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00:00Previously on The Apprentice.
00:10It's not toys, it's actually sweets.
00:13The teams had to make confectionery to sell at London Zoo.
00:17But Gazelle's team didn't produce enough.
00:20We've had massive hold-up. At the most in Galicia, we would have made about 150.
00:25Oh, it looks like a cow!
00:28They were forced to charge high prices.
00:31£2.50 each, so that's £5 altogether, please.
00:34Adam's team had plenty of stock, but he wasn't happy with their sales effort.
00:39I think you're really taking things the wrong way.
00:41No, I'm not taking things the wrong way. You're quite put in your way.
00:44It's not done in a nice way.
00:46I think we come from two different schools of thought.
00:48One school that knows about selling and one that doesn't.
00:50Quantum physicist Sophie sold almost nothing.
00:54I really hate being approached myself, so I guess I'm not a born salesperson.
00:59Gazelle's team won by the narrowest of margins.
01:03You've won by ten quid. You've won by four lollipops.
01:07Natalie refused to take the blame.
01:10If I was so shit at selling, why didn't you put me in the line?
01:12You're such a strong seller, why didn't you get out and do it?
01:15And Sophie committed boardroom suicide.
01:19I have a problem with selling something that I don't think is worth the money it's being sold for.
01:23This is the real world, love. This is not your scientific protons and neutrons here.
01:27That's what retailers do, you know.
01:29Sophie, you're fired.
01:32Sophie became the fifth casualty of the boardroom.
01:36Now eleven remain to fight for the chance to become the apprentice.
01:53This is Francis from Sir Alan's office.
01:55He wants you to meet him tomorrow morning in St James's.
01:58The cars will be there at 6.30am sharp.
02:02When are they supposed to be at 6.30?
02:04The cars at St James's.
02:09Next morning at six, the candidates are up and ready to leave.
02:15Sir Alan wants to meet them at St James's in Mayfair, one of London's wealthiest areas.
02:28It's home to Christie's, the world's biggest auctioneers of art.
02:33Last year, Christie's sold over £1.7 billion worth of fine art and collectibles.
02:40But for Sir Alan, selling art is just a business, like any other.
02:48Morning.
02:49Morning.
02:50OK, here we are. We're at Christie's.
02:53They say the business of art is the art of business.
02:57In this next task, I'm going to give you a chance to dabble in the art market.
03:02You are going to have a chance to win a prize.
03:05I'm going to give you a chance to dabble in the art market.
03:08You are going to be selling photographs.
03:11And tomorrow, you will be putting on a photographic exhibition.
03:15Very simple.
03:17The team that takes the most amount of money in selling the photographs will win.
03:22And the team that doesn't will lose.
03:24They'll be back in the boardroom seeing me, and one of you will get fired.
03:29Everything clear?
03:31Yes, sir.
03:32OK, off you go. Good luck.
03:3611 candidates are left.
03:41Hello.
03:43Did you see some of the art up there at the Flipping Christie's? It made me sick.
03:47Yeah.
03:48There was a white plain canvas with a cello on one side and a lamp on the other side,
03:54and it was being sold for 300 grand, when you could buy all three separately for about 60 quid.
04:01Tomorrow night, each team must set up a private view and sell the work of two photographers.
04:06The team that makes the most money will win.
04:09There's a special type of salesmanship in this stuff.
04:12You can't talk someone into liking a piece of art.
04:15What you have to do is smell when you've got someone on the hook.
04:21Project manager for the stealth team is Christina.
04:24I've got total faith in us to be able to really, really do well on this.
04:28She's clueless about photography, but her background in pharmaceuticals, running sales teams, might help.
04:35So, I read back prices, negotiation, previous sales.
04:39Natalie is project manager for Eclipse.
04:42As a mum with a business master's degree but no experience in the arts, she's keen to delegate.
04:49So, guys, I'm going to leave it up to you two to question the photographer, ask the questions.
04:54I'm going to sit there and take stock, take note.
04:58Luckily, she's got Katie, a brand consultant, who thinks she knows how to handle artists.
05:04If we were to come in too heavy-handed on the, what's the price, how many can you do, what's the volume,
05:10they're going to go, hold on a minute, I'm a photographer.
05:13And there must be something about being true to your art, right?
05:17Is that Vanessa?
05:19Hi, Vanessa, it's Simon and Adam from Team Eclipse.
05:22Hello, is that Linda?
05:24There are six photographers to choose from, so appointments must be booked.
05:29In just five hours, the teams must declare to Nick and Margaret which two they have picked.
05:36Even when you're on the phone, it's important to smile, because the smile actually affects your timbre, your voice.
05:44If both teams want the same photographer, the photographer will decide which team to go with.
05:50So Natalie's got Katie on a charm offensive.
05:55First to be buttered up, fashion photographer Elizabeth Hoff.
06:00We are passionate about making this work, and as a team we are determined that we want to be there
06:07to completely support the artist that is happy to work with us.
06:11If you can just bring us into your world and let us understand how this happened,
06:17where you come from, how you came about to this, and all of that stuff, it would be brilliant just to know you.
06:23For me, the lips are the centre of communication, but they're also sensual, they're also sexual, and they're fascinating.
06:33But car salesman Adam wants numbers.
06:36How many have you sold so far?
06:39I haven't sold any of these, this is the first time they're being offered for sale.
06:43How much would you want for each?
06:45£9.50 for the small.
06:47£9.50?
06:48£9.00.
06:51Adam, way off. We were learning about her, about her passion, about her life,
06:56understanding her as an artist, her integrity as an artist, and really wanted to respect and value that.
07:01He was asking, how much do you sell these for, and how many can you sell?
07:05This is not a car lot.
07:07Can we get people who can afford them in that space of time?
07:10Or not?
07:12If you sell me a story, and you make it passionate, and it's sexy and creative,
07:16you've got a great lady there who's got such a passionate story herself.
07:20We've got to have the money in the bank to buy them though, so we've got to get the right people.
07:23Adam's coming across perhaps as a rather duer commercial man,
07:26but he is asking questions about price, has she sold any, and so on.
07:30Someone has to ask that.
07:34People were really chatting too much about the art and the concepts,
07:38and not enough about who's going to buy it, why they're going to buy it,
07:41where we're going to get them from.
07:43To me, there would have been factors that you'd involve in any business proposition.
07:47I don't know if she's targeting the right end of the market.
07:50I don't know, young bankers.
07:52It's very young and very vibrant.
07:54You'd be surprised what money people have in the city.
08:0610am. Christina has split her team in two,
08:10and sales training helps her home in on a possible source of buyers.
08:14When you're seeing each of your appointments, OK, can you ask them for a list of contacts?
08:18Yeah, yeah.
08:19We're going to... We had that in mind, didn't we, Chrissie?
08:22If we don't get them through the door, we get no sales.
08:25I just want to be as commercially minded as possible,
08:28because at the end of the day, if we've got a load of stuff on the walls which we like
08:31and everyone else hates, we're going to look like a dick in front of Sir Alan.
08:35Hi. How are you, Adam?
08:37Gazelle, Trey and Paul are in Brixton to view the work of Nigel Grimmer.
08:44I've got this set on the wall that's called Roadkill Family Album.
08:49This one's my mum.
08:51The one on the poster is my dad.
08:55And this is my neighbour.
08:57And then we've got a few more down there as well.
09:00What kind of target audience would you have in mind for something like this?
09:03The bands that I've sold to are usually kind of young professionals.
09:07I mean, it's been very different.
09:17If they actually were curators and came in and we had that kind of performance,
09:22then I wouldn't give them my work to show.
09:25Yeah, I really felt a bit squashed by the whole thing.
09:28That was just nonsense. I didn't even understand that.
09:31He knew what he was talking about.
09:33Because he contradicts himself so many times.
09:35Hi, it's Christina from Stealth.
09:37Across town, project manager Christina and the rest of her team
09:40meet horse photographer Tim Flack.
09:42Can I just ask about your prices and what they go for?
09:46The initial thoughts are that this is kind of a very creative
09:50and you have to really kind of put your mind into a certain mindset
09:54to sort of interpret things, and I'm not, you know,
09:57I'm not kind of wishy-washy like that, and that's how I saw it.
10:00We've extensively seen it in awards, both in America and Europe.
10:03What awards were they?
10:05The International Photographer of the Year.
10:08Oh, brilliant.
10:09Who's your typical buyer? Do you have a big list of contacts?
10:13We put a list of over 100 names together.
10:15100 names?
10:17With Tim's client list of over 100 buyers
10:20and the obvious sales potential of his horse photos,
10:23Christina wants a deal now.
10:26If it came to it that the other group were keen on you as well...
10:30Right.
10:31..could we have your commitment?
10:33That I think would be unfair.
10:36Right, OK.
10:38I thought I'd ask anyway because we're so passionate about it.
10:41Thank you. No, I'll take that into consideration.
10:43Yeah, OK. Cheers.
10:45Christina delivered what I took to be a real killer question,
10:49and that was, if we pick you, can we now have your commitment
10:53that you'll go with us, which I thought was superb.
10:56Took the photographer completely aback.
10:58Midday. For the other project manager, Natalie,
11:01the issue for tomorrow night isn't the photographs but the canapes.
11:05They've got fruit kebabs drizzled with honey or chocolate.
11:08I thought that was quite nice.
11:10Does fruit count as finger buffet? I don't know.
11:13They have got a section just finger buffet,
11:16and then it's under fruit, cheese, cake.
11:19I think catering is secondary to the picking of the art before you get it right.
11:23Yeah.
11:24See, I'm thinking more along the lines of the crisp side of things.
11:28For self-employed Simon, time is money, and he's worried.
11:32The team is still travelling in convoy,
11:34and it's taken well over three hours to make two visits.
11:38Have you got the mini pizzas here?
11:41The decision, Natalie, you're going to have to make very quickly
11:44is whether you want us to split up, because we're quickly running out of time.
11:4912.40.
11:51Still together, all five of Natalie's team arrive for the next appointment.
11:56What drove you to this? What was the inspiration, really? Who are you?
12:01The work is really the story of the ocean and the life within.
12:05Oh! Yes, that's it.
12:07I obviously don't want to offend you,
12:09but would you be unhappy if, say, fish restaurants bought your pictures for there?
12:14No, I think I wouldn't want it in a sort of street cafe, perhaps.
12:21I just feel that it would be lost.
12:24OK.
12:25No, it looks terrifying.
12:26Well, they were just quite scary, I thought.
12:28I mean, they were sexual, and I understand what she was trying to do.
12:31Natalie and I have got lobster claws in our wardrobe.
12:33Yeah, yeah. Do you?
12:34Most women do. OK.
12:36It's like part of the kind of get-up, right?
12:38Yeah. The mermaid look.
12:40Dinner dance type thing. Yeah.
12:42We'll have a coffee fix in the morning.
12:44We'll have the lobster pinched by nipples.
12:48In Kensington, half Christina's team
12:51is sizing up the work of lips photographer Elizabeth Hoff.
12:56Have you been visited by the other team yet?
12:58Yes, I have. OK.
13:00What kind of price are we looking at?
13:02Looking at £19.50, plus VAT, for the large.
13:06Is there any room for negotiation at all?
13:08No. No? OK.
13:10We haven't sold any of these yet. This is the first.
13:12This is a world premiere.
13:14Excellent.
13:16Thank you. Bye.
13:18But even before they've left, the other team is on the phone.
13:21Hi, Elizabeth. Hello.
13:23We don't want you to promise anything to our position if it comes to that.
13:27Cos I think there might even be a battle for your work.
13:30And obviously, if it comes down to it, I hope you side with us.
13:34Hi, Elizabeth. It's Paul from Starfound.
13:37We've got warm fuzzies about you,
13:39and we'd love it if you could give us first refusal on choosing you.
13:4320 minutes to go.
13:45Natalie has finally split her team.
13:48Katie's gone north, while she visits horse photographer Tim Flack.
13:53Hello there. My name's Natalie. Pleased to meet you, Tim.
13:55Thanks for your time today. Unfortunately, we've only got about ten minutes.
13:58OK, if I can...
14:00I'll be off in ten minutes.
14:02I'm going to take this phone call if you guys want to...
14:05Excuse me. Excuse me.
14:07My name's Adam. Pleased to meet you.
14:09Hiya.
14:11That one's amazing.
14:13That's an Arab as well, isn't it?
14:15You can see how I've wanted to integrate it with the landscape.
14:18You're like my highlights.
14:21Tim, I'm bowled over with your weight. It's absolutely breathtaking.
14:26Tim, I hate to cut in, but we must go.
14:28Please excuse me.
14:30We must shoot, guys. Sorry.
14:33Thank you very much.
14:35Thanks again. Sorry to be so rushed. I don't follow the law.
14:38Thanks a lot. Cheers.
14:40We have to go? OK. Let's go. All right.
14:48Three o'clock.
14:50Time to decide which photographers will make most money at the galleries tomorrow.
14:56The teams must choose two each.
15:00You wouldn't have to just be into horses to like it.
15:03Personally, for me, I really like the lip gloss.
15:05You'd only need to sell five of those and you've made ten grand.
15:08I'm quite biased about this one, if you know what I mean,
15:10because I obviously love horses, but they were brilliant images.
15:14The girl with the lips that we told you about,
15:16the stuff that she's produced now is just pure eye candy.
15:20Who thinks that we can sell these photographs?
15:25Have you made your choices of photographers?
15:28We have.
15:30OK, Clips, what are your two choices?
15:32We're going to go with Elizabeth and Tim.
15:34Elizabeth and Tim. And Stealth, who have you chosen?
15:37Elizabeth and Tim.
15:41Both teams go for Elizabeth Hoff's lips and Tim Flack's horses.
15:47Tim, it's Nick Hewer. We met this morning.
15:52Now the photographers will decide which teams will represent them.
15:56What decision have you come to and why?
16:00Right, we are going to go with the Stealth team.
16:05Well, I think they're very pleased about that.
16:07And tell me why.
16:09I was more convinced by the leadership of that team.
16:12OK. Well, thank you very much for that,
16:14and we look forward to seeing you tomorrow.
16:17Thanks, bye.
16:18Hello, Elizabeth? Yes?
16:20Hi, it's Margaret Mountford here.
16:22Both teams have chosen you.
16:25So well done. And which team have you chosen?
16:31I have chosen Eclipse.
16:36What tipped the scales in favour of Eclipse?
16:40I felt Eclipse were very unified as a team.
16:45It was nice to meet them all.
16:47They had really good energy.
16:50I felt they really got my work.
16:52So I look forward to working with you.
16:54Well, thank you very much and good luck tomorrow.
17:00With one photographer each in the bag,
17:02the teams must now pick a second.
17:06Christina wants Linda Lieberman and her fish and flesh pictures.
17:11But Trey and Gazal have yet to see them.
17:15All my work is motivated on ecology.
17:17I feel like a pebble,
17:19and when you throw it in the water, the rings span out.
17:23And every action we do has another action.
17:26And I just feel that we need to be very much more aware,
17:31and art is very strong and very powerful.
17:33It can make us think.
17:35A big pair of white pants on a fishing line with some fish.
17:39And it was like GCSE,
17:41it was like we're hanging the ocean out to dry.
17:43I'm not trying to be funny there.
17:45We should be serious about that.
17:47You can't hang the ocean out to dry.
17:49When she said the ocean is the backbone of us,
17:52I think she's slightly lost.
17:54And I'm not completely convinced by the whole Darwin's theory of evolution
17:58that we came from fish either.
18:00She might have. I certainly haven't come from no fish.
18:099pm.
18:11At the house, Natalie calls a meeting.
18:14She's convinced success tomorrow will come from a soft sell.
18:18We've got to pull together on this and understand that it isn't...
18:21You've got to connect with the people and get them to connect with the product.
18:24Absolutely.
18:26I think Kate said a good thing.
18:28It could become very gallery.
18:30They could just come to have a look and fuck off if we're not too careful.
18:33They will be selling like fucking crazy.
18:35There's a middle ground here.
18:37I heard you say, have you bought this sort of thing before?
18:40What sort of price would you buy it at?
18:42There are examples of questions.
18:44Too heavy footed.
18:46We need to have little ballet shoes on and we need to dance with them.
18:51I'm very much with Katie on this.
18:53That art is something you cannot go in with a hard sell.
18:58If someone's standing there looking at a piece,
19:00to go in and say, would you reckon how much?
19:03You're all taking it the wrong way.
19:05I'm not saying it's a hard sell.
19:07Are you trying to make out and say it's a hard sell?
19:09No, we're back off now.
19:11Yeah, that would go really well.
19:13It's as simple as that.
19:15I think that's more with cars.
19:18I don't think it works like that.
19:20When did anybody mention cars?
19:22So we want to funny around people.
19:24Not necessarily funny around.
19:27Is that what you're saying?
19:29Adam, as ever, is a complete catastrophe.
19:33He needs to be on a car sales lot and not anywhere near the art arena.
19:38He is driving me to absolute distraction
19:42and I despair every further moment he stays with us in this house.
19:46Frankly, if Adam could just go back to the car sales lot and get run over,
19:50my day would be absolutely perfect.
19:56The day of the sale.
19:58Christina has instructed ex-army officer Paul
20:01to invite buyers from the photographer's client lists.
20:06Can you ring Captain Richard Shuttleport, please?
20:09And you can go and do the army barmy stuff with him, OK?
20:13Hi, good morning. My name's Paul Callaghan.
20:16I'm calling up about an exhibition...
20:19Both teams have galleries in Hoxton,
20:22a part of London famous for its lively art scene.
20:25Can you ring Clarissa, please?
20:28Clarissa Forty...
20:32They've got till six this evening
20:34to hang their pictures and get buyers through the door.
20:39It's the Brick Lane Gallery.
20:44And the name of my company is Stealth.
20:47Stealth, as in Stealth Bomber.
20:50But Eclipse have received no client list from Elizabeth Hoff.
20:57With no leads, Natalie sends Simon and Katie off to the city
21:01in search of people with money to spend.
21:04Don't go for people wearing cheap suits.
21:06Don't go for people with expensive shoes and expensive suits.
21:09They look a bit like me, preferably.
21:11Seriously, people with nice shoes.
21:13I would never ever buy anything from someone with shit shoes.
21:16Yes? Would you like to come to an exhibition tonight?
21:19Oh, that's very kind. I can't. I've got to get out of London tonight.
21:22Oh, what a shame. OK, not to worry. Thank you.
21:25Hi there. Sorry, do you like art at all?
21:27Sorry? Do you like art? Do you follow art? Yes.
21:29We're putting on an art exhibition tonight.
21:31I wondered if you could possibly come down if you can.
21:35Oh, you are? Thanks very much.
21:38I can tell an art buyer a mile off.
21:41Sir, may I give you one of these? It's frightfully lovely.
21:44OK, thank you.
21:46I think you've just got to pick your moment, young lady.
21:49Hi there. Do you like modern art at all?
21:53Signature pieces more into the gallery.
21:56Back at the gallery, Natalie's given Adam a list of art societies to call
22:01from the Yellow Pages.
22:03Elizabeth Hoff, I don't know if you're aware of Elizabeth as well.
22:06Natalie has decided that she and Loic are going to be responsible
22:09for the hanging, and Adam has been left sort of hanging about
22:12a bit like a spare part.
22:14I get the feeling that although she's trying to be nice to him,
22:17she doesn't really know what to do with him,
22:19and he obviously doesn't feel terribly comfortable in this world.
22:22Elizabeth Hoff, and that's more kind of pop art,
22:26sort of quite sensual images,
22:29quite an exciting array of features on that one as well.
22:34How's Adam getting on? Is he being quite aggressive?
22:37He's got 12. He's got 12 at the moment.
22:39But he's finding it quite difficult sitting down there
22:42minute after minute after minute, so he pops up every now and again.
22:45But I've got to shove him down.
22:47Can you make some more phone calls for me, please?
22:49Yeah, because then it's like, that's the Moroccan section,
22:52that's the Colombians. What do you think of this, right?
22:55I was thinking...
22:57Yeah, sure. Is that all right? Yeah, no worries.
22:59I'll have a break with you. Just do another turn.
23:02What are you after, a pen? A phone.
23:04Do another turn, come back up, and we'll have a chat again.
23:07Thanks, Ed.
23:08My main concern is Adam. He's just negative.
23:12I'm just struggling, and I think the whole team is struggling with Adam,
23:15not on a really serious scale,
23:17but on the basis that he is our weakest link at the moment.
23:21At her gallery, Christina is directing the display of the horse pictures.
23:27While downstairs, Linda Lieberman's fish photos are Trey's responsibility.
23:32She's a person that opens up.
23:34Nipples and fish, what a combination.
23:40She calls it hanging the ocean out to dry.
23:42I call it bras and fish, so...
23:45When I asked her to give me an explanation behind the nudity,
23:48the only thing she said is she wanted an abstract background.
23:50There's loads of abstract backgrounds you could have potentially used.
23:53It didn't have to be nipples.
23:58Trey was put in the basement for a reason,
24:01and that's because he's... It's not that he's tricky to manage.
24:04I find him easy to manage.
24:06He doesn't cause me any direct problems whatsoever,
24:09but he causes friction within the group.
24:11What can you do?
24:15If I have to put them up, then I'm not going to be selling them.
24:17It's as simple as that.
24:19I'm going to sell ten, which are the non-titty ones.
24:24Stupid titties and fish.
24:27Christina's appointed Trey to look after Linda Lieberman shots.
24:30An error, because Trey has a moral issue with the naked bodies
24:35and the nudity aspects of those shots.
24:41To such an extent that three shots he's actually turned face to the wall
24:45because he says he feels very uncomfortable about selling those.
24:49All of her paintings have got parts of the body
24:51and you're excluding them because there are tits on them.
24:53Yeah, but how do tits fit into it?
24:55The whole shot of the body is to show the entwinement.
24:58Yeah, but just because tits are tits doesn't mean...
25:01I'll put them up for you, but then I'm not going to sell them.
25:03Those ones don't come across...
25:05They come across as something that belongs in a fetish gallery.
25:07I think your personal feelings are coming into this
25:10and that you're censoring her art.
25:13Limited intelligence, unfortunately, has a way of battling, you know,
25:16flapping its mouth, unfortunately.
25:20Hi! How's it going?
25:224.40.
25:24Vanessa Warren, Natalie's second choice, is here to take a look.
25:28Her speciality, pictures of Morocco and Colombia.
25:33Yeah? Fantastic.
25:35But star photographer Elizabeth Hoff is less impressed.
25:41First stop, the price labels.
25:43Is that all right? No. OK.
25:46I think they're badly printed.
25:48Yeah. And I think blue tack is tacky.
25:51OK. No, you can't do that. I don't think that really works.
25:55She has to get what she wants and that's absolutely fine with us.
25:58And I don't see this as a diva fit, I see it as all part of her presentation.
26:02The way I'd hung it and labelled it, that was it.
26:05And if it had changed, I think I should have been told yesterday
26:08and then we could have made it up.
26:10If it had changed, I think I should have been told yesterday
26:13and then we could have maybe discussed how to do labels properly.
26:16There's no point with excuses or any excuses.
26:18The point is they're not good enough, so we're not having them.
26:21Well, we'll see. Exactly.
26:23Can I have some water? Of course. Do you want it cold?
26:25I've got some cold drinks. I actually prefer room temperature.
26:28OK.
26:30Her next target, the walls.
26:33If you've got a rubber, you might be able to rub out the pencil line.
26:36I'm thinking you can tip it.
26:3930 minutes away from opening.
26:41There's several holes in the walls where the previous artwork was hung
26:46and I just think they should really be filled and sanded down and painted.
26:54Blue tack. Poor man's polyfiller.
26:59You're so good at advising, Simon.
27:02That's low, that's so much better.
27:04Can we do the next one? Yeah.
27:06I'll get the paint, you get the thing.
27:13Five minutes to go and Elizabeth's husband, Hugh, chips in.
27:20It's very important not to be giving the hard sell.
27:24Absolutely. It's veiled as a soft sell.
27:27It's a bit like when you walk into a clothes shop
27:29and somebody immediately grabs hold of you and says,
27:31do you want to look at these shirts and ties?
27:33It's pretty annoying.
27:35The thing about giving people space when they come in
27:38to kind of take in what's going on
27:40rather than immediately having a conversation
27:43and flowing them with information.
27:45We greet them and we say welcome
27:47rather than say, let's get you a drink.
27:50There was nothing in the shelves at first.
27:53I think that's very good.
27:55A private view is a party.
27:57It's welcoming somebody in, glad you could make it, have a drink, enjoy yourself.
28:01So you're pouring out that amount of white wine.
28:04Isn't that just going to go warm and really gross?
28:07We have some ice.
28:09In, like, five minutes?
28:27Let me introduce myself. I'm Christina.
28:29Five past six, Christina's guests start to arrive.
28:33You know, Tim, I just heard you say...
28:35One of these is my stepson, too.
28:37Oh, is he? Oh, super.
28:39Downstairs, Trey has censored Linda's fish photos...
28:43The image is making sense.
28:45..and put his own spin on what the less raunchy ones mean.
28:49As with every story, you begin with the title, A Fish's Tale,
28:52and then you walk from there and you go straight into the significance of the art
28:56in terms of the callous disregard for the ocean,
28:58and the notion that women have the ability to give birth
29:01and the ocean have the ability to give birth,
29:03how we essentially crucify ourselves by crucifying the ocean.
29:06And if we kind of took those vows on the next level
29:08and bleached them together in the form of ecology,
29:11we could make the world a much better place.
29:13Much like a piranha, it's a small bite that ends in total annihilation
29:17and essentially the decapitation of mankind from the ocean.
29:20Fantastic. How was that for you?
29:22That was great. You didn't even take a breath. That's fine.
29:25Trey's a very intelligent guy,
29:27but portraying yourself as an expert on Linda's art is maybe a little bit far-fetched.
29:32And there are some people giggling at his explanations,
29:35but there are other people lapping it up, so we will see.
29:41Upstairs, Christina has told her team to sell hard.
29:45A few bits of skin, Si?
29:49Personally, yes. I'm doing the hard sell here.
29:53Are you guys here to buy this evening or are you browsing?
29:56Give me a figure. What's your limiting factor?
29:58It's like, I'd hate for you to have come all this way and not take something home.
30:02Are you here to browse today or are you here to purchase?
30:04Take something home with you, for you to say.
30:11Project manager Christina is more determined than anyone to close a deal.
30:21I've never been accosted
30:25in quite such a direct, selling kind of a way in a gallery before. Have you?
30:33Yeah, I thought I was in an estate agency.
30:35Really? Yeah.
30:39It was clear they didn't quite know what they were talking about.
30:42Yes, one guy told us...
30:43Especially the guy downstairs.
30:44One guy told us that the fish photographs were about the destructing of the sea.
30:50And then Rick said, well, which sea is it? Where were they taken?
30:54He said, I don't know. I can't tell you that.
30:58Down the road, Natalie's team are taking the softly, softly approach.
31:03I like these three here. I think, for me, it's those metallic colours
31:07and there's such a contrast with the sensuous nature of the lips.
31:11I don't think you have to jump on everybody that comes in the door.
31:13You've got to watch and look from afar rather than...
31:17It's not a hard sell, what we're doing here. It's quite gentle and subtle, really.
31:22Where would you place this? Would it be in your home or...?
31:25Erm, opposite my bed, actually.
31:28Oh, OK, OK. So, yeah, very personal position, so to speak.
31:32Very risque. Yeah.
31:36The less expensive work of Vanessa Warren has been given to Adam to sell.
31:41I prefer people to make decisions for me.
31:43In that case, go over there. You can have it in two weeks.
31:47I'll give it a few minutes more, but I think a little bit longer.
31:50I'll leave it to your thoughts and I'll leave it to plan where you're going to put it when you get it home.
31:54I'll paste it in my mind. Fantastic. I'll see you in a few minutes.
31:58I am that close.
32:01To what, one of you? Yes.
32:04Katie and Lohit got, and Natalie as well, to be fair, got a little bit caught up
32:09in just talking to people and entertaining people.
32:12As party hosts, they'd have been absolutely fantastic,
32:15but kind of lost the focus of actually selling them.
32:19At nearly £2,000 a print,
32:22Elizabeth Hoff's lips are easily the most expensive pictures in either gallery,
32:27and Katie's determined to be the one to sell them.
32:30I'm not comfortable at all that the team understand the work we're selling.
32:33I think in Vanessa's area, most of the team are rather better suited
32:37because most people can talk to a degree about some photos of Colombia or Morocco or a wedding.
32:45I am not confident at all that they should be ambling into Elizabeth's area.
32:49I think Lohit can nail it beautifully,
32:51but I think her work requires a vocabulary and mental agility
32:56that probably isn't demonstrated by some members of our team.
32:59Enjoy the work as Linda. If you have any questions, you can ask me.
33:02OK.
33:03Back at Christina's gallery.
33:05So far, Trey's elaborate stories aren't clocking up many sales.
33:09There's a lot of viewers, no buyers.
33:11People who appreciate art, who are arty-farty-height,
33:15but don't really have the depth of the pockets as such.
33:19They've got the depth of soul, so they can interpret it and appreciate it,
33:22but depth of soul with shallow pockets means no sales for Trey.
33:26That's very erotic.
33:28Well, it's actually got very strong undertones in terms of the ocean has the same power to disrupt it.
33:33He's a good chatterer, but he's only closed one sale in three hours.
33:40Listen, there's no shortage of people here,
33:42and Linda Lieberman's work is right for this area,
33:47and I think right for this audience.
33:50Upstairs, by selling more aggressively, Paul and Christina are pulling in buyers.
33:59Do it, yeah, do it!
34:03So what's your best deal?
34:05Well, okay, you've gone below what you're supposed to get,
34:08but I spoke to the artist, and I spoke to my boss,
34:10and the best we can do, I know you wanted 300,
34:12we can't do that, but we can do 300, fine.
34:14Yeah? Thank you very much.
34:19So you've decided, then?
34:21Yeah.
34:22At the other gallery, Adam's up-front selling catches Natalie's team its first customer.
34:27Do I just put the orange dots on the wall?
34:29No, you put the orange dots on the wall. Is it your sale?
34:32Excuse me, I'll just pop this on here.
34:36You're all very David Lashefellow, kind of comic book-like. That's a blast.
34:41All I know is that she's really pushed the boundaries of where she's at with this stuff.
34:45Katie has been softly bluffing for over an hour, but still hasn't sold any lips.
34:51It's so soft that I'm wondering if it's too soft,
34:54but I just don't know how to make it harder,
34:58and I'm concerned that if you really move it too hard, it'll just turn people off,
35:01so it's going to have to be still a learning process.
35:05Well, they just seem really peaceful and serene.
35:09No.
35:10No? What do you see?
35:12Some of them may be spending too long talking to certain individuals
35:16rather than realising earlier that they're not intending to buy
35:20and moving on politely to someone else.
35:23In that respect, selling art is the same as selling a car.
35:27If someone isn't going to buy, you have to move on.
35:29Perhaps that's why Adam has been the only one so far to be successful.
35:34With sales stagnant and time running out,
35:37Simon gets pushy and shifts his first picture.
35:40Do you know your PIN number?
35:42Yeah.
35:43OK, so you can go to the bank to take money.
35:45Yeah.
35:49With ten minutes left, he lands a big one.
35:52An Elizabeth Hoff lip photo.
35:54We'll do that. We'll maybe go to Casper Lamb or something.
35:57Let's go. Let's go, brilliant.
36:06Yeah, there's a paying one, if you don't mind paying me £1.75.
36:11Katie's sold nothing, but at the 11th hour,
36:14Simon and Adam have turned round the team's fortunes.
36:19Brilliant, man. Thank you very much again.
36:21And at Christina's gallery, Trey's technique has finally paid off.
36:26I've always said I can bullshit with the best of them.
36:30In just four hours, the two teams have sold over £7,000 worth of pictures.
36:36I'd like your receipts and your takings, please.
36:42Receipts in there. Thank you.
36:44And takings.
36:45I'll take the lot.
36:47Well done.
36:48And we'll see how we do tomorrow.
36:49Yeah, fingers crossed.
36:57It's the first task I felt has challenged me,
37:00but I found out that I'm good at just another thing, really.
37:04Another thing to add to my list of things I can do particularly well.
37:09We've got a few people in the group that think quite alike,
37:12and unfortunately, I think quite differently to a number of them.
37:16I harboured brave concerns about Adam's selling style, and I still do.
37:21I hold my hands up to the fact that he knows what he's doing.
37:24I hold my hands up to the fact that he made a sale and I didn't.
37:27However, I don't believe he is appropriate or fit for purpose.
37:36The day of the boardroom. Time to face Saran.
37:44The candidates are about to find out which team has made most money.
37:55You can go through to the boardroom now.
38:09Afternoon.
38:10Afternoon, sir.
38:16So, Christina.
38:19So, Christina, tell me about your team. What did you get up to?
38:24We chose Tim, which is the horses.
38:27Oh, horses. You like horses, don't you?
38:29I love horses.
38:31Is that anything to do with why you chose it?
38:34No, I mean, he was a very established photographer, and I did...
38:38I mean, if anything, I would have probably gone against him because of that.
38:41No, no, I'm just making the point that sometimes in business,
38:44you choose something that you like doesn't necessarily mean
38:47that you're in the right place at the right time to sell something you like.
38:50But it was just a coincidence, then, was it?
38:52It was a coincidence. I was very passionate about his work.
38:55How did the people work, then? Who were your champions?
38:58Trey, Paul and Naomi really stood out.
39:01And me, of course.
39:03Natalie, good task?
39:05Yes.
39:06OK, so how was the team leader, then?
39:08Organised?
39:10Don't rush?
39:12Katie, you're a great fan of Natalie, anyway.
39:15I'm not a fan, I just think she's great.
39:17You think she's a great salesperson?
39:19Yeah, exactly. She can sell.
39:21She didn't sell anything this time, did she?
39:23She worked her socks off. She could have nearly got on.
39:26I nearly once bought a load of Microsoft shares when they first started.
39:29And we once nearly scored a goal against Manchester United.
39:32And we would have nearly been top of the league.
39:34When we didn't get Tim Sireland, it made a difference.
39:37Who did the selling? Who sold?
39:39Ed sold two of Vanessa's, which was the culture, Columbia, Morocco.
39:43Simon sold one of Vanessa's and one of Elizabeth's.
39:46And no-one else sold anything?
39:48No.
39:50OK, let's do some money, shall we, now?
39:53Eclipse sold four photographs
39:56and made a profit of £1,599.78.
40:03Right.
40:05Stealth led by Christina.
40:09Brought home a total profit of £4,702,
40:14having sold 14 pieces.
40:18Very well done.
40:20Now, your treat is going off to a fantastic health resort
40:24where you're going to be pampered.
40:26It's been visited in the past by people like the Beckhams and Naomi Campbell,
40:30so it's made for you kind of stars, OK?
40:33So go and enjoy yourself, have a great time,
40:36and we'll see you when it's time to set the next task.
40:39Thank you. Off you go.
40:51Nothing like a good facial, is there?
41:01Natalie, your team lost by a significant margin.
41:05You go off, you have a little chat amongst yourself,
41:08you'll be coming back here, discussing it with me.
41:11We'll be going through it in greater detail.
41:13As you know, one of you will be fired.
41:16Off you go.
41:36We were blasted.
41:38At the end of the day, we didn't make enough sales.
41:41You only need to sell three of those small prints of Elizabeth,
41:44to have drawn all one.
41:46So why didn't we then?
41:49I've really worked my guts out.
41:51I've tried to deal with the Elizabeth and Hugh situation,
41:54I've tried to cover Natalie's arse when she hadn't learnt their stuff,
41:57I've tried to keep the gallery going,
41:59I've got up on a stepladder and done the painting,
42:01even though the two of them were sat there all day.
42:03I've carried on grafting to make this thing come together.
42:07I was asked to sell, I sold.
42:09I was asked to make appointments for people to come down, I did that.
42:12So everything that I've been asked to do, I've done,
42:15and I feel I did a damn good job.
42:17It's just the people we got through, did we qualify them enough?
42:21I've got to fight.
42:23I can fight my own case, why I should be here,
42:26but I've got to say I'm a little bit at a loss
42:29as to definitively where it went wrong.
42:34MUSIC PLAYS
42:40For the winning team, it's time to get pampered.
42:44Being PM, I'm going to choose one for myself, first of all,
42:47if nobody's got any objections.
42:49So I really, really want the collagen facial, OK?
42:52But even off-duty, project manager Christina is still calling the shots.
42:57The final one, which I know, Trey, you're absolutely dying for,
43:01is the back sack and crack legs.
43:04LAUGHTER
43:06Sort it.
43:20We worked so hard and we absolutely crucified the other team,
43:24so we definitely deserve this.
43:28I mean, all these spoke a lot of crap downstairs.
43:31Bollocks, was it?
43:33They laid out really well.
43:35I am the master of bullshit. Well, the grand master of bullshit.
43:38You are.
43:50For the losers, it's back to the boardroom.
43:57MUSIC PLAYS
44:13PHONE RINGS
44:15OK, could you send them in, please? Thank you. Yes, OK.
44:21Sir Alan, we'll see you now.
44:27PHONE RINGS
44:35OK, I just want to remind you that there's only one job going here.
44:39Now, I don't mind, you know, camaraderie and all that type of stuff
44:43and everybody loving each other and it'll all be lovey-dovey,
44:46but lovey-dovey can backfire on you, OK?
44:50Katie, the point is this.
44:52I'm being told by people that observe the situation, right?
44:56You, I think you went into a kind of,
44:59I'm an artist mode here on this particular task.
45:03You wanted to get in with the art mob and all that type of stuff
45:06and forgetting about the killer point of selling stuff, really.
45:09This Elizabeth of yours, I hear you were in awe of her,
45:12to be perfectly frank.
45:14Sir Alan, I was not in awe of her.
45:16You were dominated by her.
45:18I don't believe we were dominated by her.
45:21Did she give you a list of people to phone?
45:24No, she didn't want us to have it.
45:27Why not?
45:28Personal confidential...
45:30She was completely in control.
45:32Was it not the job of the teams to take the database
45:35and to start phoning people up and say,
45:37come along to my exhibition? Yes.
45:39Right, so why didn't you do that?
45:41I did with Vanessa, I was given Vanessa to look after as a client
45:44and I got her database and rang all her clients.
45:47Was you or was you being pushed to keep ringing people?
45:50This is the thing I'm struggling with.
45:52Why didn't you do that?
45:53And what were you doing?
45:54We had to get the printing, we had to sort the labels out.
45:57You had a problem with labels, didn't you?
45:59Mm.
46:00Elizabeth didn't like the ones you'd made.
46:03What was wrong? Run me through the labels.
46:05The problem is that they were done on a PC and they looked a bit crap.
46:08That's the problem.
46:09Who did them? I didn't do them.
46:11Who did them? I did the labels.
46:13They didn't look professional.
46:15Simon, you were out there trying to bring people in from the streets, right?
46:18Yeah, I was. Did you succeed in any of that?
46:20Some people came in, they came in with a flyer.
46:22So you did a good job selling them?
46:23Yeah, I think I did fantastic.
46:24A lot of people said, I'll come back tomorrow.
46:26We didn't make it clear enough to people that we were there for one night only.
46:28We had to make the sales that night.
46:29Was that because you were over-influenced by Elizabeth
46:31and a softly, softly sales approach?
46:33I can't, I don't know the reason.
46:34Some of you weren't even trying to sell.
46:36See, I'll tell you what I think about Elizabeth's work personally.
46:38I don't know what you're all raving about it for.
46:40Her prices were all due respect to the lady and her husband.
46:44£950, ranging to £1,950.
46:48Doesn't that ring bloody bells with you?
46:50Presented with six artists, a good business person says,
46:53I haven't got a bloody clue about photography.
46:56We know much about photography as we do of flying to the bloody moon.
47:00So what we're going to do is to hedge our bets.
47:03I ain't going to go and pick one artist who's got one show.
47:06She's got one bloody show, Lips.
47:08I would have liked to have walked into a gallery
47:11and seen a whole array of products and a whole array of prices
47:15and then you've placed a good bet.
47:17You didn't place a good bet here.
47:19Yeah, you're betting that you found some nutter that came in and said,
47:23I love the Lips. I'm going to have them.
47:25I'm going to have a whole wall of Lips. I'm buying the lot.
47:28Then you'd be sitting there, you'd be down at Champneys now
47:30saying what a great hero you are.
47:32Half of your potential went straight away the minute you selected that woman.
47:37Never mind letting her take an over and running the bloody show.
47:41I'm struggling here to work out as to whose responsibility it is.
47:45You all loved her. You didn't love her now.
47:47You're saying you never loved her.
47:49Margaret, I'm sure you remember the choices that I made.
47:51You come out of there.
47:53I said it was nice, but I would probably quite like the art.
47:57I think you're beginning to lie quite a bit.
47:59She was my third choice.
48:01Are you saying he's lying?
48:02Yeah, I am actually.
48:03She was my third choice. I'm sure Margaret can remember it.
48:05You bounded out of there absolutely loving her.
48:08I don't know if you want to go round the table and ask.
48:11I liked it. I personally liked the art.
48:14You bounded out of there like a puppy.
48:15I didn't like it as a commercial entity.
48:17Right, that's it.
48:18Natalie, which two people are you bringing back into this boardroom?
48:22Adam and Lohit.
48:24Adam and Lohit.
48:26Simon and Katie, back to the house.
48:29You other three, wait outside. I'll call you back in shortly.
48:45They picked those lips. I can't get over those lips. I really can't.
48:49But I think Adam is the one who was least in favour of those.
48:52He had them much further down his list.
48:54But they were all...
48:55She says he's lying.
48:56Well, I don't think he is lying in that.
49:00All right, OK, well, we'll call them back in and we'll sort this out.
49:05Sir Anne is ready for you now.
49:08Natalie, why did you bring Lohit in here?
49:11To be honest, that seat was a very difficult one to fill
49:14and it's literally based around the labels. That's it.
49:18What, just because he printed daft labels? That's it?
49:23No, it's not.
49:24It's not?
49:25No, it's not.
49:26It's not?
49:27No, it's not.
49:28It's not?
49:29No, it's not.
49:30It's not?
49:31No, it's not.
49:32It's not?
49:33No, it's not.
49:34No, it's not.
49:35Daft labels, that's it?
49:37Mm-hm.
49:38That's it?
49:39Yep, that seat was a very difficult one to fill.
49:41What, all the others were so great that his crime was just printing labels?
49:47Yeah, I think that it was a tough decision to make and that's literally it.
49:50What's he doing here?
49:51I just don't think he was punchy enough getting...
49:53Punchy enough? He sold?
49:55He sold two of the items, you didn't sell anything.
49:57No, I didn't, no, and I...
49:59He sold the last item with three minutes to go.
50:02But, Sir Adam, this was difficult.
50:04It was difficult to bring anybody in.
50:06I have to bring two people in.
50:08My main concern with Adam is, again, it's the negativity, it's the down,
50:13it's just not up.
50:14What negativity and what down?
50:16I would love for you to have sat down there and just tick, tick, tick, tick, tick.
50:20Are you coming, are you coming?
50:21What do you think I was doing downstairs for most of the day on my own?
50:24No, you weren't.
50:25While you guys were flouncing about putting pictures up.
50:27That's not fair.
50:28That was a major, major issue that Lohi did.
50:30No, but you were saying that I didn't work hard enough.
50:32I was sat there all morning ringing people, all afternoon ringing people.
50:37So you had four hours.
50:38What were you doing?
50:39And all you really done was confirm Vanessa's list.
50:41Adam, I think you've been in the final three twice, right?
50:45Yeah, this is the second time.
50:46Now, you know, is there a kind of a message coming from other people there?
50:51You seem to alienate people.
50:53Tell me why I shouldn't fire you.
50:55The reason that I don't think I should be fired is because I actually did
50:57every single task I was given, and I did them all well.
51:00I was giving Vanessa to look after.
51:02She was absolutely over the moon.
51:03She said several times at the end of the night.
51:05I was asked to ring those customers.
51:06I rang them, got them down.
51:07Two of them bought something off me.
51:09I was asked to help out with the display.
51:11Vanessa was absolutely over the moon with the display as well.
51:13No, that was Lohit for me, Ed.
51:15I was helping Lohit set up.
51:17Adam, with respect, you helped me.
51:19You asked me to.
51:20No, but with respect.
51:21No, I did not.
51:22You said, take a break from making phone calls and give Lohit a hand for a bit.
51:25Oh, yeah, take a break.
51:27He helped me for five minutes.
51:28Who do you think is responsible?
51:30Of course, I'm the project manager, and I have to take accountability for a lot.
51:33But I do believe that we didn't get the right people through the door.
51:36That's because she picked the wrong artist.
51:38Well, Natalie, you'd better start talking to me now also about why you should be staying here.
51:42I believe what I bring to the table is all-roundness.
51:46I've got the MBA.
51:47I can do the finance.
51:48I do well logistically.
51:50I'm a team player, and I'm absolutely dedicated to the task.
51:54With all due respect, I've read people's CVs.
51:57As you can imagine, it seems to me that you've been more of a kind of an administrator, a personal assistant,
52:02a kind of a personal secretary to directors and all that type of stuff.
52:07Do you think you've reached your pinnacle?
52:08No, because the MBA proves that I have got that, and I've got that ambition.
52:12Listen, absolutely admire anybody like you have done.
52:16A mother, under the circumstances in which you were, done your Open University stuff,
52:21got your MBA and this, that, and the other.
52:23Love it, okay?
52:24Me, it don't mean jack shit, quite frankly.
52:27I'm not interested in these titles, right?
52:29No, but it does prove that you can apply.
52:30It proves that you learn.
52:31It proves that you can learn.
52:32And that's what I'm here for.
52:33Yeah, and that's it.
52:34Okay, fair enough.
52:35You've learned.
52:36You've done something.
52:37You've achieved something.
52:38I'm sure you're an achiever.
52:39Right.
52:40It's time for me to make a decision now, and here's how it is.
52:44Lohit, you've been in the losing team three times.
52:47Correct, correct.
52:48Okay?
52:49And I'll be thinking to myself, you know what?
52:50This fellow, in my view, is looking to me like a bit of a waste of space.
52:54Can he work for me?
52:56Natalie, I really do admire the fact that you've got this MBA of yours under difficult circumstances.
53:02And don't dispute you're a team player.
53:04Don't dispute your heart's in the right place.
53:06I just feel that maybe you are out of your depth.
53:11Adam, you're forever in dispute.
53:15I, again, I don't know whether I can employ somebody.
53:18I'm not always in dispute because when I'm asked to do something, I can't do it.
53:20Well, you seem to be in dispute, you know, all the time.
53:22You know, you seem to be in dispute with your team leaders.
53:25And I'm wondering whether I can put up with people in my organisation that are going to be in dispute all the time.
53:31All I can say about that is when I'm asked to do a job, I do do it and I work very hard.
53:34Yeah, but at the expense of winding everybody else up, it's no good for me.
53:38I rarely wind people up.
53:40You know, at the expense of winding...
53:42No, listen, listen to me.
53:43Don't interrupt me.
53:44At the expense of winding people up, it's no good for me.
53:49But Natalie, I get the distinct feeling that you are out of your depth here.
53:55Natalie, with regret, you're fired.
54:01OK, we can all go.
54:05Thank you. Thanks for the opportunity.
54:08You're welcome.
54:09I've enjoyed it.
54:10You're welcome.
54:19Well, that Adam does argue all the time, doesn't he?
54:22He does, but he's a good salesman and he sticks up for his corner.
54:25But I think on today, she was gone, really.
54:30She resigned to it.
54:31And she's being honest.
54:32She's saying she puts her hands up for this and puts her hands up for that.
54:34So what else can you do? You've got no alternative.