22- '..the show is now over.' - Oh, the show's over.
0:42:22 > 0:42:23'Please get home safely.'
0:42:26 > 0:42:29Ah! Thank God that's over!
0:42:29 > 0:42:30Pfrrr!
0:42:30 > 0:42:34The lights went on, everything worked. Um, all is good.
0:42:34 > 0:42:38- I need a cup of tea now.- We'll see how it looks to the papers.
0:42:38 > 0:42:42So I just saw Kylie Minogue. It was so good.
0:42:42 > 0:42:45- We queued up for a good couple of hours and it was worth it.- Yeah.
0:42:45 > 0:42:48- It was absolutely amazing!- Yeah.
0:42:48 > 0:42:51And with that, the 45-minute show is over
0:42:51 > 0:42:55and the 17.5-hour stage preparation comes to an end.
0:42:56 > 0:42:58Get it all broken down and go home.
0:42:58 > 0:43:02With a bit of luck, we will be out by 10 o'clock. Maybe 11.
0:43:02 > 0:43:05Time to de-rig and reopen the street
0:43:05 > 0:43:07for people to do their Christmas shopping.