- 7 months ago
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00:00This is not a game. This is a 12-week job interview. Never, ever, ever, underestimate me.
00:1514 people came to London in search of a job.
00:19I don't like liars. I don't like cheats. I don't like bullshitters. I don't like schmoozers.
00:30I don't like arse liquors.
00:35They've come to battle it out for a job with Sir Alan Sugar.
00:38I would have told you to piss off.
00:41Tough and uncompromising, Sir Alan is at the top of his game with a global empire worth £700 million.
00:50He's offering one job with a six-figure salary.
00:53I'm going to fucking win this night if it kills me.
00:56To get it, they'll have to work and live together and face a weekly business task.
01:02You can't fucking fire me.
01:04Do you feel the pressure is building?
01:05This is the ultimate job interview.
01:08You're fired. You're fired. You're fired.
01:10Last week on The Apprentice.
01:23I think the look of shock and horror when she walked in with Ben, you spoke volumes.
01:27Nobody could believe that for a second time she's walked back in.
01:30Adele survived the boardroom firing again and returned for Sir Alan's next task.
01:35Now, I've got a friend of mine who's got a corner shop.
01:39He called in a favour to test the candidate's shopkeeping skills.
01:43Mr Fayed has very kindly agreed to allocate two retail shopping spaces.
01:49Do you have a preference?
01:49I'll ask you the question first.
01:51Why are you asking me?
01:52The candidates split into two teams, each with a project manager.
01:56There's no deal to be done. I'm not negotiating.
01:57Their aim, to make as much money as possible.
02:00I think we need to review our strategy.
02:02Have we got all the wrong products?
02:03Yes.
02:04James' team started pulling.
02:05How long would you recommend somebody does this for?
02:07But a clever gimmick pulled in the punters.
02:12Have you seen the smaller ones that we've got just in the corner?
02:15Tim's team sold steadily, but Adele clashed with the Harrods staff.
02:19I think you've got enough problems yourselves.
02:23There's been a little bit of conflict on the floor.
02:25Adele has become quite pressured in some situations.
02:29In the boardroom, the results were announced.
02:32James' team came out on top.
02:37On the losing team, Adele became the focus of attention.
02:41I think there's no place in business for high emotion.
02:45Adele did become very emotional.
02:47Her response was unexpected.
02:48I'm sorry, this isn't for me.
02:50I am going to leave today.
02:52It's an easy way out.
02:53No, it's not an easy way out.
02:54You was going to go.
02:55You read it right.
02:56Adele became the fourth casualty of the boardroom.
03:01Now, ten remain to fight for the chance to become the apprentice.
03:05At the house, the winning team wait for the losers to return from the boardroom.
03:21They have no idea who's been fired.
03:23The most likely is going to be Adele, because Adele is now on.
03:28Yeah, but you see that?
03:29She's on her third visit.
03:30Yeah, but Adele, she, I mean, she is like death-defying.
03:34She's on her third visit.
04:04I was quite upset.
04:05It's not an easy thing to do, to stand up and say, you know what, I resign from it.
04:08I don't want your job anyway.
04:10It's easy to quit, Tim.
04:11I've got a pregnant wife at home, Tim.
04:12I've got a nine-year-old boy.
04:13I've got companies at home.
04:15But I'm here, and I have to stay focused.
04:17Maybe it wasn't what she expected, so she's gone.
04:18She's gone.
04:19End of story.
04:19We've got to get on with it.
04:28Hello?
04:29Hello?
04:30Hi, is that Frances?
04:31It is.
04:32I'm just ringing because Sir Alan has asked me to call you and tell you to meet him at 8.30am
04:38tomorrow morning in Hoxton Square in the East End.
04:42That's my area.
04:43It's London, innit?
04:44And we're to appoint new project managers from the existing teams.
04:49Have we no idea what the brief is?
04:50We have no idea what the brief is.
04:51I've received no further information.
04:53The two teams separate to choose new project managers.
04:57First 40 now has only four members, while Impact has six.
05:01No one knows what tomorrow's task will involve.
05:05First of all, as project leader for the last one, congratulations to everybody, because
05:09there are a few things that I want to bring out that perhaps we didn't discuss earlier.
05:13Can I just say that I wanted to put my hand up for project manager for the property task,
05:21because I heard that there might be a property task coming, and property basically, for the
05:25kind of thing that I think it's going to be, is the kind of thing that I want to do.
05:28And me.
05:29And me.
05:30Does anyone have any really strong feelings that they really want to do it?
05:34Without those inner briefs, I don't think anybody can.
05:35No.
05:36All right, let me do short straws, yeah?
05:37Right.
05:38I would just feel that if I didn't put my hand up, and it turned out to be something that
05:42I wanted to get my teeth into, then I would have thought I'd missed the trick.
05:46I think that's irrelevant right now.
05:48I think it's either...
05:49But it's not relevant for me, Raj.
05:50No, no, no.
05:51I know, but what I'm saying is, do you want to do it tomorrow, or do you not want to do it tomorrow?
05:54If you don't want to do it tomorrow, then obviously Rachel can take it.
05:57Are we bigging longest or shortest?
05:58It's the shortest straw gets to be a project manager.
06:00Ben, do you want to go next?
06:05That looks quite long, doesn't it?
06:06Oh, I think it's Sebastian.
06:07That'll be me.
06:09I don't want it badly like that.
06:12All I want is the fact that everyone gets the opportunity to be the project manager.
06:18My main motivation for doing it is that I feel that so far I've taken a little bit of backseat in proceedings,
06:23and we've done four tasks now, and I'd really like the opportunity to show my meccal.
06:26That is my motivation for doing it.
06:28And I think that's as good as any.
06:30You'll be project manager.
06:31OK.
06:31Are we happy with that?
06:33OK.
06:338.30am.
06:40Sir Alan heads for Hoxton to meet the teams.
06:43It's the centre of London's modern art scene.
06:45Good morning.
06:53Good morning.
06:53Good morning.
06:54Now, your task this week is all to do with art.
06:58Each of you teams are going to choose one of Britain's up-and-coming artists.
07:03You're going to be given a choice of seven.
07:05You're going to choose one artist, and then you're going to take their work,
07:09and you're going to display it in a London gallery.
07:12The team that sells the most is going to win.
07:16Now, Rachel, Sebastian, you're the team leaders.
07:21Sebastian, level up the numbers.
07:23Pick someone from the impact team to join you.
07:26I'll pick James.
07:27James.
07:28Step forward, James.
07:29I was totally unsurprised they took James because I knew that James was a very serious asset.
07:34It was quite clear that James was going to go.
07:36I knew that.
07:37James knows that kind of thing.
07:39He knows about art.
07:40He knows people in that world and is likely to appeal to people in that world.
07:47So that made it more of a blow in some ways.
07:50Margaret and Nick are going to be following you around on this task.
07:54They're going to be my eyes and ears.
07:55The team that takes the most money is going to win.
07:59And the team that doesn't, one of you, is going to get fired.
08:08The candidates plan their visits to the artists' studios.
08:12They have the same seven artists to choose from.
08:15Two o'clock there.
08:17What I'm suggesting is we do this one together and then split up.
08:20Right.
08:20OK, I'm going to leave the two of you separate.
08:23Mirren, why don't you go with James?
08:24Perfect, that's all right.
08:25The teams have less than six hours to meet the artists and pick one they want to work with.
08:30This is going to be art with a capital F.
08:34That's how much I know about art, I'll tell you that.
08:36But I wouldn't be able to spot a Damien Hirst if he fell on me.
08:41I tend to have the same opinion as Matthew, by and large, that modern art is pretty much a lot of twaddle, even though I buy some of it.
08:49It has to be cheap for me to buy it.
08:51And I tend to buy it because it fits in with the decor of my house.
08:54Matthew and Paul are meeting the rest of their team, Impact, at the East London studio of sculptor Gary Martin.
09:03Have we made any progress?
09:04Well, I mean, OK, let's go up to the fourth floor.
09:07Is this it, though?
09:07We don't know.
09:08Possack and Grey?
09:09Yes, and that tells us what.
09:11Where's our appointment?
09:12Gary Martin, fourth floor, Mother Studios.
09:16Come on, lads.
09:18It's all you send out.
09:19No, we're here, aren't we?
09:20It's just a waste of time if we look out of a window.
09:22On the other team, First Forte, Tim, Ben and Sebastian are in North London to meet painter Dan Baldwin.
09:31Thanks a lot.
09:32Sebastian.
09:32Hello.
09:33Nice to meet you.
09:34Tim.
09:35Tim.
09:35It's the faintest brushstrokes that's in little places.
09:38Matthew!
09:39Rachel is late.
09:42Here, here, here, here, here, here.
09:44What is that?
09:46Like a pill, like an anodine pill.
09:48Yeah.
09:48OK.
09:49And this is my most recent piece.
09:51That's at Matt?
09:52It's one piece.
09:53Well, this is just the display.
09:54Oh, I see.
09:55So what sort of money are those?
09:56Five, six hundred quid?
09:57Yeah, yeah, exactly.
09:58Right.
09:59Do you do anything that's like a cheap range?
10:02I don't know what that was.
10:02It's all sexual.
10:03Look at it.
10:04That's a willy.
10:06That's a pointy breast.
10:07That's a clitoris.
10:08That's a very diseased willy.
10:10It doesn't say cockpit art.
10:11It just does.
10:12I was reading that off the wall.
10:13No, it says cockpit art.
10:14Oh, it does.
10:14You're right.
10:15I'm so sorry.
10:15Rachel, Matthew and Paul have come to central London to meet established painter Johnny Clark.
10:21My name's Rachel.
10:23Hi.
10:23Pleasure to meet you.
10:25Hello, I'm Walter Paul.
10:26Hello.
10:26And I'm Matthew.
10:27I've tried to bring some work for you that's easily saleable.
10:35Fantastic.
10:36Because that's the idea of the game.
10:38They were quite sort of raw images, which I thought were really powerfully portrayed and
10:42showed quite aggressive sexuality in a woman, which I think is an interesting thing.
10:46But the boys being quite traditional were like, oh, oh my God.
10:49I think you'll be able to sell everything if you do it.
10:53Well, I hope so.
10:53I, I, you know, and that'll be the idea, is, is that, er, there'll be something for everybody.
11:00Provided they're not, they're like naked ladies.
11:03I think most people do.
11:05Well, do you know, the whole of art is to do with naked ladies.
11:09The Venus de Milo is a good example.
11:12Miriam and James from First Forte visit a studio in an upmarket part of West London.
11:19It belongs to successful husband and wife team, Rob and Nicky Carter.
11:24Rob, lovely to meet you.
11:25Hi there, I'm James.
11:26James.
11:26Hello.
11:27Hi.
11:27Basically, the way we make our pictures is by shining light directly onto photographic paper.
11:34So we'll plug it in and we'll switch off these.
11:40Oh, that's fabulous.
11:42Oh, my God, that is amazing.
11:46No, we had a little strategy as well with all our artists that we wanted to remain very,
11:50very positive about all their work so that if it got to the end of the day and we needed
11:55to bid for representing them, that we'd had a good initial connection with them.
12:01It moves, moves off the paper at you.
12:03It just, and it draws you in at the same time.
12:06I am loving that.
12:08James in general is a very effusive person.
12:10He's really positive, really energetic.
12:13And he was absolutely loving Rob and Nicky's work.
12:16I'm beyond love, actually.
12:18This is to do with what is, to me, is art.
12:27It's to do with line.
12:28It's to do with imagination.
12:31But this would look fabulous in a big space, wouldn't it?
12:33It would look fantastic.
12:37What is it?
12:38What is it?
12:39It's an abstract moment of thought, we hope.
12:42No, but you can see that it's actually a nude.
12:45Can't you see in the landscape?
12:47It's a landscape of a woman.
12:48I'm no artist, but it was just lots of shagging, wasn't it?
12:56Women lying down, masturbating or being rogered.
12:59Absolutely saleable, though, I think.
13:01Do you not agree?
13:02I wouldn't buy it.
13:03OK, well, I disagree on that one.
13:05You see, don't forget also that men are going to be coming in there with women that might have families.
13:09Do they want that kind of stuff on their wall?
13:11There were only one, there were two masturbation shots and one female.
13:16Buggery.
13:16Yeah, there was a lesbian orgy as well, don't forget.
13:19I actually did like the kind of masturbation-y, rape-y ones.
13:23I thought they were quite strong.
13:24Rachel, wow, how can you like them?
13:26I did, I thought they showed a powerful picture.
13:28Yeah, of people shagging and screwing.
13:31If you want to buy that, buy a magazine from Mr Desmond.
13:35Richard Desmond supplies those kind of things.
13:38I'm not talking about porn, I'm talking about...
13:40But what is that then?
13:40That's what that was.
13:41It's not porn.
13:42What is it then?
13:43No, it's art, absolutely.
13:45You all right, I'm Raj.
13:46Hi, Raj.
13:47The other half of Rachel's team, Impact, Raj and Syrah, are behind schedule.
13:52They're in South East London to see artist Lucy Bennett.
13:55Yeah, you work very well.
13:56I mean, we'll let you know now, we are not expert artists or know a lot about it,
14:00so it's going to be an education.
14:03As a woman, I'm really interested in female identity and contemporary woman and how that is portrayed.
14:10And so I do a lot of, a lot of my images are of women.
14:14The bits that are left out, like the top of a head or part of a hand, are very specifically left out for a certain reason.
14:21The bits that are edited out are as important as the bits that are kept in.
14:26All right.
14:27Lucy, can I just, that's fantastic.
14:30Okay, sure.
14:30I think that's just given us a general idea of what we're doing here.
14:33In terms of your average price for your stuff, what is the average price that you sell your paintings for?
14:40Is it right to call them a painting, by the way?
14:42Yes, that's fine.
14:42Is that what you are, a painter?
14:44I am a painter.
14:45Yes, I am a painter.
14:46Lucy Bennett is very saleable.
14:49Very modern.
14:50And a really lovely stuff.
14:52A good price range.
14:54What would you want to see from the team that you're working with in terms of, you know, the exhibition?
14:58Well, I think we'd be looking for a team that really like the work and judging by your, with your actions downstairs, that's a step in the right direction.
15:08It's Rob and Nicky Carter.
15:10Outside, Raj and Syrah arrive at the same studio.
15:14Rob or Nick?
15:16Rob and Nicky.
15:17Hi.
15:17Hello.
15:18Again.
15:19Hello.
15:19Again.
15:19Hello.
15:20You're eating the entire time, guys.
15:23They find James and Miriam still schmoozing Rob and Nicky Carter.
15:28It's very formal.
15:29Hello.
15:29Hello.
15:30Hello, how are you?
15:30Hello, traitor.
15:32Really, what we'd like to do, Raj and I, is just for you to kind of talk to us about your art in a way that we'd understand it.
15:41Sure.
15:41In terms of your exhibition experience, excuse me, in terms of your exhibition experience, where have you exhibited your work?
15:49Two solo shows on Cork Street in 2000 and 2002.
15:52Ah, that's interesting.
15:53Cork Street, 2002.
15:55And how did that go for you?
15:57It went very well, yeah.
15:59When you say very well, did you sell a lot?
16:02Nearly all of them.
16:03Nearly all of them?
16:04Yes.
16:04Ah.
16:06So you sold all of them?
16:08They were sold now.
16:09No, they didn't all sell on the night, but they were all sold now.
16:12Usually our exhibitions run a lot more than one night.
16:15Right, no, of course, sorry, yes.
16:16Yeah, sure.
16:18Okay.
16:19All right.
16:20Can I just ask you, in terms of your client base, I mean, who would buy a painting like this?
16:27Who's your typical client?
16:29I don't really think we have a typical client.
16:31We start to many corporate collections.
16:34And what is the price range that you...
16:37...from £950 up to £6,000?
16:40Right.
16:42£950 to £6,000.
16:44Have you got a £6,000 one bit?
16:47This one's right.
16:47Up to £6,000.
16:48The big blue white over there.
16:51Is it so dependent on the size or is it dependent on the kind of the lighting effect that's gone into it?
16:56It's a combination of both.
16:58A combination of both, really.
16:59It's almost decision time.
17:02James and Miriam, wowed by Rob and Nicky, call the rest of their team.
17:07One of the things that we asked about, because, I don't know, because of the wow factor that we felt virtually immediately,
17:14is here is a couple who fairly possibly the other team will want as well.
17:20So I'm assuming that you were wowed by them.
17:22Were they wowed by you?
17:24Well, we tried to wow them.
17:26I mean, James was almost had his tongue hanging out and was on the floor.
17:29Well, that would wow me.
17:30And if I was to ask you one final question, that it has to be final because we're going to be late,
17:34what inspires you?
17:35Sorry.
17:37Life.
17:40You know, well, our work's all about colour.
17:42We're both passionate about colour.
17:43Okay.
17:44And that's really...
17:45What's your favourite colour?
17:47In a word.
17:47Orange.
17:48What's yours?
17:49Ice blue.
17:51What's yours?
17:52Mine's, um, aqua...
17:54Aqua?
17:55Aquamarine.
17:56Aquamarine.
17:56That's my favourite colour, yeah.
17:57What's yours?
17:58I have no idea.
18:00Okay.
18:02I'm going to say to Rachel, Rachel, of the people that we've seen,
18:06that I think this is definitely the people that will be able to sell their painting.
18:12This is good work.
18:13Yeah.
18:13I just felt a bit intimidated by them.
18:15I didn't feel intimidated.
18:16I didn't get a buzz from them.
18:18I didn't get intimidated.
18:19I just didn't get a good feel from those two.
18:22I'm not sure if it was her or whether...
18:23It was ours.
18:24Maybe it's their personality.
18:25Maybe it's their personality that they're not that forthcoming.
18:28Yeah.
18:28Whether or not we get on with them,
18:30just from a really kind of cold, ruthless point of view,
18:33I think their product will sell better than possibly Lucy's.
18:35Yeah.
18:35Yeah.
18:35Three p.m.
18:38The teams gather to meet Sir Alan's aides, Nick and Margaret.
18:41All right, good afternoon.
18:43Good afternoon.
18:44So now it's decision time, and we need to have the team leaders, Rachel and Sebastian.
18:50I'd like to stand up.
18:51And I'm going to start by asking, Rachel, Impact, which artist have you picked?
18:59We would like to represent Rob and Nicky Carter.
19:04And Sebastian, what about the first forte?
19:05We would like to represent Rob and Nicky Carter.
19:08Ah.
19:08Oh.
19:09A standoff.
19:10Good stuff.
19:10Now, the rules dictate that each team will have five minutes to pitch their team to the artists.
19:17OK.
19:17OK.
19:18Good.
19:19Rachel's team will pitch first.
19:21She nominates Sarah to make the call.
19:24Hello, Nicky, this is Sarah.
19:26Her opening line, which wasn't very good, which was...
19:30Are you the best person to talk to?
19:32Yes.
19:33That, I thought, was a mistake.
19:35As a team, we are very coordinated, we are very professional, we have a very good track record
19:43of selling various products in different environments, and I think to sell your work
19:52in an art gallery tomorrow will be challenging, but in all the right areas.
19:57Sarah's pitch was rubbish.
19:59She's very repetitive, she says the same thing over and over again, so while the call lasted
20:02five minutes, it could have been narrowed down to 20 seconds.
20:05Because she just repeated herself over and over.
20:07We've got some real characters in our team.
20:10I've asked them what their favourite colours are, and I can tell you now that, if I have
20:15the piece of paper in front of me, that we have colours like red, orange, blue, and
20:22yellow, and aquamarine is my favourite colour, as I informed you earlier.
20:28Now it's the turn of Sebastian's team.
20:31He asks James to call the Carters.
20:34Hi there, is that Nicky?
20:35Hi, speaking, is that James?
20:37Hello there, yes it is, it's James and Miriam, and the rest of the first short 18.
20:41Hi there.
20:42Hi there.
20:43First of all, thank you very much indeed for seeing us this morning.
20:45We've got a real passion, and I guess we just sort of connected with you both, and felt
20:49that working together in a very tight timescale, and I know, I'm sure there's probably some
20:54reservations about that, but working in a very tight timescale, we're very excited about
20:59the prospect of putting on an exhibition for you.
21:02We looked through the brochures, and one of the things which you said right at the opening
21:05of your book, which says, it is perhaps as musical as visual art can get.
21:10Miriam and I just looked at each other, smiled, giggled, and said, that's the reason that
21:14we love this.
21:15Is that Nicky Carter?
21:16Yes, please.
21:17Nicky, it's Nick here.
21:18I'm with Margaret Mountford, and we represent Sir Alan Sugar.
21:22I'm with it.
21:22We're ringing for your decision, and perhaps when you tell me which team you're going with,
21:27you tell me why.
21:28OK.
21:31We're very flattered to be picked by both teams, but there's absolutely no doubt in our minds
21:37that due to their gut reaction and immediate response to the work, we believe that the
21:45team most suited to represent us for the exhibition tomorrow night will be the first team we saw
21:51James and Miriam and Sam.
21:54Fine.
21:54Well, thank you very much indeed for that.
21:56Thank you very much.
21:58Goodbye.
21:58Thanks.
22:00There you have it.
22:02Rachel's team must now go with their second choice, Lucy Bennett.
22:06We've literally just come to that decision.
22:08We've sat down with the rest of our team members.
22:10We talked very passionately about you.
22:13We talked very passionately about your passion, and we'd like to work for you tomorrow.
22:19But Saira and Raj are still choked about losing.
22:24The whole group is really snotty, though.
22:28Well, they are.
22:28They've got Sebastian, who talks very terribly posh, and they've got, oh, James, who knows
22:33everybody in London.
22:35Oh, yeah.
22:35Oh, he must have gone through the list.
22:36He's gone, oh, Victorian dude.
22:38I had them round for tea the other day.
22:39And the person, the Goldman Sachs, well, actually, my mother's related to him.
22:43And, oh, lardy plum.
22:45And then we've got Miriam, who plays the piano, and Miss Artistic.
22:47And her whole persona, the woman, Nikki, she just wasn't even bothered about talking
22:53to us.
22:54We obviously didn't fit their cultural fit.
22:55We didn't go to Goldsmiths College, and we didn't have the posh plum bloody accent
22:59in our mouth.
23:00It's like, well, fuck you, mate, because we've probably just lost out on the best salespeople
23:04you'll ever meet.
23:119 a.m., exhibition day.
23:14The teams have just eight hours to find punters willing to spend thousands on art at their
23:19exhibitions tonight.
23:23Lucy Bennett's paintings, the second choice of Rachel's team, range in price from £150
23:28to £2,500.
23:30Rob and Nikki Carter's work, selected by Sebastian's team, is a lot more expensive.
23:38Average price, £5,000.
23:44For the other team, Matthew plans to visit nearby art galleries for advice.
23:50The whole marketing plan is going to hang on what they tell us.
23:54Who's they?
23:54If they tell us, the gallery experts, if they tell us the concierges are going to be no
23:58good, if they can...
23:59No, no, no, but I'm actually changed my tune slightly, is that the advice that Dave, what
24:04on earth his name was, Mr. Headhonto here has said, is that really all the marketing we
24:09need to do is on this street, about trying to get punters in, sorry.
24:12Right, okay, no one told me this information.
24:14Fine.
24:15Matthew is very hard to manage.
24:17He also needs to verbalise his mental processes, which can be exhausting for those around him,
24:22because rather than going away quietly to think somewhere and coming back with a good
24:26conclusion, he uses those around him as a sounding board.
24:28Well, okay, if you go into the shops, okay, how are you going to get the people?
24:33I mean, if you...
24:33Right, how am I going to get the people what?
24:35Now, if you're trying to focus on the task in hand and you've got in your idea, I must
24:39get this done within the next ten minutes, having someone going, ah, we'll do this, is
24:46exhausting.
24:48All the invitations to both exhibitions have been delivered to one address, where Sebastian
24:52and his team are dividing up their share.
24:56I'm very, very happy with our invites.
24:58Obviously, we're going through, we're putting little stickers at the bottom so that they
25:01don't go to the wrong art gallery, keeping them coming to Maddox Street, and I think it
25:06looks very professional.
25:07I think we're a much stronger team than the other team.
25:09I think that really we don't have any weak links, and I think the other team does have weak links.
25:16Matthew and Raj have been sent to pick up their share of the invitations from the rival
25:27team.
25:30Here's New Bond Street here, there's Maddox, and there's New Bond Street.
25:34Well, there's Conduit Street.
25:36I just don't see St George.
25:37Conduit Street, there's St George.
25:40How are you, sir?
25:41All right, you all right?
25:42Good, how's it going?
25:42How many came?
25:44How many boxes came, please?
25:45I really don't know.
25:47Well, where have the others gone?
25:48The invitations we have are the ones you see here, plus the half the box you've got here
25:52on the table.
25:53First Forty told us that they had two boxes given to them of invitations, and they were
25:59quite willing to split them in half.
26:00I did a very, very simple analysis, and I saw that it did not match the amount of space
26:06in the boxes.
26:07We have two boxes, and there isn't even enough to divide.
26:10Matthew, Matthew, stop.
26:11A number of these invitations have already been sent out.
26:14Right.
26:14Matthew, Matthew, stop.
26:16There's another box.
26:17There's another box of invitations.
26:18We were just told that two boxes arrived, and now we've found there's a third box.
26:23He was so adamant there was this massive conspiracy theory going on, that he was boarding on being
26:30aggressive.
26:31They were divvied up beforehand, so therefore you have not stopped.
26:35Yes, go on.
26:36Stop, shall we?
26:36Go on.
26:37Answer my question.
26:38Say what you're saying now.
26:38Stop, shall we?
26:39They are saying that that is half, half, of what was divvied up.
26:44Okay.
26:45Okay?
26:45So therefore that half, okay, should equal this half.
26:49Yes.
26:50Right.
26:51Would you, do you think that's an equal half?
26:53I had reasons to be suspicious, and on top of that I knew that they had been working with
26:57the cards, so I thought maybe they'd gone out and done some distribution.
27:00It's perfectly plaudible.
27:00Just go to the staff at the desk and apologize for the way you came into the staff.
27:05Where's the phone?
27:06I'm sorry if I didn't.
27:07Okay, I will.
27:07I will, I will, I will, I will, I will, I will, I'm quite happy to.
27:11Do you understand?
27:11I'm well coming from you.
27:12If you think I did, I'm well coming from you.
27:14I just looked at him and said hello.
27:16No, no, no, you didn't even say that.
27:17You came in and you walked straight to behind the counter of a store that's not yours.
27:20This is our space.
27:21Okay, okay.
27:22I will apologize if you think I've been very interested.
27:28With six hours to go, Sebastian sends out Tim, James and Ben to meet potential art buyers
27:34around Mayfair.
27:34We're trying to find out who does your corporate art buying.
27:37And we're looking to try and sell as much of their art as we can tonight.
27:44Rachel has sent Paul to hand out flyers.
27:47Sir, can I just trouble you a second?
27:49Oh.
27:50Madam, can I invite you to an evening of champagne this evening at a gallery around the corner at Cork Street?
27:55No, thank you.
27:56Are you sure?
27:57No entendemos nada.
27:58Hablamos español.
27:59Sir, can I invite you to an evening of champagne and canapes this evening?
28:02Can I invite you to an evening of champagne and canapes this evening?
28:06Are you sure?
28:07Yes, thanks.
28:07If you want champagne this evening, take that to that address and have a good time.
28:12I will do.
28:13No.
28:15Hello, sir.
28:15No.
28:16What?
28:17No.
28:17So, before lunch, I got a reaction from everybody.
28:21Every gallery I went in, Bond Street and everything.
28:23Now, not one shot I could go in with.
28:25Why don't we get changed?
28:26We've only got two hours anyway.
28:27I don't think that'd be a bad thing.
28:28You know there's people standing on the line trying to sell English language courses.
28:32That's how you come across to me.
28:34Yes, but I was having success.
28:36Well, perhaps these are people who need to learn English and I thought, yes, I'll take his English.
28:39James, Tim and Ben target the media and bump into Suggs, lead singer of Madness.
28:46I didn't say anything.
28:47So, basically, what we...
28:48What do you want me to do then?
28:49Come along.
28:50Can you come along?
28:51Oh, tonight.
28:51Come along.
28:52Maddox Street.
28:53Maddox Street.
28:53What time does it start?
28:54Six or six.
28:54Six or nine.
28:55I'll come, all right, yeah, I'll come.
28:56Oh, stop.
28:58Raj, I was talking to you.
29:01Matthew and Raj spot pop idol judge Neil Fox in the distance.
29:05Raj makes a dash.
29:07Matthew follows.
29:09That's only three.
29:12All we're trying to do is really promote a new artist called Lucy Bennett.
29:18And it's for Britta Art, part of Eye Storm.
29:20Is she going to be like a...
29:22She's a foxy lady.
29:24So, it's basically a case of sandpapering that...
29:28With an hour to go, Lucy decides that Rachel's team will need to know more about her art to sell it.
29:34It's not a self-portraiture.
29:35It's me, as a woman, looking at issues of identity and in its various different guises.
29:43They're all tied into each other and they've all got quite strong sexual aspects to them.
29:50I'm interested in the sort of nature-nurture debate and how you can ask us questions if you want to.
29:59Six o'clock.
30:03For the next three hours, the teams must transform themselves into hard-selling art dealers.
30:08We're likely to change gradually during the course of the evening.
30:11So, nobody really notices, except when you're looking at it and then through the art.
30:16I love the mag-like ones.
30:18Yeah.
30:19The ones over there.
30:20I think they're...
30:21So, they're losing.
30:22That reminds me of the...
30:24Who was the French artist who used to do the squiggles and all that?
30:28Oh, you lost me.
30:29That's the right invitation.
30:30Do come in.
30:31Do come in.
30:32That's it.
30:33That's it.
30:34Go straight in.
30:35One of the first guests heading for the free champagne at Rachel's gallery is Paul's big issue seller.
30:42But nobody told Syrah.
30:44The artist Lucy is actually here and she can talk to you about what you like, the size,
30:49and so you've got a chance to meet the artist and discuss your work with her,
30:53and discuss what you would like with her.
30:55The only thing...
30:56I'd have to say a lot of big issues, though, wouldn't I?
30:58Sorry?
30:59I'd have to say a lot of big issues.
31:00Aww.
31:02No, I don't know about that.
31:03It depends what takes your fancy, but that is available.
31:06That's an available service we've got for you tonight.
31:09Across the road, another gallery is having an exhibition.
31:13Matthew decides to grab its customers.
31:16Quite simply, when we saw people leaving that gallery, just saying,
31:19can we invert you to our gallery?
31:21And a lot of people did.
31:22And from what I heard, 40% of our business came from that gallery.
31:28It certainly upset someone who claimed to be something to do with the gallery.
31:32They're trying to drag people in from the gallery opposite to try and get people to see that show.
31:39There's maybe, what is it, 20 people in there?
31:41There's 200 people in there to see new artists.
31:44What's the point in going to see that and not over there?
31:47We were different styles of artists, and if he wasn't selling what his clients wanted,
31:55well, you know, I'm sorry, but that's business.
31:57I represented people like Francis Bacon, not that crap.
31:59It's a pleasure doing business with you, and I hope to see you later.
32:13Sebastian's team have sold nothing.
32:15I guess sales really take place towards the end of the evening.
32:19I just want to know...
32:20I think people would like to take their time over it and have a look at the pictures,
32:23have a think about it.
32:24It's obviously quite a lot of money, so people want to consider a possible purchase.
32:29I just think the buffet out of the wine-off stage.
32:30Yeah.
32:31It's actually one of my favourites as well.
32:33I actually think you've picked out that one,
32:35because I think it takes a slightly more sort of intelligent view
32:39to appreciate the fine points of art.
32:42I just want to do this in my full-time job now.
32:44I love it.
32:45Champagne, mingling, nice people, talking art.
32:49What a scrubber like me, I never thought I could do it, to be quite honest.
32:53Quarter to eight.
32:55Rob and Nicky Carter's pricey art is proving hard to sell.
32:59I didn't really...
32:59I'm not in the money to that extent, really.
33:02Not sort of on-street money, anyway.
33:04Yeah. Well, look, enjoy it.
33:05Yes, I did indeed.
33:06Good.
33:07Thank you very much for all your explanations.
33:08Pleasure.
33:09My name's James Max,
33:10so hopefully you'll get to know this wonderful beaming face.
33:14Hi, hi.
33:15I'm Oliver Rothschild.
33:16Ah.
33:19If you've got a price point which is £1,000 or £2,000,
33:22you know what, somebody may very well make an instantaneous decision.
33:25If you're talking about £4,000, £5,000, £6,000,
33:27people want to think about it.
33:29I really hope that we're going to persuade you to have one of those adorn in your home.
33:32We had to close the sale within three hours.
33:35That's tough.
33:35St John's Wood is just crying for a decent piece of art.
33:40And I mean, put it this way, if that one is going to get red dotted,
33:43and it isn't yet so you can still have it,
33:46I would hate for you not to be able to walk away.
33:49I'm sure you would, yeah.
33:50Rachel's team is still doing good business,
33:53but Paul has yet to close a deal.
33:56He's more used to selling cars.
33:57I don't know if you remember, in the old days,
33:59Bentley used to have in their sports cars a sort of drilled aluminium dashboard.
34:03It was really very fetching, but that was done by machine,
34:06so all the drill holes were done uniformly.
34:08And she has a sort of affinity with sports cars,
34:11because she likes that sort of glossy, smooth, flashy finish.
34:14Can you see her shoulder, the way it curves into her back?
34:17Well, if you consider that Guigaro and Bertone,
34:20when they designed the Lamborghini Miura in the 60s,
34:24they designed it on the female woman lying on her hips.
34:27So the back of the car is the hip going down to her chest,
34:30and actually at the front, the headlights look like eyes with the lashes.
34:34I can very imagine.
34:35And it's one of the most beautiful cars ever made, the Lamborghini Miura.
34:38It's nearly eight.
34:40Project manager Sebastian introduces a potential buyer to the artist.
34:45I showed him the room downstairs, which was with the kinetic lights,
34:48and then brought him back up, and very, very luckily,
34:50he was taken by the larger painting at the back,
34:53which was the maglite painting.
34:55What I think we could do is drop it by 5%.
34:59We sold for cash at about 5 to 8 that evening,
35:06and that was the first sale of the evening.
35:08So I was very, very pleased.
35:09At least we had something in the till.
35:12OK, listen, we need to keep on,
35:13because I think we're sort of very much pitted head on head,
35:16so we need to really focus.
35:17I think it's a really good choice.
35:19It's been a really popular one.
35:21It's caught a lot of people's attention.
35:24So how close are you to buying that painting tonight?
35:27Not very close at the moment, but perhaps.
35:29So once I've had a few more champagnes, I might buy it.
35:31I do buy quite a lot of things.
35:33Would you like to get you some more champagne?
35:35Thank you so much.
35:36You can have another kiss if you like.
35:37OK, why not?
35:38Hang on, James, we're not buying it now that you kissed her.
35:43Well done.
35:44Thank you very, very much indeed.
35:45Lovely piece, and you've sold it very well.
35:48Well, I really, really hope you enjoyed it.
35:50You may have to invite me for dinner.
35:51Let's be having you, sir.
35:53Card number.
35:54With the 9 o'clock deadline looming, both teams step up the pressure.
36:02It's an affordable, unique piece of art.
36:04Because when you think about a unique piece of art, nobody else has this.
36:08And that means it's an investment as well.
36:10I think we talked about it.
36:11It's 25% over six months.
36:12Because something's keeping you here, and I know it's the Crouching Fairy.
36:17Well, I do like it, but I don't think I'm going to buy it tonight.
36:20Why not?
36:21Because I've just bought something else.
36:24Why?
36:25It's just about painting across the road.
36:27If you like Crouching Fairy, I can negotiate by price for you.
36:31How much can you go down by?
36:33I've got a very hot buyer, and he wants to negotiate.
36:37Right.
36:37How much are you willing to give it to him?
36:40Well, it's 15%.
36:41So, would you give me a price?
36:44Well, what is the price?
36:45I mean, it's 15% off that.
36:47Now, obviously, the dinner conversation will never run dry anymore,
36:51because you've got this in your front room, or wherever it's going to be in your house.
36:54I think it will be.
36:54It will be the front room.
36:55It will be.
36:56Oh, you see, we're nearly over that last hurdle.
36:59I can give you that painting for £1,020.
37:10No, I haven't think about it, I'm afraid.
37:13Nah, 500 yes.
37:16I don't know why I feel funny about it.
37:18Don't worry.
37:18If you feel funny, I will respect your judgment.
37:20Don't rush it if you don't want it.
37:23That's fine.
37:24Have another look at it.
37:24Have a look.
37:25I just think with this blue and this one, but anyway.
37:29It's your painting.
37:33What, please?
37:33No, no, no.
37:34I just thought you could just kind of see a little bit of kind of the background coming through.
37:39I don't know.
37:40Is that purposeful or?
37:41Obviously.
37:42No, £600 and no higher than £600.
37:45£650 and that's it.
37:47Okay.
37:48That's £650 and no more.
37:51Is he only going to suggest a ridiculous price that I'm really not interested in?
37:54What is the minimum of £1,000?
37:57He's a big art buyer.
37:58He's a celebrity buyer.
38:00And he's actually said to me that he thinks she's very silly if she doesn't sell it.
38:04I'm afraid time's up.
38:06All right.
38:079 o'clock.
38:12With the deadline reached, Margaret and Nick count the takings.
38:25The next day, in the boardroom, the teams await the result.
38:29The next day, in the boardroom, the teams await the result.
38:59The next day, in the boardroom, the teams await the result.
39:04Good afternoon.
39:05Good afternoon.
39:10Well, interesting task yesterday.
39:15I heard that you both ended up choosing the same artist, yeah?
39:18Yeah.
39:18And it ended up that the artist actually had to choose his team in the end.
39:22Is that right?
39:22And he chose you?
39:23That's correct.
39:24So where do you feel then?
39:26Dejected at that stage?
39:27Do you like, when the artist didn't choose you?
39:30No, to be honest, we'd half expected it.
39:32And I think we'd fairly guessed that, from what Sarah had said to me,
39:35that they'd possibly even made up their minds before they even turned up at the studio.
39:40Interesting.
39:40First impressions, then.
39:41Now, first impressions, last impressions.
39:44Anyway, I think we'll go straight into the numbers this time.
39:46Nick, tell me about impact.
39:48Impact, totaled £6,147.50.
39:58Margaret?
39:59And first forte, totaled £19,563.75.
40:07Well, your first win, first forte.
40:10You have got a nice treat.
40:12I'm sending you off on the Orient Express.
40:14Have a good night.
40:15Impact, I'll call you back later.
40:20And of course, as you know, one of you is going to get fired.
40:23The losers meet in the pub to lick their wounds.
40:43Guys, why do you think we lost the pitch?
40:46I think it was your opening line, which was, are you the right person to talk to?
40:51That was the only criticism I had.
40:52I think I'll take that on board.
40:54If I was going to do that sales pitch, okay, and she answered the phone, I would have said,
40:57put your husband on the phone.
40:57Because I want to talk to her.
40:58From the way that her body language was.
41:00She didn't talk to us throughout the whole day.
41:01I would have said, put your husband on the phone.
41:03What happened is, we walked through the door and straight, we didn't even speak to them.
41:07And straight away, you know, the woman took, you know when someone just takes a step back
41:09and physically, and you can tell that the, from the body language, there's just no interest.
41:15Her body language is like this.
41:15So for you to say you're taking the responsibility, it's complete rubbish.
41:18Because there's nothing to take.
41:19That was her body language.
41:20What are you supposed to take from that?
41:21I think that what it was is that you and I, walking in through that door, we did not represent their world.
41:27And James did.
41:29Yeah, I hope you're very good.
41:33Thank you very much.
41:35Sebastian's team are off on the Orient Express for a six-course meal.
41:40Cheers.
41:41And hopefully many more wins.
41:42Cheers, guys.
41:42Cheers.
41:49Delicious.
41:50That looks fantastic.
41:50Thank you very much.
41:58We all together, we've won the challenge, and I have to say, very successfully.
42:07Rachel's team are back in the boardroom.
42:14She must now account for her team's failure.
42:19Yes, sir, I'm in.
42:20She'll have to nominate two of her teams she thinks were responsible for their defeat.
42:29Okay, Rachel.
42:42Team leader.
42:43Yes.
42:43What you got to say?
42:44I think we did really well in the circumstances.
42:48We chose our second choice artist, and I think with the work that we had and with the work that she had ready to sell, we did really well.
42:55We sold ten pieces in total, and the work was much lower priced.
42:59What clearly has flawed you at the moment is that that team sold less pieces and took a lot more money, so didn't that concern you in the beginning?
43:07It did.
43:08It did.
43:08It did concern me at the stage when we were choosing the artists.
43:12The other choices, the only ones, the other one that sort of I contemplated was Johnny Clark, who also had some higher priced work, but when I went to view his stuff, I was with Paul and Matthew, and they both felt quite strongly that it wasn't something that they could warm to.
43:26And I felt it was important that all of the team felt that they could sell the work.
43:33Paul, you said you're a salesman. You sold only 140 quids worth of gear, one piece. Did you find this wasn't your bag?
43:40No. Of all the pieces that were bought, I can say that I had a hand in four of those.
43:45But you were saying that you gave them the first little bit of schmooze and then allowed someone else to close? Is that what you're saying?
43:51If I was able to close, I would close.
43:53Good story. Good story.
43:54Would you agree with that, Sarah?
43:57I'm sorry to say, Paul, I don't agree with you, because if you are a salesman, one of the things that drives you is a result, and you will never, ever allow somebody to close your sale. It's basic rule.
44:10My view of it is you were maybe a fish out of water in this task, really.
44:15Maybe you'd been better off sitting on a bombsite with a couple of old second-hand cars or something like that. You might have felt a bit more comfortable.
44:23No. No?
44:24No, I resent that.
44:25I can sell, I can sell anything.
44:28Well, you didn't.
44:29Yeah, but...
44:29You sold one thing, 140 quid.
44:31But, you see, this isn't about personal egos. A lot of the people that I had spoken to and sort of, you know, caressed and modicodled and got them to a good position had bought.
44:40So I was happy for them to have bought.
44:42The only thing is, Paul, at the end of the day, one of you is going to end up working for me. There's a little bit of selfishness needs to be thought about.
44:50Sarah, you're going to come forward and say, yes, I think Paul did help. He actually passed me on three of my customers.
44:55No, I'm not going to say that.
44:56See what I mean?
44:57But she doesn't know who I spoke to.
44:59You don't know who I spoke to.
45:01Rachel, did he pass on your...
45:02Do you think he passed...
45:03Ian, do you remember Ian at the end?
45:06Ian.
45:07Ian, and she's cocked to death and all of them.
45:08She don't know Ian.
45:09I don't know who he is.
45:10She don't know Ian.
45:11And no customer said to me, by the way, I've just been caressed by Paul, but I'd like you to close.
45:17Well, what I would like to say, just on there...
45:19Now, Rachel, answer that question.
45:21Yes, I'm wanting to answer that question.
45:22Is I don't feel that Paul passed, that any conversation that Paul had was crucial to me selling a piece of art yesterday.
45:28So what you're saying to me is your sales were your sales.
45:31Yes.
45:32There were only sort of four of us inside to go round.
45:35And it was quite frustrating in a way, because I felt I could feel sort of biased.
45:39It was Matthew.
45:40Matthew was outside.
45:41Did you deliberately stick him outside, keep him away from sales, keep him away from people?
45:47Possibly partly.
45:48Really?
45:48You didn't want him actually talking to the punters?
45:51There was probably an element of that thought in the strategy.
45:53Did you feel that, Matthew?
45:55I wouldn't blame them if they did it.
45:58Oh, really?
45:58No, it's quite simple.
45:59I'm very wary of my height.
46:01I can be very overbearing.
46:02I mean, that's perfectly true.
46:04It's also very difficult, Sir Ellen, particularly if you're in a party scenario like myself.
46:10To hear what people are saying when they're much lower down.
46:13And I have to say, you may not be aware of this, but it is very difficult for us.
46:17I've heard some excuses in my time.
46:19I've got to tell you, son.
46:20I've got to tell you, son.
46:21That ranks high on the excuse list.
46:24You're doing some of my football managers out of some of the best excuses I've ever heard in my life.
46:31Anyway, Rachel, it's make your mind up time.
46:34You know, you've got to bring two people back into this boardroom shortly who you believe did not contribute sufficiently on the day.
46:43OK, Rachel, do it.
46:46The two candidates who I'd like to come back in the boardroom with me are Paul and Matthew.
46:52Right.
46:53OK.
46:54Well, Raj, Sara, I'll let you go.
47:02You other three, if you kindly go outside there, wait for me, and I'll call you back in when we will decide which one of you is going to get fired.
47:10Well, your comments didn't help, did they?
47:33No, we...
47:34As if anybody's going to walk up to you and say I've been smoothed by Paul for an hour.
47:38Paul, calm down.
47:40Everybody's in there on an individual basis.
47:42You could have said, you could have said, I have no idea, because that would have been the truth.
47:45You've no idea if anyone's spoken to Paul or not.
47:47Just wait to see what happens.
47:48It's easy for you to say, because you're not back in there.
47:50Are you?
47:51I am in there.
47:52I've been in there three times.
47:53Yeah, that's immaterial.
47:54This is our task.
47:55Well, why didn't you ask the project manager if what I said would have made any difference to the overall result?
48:00I'm telling you what's happened.
48:01Yeah.
48:02Yeah, he asked you a question.
48:03You had no...
48:04You could have had no comment.
48:05I told the truth, and why should I?
48:07No, you didn't tell the truth.
48:08No one's going to come up to you and say, I've been schmoozed by Paul for an hour.
48:10That's a ridiculous thing to say.
48:11As far as I'm concerned, I did my own sales on the day.
48:13Fine, you did your own sales, but you had no idea that anyone you sold to had spoken to me.
48:17They didn't.
48:18So why didn't you bring them up and say, by the way...
48:20What difference does it make?
48:21How I did it?
48:21You could have said to them, you could have said to them, I have no idea.
48:24Paul, you've got the wrong end of the stick, and I think you just need to calm down.
48:29And I'm not going to take responsibility for you being in that position right now.
48:33That's unfair.
48:34It's unfair what you said was unfair.
48:35I don't think it was.
48:36It was bloody unfair.
48:37You could have said nothing.
48:40You could have said, I don't know.
48:41Why should I...
48:41But instead, you said what you said.
48:49Four times I've been on the winning side.
48:51You came out with that statement.
48:52So it's my fault, is it?
48:53It's not your fault, but what you said was your fault.
48:54Why are you having a go at me?
48:56You've got it all wrong, mate.
48:57Here we go.
49:03Good luck.
49:05I see you.
49:06Rachel sees Syrah and Raj out, leaving Matthew and Paul alone.
49:11Four times on a winning team.
49:13Okay.
49:14There's nothing we can do about that.
49:15She comes up with that.
49:16Come on.
49:16You and I are in a melting pot at the moment.
49:17We've just got to work out a strategy.
49:19Now, the question is, you want to survive, and I want to survive, yes?
49:25I've got broad shoulders, Matthew.
49:26If he wants to plant one on my chin, I'll take it.
49:29If I've done something wrong, I'll say, I did something wrong.
49:31But what can you do in a situation like this?
49:33I hope he doesn't...
49:34I hope in these situations he doesn't say,
49:37Paul, what do you think Matthew did?
49:38Because I won't take his bait.
49:40It's unethical.
49:41It's not gentlemanly.
49:42It's not the way I do things.
49:43But I'm not going to be trolling by him.
49:45Oh, Paul, how do you think about Rachel?
49:47What do you think about Matthew?
49:47Because it's not right in front of other people.
49:49I'm quite happy to accept that point.
49:50First time we have a girl as a project leader,
49:52and the first time we lose,
49:53it's irrelevant.
49:56Irrelevant.
49:58We couldn't have kept on that running.
50:00We couldn't have kept that streak running
50:01whilst some of our team were being...
50:04Give a woman a position of power,
50:05they go fucking doolally.
50:07All of a sudden, they're Adolf flaming Hitler.
50:14Francis, call the three of them in, please.
50:23Well, the first time you three have found yourself in this position, I think, yeah?
50:36But, Rachel, you've called these two people in here for a reason.
50:39You've obviously thought long and hard out of the five.
50:42So what's your reason?
50:43One by one.
50:44Pick who you want.
50:45But I want a reason.
50:46OK.
50:47I'll start with Matthew.
50:48Matthew comes out with some fantastic ideas.
50:51Some of them aren't so fantastic.
50:54In fact, four out of five of them aren't that fantastic.
50:56But he pursues each of them with equal vigour.
50:59That can create quite a lot of tension, if you like,
51:03and I found that quite exhausting to be around.
51:05Matthew, what are you going to say about that?
51:07Well, if my ideas were so bad,
51:09why did she ask me at 8.30 to go and pursue this one?
51:12I beg your pardon?
51:12At 8.30, we had a plan...
51:14Well, one of the plans, the main plan I had,
51:17was that we were going to attract customers
51:19from our competitors' gallery.
51:22Matthew, excuse me interrupting,
51:24but I don't think what she said, if I've heard her correctly,
51:26says that all of your ideas are bad.
51:29Do you believe that you do pursue things
51:32when your team leader says forget them?
51:35I haven't been told to forget them.
51:37I know when the good ideas are.
51:39In the case we have on this task,
51:42Rachel did not dismiss it at any time,
51:45and she adopted it at 8.30, which was too late in a day.
51:48Can I just raise one point?
51:49I stumbled in on what appeared to be
51:51the end of a heated argument between Tim and Matthew.
51:56What was that all about?
51:57We had to collect some invitations,
52:00and when we arrived, the amount of invitations
52:02did not match the size of the boxes
52:05that they were delivered in.
52:06So you thought they nicked them, then?
52:08Is that what you're saying?
52:08I am suggesting that as it transpired at the time...
52:12Well, no, but come on, cut to the chase, son.
52:14You thought they nicked them?
52:15I did not think they nicked it, no, sir.
52:17I see.
52:19Then I'm getting very confused here.
52:21Well, Rachel's having a bit of a nod there.
52:23All I know is what I was told on the phone.
52:25I received an irate phone call from Matthew saying,
52:27I'm sure they've nicked half our invitations.
52:29I see, I see.
52:31What was your reason for picking Paul?
52:33I always get the impression with Paul
52:34that when he's not directly involved,
52:36i.e. rolling his sleeves up and getting in there
52:38and getting dirty, as he likes to put it,
52:40he's slightly bored.
52:41In terms of visiting the artist's studios,
52:43I felt that his manner and his voice
52:45was sort of just very loud.
52:47And he was asking questions,
52:48I understand why he was doing it,
52:49to try and pick holes in the artist's work,
52:51but I didn't feel it was the best way
52:53to sort of encourage the artists
52:56to talk about themselves
52:57and to really gauge whether they were,
52:58you know, going to support our efforts or not.
53:01So that would be one thing.
53:03The second thing would be,
53:04on the evening itself,
53:05at no point did I say to him,
53:07your role this evening is to schmooze.
53:09It was clear to me that we had four people
53:11who were going all out to sell and to close,
53:14and he didn't deliver.
53:16Paul, what have you got to say about that?
53:17The bit about the sales
53:18is still utterly not true.
53:21I thought, well, it doesn't matter
53:22who does the closing
53:23so long as we win the task.
53:25That was my whole point.
53:26I have absolute faith in my closing ability.
53:28I was Ford's best salesman
53:29when I was 17 years old in London.
53:31The point is,
53:32is that the instinct of a salesman
53:34to let someone go
53:35and not actually close the deal,
53:37that don't ring true to me.
53:39I don't know any salesman
53:40that's got that in him,
53:41even if it was a team-playing event.
53:43If they weren't in a position to be closed,
53:45I wasn't going to push it.
53:46If they were, I was.
53:48I've listened to what you've got to say.
53:49Rachel, do you think
53:50you should be fired in this project?
53:53Absolutely not.
53:53And why not?
53:54Because I gave everything
53:55to making a success.
53:57I listened to everyone,
53:58I pulled together the team as a whole,
54:00and I sold like a demon on the night.
54:02Who should go out of these other two?
54:04Who should go?
54:05Oh, that's a really hard question.
54:08Well, that's a hard question.
54:10You're the team leader.
54:11I'm asking you the question.
54:12I think the person
54:13who contributed least
54:14to the success of the team
54:15Well, that's logical.
54:16Who is it?
54:17It was Paul.
54:20Paul, you've heard this.
54:21What have you got to say?
54:22Why shouldn't I fire you?
54:24You shouldn't fire me
54:25because my sales approach
54:26was different in this task.
54:27We still had great success as a team.
54:29Everyone was closing people
54:30that had come via me
54:31or via someone else.
54:32That's why I don't think
54:33you should fire me.
54:34Who do you think
54:34should be fired then?
54:35I don't think it should be me.
54:37But who do you think
54:38out of these other two?
54:40I don't want to say.
54:43You don't want to say?
54:44No.
54:45Well, here's how I see it.
54:47Now, Matthew,
54:49Matthew,
54:50you are an awkward character.
54:52I'm sorry to say that to you.
54:53You're an awkward character.
54:55And I'm thinking about
54:56the type of people
54:57that I've got to employ.
54:58It seems to me
54:59you can't help yourself.
55:00You need confrontation.
55:02You know?
55:03And even when I ask you about it,
55:05you're still evasive.
55:07Matthew worries me a lot.
55:08Paul,
55:09I don't go along
55:10with what you told me
55:11that you pass those sales
55:14on to other people.
55:15I had you down
55:16as a good salesman.
55:17A good salesman
55:17doesn't let a sale go away,
55:19in my opinion.
55:20OK?
55:25I'm sorry you're sitting here,
55:28Paul.
55:28And I'm sorry
55:29that you're faced
55:31in this position.
55:32So am I.
55:36But Matthew,
55:37I'm sorry to say,
55:38my friend,
55:38you're fired.
55:40That's right.
55:45OK.
55:50That was bloody terrible.
56:02It happens.
56:03It happens.
56:04Not that difficult
56:05for me, really.
56:06I mean,
56:06the guy can't help himself.
56:08He cannot help himself.
56:09And, you know,
56:10he could do it again.
56:10He could do it again.
56:11He could do it with customers.
56:13He could do it with customers.
56:14And this, that, and the other.
56:15If people can't work with people,
56:16listen,
56:17I made the point
56:17about being a bit selfish.
56:19OK.
56:20But there is an element
56:21of needing to be a team player also.
56:23Good luck.
56:23Yeah.
56:23Doesn't matter.
56:24Doesn't matter.
56:24Doesn't matter.
56:25Good.
56:25OK.
56:27Right.
56:27Shall we go?
56:28Or shall I go?
56:39I'm sorry that you have to go.
56:40I have to go through that.
56:42It's done now, Rachel.
56:43Good.
56:44Right.
56:44Shall we go?
56:49I knew it was going to happen.
57:06It was inevitable
57:07at one time or another.
57:09When,
57:10I just didn't know.
57:11A little sad
57:12it was on this one.
57:13Could have gone a little longer,
57:14but I didn't think
57:15I was going to be
57:16one of the front runners
57:17and that's the way it goes.
57:18He had to go with
57:19what he thought
57:20and it's his decision.
57:22It's who he's looking
57:22for it to employ.
57:24If he doesn't want
57:25an original thinker
57:25in his company,
57:26that's his problem.
57:30One job,
57:32now nine candidates.
57:34Sir Alan's search
57:35for his apprentice
57:36continues.
57:36I've written books
57:38on advertising.
57:40Check books.
57:41Next week,
57:42the candidates
57:43are let loose
57:43in the world of advertising.
57:45It's going to be interesting
57:46to see whether
57:47these two teams
57:48go down the route
57:49of some kind of
57:50arty-farty stuff
57:51because if they do,
57:53they will get
57:53a kick in the arse
57:54from me.
57:56The product
57:57they have to promote
57:57is a new prototype
57:5910-CD changer
58:00with the help
58:01of an arty-farty agency.
58:03To me,
58:04it looks a bit cheap.
58:05It's a bit tacky.
58:07It's not a bang
58:08and all of a sudden.
58:08You're going to be
58:09shooting from here.
58:10Directing goes
58:11straight to Paul's head.
58:13You say something
58:13to him,
58:14he is quite overbearing
58:15and he won't
58:16kind of listen always.
58:17But in the boardroom,
58:18there's nowhere to hide.
58:19You should have been
58:20stuck to that bloke
58:21like shit to a blanket.
58:23That's the fatal error
58:24in your campaign.
58:30Stay with us
58:31here on BBC Two.
58:32We're the only,
58:33but only the best
58:34is good enough.
58:35Blackadder takes to the water
58:36next.
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