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00:01This is a job interview from hell.
00:04I've been in business for 40 years. Your prize is working with me.
00:10From across the country, 16 tycoons of tomorrow have come to London.
00:15Don't stop telling me that you're just like me, because no-one's like me. I'm unique.
00:21They're here to compete for a job with a six-figure salary,
00:25working for Britain's most belligerent boss.
00:29This is outrageous. You haven't got a bloody clue. Not a bloody clue.
00:35Famously hard to please, Sir Alan Sugar controls a vast business empire
00:40worth over £800 million.
00:43Once again, he's on the hunt for an apprentice.
00:47It's up to you. You open your bloody mouth,
00:49or I'll fire the old bloody five of you if I have to. I don't give a shit.
00:54To land their dream job...
00:56..the candidates will have to live...
01:00If you don't perform, you're out. Simple as that.
01:03..and work together.
01:05That's not so much money.
01:06Just let me get on with what I'm doing and we'll win the task.
01:08This is far too much for us.
01:10But there's just one job.
01:16You're fired.
01:17You're fired.
01:18This was a total disaster.
01:19You're fired.
01:20Previously on The Apprentice,
01:29the teams had to set up shop at the national wedding show.
01:33Oh, wow.
01:34Lucinda's team chose to sell novelty knickers.
01:38Sorry. Oh, that's gorgeous.
01:39And took a risk on expensive wedding gowns.
01:42Do we really think that somebody walking through the doors of the NEC tomorrow
01:46is going to pay two and a half grand for a dress?
01:48You know, the higher the risk, the higher the gain.
01:50Helen's team ended up with luxury wedding cakes and mid-priced dresses.
01:54Oh, yes.
01:55Some of these are a little bit tacky, in my opinion.
01:58It's a very limited amount of these, and they're only available today, and that is it.
02:02Obviously, people like to get the permission of the group,
02:05but do you think your group would not like the taste of this?
02:07It would go, yuck, it's disgusting.
02:09They couldn't shift the wedding cakes.
02:11These people are dum-dums, that's why.
02:13They're dum-dums. They don't know what they're doing.
02:16In the boardroom, Lucinda's gamble on posh frocks paid off.
02:20What do you think?
02:22It's a very limited amount of these, and they're only available today,
02:24and that is it.
02:25Obviously, people like to get the permission of the group,
02:27I've rolled the dice there, you lot, and you won.
02:30So, well done.
02:32In the losing team, Sarah and Michael's sales technique came under fire.
02:36If I would have been one of the recipients of your sales pitch,
02:40I would have got a hold of your head and pushed it in the bloody cake.
02:43I don't want to sound like I'm begging,
02:45but if you can give me another opportunity to be a project manager,
02:49again, show you what I'm capable of,
02:51I've got more to give than just being a salesman. I really do.
02:54Sarah, you're fired.
02:57Sarah became the ninth casualty of the boardroom.
03:01Sarah, I've visited the office.
03:02Hello.
03:03Hello.
03:05Hello, this is Frances calling from Sir Alan's office.
03:07Hi, Frances.
03:08obrigado, fair pasa.
03:09Hello, this is Frances calling from sir Alan's office.
03:10Sir Alan wants you to meet him at the national theatre.
03:13Hello?
03:15Hello, this is Frances calling from Sir Alan's office.
03:18Hi, Frances.
03:19Sir Alan wants you to meet him at the National Theatre.
03:22The cars will be there to pick you up in half an hour.
03:24OK, that's lovely. Thank you, bye.
03:30Hello, we're going to South Park and we've got bread in half an hour.
03:35For the seven remaining candidates,
03:37just four tasks stand between them and the ultimate prize.
03:41It's time for everyone, not just me, to really step up
03:45and to show what you're really good at
03:48and to show that you're not afraid to take a gamble.
03:52I think everyone's come to the realisation
03:54that literally six people stopped them from achieving their goal,
03:57which is basically to be the next apprentice.
03:59I feel even more raring to go than I did to begin with
04:02at the beginning of the competition.
04:04We're competing against each other and that's the bottom line.
04:07Do you want to come first in the race or second or third or seventh?
04:197.30am.
04:21Sir Alan has called the teams to Britain's most famous theatre complex,
04:25the national on London's South Bank.
04:40Good morning. Good morning, Sir Alan.
04:42OK, we are nine weeks through this process,
04:46so I'm going to mix the teams up a little bit.
04:49Rafe and Claire move over to Renaissance
04:53and Alex move over to Alpha.
04:58Alex, you're going to be project manager of Alpha.
05:02Now, Michael, I know you asked to be project manager,
05:06but I'd like Rafe to be the project manager of Renaissance.
05:11Now, let me tell you what this task is about.
05:13Here we are at the National Theatre, a great institution,
05:17and what they do here is put on plays,
05:21for want of a better word, stories.
05:24Now, this task is all about you telling a story also
05:28by the way of a television advert.
05:31The product you're advertising is tissues.
05:35You're going to produce your television advert
05:38and also a press advert,
05:40and you'll be presenting those
05:42to one of Britain's biggest advertising agencies
05:45who will give me their opinion
05:48on which campaign is the best.
05:51Everything clear?
05:52Yes, sir.
05:53Off you go.
05:57The UK tissue industry is worth hundreds of millions of pounds.
06:00And the companies that make them advertise hard to compete for a slice of it.
06:09Sir Alan wants the adverts to be mini-dramas,
06:14a prospect relished by Renaissance project manager Rafe.
06:18As you probably know, I've done a lot of theatre in the past.
06:22Yeah.
06:23Not directing, but very much, you know, acting.
06:25I'm a huge, you know, theatre girl.
06:27I love Advertisements, in fact.
06:28I think you and I have both been in Guys and Dolls, haven't you?
06:31That's correct, yeah.
06:32I was Sky Madison.
06:33And I was Benny Southstreet.
06:35I got a horse right here, his name is Paul Revere.
06:43The general mood was one of gaiety and general, you know,
06:50general excitement, I think,
06:52at the prospects of directing our own little, you know, 30-second feature.
06:56The candidates will work at world-famous advertising agency Ogilvy.
07:07So what you have here is your blank canvas.
07:08This is the bit you can't change.
07:10Both teams get a blank box of antibacterial tissues.
07:15But before advertising it, they must turn it into a brand.
07:19We need to start on the actual branding and dovetail that into...
07:23Alpha, led by Alex, start by brainstorming names.
07:28We could call our brand Snot.
07:31Snot is soft, strong and sensitive.
07:33I wouldn't want a packet of snot in my handbag.
07:35But it's funky, innit? It's funky.
07:37Sneezies or something.
07:38Yeah, sneezies, sneezies.
07:39Something which is quite warm.
07:40Cozy sneeze.
07:42Sneezer coze.
07:43Cozy nose.
07:44Cozy nose in your car.
07:45Cozy nose on a plane.
07:46Cozy nose at your home.
07:47Cozy nose at school.
07:48Cozy nose at school.
07:49That sounds like socks.
07:50So Alan wants to put you in a situation that you're totally outside your comfort zone.
07:54I am saying things that I look a pillock.
07:55But, you know, at the end of the day, you don't get them out there unless...
07:58You know, you don't get your ideas heard unless you talk about them.
08:01You know, when you sneeze, you go...
08:03A tissue.
08:04How would you spell that and differentiate it from actually saying a tissue?
08:07Because you could call it that.
08:09A-T-I-S-H-E or something.
08:10A tissue.
08:11A tissue.
08:12A tissue.
08:13Yeah, that is...
08:14Do you know what it mean?
08:15A tissue.
08:16Are you actually asking for a tissue?
08:17I quite like that.
08:18My idea, just to quickly let you know and why I think the female...
08:21Upstairs, Rafe has gone straight to working out a story for his tissue commercial.
08:26Almost a kind of montage.
08:27So first, when you've got, you know, baby being given tissue by mother to wipe, you know, wipe tears away.
08:35My idea is the start of a beautiful relationship.
08:37It revolves around a tissue.
08:39So a little boy giving a girl a tissue.
08:42It's about empathy.
08:43I think it's nice.
08:44Empathising with people.
08:45And that's what we've got to do.
08:47I like that.
08:48I like that.
08:49Having spent time agreeing a story involving children, they must now come up with a brand.
08:54You know, like, with I Love NY, you could have, like, I love my nose.
08:57And I don't have to say my nose, you could say, I love my tissue.
09:00Yeah, you could.
09:01I love my tissues is fun, it's all-embracing, and it's slightly cheeky.
09:06Yeah.
09:07I'm going to go for I love my tissues.
09:08That's it.
09:09I love my tissue.
09:10How about mother dropping child off at orphanage?
09:13No way.
09:14I'm joking.
09:15Downstairs, risk manager Lucinda is trying off-the-wall ideas for Alpha's A Tissue campaign.
09:22OK, if we're looking at shot tactics, and it's probably uncomfortable for some, but it's going to come out more and more and more,
09:27and it's becoming stronger and stronger and stronger, as it should do, is homosexuality.
09:32And people will be talking about that advert.
09:34Yeah, but I don't think that people would necessarily buy it, because then they'd buy it and then...
09:37I'm not getting told them to buy it.
09:39No, you're not saying about...
09:40And that's the real attitude that...
09:42That's the real attitude that would come out.
09:44Because if I had that box of tissues, then Lee would come into my house and he'd be like, you know, isn't that the box of tissues off the gay advert?
09:50And that's the reality of things, I think.
09:53Alex wants a conventional family.
09:56Now he needs someone to find a filming location, while the others design the box.
10:01That's really cool.
10:02I don't mind going and doing it, it's just that I want to know exactly what's going on.
10:04You stay here.
10:05You stay here.
10:06You're not going anywhere, Alex.
10:07You're staying here.
10:08So, it's going to be between you two.
10:09I would quite like to talk to the designer and be here, in all honesty, as I'm sure Lee also would do.
10:14Guys, look, I'm here for the team.
10:162pm.
10:17Alex stays with Lee, sending Lucinda to find locations.
10:22I feel that maybe Alex found me a bit strong, so possibly wanted me out of the way because maybe I was sort of giving, you know, too much to think about.
10:31But this is what we need to be doing during the brainstorming.
10:34That's what I was trying to question.
10:36With Lucinda hunting for a family home, Lee and Alex get down to decorating their box with photographs.
10:43What about this blanket, like duvets and blankets?
10:46Yeah.
10:47Wrapped, wrapped up, cuddly.
10:48I think if you had a cold and you went to get a tissue and you saw her and the box looked really warm with all snuggly pictures on it, you would think, oh, brilliant, that's what I'm going to get.
10:58Well, at the moment they're looking at three photographs that they're thinking of using on their box, all of which feature blankets.
11:04One's a child sitting on a blanket, one's a cat peering out of a blanket and another are three people shivering under a blanket.
11:11They don't go together at all and I'm not sure they help them get their message across.
11:182.30pm. Rafe has also split his team.
11:23With backgrounds in amateur dramatics, Rafe and Michael have decided to direct the commercial.
11:29I played a guy called Sebastian in Twelfth Night.
11:33This is the air, that is the glorious sun, this pearl she gave me.
11:38I do feel it and see it.
11:41And then he basically goes on to basically describe his feelings, which I'm not going to go into.
11:47It's quite an emotive piece which you can't replicate when you're in a people carrier.
11:56I was in Oliver, I played Fagin, which I can do.
12:03I'm reviewing the situation. Can a fella be a villain all his life?
12:11All the trials and tribulations. I want to settle down and get myself a wife.
12:17So, er, yeah. That's truly terrific. You transformed in front of my very eyes.
12:24Yeah, that's our type piece that you like.
12:27Yeah, I think it feels quite sexy.
12:30Back at the agency, Rafe's girls work on the box design.
12:34Can you have a look at this with no brand background?
12:37Yeah. And potentially just brown hearts and a white box?
12:39Yeah, I mean...
12:40Because I've been a brand manager and I've worked on product development,
12:43I've worked with advertising agencies, I really enjoyed this task
12:46and I think it was useful having the experience because you could understand what to do
12:50and how to pitch it.
12:51Cheryl Cole would buy this.
12:53Definitely, but I can...
12:54Girls allowed to buy these tissues.
12:56Hello, hi, it's, er, it's Rafe here from Team Renaissance.
13:01Rafe wants to cast a celebrity to play a mum in their ad
13:05and has called an agency to book TV weatherwoman Sian Lloyd.
13:10She's just got that kind of wholesome mumsy, er, mumsy look about her,
13:15which I think is good for what we're doing.
13:17She was with Olympic Olympic, er, MP.
13:21He was having an affair with one of the cheeky girls, wasn't he?
13:24He was, yeah, he had a, er, he had a bit of a penchant for a, er, for a cheeky girl.
13:29And, er...
13:32I don't know what we all do.
13:344pm.
13:36In Surrey, to check out locations, the boys have decided to set their ad in a school.
13:43Hello, can I help you?
13:44Hi, is that Sarah?
13:45Louise.
13:46Louise, sorry, Louise, hi, sorry, hi, I'm Michael.
13:48Michael?
13:49Hi, Rafe.
13:50Nice to meet you.
13:51Right, hello.
13:52Come this way.
13:53OK.
13:54This isn't the school.
13:55It's coming in front.
13:56This is right here.
13:57Yeah, this isn't the school.
13:58Hello.
13:59Hi.
14:00Hi.
14:01Hi.
14:02This is actually the kindergarten classroom.
14:03It's a good space to use, I think.
14:05I can imagine Sian coming in from here.
14:07Yeah, but I want it to say school.
14:10And for me...
14:11We'll say school.
14:12It's set up for football, at the moment.
14:15Mm, we could use this.
14:16Actually...
14:17We could even have, like, a sports day, and Sian is one of the spectators.
14:22Yeah, but bear in mind, we've only got a limited number of actors out.
14:27Yeah.
14:28We're not going to be able to...
14:29Yeah.
14:30We could use one of these benches, for instance.
14:32This is a great space, yeah.
14:33We could use this as an intimate moment.
14:34Yeah, that's what I mean.
14:35Two children or whatever.
14:36You know, I think I'm going to get my cravat ready.
14:42I think all directors need a cravat.
14:44It's going to be ready for tomorrow morning.
14:46I'm definitely looking forward to directing and script writing with Michael.
14:51And hopefully it'll come out all right as well.
14:54Well, more than all right.
14:55I hope it'll come out excellently.
15:066.30pm.
15:13Both teams organise casting sessions to find actors for their ads.
15:17We're going to look towards the camera.
15:19Alex and Lee want the family in their commercial to include a sick child.
15:24Please sneeze me.
15:26And...
15:27All right, George, time for school.
15:29How can I go to school if I'm ill?
15:32That's a thing.
15:34Well done, George.
15:36Well done.
15:42Lucinda is still not convinced a story about a conventional family is the right way to go.
15:49We want to go down the family theme, but we need some flexibility.
15:52We don't want to be walking into the picture and say what we've seen before and what's new.
15:56We've created the box.
15:57The box has to fit in with the oven.
15:58And we can't change the design.
15:59No, no, no.
16:00I've also been two boys and, I don't know, female input and by the by.
16:04You're saying, I understand two guys, female input.
16:07We're not restricting you from saying anything because you're a girl.
16:09No, absolutely not.
16:10Absolutely not.
16:11But this is a female product and I was happy to go off to location.
16:13But again, it would have been good to have been called, we're doing this, we're doing that.
16:15And I would have said, oh, God, as a woman, I wouldn't want that in or I would or I wouldn't.
16:18Guys, can I make a decision, yeah?
16:21I think we need to get these people out.
16:22Yes, let's get that.
16:23And we need to resolve this afterwards if we can't feel that.
16:25Yeah, let's just get them in.
16:26Yeah.
16:33You just can't change a fucking decision now.
16:35It's just ridiculous.
16:36Why does it mean that we don't have any input?
16:38I don't know.
16:39I've never seen this side of her before.
16:40I've never seen it.
16:41We've got Melanie and we've got Chris.
16:448pm.
16:45Alex settles on three actors to play the team's family.
16:49So what we're going to do is just let you freestyle for a minute.
16:53Just totally off the cuff.
16:55Oh, Annie, I don't think you're feeling very well.
16:57Are you all right?
16:58I've got to get to work.
16:59I don't really think we should go to work.
17:01Look at her.
17:02Are you all right, my sweet?
17:03It's just a cold.
17:04Chris, come on.
17:05It's her first day.
17:06Calm down.
17:07Please.
17:08It'll be fine.
17:09What do you feel like?
17:10You're not being silly.
17:11That's fine, guys.
17:12There's nothing which is exciting or different, dynamic, or dare I say vaguely fascinating
17:19about what we've got.
17:21Who wants to hear about a normal, bog-average family with a kid going off to school?
17:27It doesn't interest me.
17:28No-one, you know, watch Neighbours.
17:29That's as exciting as it gets.
17:3410pm.
17:35I think tomorrow there's going to be a lot of hand movements, and big emotions, and
17:42big hair, and berets, and cravats, and it's like, can we just deliver the advert?
17:48I think we're really going to have to keep them in check and say, they can't go off on
17:51this creative licence.
17:53Yeah.
17:54Upstairs, Rafe and Michael role-play their first scene.
17:59Okay.
18:00I'm going to be Sian Lloyd.
18:02So we've got some kind of music blaring out.
18:04It's going to be feel-good music.
18:06Sian Lloyd driving along.
18:07This is a motion shot.
18:10And you're scoffing away.
18:11Michael, you've got to do a task here, mate.
18:28Okay, properly.
18:29So, opening scene, act one, scene one, music blaring, Sian Lloyd driving.
18:34So, for heaven's sake, Georgie, half the yoghurt's still on your face.
18:51Oh, Georgie.
18:52Look what you've done, Georgie.
18:53You've got it all over your face.
18:56You stupid little shit.
19:04The morning of the shoot.
19:16Arriving at the house, the tissue boxes designed yesterday.
19:25Each team has three boxes to use as props.
19:29Alex, I think you're going to make it.
19:39On every face, we've got, I love my tissues,
19:42and we've got this, like, depth of the different colours.
19:44Girls, you've done an absolutely terrific job.
19:46I mean, that, as you say, I would go out and dye it.
19:50What...
19:51What gave you the idea of having a girl blowing her nose was nice
19:55on a tissue box?
19:56Who was going on with that one?
19:58Well, if I look at that, she's smiling, she's smiling.
20:00It's a fun thing, isn't it?
20:01Yeah, but it's still nose-blowing.
20:02It's still nose-blowing.
20:03But that's what a tissue does, isn't it?
20:04Seeing someone blow their nose, to me, is quite repulsive.
20:07So, your main concern is the girl blowing her nose on the box?
20:10It's ugly.
20:11Me and Lee both decided that, you know, it was fine,
20:14and it's a mothering picture.
20:15How can anyone say that ain't good?
20:17It's quality.
20:18What's the point of looking at the tissue box
20:20and talking about it for 10, 15 minutes, going,
20:22Oh, isn't it great?
20:23Oh, I've got...
20:24The box is bloody there.
20:25Get on and do your pitch.
20:26Get on and look at your music.
20:28Look at what we've got to do.
20:29Oh, it's a lovely box.
20:30All right, you've got your box.
20:31There's nothing we can do about it.
20:32What do I think?
20:33I think it's crap.
20:34For me, Alex is project manager.
20:36He's not even a vague manager.
20:38He's just got no concept of what he should be doing,
20:40and I think he's really scared.
20:41It's a real shame, because he's a lovely guy,
20:43but he's useless.
20:45He's actually worse than useless.
20:48We're trying to get across the message that,
20:50you know, family, blankets, comfortable,
20:53like, snuggly situation.
20:55He said, all right, OK, very good.
20:56That's going to portray an image of a...
20:58Armchair and a cup of tea.
20:59Well, that's what one of the pictures is.
21:00No, it's not, because you've got people in it.
21:03To me, it's just...
21:04What, an armchair and a cup of tea without a person in it?
21:07Yeah.
21:08So an armchair with a cup of tea on it.
21:09I wouldn't know it was anything to do with tissues.
21:10Right, stop it.
21:11I wouldn't know it was anything to do with tissues.
21:13Stop this.
21:14You can't grasp onto something I say and go,
21:16oh, well, armchair and a cup of tea.
21:17If I would have been there,
21:18then I'd have to look through the images.
21:19So I've just mentioned something,
21:20and you're grasping onto it,
21:21and you're comparing it against.
21:22Not on.
21:23Naughty, naughty, naughty.
21:25How come we need to draw a line under this and...
21:27Get on.
21:28I'm not saying kiss and make up whatever,
21:29you know, it's business at the end of the day,
21:31but we need to draw a line under it
21:32and we need to move things forward.
21:33So can we just get a grip for a second,
21:36all three of us,
21:37and say, how do we move forward?
21:39When somebody's pulling against you in a tug of war,
21:43it's not going to work.
21:45We need to have cohesiveness in the team,
21:48especially when you are effectively short-staffed.
21:51Put it in a real situation.
21:53If you were short-staffed,
21:54you need people to come in and pull together
21:56and move things forward.
21:58Didn't happen for me, Cinder.
22:00I don't think we've got a different idea.
22:02I don't like the boxing,
22:04I don't like the colours
22:05and I don't like the pictures on it.
22:06And to me that is so important.
22:07So is the underlying factor then,
22:08the fact that you shouldn't have volunteered
22:10to go and look at the fucking house.
22:11I didn't fucking volunteer!
22:13To go and look at the house.
22:14And what you should have done is said,
22:15look, I'm female, I'm creative,
22:17and I want to stay here.
22:18And that is what I said!
22:19And now I'm having to scream like a banshee.
22:21This is not me.
22:22It is so frustrating because I have location.
22:25I mean, what the fuck was I doing on location?
22:32At the primary school in Surrey,
22:34Rafe and Michael wait for their star.
22:41I don't normally get nervous, I am nervous.
22:43I am nervous, definitely.
22:45I am nervous.
22:51Sean, hi.
22:52Hi, Sean.
22:55Hi.
22:56Good of an answer.
22:57Hi, my name is Rafe.
22:58Hi.
22:59Very good.
23:00This is Michael.
23:01Hello, Mike.
23:02Hello.
23:03The products we're going to be advertising
23:04in this tele...
23:05tele-ad are our brand of
23:07I love my tissues tissues.
23:09Um...
23:10Got a kind of...
23:11What, did you come up with a box?
23:13It was...
23:14Our colleagues did, yeah.
23:15It was two colleagues who came on the box.
23:16That's good, isn't it?
23:17It's not bad.
23:18Yeah, it's pretty good.
23:19Yeah, you'd buy tissues like that, wouldn't you?
23:20Absolutely.
23:21The point of hiring a celebrity
23:22is that you hire her for what she's best known at.
23:25Sean Lloyd forecasts the weather.
23:28She is a weather girl.
23:29What's she doing here?
23:30She's a mother.
23:33Comforting a child with a tissue.
23:35So what's that got to, Sean Lloyd?
23:37They might as well have gone out and bought anybody.
23:40You're using me, then, as an actress.
23:42It's not being used because of weather connections at all.
23:44There are no weather connotations,
23:46no weather symbolisms.
23:47No.
23:48I mean, if you want the absolute honest truth
23:49as to why we chose you,
23:50it was because you have this very...
23:52We wanted to bring across this very wholesome,
23:55wholesome feel to our advertising.
24:00I think if they Googled me and saw stuff,
24:03they'd realise that I wasn't a mother,
24:05that I was single,
24:07that I've not really worked with children at all.
24:11And I'm surprised they think my image is quite so wholesome,
24:14quite flattered by that, actually.
24:16OK, let's start from starting positions, guys.
24:19Take one on the I Love My Tissues commercial.
24:23Come here.
24:25Get that off.
24:27Come here.
24:29Go on.
24:30Hang on, hang on half a second.
24:31You've forgotten something.
24:33Go on, you'll be late.
24:35Ten seconds.
24:37OK.
24:38Have we got any close-ups of these tissues?
24:41Have it zoomed in at any point?
24:42We're going to do that, yeah.
24:43What you see on the monitor isn't...
24:45Right.
24:46Can we do another one, see?
24:48Yeah, cool, OK.
24:49Can we do another one, guys?
24:51Plenty of passion.
24:52I see what, after doing this,
24:54I want to get into movies.
24:55After doing this, I think I can do anything.
24:57Absolutely.
24:58You should become the next Fellini.
25:01Yeah.
25:02Come on!
25:07On the A Tissue shoot,
25:08Project Manager Alex takes control.
25:11That would be great, Wally.
25:12I think it's important that we work together on it.
25:14Uh-huh.
25:15But obviously, I want to direct what's going on with your input.
25:20Absolutely.
25:21OK?
25:22And then...
25:23I'll try and zip it.
25:24OK, good.
25:25Are we all sorted for the lines,
25:26so everybody remembers what they're saying?
25:27Absolutely.
25:28Beverly, Cinder?
25:29Mm-hm.
25:30Yeah.
25:31Right.
25:32Action.
25:33You OK?
25:34How do you feel?
25:35Oh, you're really hot here.
25:36Give me this tissue for school.
25:38I don't even know these tissues.
25:40Chris?
25:41Hey, what's the matter?
25:42Oh, I'm a bit worried about it.
25:43She's got a cold,
25:44and I'm not sure about school.
25:45She's so excited,
25:46but she's all full of germs.
25:47Don't worry.
25:48You don't know.
25:49These are tissue or antibacterial.
25:50She'll be fine.
25:52It was good last time, but just feeling...
25:54That's...
25:55That face is perfect.
25:56Just a bit...
25:57Just upset, like...
25:58Yeah?
25:59Like that.
26:00Yeah.
26:01All right.
26:02Good.
26:03And...
26:04Action!
26:05I feel a million times better than I did this morning.
26:07You know, I feel motivated.
26:08I feel like we're actually, you know, making tracks now.
26:12We've done the first scene.
26:14I'm happy with it.
26:15Looking forward to editing it.
26:16You know, really positive.
26:17And Lucinda's compliment...
26:19Not just complimented me,
26:20but she's complimented the way that it's going so far.
26:23And she's coming out with some positive kind of responses
26:25to a lot of the questions that I'm asking her,
26:27which is a lot better than it was this morning.
26:30In Surrey, Rafe and Michael work on their final scene.
26:35A tissue handed by one child to the other.
26:39When you wipe away the tears, that's when you smile
26:42and you can be as happy as you want.
26:44But make sure you don't smile until you wipe away the tears, okay?
26:47So try and move to it.
26:48Okay, cool.
26:49Okay, let's do that again.
26:50Let's do a take two.
26:51This is good.
26:53We're doing well, mate.
26:54This is good.
26:56Just...
26:57It's all about...
26:58Especially when you're dealing with children,
27:00it's just about simplifying, obviously.
27:02Okay.
27:03Okay, Lewis, count to five.
27:06What we wanted very much is, you know,
27:09is a non-woody, kind of, you know,
27:12DiCaprio-esque type way of acting.
27:16Apologies to DiCaprio.
27:18And, you know, I think we've got that on the bench scene,
27:21that, you know, there are no words spoken.
27:23Everything is done through gestures and action.
27:26So, naturalistically, I think it's all coming together.
27:30Tomorrow morning, both teams must pitch their campaigns to advertising experts.
27:40By then, press ads must be printed,
27:43TV commercials edited.
27:45Ah, come on, you've forgotten something.
27:48Come here, my boy.
27:49That looks...
27:50See, the point about why I should feel necessary to have a close-up of the product.
27:57It looks bad.
27:58It looks bad to you?
27:59Yeah, it looks bad to me.
28:05Can we actually have a look at what we've got from start to come?
28:10Come on, you've forgotten something.
28:12Come here, my boy.
28:13You've forgotten something.
28:15Come on, you relate.
28:17I mean, that close-up is ridiculous.
28:21It is.
28:22I mean, it is abs...
28:23I mean, that is tackiness.
28:25Par excellence.
28:27I'm solidified.
28:28You know it's 30 seconds to start.
28:29In another suite, Alex and Lucinda review their footage.
28:33Don't worry.
28:34You're a bacterial.
28:35Have you got the pack shot?
28:37I haven't got the pack shot yet.
28:38The pack shop is 021131.
28:40Look at that.
28:41That's just like the pack shop for the closet.
28:42Oh, you've got some dead flowers in there.
28:43Oh, that's all right.
28:44I don't know if you can use that.
28:45I don't know if you can use the pack shot.
28:46The pink and the green is stunning and the yellow.
28:47But those flowers are dead.
28:48I mean, the thing is with Lucinda, I think she likes to have a bit of control for the
29:02If she's happy sitting in there and she wants to sit in the middle chair, then that's fine
29:06to give her a bit of kind of, you know, authority over the situation.
29:09But at the end of the day, there was work that was done together.
29:11What she's doing is reading out of a list of numbers.
29:13And, you know, if that makes her feel good, then that's fine by me.
29:18The commercial must run for 30 seconds.
29:23Michael and Rafe view the director's cut.
29:27How many seconds are we with that?
29:40About 50 seconds.
29:4154.
29:42Oh, sorry, I don't know what to cut from this.
29:45The shots.
29:46Like this?
29:47With one hour to go, the boys' commercial is twice as long as it should be.
29:51Mate, do we need this at all? Do we need any of this first scene?
29:55We've forgotten something.
29:57Come on.
29:58What do you mean?
29:59Of course we do.
30:00I don't know.
30:01How is he going to have the tissue?
30:02Does it matter?
30:03Why can't you just produce the tissue from his bag and give it to her?
30:08But we've got a celebrity here is what we mustn't forget.
30:11We've paid for for nothing.
30:13Yes, she's a celebrity.
30:14Yes, she's endorsing our advert.
30:16However, I don't really want to cut anything from the other scene.
30:20I absolutely want to keep this, but I want to make it as quick as possible.
30:25I think there's very much this symbiotic relationship between myself and Michael.
30:30We feed it off each other.
30:32However, as has been proven, I will say no to something that I blatantly don't agree with.
30:38And in that respect, I will put my foot down.
30:41I'm pleased.
30:42In the studio, Rafe's girls sign off their press ad.
30:45I would buy this.
30:46Would you be happy if you see that in a magazine?
30:48Yeah.
30:49Yeah.
30:50Done deal.
30:51Thanks a lot, darling.
30:52That's it.
30:53Hello.
30:54Hello, girls.
30:55Hello, Chris.
30:56Hi, guys.
30:57Hi.
30:58Have we got an advert?
30:59We've got a lot.
31:00We've got 20 minutes to smooth the edges.
31:02Bear in mind, it has to be 30 seconds exactly.
31:05OK.
31:06In any kind of relationship, we all need a little bit of comfort.
31:11For me, that bit's too quick.
31:12You don't see the browns at all.
31:15We had a shot of a full, full-on frontal with the tissue box.
31:21It looked incredibly tacky, though.
31:23It just looked vulgar.
31:24My biggest concern is that the branding on the tissues at the beginning is too quick.
31:28I can't even see that.
31:29And I can imagine Sir Alan going, I don't bloody see any tissues in the advert.
31:32Is there a way we can slow it down?
31:34Well, no.
31:35We had a close-up.
31:36Yeah.
31:37It looks terrible, that's the thing.
31:39I am disappointed about the quality of the advert we've seen.
31:43I'm embarrassed.
31:44I would try and leave it out of the pitch if possible.
31:47I really wouldn't show it to my family, let alone the head of the biggest advertising agency
31:52in the UK.
31:53The day of the pitch.
32:08To win, the teams must convince the admin that their tissue campaign is the best.
32:13I'm nervous this morning because the fact is, our graft over the last two days could be unhinged to them.
32:20If it's going to be one thing that's going to fail it, it'll be the fact that they don't believe in the product itself.
32:31In the audience, three agency chiefs, a group of consumers and one surprise guest.
32:41First, Claire with the campaign for I Love My Tissues.
32:46I feel that Helen and I basically developed the whole brand while the boys went off and played being director.
32:53And pretty much, if it wasn't for us, we wouldn't have a product or really a campaign.
32:59Good morning, everybody.
33:00We're really excited to be here today to talk to you about an opportunity which we've found in the tissue market,
33:06which is completely new and unique and exciting to anything which you've seen before.
33:10We feel that the tissue market needs to be shaken up.
33:13If these tissues in the market at the moment were people, they'd be politicians.
33:17And we feel there's a gap for something which is fun and friendly and vivacious.
33:25Backstage, Lee rehearses the a tissue pitch.
33:28Actually feel our product itself.
33:30When you think of tissues, consumers think of Kleenex. Now they think a tissue.
33:35Brilliant. We can just cut it up and maybe cut some things out and just neaten it up and make it more concise and more fluid, yeah?
33:41Yeah, I just want to make sure that we get it in order. So what order you're saying?
33:44They say we could do these series within a 24-hour period.
33:47No, because people aren't going to be interested.
33:50But here, like, we can build. No, we will build.
33:53We what?
33:54We will build.
33:55That's not like we're trying to change.
33:56They've 20 minutes to go to their presentation.
33:58If I was Lee, I'd have thrown the other two out of the room.
34:00The last thing you want before you go on a stage and make a pitch is two people jabbering at you,
34:06trying to change what you're about to say.
34:08This is the fucking crack, yeah? I've got to deliver this in, like, less than half an hour
34:12and we haven't got an order. I want to sit here and rewrite the order.
34:17So can we get an order in where we are?
34:19And you two can critique it all day long and let me get on with it and then just tell me what I need to write.
34:23Absolutely. Right, okay.
34:24And what we're attempting to do here is have an advert, which is the first in a series.
34:28Okay, I'm just going to show you that now.
34:30In any kind of relationship, we all need a little bit of comfort.
34:42Try as I may, I can never explain
34:48what I hear when you don't say a thing.
34:57The smile on your face lets them know that you...
35:04The TV advert captures a relationship between a mother and son, a boy and girl,
35:09people with a tissue and ultimately our relationship with the consumer.
35:14That is our start of our beautiful relationship.
35:17Well done. That was terrific.
35:18Yeah, well done.
35:19Well done.
35:20Well done.
35:21It's really well done.
35:22Well done.
35:23Well done.
35:24Even when he had the show, he snort so much.
35:30With the alpha pitch rejigged, it's time for Lee to present it.
35:35We're here today to introduce a new product to you all.
35:44Our product name is derived from when we may all need a tissue.
35:49It also represents the product to be exactly what it is without being the same.
35:57We've aimed our product at the female genre.
36:00The mother community is proven in the female genre to be one of the highest demographics in buying facial tissue.
36:07Our advert depicts a family life.
36:11It's a happy family life.
36:13And the reason why that is, is because...
36:16And the reason why that is, is because Annie, who's depicted in the middle, is a child who has a cold.
36:23She looks happy because our tissue has allowed her family to come together to spend quality time with each other.
36:30And what I'd like to do for you now, ladies and gentlemen, is if you can turn your attention to our screen and watch our TV commercial.
36:45Are you okay, sweetheart?
36:48Chris!
36:49What's the matter?
36:50Well, she's not well. She's excited about school. But what about the other children?
36:53Well, don't worry. These new tissue are antibacterial. It'll be fine.
36:59Chris, she's not well. Are you sure?
37:00Don't worry. A tissue are antibacterial.
37:04Come on.
37:07You are the sunshine of my life
37:16Okay, ladies and gentlemen, thanks very much for your time today.
37:19We appreciate it and we hope to hear from you soon.
37:23Thanks very much.
37:26People were getting, do I say, slightly fidgety and bored.
37:31So, that was what I was getting from the audience. Maybe we could be more punchy.
37:35Maybe, you know, it did drag a little bit, but we went through that.
37:38It was the first time we tested it with a real audience.
37:40Yeah.
37:41And to be fair, mate, we thought there was going to be three people in there.
37:43We walked in, the director's there, Sir Alan's there, Margaret and Nick are there.
37:46There's about 20 people. So, wait and see what happens.
37:50Done well, mate.
37:51The pitch is over.
37:53Sir Alan sounds out the professionals.
37:55They were the ones that pinned down most strongly what this brand was about.
38:00When you look at that commercial as a piece of communication, it just doesn't come off.
38:05I would be very reluctant to run it as it currently stood.
38:08I think it's a great idea. It's a really great idea.
38:11I think it's just going to get lost at point of sale.
38:14With some great advertising behind it, that's got a real chance.
38:17OK, well, look, thanks a lot for helping me in this task and I'll let the teams know when I meet them next in my boardroom.
38:26I think this task has shown an example of the phrase, behind every successful man is a very successful woman, because Helen and I were really driving the project.
38:49We were having to manage them. We were managing our project manager.
39:01I'm fully prepared and ready to fight my corner. I can speak well and I can speak my own mind. I'm ready. And I do think we're maybe going in.
39:13Good afternoon.
39:31Good afternoon, Sir Alan.
39:38So, Rafe, you were the team leader. Tell me, how did you break your team up?
39:42I've worked with everyone on my team, so I immediately came to the conclusion that the best two people to do the packaging were Claire and Alain.
39:54So, making the advert, who was responsible for the cinematography?
40:00Myself and Michael.
40:02Any particular reason why you chose those roles?
40:04Yes, Michael's had experience, as have I, on the stage.
40:10Really?
40:11I've directed as well.
40:12You've directed as well.
40:13You've directed, have you?
40:14Yeah, I used to have my own theatre production company at university.
40:16Whoa!
40:18You're all in banging trouble here. We've got a Spielberg and Fellini sitting over here.
40:23Shall we see your advert again?
40:24In any kind of relationship, we all need a little bit of comfort.
40:36Try as I may, try as I may, I can never explain, what I hear when you don't say a thing.
40:50The smile on your face lets me know that you need a little bit.
40:57I think the kids, whoever directed them, did very well, because they acted quite well, considering the amount of time that you had.
41:02Well, Alpha, I saw your advert at the pitch also. Lee, your presentation was a bit fumbly, to be honest with you. It was poor, it was unprofessional, it was poor.
41:14I'm so disappointed in myself as well.
41:16Well, I tell you, I lost you. I lost you out of sheer boredom.
41:20Lee, you might be interested to know that Claire had not one note.
41:25No, no.
41:26Straight off the top of her head.
41:27Claire stood up and just had it in her head. A little bit too jabbery, but still, that's Claire.
41:32I'm absolutely gutted that that's how it's come across.
41:35Yeah. How was the team, Alex, under your leadership?
41:39I've worked with Lee before. I haven't worked with Lucinda before. It was the first time I've worked with Lucinda.
41:44To be honest, towards the end of the day, I found it quite abrasive to work with and borderline upsetting.
41:48Do you feel you're the creative one amongst these two then, and that you should have been doing the creation?
41:53I feel that I have a creative streak, and we discuss tissues, because I do buy a lot of tissues, and we've discussed tissues boxes in the office with my colleagues, etc.
42:01That aside, I mean, at the end of the day, if you didn't want to go on a location for Wreck-It, you should have just turned around and said,
42:06I want to stay in here.
42:07I had said.
42:08No, Alex, I want to stay in here. I want to do the design. I'm a female. I think I've got more female input, and that's what I want to do.
42:14I had said.
42:15And challenged the project managers.
42:16I had said. When you originally said, Lucinda, where do you think you should be? And I had said, I think I'd rather be here.
42:21I think the box is very garish, but sometimes some of the products that are advertised heavily are packaged in the most horrible way,
42:30in order to stand out like a flashing beacon on the shop shelves. Who could come up with a name?
42:35Yeah, it's Lee, and I still believe it's a fantastic name.
42:37Yeah, it is a great name. It is a very, very good name. I think it's excellent, really. Let's see your advert again.
42:43Are you OK, sweetheart? Chris!
42:49What's the matter?
42:50Well, she's not well. She's excited about school. But what about the other children?
42:54Well, don't worry. These knew a tissue are antibacterial. It'll be fine.
42:58Chris, she's not well. Are you sure?
43:01Don't worry. A tissue are antibacterial.
43:03Come on.
43:04You are the sunshine of my life.
43:17Right. What do you feel about their advertising campaign?
43:24The initial reaction with regards to the tele-ad is, I mean, it lacks any kind of subtlety.
43:31I mean, I understand that advertisements need to make clear what they're advertising, but there's got to be some kind of...
43:37Do you?
43:38Sorry?
43:39Do you?
43:40Well, understand.
43:41Understand that you need to make clear what you're advertising?
43:43I'm very clear of that, yeah.
43:45Really?
43:46Very much so.
43:47I don't think you need to go to such extreme measures and treat your audience as idiots.
43:52I'm the manufacturer of tissues, and all I'm interested in is moving kit off the shelf.
43:58So, now you've seen their advert, what do you think?
44:01Although I think that our advert is a better quality advert, I can see that their product is better conveyed within their advert.
44:10You made one, not one, the biggest error. The biggest error going.
44:15I don't know what your bloody advert's about. I do not know what it's about.
44:22It doesn't mention the word tissues once in the voiceover.
44:25You've got this little box of tissues down the bottom and a little strap line down the bottom, and it would not sell any tissues.
44:33It might make me or my grandmother or my auntie smile and look at the little kid crying and think, ah, like that.
44:42But it ain't gonna make me look for those on the shelf.
44:45You're lost. I'm sorry, you're lost.
44:47And it's not my opinion. This is the opinion of the three professionals I consulted today.
44:52And I am so frustrated because you did 95% of the work.
44:59A much better cinemagraphic representation than these people.
45:03Much, much better. But I'm sorry, you're lost.
45:07You won because your horrible advert, your horrible box, threw it in the people's face.
45:15The actor there was talking about tissues three times.
45:18He brought out the antibacterial thing, which is one of the points that I wanted to mention.
45:23You had the box in Big Shot in the picture on the mum's lap.
45:27You had it again somewhere else. And at the end, Pack Shot, you had it there.
45:31That's the thing I'm gonna remember. You won. So, well done.
45:35Now look, in return for this win, I've got a treat for you.
45:39You're gonna go off to Harvey Nichols, where I've laid on an exclusive out-of-hours shopping spree for you.
45:46Where I'll give you a few quid and you go off and enjoy yourself and buy yourself a bit of gear.
45:51Okay?
45:52That is fantastic.
45:54Okay.
45:55Thanks, Alan.
45:56Off you go.
45:57Thanks, Alan.
45:58Listen, I'll call you back in the boardroom in a little while's time.
46:02One of you is gonna get fired.
46:04Okay? Off you go.
46:09Tissue, madam?
46:16I feel absolutely terrible. I mean, I've never felt this bad in my life before.
46:24I thought everything was gonna be fine. I put my heart into that task and I really stepped up.
46:33Obviously, we've all worked incredibly hard for the last couple of days, haven't we?
46:37I still feel, although he spoke about Claremore today, that my performance on this task was absolutely flawless.
46:43I'm gonna make this very clear. The boardroom is normally this place where huge fireworks take place.
46:47I can absolutely guarantee you now, and that's not gonna happen, because quite frankly, we've been unified and we're gonna stick with that.
46:53And I'm not gonna cheapen myself by starting to lie, make accusations that were blatantly false.
46:59We've understood what the problem was. It's the tele-ad. Myself and Michael were in the editing suite. Period. There's nothing to add.
47:05Perhaps we were too artistic. It may sound arrogant. Maybe we deemed our audience to be, you know, more intelligent than they are.
47:19You know, I found the other team's advertisement vulgar and, you know, incredibly patronising.
47:26But if that's what advertising is about these days, then, you know, honestly, God help us.
47:32It's really lovely.
47:52I like it.
47:56Alex, I can't still believe it was one week.
48:04Pulled it right out of the bag, fella.
48:06It's the best treat so far, I think.
48:08Definitely.
48:10Ralph, I didn't send you out to make a remake of Ben-Hur. You know, it was a hard-selling television advert.
48:31Yeah, but I understand that, but I also wanted to do it from an artistic point of view. I wanted it to be a quality advertisement.
48:39It's all very well being artistic, but the artist has to put bread in his mouth, you know, and he gets his work from clients like me.
48:46And the client wants to know if what you've produced is going to ship any product off the shelf.
48:51This is the part, in fact, that hugely disappoints and frustrates me.
48:56I, in fact, did insert an extreme close-up shot of our products.
49:02I thought it was necessary, and I'm not trying to shift blame because ultimately I took the responsibility as well to say don't insert it, but you deemed it to be vulgar.
49:11Well, I think that's unfair. We both deemed it as being vulgar and decided to omit it from the advert.
49:19I do, yeah, but you, I mean, you were quite, you know, adamant that it was vulgar.
49:23I, I think we both were about that.
49:26Where did this I love my tissues come from? Who loves tissues? Do you love your washing up liquid? You know, do you love your spa or soap? You know, do you love your towel?
49:36I mean, it's not the right kind of product. And yeah, I can understand I love New York, but I love my tissues. I don't get it. Whose idea was that?
49:44It was my idea in the brainstorming, Sir Alan. We focus a lot on the advert, and it was very late in the day when we actually started talking about the brand name.
49:52Hmm. Sean Lloyd, what was she doing there? Why did you cast and pay for a kind of celebrity for your advert?
50:01You know, I could understand if your advert was based on weather. I was understanding if your advert was based on her being upset because her boyfriend blew her out for a cheeky girl, right?
50:11And she's crying. But I can't understand this. She's not even a mother. What, what, what, what's the point?
50:18We wanted the, um, celebrity endorsements of the product. We know we live in a society, you know, cult of celebrity.
50:24Well, I've got to tell you, I didn't notice her. If you blinked, you missed her.
50:29Rafe, you know the drill now. Will you tell me who you're bringing back into this boardroom?
50:34Sir Alan, I'm bringing Michael and Claire. With regards to Claire, I know she has, uh, dabbled in marketing in the past, um, whereas myself and Michael haven't.
50:46Go and wait out there. I'll call you back in shortly. One of you will be getting fired.
50:52The poor weather woman, uh, I mean, God knows what she was doing there. I've got a clue.
51:04Well, the TV commercial's only one part of it. I mean, the box is awful. The name is awful.
51:13We've got two very despondent gentlemen. We've got Claire. She will get her 500 rounds of bullshit out and stick it in her AK-47 and deafen us all in here.
51:27We'll see which one really wants to stay in.
51:30Sir Alan will see you now.
51:44Rafe, you have experience in acting. Why don't you give me your rendition
51:49of why I shouldn't kick you out and fire you then?
51:54Sir Alan, there are occasions where I will fall flat on my face. They're very seldom, but when I do, believe me when I say I will get up and try again.
52:03I've only been in this threesome once, and that was week one, and I learnt from my mistakes.
52:08I pulled my socks up for you, and I, as a consequence, haven't been in here.
52:12Michael?
52:13Yes?
52:14Do you think you're at the end of the road?
52:17No, Sir Alan. Everything that is good about this advertisement, everything you like about it, came from me. No one else but me.
52:26Michael, I think, sorry, just to bust in, I think saying that all the things that are good that Sir Alan sees is just down to you is, to be blunt, a lie.
52:35Right, OK.
52:36How on earth could you possibly say that everything Sir Alan sees that's good is down to you?
52:42The theme, the emotional pull, the actual relationship aspect, which was the main pull. The only decency in this task came from me, and no one else, and they can say what they want.
52:55What on earth are you talking about?
52:56What on earth are you talking about?
52:57I'm talking about the fact that I had to take the lead.
52:59It's all very, it's all very well, you didn't take the lead.
53:01I think you're fine, I did.
53:02What on earth are you talking about?
53:03You're talking absolute gibberish. We both co-edited that, and if you're going to take the limelight for the success, and like a rat, you know, jump off the sinking ship as soon as things hit the fat.
53:13No, I'm not saying that I wasn't responsible.
53:14Then you are seriously a fraud individual, because you're a man who always says, apparently, that you're honest, that you're honest, that you're honest, that you're honest.
53:20You're proving to be dishonest.
53:21Hold on a second, I'm not, I'm taking responsibility for that ad, but I had to make decisions for that ad.
53:25As did I, as did I.
53:27No.
53:28He couldn't do anything without my say. I mean, let's make that perfectly clear. Michael couldn't in the editing suite say, right, we're going to have this, and have the way.
53:35So was it you that took the reference to tissues out? I'm getting confused here.
53:39With regards to the products appearing on our teleads, it was my choice to have us in. Michael then, and I took his...
53:46Ah, so on bad moves, he doesn't do what you say, but on good moves, he does do what you say. Is that what you're saying?
53:52No, no, no, no, no. That's actually unfair. What happened was we made a joint decision to take it out.
53:57I think you did both say you got lost in the artistic and forgot. We had to have the tissues in there.
54:03The other thing is, Claire, I've seen you in this boardroom very forceful when you're defending your corner for your self-preservation, so to speak, right?
54:13What I am very confused about is why you aren't as forceful as this when you see something that is blatantly so wrong as you claimed you did.
54:21Okay, the situation was quite sensitive. These guys have been in an editing suite for hours working on a tape,
54:26and I knew they were incredibly passionate about what they'd done throughout the whole day.
54:30Look, look, look. If I was there, and I'd walked in the edit suite, and the first thing I saw was,
54:36well, yeah, artistically, it's wonderful. You might win some award in Cannes, but where are the bloody tissues?
54:44If you were that forceful, if you'd seen the big error and the big mistake, if you'd seen these two go off in their artistic mode, why didn't you put up a big fight?
54:54I'm a bit worried about some of the explanations you give me that you said, well, it's too late now, you see,
55:00because that means that you don't want to salvage the win for your team. It shows a bit of selfishness as far as I'm concerned.
55:08Michael, you sit there and still tell me that you're very proud of your advert, but you see, I'm not looking for art directors. No, this is not MGM.
55:20Rafe, you put yourself across as Mr. Elegance, Mr. Perfect. You've got all the words that I'm enthusiastic, I'll do this for you and I've only been here once and all that stuff.
55:35But yeah, I feel, I've never ever said this before, I feel that you've been lucky that you've only been in this boardroom once.
55:42I've come to the conclusion that the one of you that's going is the one who actually, I think, is, with all due respect, a lot of hot air.
55:57Rafe, you're fired.
56:03Thank you, sir.
56:06I've got nothing more to say to you two. Go back to the house, I'll see you on the next task.
56:28It was a close call, though.
56:29Yeah, it is a close call. You know, one of them had to go and I thought it was, it was Rafe.
56:36Sorry to see that Rafe, really, because he's a decent bloke, but I tell you what, when you look behind the elegance and all that flowery language, there ain't much there.
56:47No. And that's the truth.
56:56Hello. There's another one.
56:58There we go.
56:59Yay.
57:00Michael.
57:01No, I have to say that.
57:03No, you have to. We want to know what happened. What happened?
57:05Well, I'm sorry, mate, but I'm absolutely fucking exhausted and nothing happened much except the Rafe's gone and that's really it.
57:13I mean, it was very upsetting for me because he's a very, very good friend of mine and it was a very, very difficult ordeal for me.
57:20Leaving Michael, it was, you know, two friends would leave. You know, there was no acrimony at all. Shook hands and, you know, back to life.
57:32You know, I desperately wanted to make it to the number one position. I made it to, you know, number seven. You know, happy but, you know, I'm not used to failure. So I'm hugely disappointed.
57:44One job, just six candidates left. Sir Alan's search for his apprentice continues. Next time.
57:57You've got to rent these cars to a very special clientele. These guys have champagne for their breakfast.
58:04Do you want to hear the engine?
58:06OK, go on then.
58:07All right.
58:08But will their performance match the product?
58:10Gorgeous, isn't it?
58:13Grab and get your dunders! Get your dunders, Lee!
58:18And who will break down?
58:21It's just shit.
58:23What are you good at?
58:24Well, you didn't bloody sell, did you?
58:27You're fired.
58:30Catch Rafe on The Apprentice, you're fired, over on BBC Two now.
58:34And make a note of this, The Apprentice next week on BBC One is on Tuesday at nine.
58:39Get exclusive preview clips and interviews on the website at bbc.co.uk slash apprentice.
58:45BBC Three goes off the rails now with Steven Seagal in the explosive action thriller Under Siege Two.
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