Broadway Boardroom The Apprentice USA

Previously on The Apprentice...

You're going to be creating your own pedicab tour of New York.

..at the pedicab license test,

project manager Kelly rode into trouble...

-It's going where it wants to go, not where I want it to go.

-Ah!

It turns by itself!

Kelly and Mahsa, I'm just afraid to let you out on the streets.

It does put us at a disadvantage cos we're short two riders.

..and the men had problems of their own.

Your royal chariot awaits thee...thou...thy.

-Roman chariot tour tomorrow.

-Ha, ha, ha, ha, ha!

Every time I got close to making a sale,

-David's screaming like an idiot.

-Ha, ha!

When it came time to sell,

project manager Anand pedalled hard...

All right, so it's 50 dollars a head, and for the young one, 30 dollars.

..while the women had a hard time finding customers.

Free tour today.

It's a numbers game, Kelly. Don't worry.

Stephanie was in charge of finding the location,

and she was also in charge of sales,

and neither of those two really played out for us today.

This sucks.

But when sales picked up...

-All right! Very nice!

-Awesome!

..Mahsa spoke up.

Who's your best salesperson?

-I think Poppy is...

-I just sold four people.

Mahsa is extremely overbearing.

In the boardroom, Clint made a plea.

Dave is the most classless, schizophrenic human

I have ever met in my life.

We've nicknamed David "the virus."

Win, lose, or draw tonight, sir, I beg you, rid us of this plague.

But when the money was counted...

Men, congratulations.

..David was spared,

and the women were left to face Mr Trump.

We lost this task because of location.

And ultimately, Stephanie

-was tasked to find the location.

-Why would she task location

and sales to one person?

And Liza sealed Kelly's fate.

Liza, who would you fire, Kelly or Stephanie?

In this task, I would actually fire Kelly.

You failed the test. You failed the task!

Kelly, you're fired.

SIREN WAILS

It was a group decision to go to Wall Street.

There's the men with the money.

Obviously, we should have gone to Rockefeller Center.

We all went with our very own eyes.

We knew all the tourists were there.

And the decision was made, was it not?

I don't think anybody's arguing with you, Mahsa.

You're arguing with yourself, hon.

No, I'm not arguing with myself. I'm telling them the story.

'I don't respect Mahsa.

'I think she's a terrible team player.

'I'm sick of hearing her talk.'

She doesn't have anything interesting to say, so shut up.

So, who's coming back in, ladies?

I want Stephanie and Kelly to come back 100%.

Do you guys get along with Liza?

She's incompetent, honestly.

I can't believe how much... Here they come.

Here we go.

All right, here's Stephanie and...

That was obvious.

I got rid of both of them.

MAHSA GASPS

-ALL:

-Oh! Oh, wow.

Welcome back.

Congrats, Liza.

What happened in there?

I tell you this is the last time that's going to happen.

No-one's tasking me sales and marketing and location.

Why is one person tasked everything?

It's time for me to back down, cos that's not happening again.

'Can you believe those bitches'

had the audacity to take my ass into the boardroom?

'I've been carrying the whole team of schleps

'the whole way here.'

I can't tell you how pissed I am.

We had 12 sales today and Liza sold nothing.

Stephanie was responsible for about half of those sales.

I'll tell you who sold.

You guys want to know the numbers of who sold?

Cos I know exactly who sold what.

-I'd love to hear the numbers.

-Why would you even tell him that?

What benefit does that give our team?

Because I want to show that Stephanie is very strong,

-and she was responsible...

-We've all been praising Stephanie

the entire time she was in the boardroom, Mahsa.

-Anyways, it doesn't matter.

-So what?

No, it does matter. It does matter in this situation.

-Why would you give that to them?

-Let's not give them our advantages.

-Yeah, why would you do it? Just shut the

-BLEEP

-up.

-Did you tell me to shut the

-BLEEP

-up? You shut the

-BLEEP

-up.

-Did you tell ME to shut the

-BLEEP

-up?

-WE need to shut the

-BLEEP

-up.

-Is that what I said? We all need to.

-Did you tell me to shut the

-BLEEP

-up?

Rawr.

Brandy, your passive-aggressiveness,

you were the one that said that we were going too far.

-You were so negative.

-I backed you as a project manager

when I shouldn't have, because I told you that I would.

I've been backing you this whole time.

-Brandy, you said that we should...

-You backed me?

We can have this not in front of the boys.

You said that we were going too far,

and we lost because we didn't go far enough, so...

We lost because you're a terrible director.

'Brandy is very smart at the game,

'and I think Brandy is trying to get rid of me

'in this competition.

'But I'm ready for a fight.'

These people are not my friends, none of them.

'There is no-one you can trust.'

# Money, money, money, money

# Money!

# Money, money, money, money

# Money! #

We're standing on the stage

of the really great Shubert Theatre.

I've been here recently to see Memphis.

It's a smash hit on Broadway,

and, in fact, it just won the Tony Award.

Now, to put on a Broadway play or musical, you need backers.

That means you have to go out and find investors,

and it's one of the truly tough things on Broadway.

Your task is to produce a backers' audition

aimed at getting investors to put up money.

You're going to have a musical. You're going to have a musical.

You won't have directors. You won't have producers.

You won't have designers.

What you will have is a score and a script.

Ivanka, who will do the judging?

You will be judged by Broadway investor

and Memphis producer, John Yonover.

Joining him will be my father's great friend

and also a producer, Daryl Roth,

as well as TV, film, and Broadway star Kristin Chenoweth.

These are all winners, generally,

and they really understand Broadway.

Donnie, what will they be judged on?

You'll be judged on the marketing materials that you create

and, of course,

the overall presentation of your backers' audition.

All right, women, who is your project manager?

I'm going to be project manager.

-Oh, finally.

-Finally.

'I came here to the United States.

'I earned a scholarship to come and play golf.

'So I don't know anything about Broadway,'

but I'm going to step up to be project manager

and hopefully try to pull the team together

and make them see that, you know, I can be a leader.

Men, who is going to be your project manager?

I am, sir.

'This is not a high-school musical. This is a business.

'They're trying to make money off of this show.

'Having owned multiple companies gives me'

that entrepreneurial background.

'So I feel really confident.'

-Good luck.

-Thank you, sir.

-WOMEN: Hi! RYAN:

-Hi, ladies. How you doing?

So, I'm Ryan Scott Oliver.

I'm the composer and lyricist of a musical called Darling.

It's a dark deconstruction of JM Barrie's Peter And Wendy retold.

-OK.

-I think that's the most important thing for you to know.

It is reset, in our story, into 1929, Boston.

Thematically, it is not your grandmother's version

of the boy who won't grow up.

So, is it...? I've never seen a Broadway show.

So I'm just trying to imagine what it is.

People get onstage and then they do a little bit of talking

and then they jump into a song.

Is that kind of what it is?

You mean in the actual show or the backers' audition?

Well...

'Doesn't she have a TV?'

Does she rent, like, Chicago or has she

ever rented any of these Broadway musicals?

She has no culture and no depth.

So, I'm leaving you guys with a script. I don't want you to feel...

I've given you 60 pieces of information.

If five of them show up strongly, this is good.

-Do you know what I mean? All right, guys.

-Thank you.

-Absolutely.

-Thank you so much.

I have a musical background.

I studied with the Royal Conservatory.

I'm a musical teacher.

So that could be instrumental.

Like, everything he was talking about musically,

-I know everything he's talking about.

-Yeah? OK, OK.

Oh!

Very good.

'I studied with the Royal Conservatory'

For almost 30 years, people, 30 years.

I don't care if Poppy listens to Miley Cyrus on her Walkman

while she works out.

Like, there is no comparison, zero comparison.

I studied like my entire life at the Conservatory, like high level.

-OK, musicals.

-Very good.

'I'm kind of annoyed that Stephanie, in every task,'

claims to be the strongest at everything.

'I want her to be able to recognise

'other people as being strong.'

Just let me be good at something.

Hi, Kirsten, I'm Steuart.

'We had an executive meeting with Kirsten

'to learn a little bit more about Little Miss Fix-It.'

And really how we can sell her passion,

her idea, and her script.

Little Miss Fix-It is about an 11-year-old named Nan,

and she meets this 12-year-old boy,

who is an impressionist painter on a bench.

And she starts to have all these feelings,

like, "why is the hair, you know, on my arms standing up?

"I feel so unorganised," you know?

"I don't understand this world of love."

And what they learn, in the end,

is that they really need to grow up to be a kid.

This will be fun.

I'm excited to see what you guys are going to do.

-Thank you so much.

-It's nice to meet you.

-Thank you.

-Good luck with everything.

-Take care.

'The two most important things are the promotional items,

'the promotional packets, and the actors.'

I'd love to see you do the commercial side.

Clint, you're going to be working with a graphic designer, right?

-I am.

-And then I'll work with the theatre side.

I've got the song list here.

I've done small plays, auditorium kind of level,

civic theatre, city, you know, high school.

Well... 'The one thing about being project manager'

that drives me crazy is,

how am I going to micromanage and babysit David?

'I'm conflicted as to whether David

'will be the David that we can trust and the creative David.'

Or he's going to be "the virus".

You guys ready? We're going to go down the line, listen to some music.

So, Dave, let's get on food.

'Like, are you serious? You want me to order food now?

'It's a chump move'

to put the creative mind

on this presentation off into the mode of lunch ordering.

Hey, um, I'm on 8th.

Hey, Dave, can you do that outside?

'Typical three amigos.'

-I get put in the old

-BLEEP

-job.

# When I pick them I see that they've grown suspicious

# Hey

# Sure to sweeten up in the stewing pan

# Just my first original impression of Nan... #

# Yes, I believe Yes, I believe

# They can knock us down

# We can get lost

# But they'll never drown out our love thoughts... #

Here's what I'm thinking. Measure 91.

And it's cool cos it starts with Peter.

And that's when everyone starts chiming in.

Our task this week is to produce and present

a 15-minute backers' audition for a new Broadway musical.

'You have to take an entire production

'and shrink it down into a really short time frame

'as a way of getting investors excited'

to front some money to put on the production.

OK, we'll start on page five, When Lily Came, measure 59.

'We're working on Darling.'

It's, like, a spin on the Peter And Wendy story.

'It's about a girl from a very wealthy family,

'and she falls in love with a young man

'that she meets from the other side of the tracks.'

And it's what every girl deals with.

It's falling in love with the bad guy.

There you go. OK, all done.

Let me give the exact thing to the guy on the piano, OK?

OK.

Just so you know, in the packet,

we're going to have bios and then a cast of the characters...

OK.

..order of the presentation and then a synopsis.

Mm-hmm. OK.

'One of the criteria is promotional items.

'So we started deciding on what marketing materials'

we're going to put together, what the take on the show's going to be.

I almost feel like we should make a big poster.

The camera is inside the house.

-Mm-hmm.

-And it's looking out, and she's sitting...

So the window is the one...

You're the camera. I am Ursula. Window.

Oh, I see. OK. And that's what I was thinking.

Yeah, you guys work on your stuff. We'll do this together.

Yeah.

I know.

Hey, guys, what do you want me to do?

To help with the graphic designer.

But, um, seeing now as I have a musical background

and listen to music,

I don't want to be responsible for all the marketing in this project.

-And you're not doing all the marketing.

-Right.

I actually think, since I'm going to be the one going with her,

I can definitely, like be equally helping with her for that time.

Exactly. Making sure that it's getting done.

'I run my own business and I have had to learn

'to work with different kind of personalities,'

and I already kind of started to feel some tension

between Stephanie and Mahsa and some of the other girls.

So I just really thought,

'we need to get them out so that I could work faster,

'and I think that was a smart move.'

What a joke! I'm a musical expert, Mahsa.

I studied with the Royal Conservatory.

-Why am I out

-BLEEP

-printing a flier?

You know I just picked all the music in like five minutes.

I do. You did. Credit where credit's due.

-So are we in it together?

-It's time. Yes!

-OK.

# Can't let go So it's looking frizzy

# Meant to comb it... #

You know, I came back in after ordering food for everyone,

'and I caught the tail end of all the musical numbers.

'It makes me feel unimportant and useless.'

I think it's going to be really left up to the four of us

to maybe go in and introduce a scene and say,

"OK, you know, Nan is very obsessive-compulsive.

"She wants to fix everything."

Are we going to be up on stage doing anything or not?

We've got to figure that out and make that determination.

I think they should do it themselves.

'I feel like the actors are our entire presentation.'

I don't want to put Team Octane,

who are not thespians by any way, you know,

in front of great actors.

I would like to see us involved in what's going on on stage.

At different times in the performance?

No, introducing each song, like...

-I think it looks sloppy as

-BLEEP.

-Well...

-I've seen it done.

Monologuing is the greatest intro because it is innocent,

it is the character, and you never have the audience disconnect.

The problem with us is, you're going to have...

# Impression of Nan... #

All of a sudden, Steuart's going to come out.

But what the audience is going to do is go,

"Oh, I was in the impression of Nan. Who's this guy?"

As crazy as this sounds, I'm agreeing with David on this.

You know, and we just flow it, and all of a sudden, boom!

Here's the song and then...

# Ba-ba-ba-ba-bah! #

It's... I think what you do

is you have connection through the whole thing,

-and they sit there and go, "I connect with each character."

-Totally agree.

OK, so let's take us out of the picture

and take a step back.

-Hey, um, my vision...

-Uh-huh.

..of course, I want Nan first, single, centre stage.

Are we putting David in charge

of handling this performance and directing them?

All right, guys, this is my vision, very 500-foot level right now.

-You know, it seems like he's got some...

-Creative ideas.

..creative ideas, some musical background,

so I'll keep him on my side helping me out with that.

'I let him do his thing. If it doesn't work,'

100% the blame goes on David.

-Good.

-WOMAN: OK.

And we begin.

You know what?

I don't know that it would be that bad of an idea

to have sort of a narrator, have some sort of like,

"Here we are, Ursula in her land of... La-la-la. She's... La-la-la."

Yeah, I don't want it to come off as though the play is just a musical,

and then we're just narrating what the musical is.

But we have to explain it

to somebody who's never even heard any of this before.

-You know what I mean?

-Yeah. I see what you're saying.

'At this point, Liza was taking a very hands-off approach.

'She was letting Brandy and I do our thing,

'so we decided to use narration'

in order to really convey the feeling, emotion, and the plot.

It starts with Peter,

-but the entire cast...

-Yes.

-ALL:

-Hi.

-Hello, ladies. How are you?

-ALL:

-Hello, Don. Hi. How are you?

So, what's going on?

Um...

I think it's, like...

We are planning the sort of delivery of the presentation for tomorrow.

OK.

'Brandy shouldn't be taking me through their concept,

'if Liza was the project manager, at least in front of me.'

Liza, that's going to come back to bite her.

She can't hide any more.

Clint and I have to go meet with the graphic designer.

-Clint, you ready?

-Ready.

-Let's do it.

-Hop out of here. All right, guys.

Guys, great job.

David really sprung alive with the actors

and took charge and took lead.

So Clint and I are going to work on the promotional items,

and we're going to make sure that, you know, they're amazing.

Well, chalkboard could work, because,

I mean, we're dealing with 11-year-olds.

Let's do a chalkboard and let's do a playbill.

That's what I'm thinking.

# Apple eyes

# Lightly textured and gold delicious... #

'Little Miss Fix-It is about an 11-year-old girl'

going through, you know, the first love,

'meeting a boy, and becoming totally unorganised.'

# When I pick them, I see that they've grown suspicious

# Hey

# Sure to sweeten up in the stewing pan

# Just my first original impressions of Nan... #

-How's it going?

-We're having a good time.

Very good. So, what is going on right now?

You're just rehearsing...

-Yep, we're moving into second scene.

-Mm-hmm.

We've already introduced our main characters.

'I was impressed that David was playing'

a more vocal, active role.

'He was ripped apart in last week's boardroom,'

so I think he feels that he has a lot to prove.

I'd like Nan to come out and say something about herself -

-"I'm 11. I like coffee."

-Her reflection.

'Steuart's going to have to step up during the presentation.'

Otherwise, ultimately, it seems,

at this point, like it was David's task.

Do you have this part of the script?

Let's do a little scene.

MOBILE PHONE RINGS

Hello?

'Hey, it's Stephanie.'

'OK, so, did you get the e-mail we sent you?'

-Yeah.

-'Right?'

-It's just... It's just so...

'Is that what we wanted?'

Well, no, that's not really what we wanted.

OK, but, Liza, it's not... But, Liza, it's not...

I want it to be really colourful.

'I don't want it to be black and white.'

I still can't believe I'm here doing this.

'Just think in terms of, um...'

OK, well, we'll try to do colour,

but if it looks ridiculous,

'it might have to be black and white, OK?'

'We were very clear in our explanations'

on what we wanted for the graphics, and of course,

it didn't come through.

'I definitely think that Stephanie and Mahsa,

'they're trying to set it up

'where if the printing doesn't get done well,

'that I'm the one to fall for it.'

So if we don't win, I'm in trouble. I'm in big trouble.

This is what I pretty much have for the introduction,

Just, "Today, Team Fortitude is proud to produce and present

"a 15-minute backers' audition

"for brand-new Broadway musical Darling."

And then I wasn't sure if maybe we talk

about what they have in their packet.

That's fine. Just in the beginning, just simplify it, whatever.

It appeals to all audiences.

We hope that you sit back and enjoy the show.

'It's day two.'

We're headed over to the Shubert Theatre

to present our Broadway musical to the judges.

But Liza still had not completed the three sentences

that she needed to write to do her introduction.

I basically sat there

and I just told her what the three sentences should be.

That's perfect. Three sentences.

'That's the problem with Liza.'

She really can't do much of anything.

-Yay, there's our printing.

-It's here!

'So, we walk into Shubert Theatre,'

and our printing materials are there.

'So, I was kind of worried,

'cos I had no idea what to expect.'

OK, moment of truth. Ready?

It's good.

Oh, my God, it's perfect. It's perfect.

You don't like it?

It's all right.

I mean, it's the best I guess we could do.

'When I saw the sign, I was actually really shocked.'

I knew what I wanted, and I gave clear directions to the girls.

But they just didn't do it, you know?

-Did our printed materials come?

-Yeah, look at it, dude.

-How do they look?

-Look at it. You look at it.

-Yeah, baby!

-That's hot.

-Oh, it's so nice.

I like how this turned out, how it's raised above the thing.

Welcome, ladies and gentlemen,

to Octane Entertainment's presentation

of Little Miss Fix-It.

'I was definitely nervous.

'You know, you're on this really famous stage.'

You've got three really, really important people for Broadway

that are out there - the beautiful Kristin Chenoweth,

'John Yonover, and Daryl Roth.'

You've got to put your best foot forward and do a great job.

Who doesn't remember their first kiss,

their first love, their first flirt?

Please enjoy.

PIANO PLAYS

-You're sitting on my bench.

-No, I'm sitting on my bench.

Wait. What are you drawing?

More like whom.

No, you're going to make my nose all high

because you have bad perspective.

Well, then you better be nice.

# Apple eyes

# Lightly textured and gold delicious... #

'This is the best I've seen David.

'David has some good artistic ideas.

'He was solely responsible for that production,'

and David was right on the money, as far as I'm concerned.

# Yeah! I am totally

-# Totally, totally, totally

-Totally, totally, totally

-# What, what, what?

-Uhhh

-# What, what, what, what?

-Uhhhhnnn

-# What, what, what?

-Unorganised!

Whoo!

ALL: # Unorganised!

# What just happened?

# Hello!

# Yes! #

Thank you.

Octane Entertainment offers this once-in-a-lifetime opportunity

to be a part of Little Miss Fix-It

and invest in the... Invest in the audiences that they'll feel...

Sorry.

-David:

-'Steuart ruined our performance.

'We have professional people in the audience,'

sitting there, watching. "Uh, uh, uh."

Bad move.

Sorry. And the feeling audiences around the world will feel

When they remember their first kiss. Invest with Octane.

It's very simple, and it gives us the information.

They didn't try to do anything too fancy.

-Yeah.

-Yeah.

Yet it told the story, yeah. And I liked the...

-Yeah, it just makes a lot of sense, actually.

-Yeah.

-It sets up the mood.

-For sure.

And I like something that tells you where you are,

-Gives you information about the show.

-Right.

This tells us something.

You know, I'm an actor, so I'm going to wish that Steuart...

That he would have been a little bit more excited about his material.

-Little more enthusiasm.

-And a little more prepared.

You know, you don't stumble. When you're making a presentation

like this, you know your presentation and you make it.

That's right. Whole thing is selling the show,

-and I didn't know that he did that.

-I agree with you.

-I'm looking forward to the next one.

-Yeah, let's check it out.

Hello, everyone. >

Team Fortitude is proud to present

a groundbreaking, revolutionary Broadway musical - Darling.

Sit back, relax, and enjoy the show. Thank you.

Ursula Morgan, a privileged 16-year-old girl,

is sitting in the window of her childhood home,

gazing to the outside world.

# If I could fly

# God, I'd fly so far... #

BRANDY: 'I think that we marketed this show,'

and I think we did it well. I mean,

we picked four songs that were so strong,

and the narrations, you know,

helped us to make the songs the star of our presentation.

Ursula is faced with a difficult decision -

to stay with her first true love, Peter,

or to keep her child.

# Clap your hands if you believe in me

# Do you believe Do you believe, do you believe? #

# They can knock us down

# Within their walls

# But they'll never drown out all our thoughts. #

Yeah.

Ooh. Whoo!

-LIZA: You guys were awesome.

-Thank you.

That was a good presentation, much different,

-and really very strong.

-Yes.

-I had trouble following it.

-Did you?

I thought the music was fantastic, but the intertwining of the story

within the music - I thought the pacing was a little tough.

So maybe the stage directions weren't strong enough.

I will say that Liza was pleasant.

I liked her energy, and that sold me.

And their presentation - it's black, it's simple.

-Right.

-It's to the point. The only thing I need to say about that

-is there is no information about the producers.

-No way to follow up.

-No way to follow up.

-No, but...

-Where do I send the cheque?

It's going to be a tough decision for me.

-We have two very different products here.

-Yeah, we do.

And it's going to be tough to decide which one.

Liza, did you like your musical?

I loved our musical.

What'd you think, Brandy? Was she a good project manager?

I think she was actually a very good project manager.

I think that the only thing that, if I were project manager,

I would have liked to have seen was a little bit more involvement

from Stephanie, given her background.

-You have a musical background, Stephanie?

-Yes, sir.

-So why weren't you more involved?

-I told Liza I should be,

but Liza decided to send me to the printer instead.

Mahsa, what do you think of Liza?

I thought she was fine. I think we're all very strong women,

and I think it's tough for her...

Liza, you're making progress.

-Thank you, Mr Trump.

-It's not great.

-No, it's not.

-But you're making progress.

DON: From Mahsa, that's pretty good, though.

OK, so, let me ask you, Steuart, how did your team do?

You know, I was extremely happy with how we produced as a team.

Did David do a good job?

You know, Mr Trump, I gave David the opportunity to step up

and be a member of this team.

Knowing what happened, I mean, that doesn't go away,

but I think he did a good job to step up

and take ownership of the task I gave him.

Clint, would you take back what you said in the preceding weeks

about David?

Mr Trump, there's no way I could take that back

because I believe that the conversation we had

last board meeting is the reason we had

David in his element this meeting.

Do you think he did a good job?

I think he did a great job.

That's a big comeback. Good.

Anand, let me ask you this -

what did you think of Steuart as project manager?

I think he did a pretty good job.

He did stumble on the presentation, from what I've heard.

-There was...

-And stumbled fairly badly.

There was a minor stumble at the end.

Well, the judges were not happy with it.

So what was the stumble, Steuart? How come you stumbled?

I just... I looked down at my note card and I read the wrong word,

and just quickly recuperated and kept going and finished strong.

OK, I'd like to see the promotional materials. Ivanka.

This is one of the materials created by the men.

I'd like to show that to the women.

And, Don, I'd like to show the men

the women's promotional material.

I have to tell you, I think the men did a good job.

-MAHSA: Mm-hmm. ANAND:

-Thank you, sir.

Men, what do you think of their material?

I don't see how it relates to the play itself.

And I just don't see the relationship whatsoever.

-Kind of cheap-looking.

-Not very original.

Who was responsible for your promotional materials?

The idea of what to put in the packet

was kind of collaborately done.

-Cos I don't think it's very good.

-I think it might have been because...

-I guess none of us had...

-Whose idea was it?

It was Mahsa and Stephanie who...

No, you told us exactly what to put in there, Liza.

Let me ask you this. I want to invest, right?

-Right.

-I have your material.

I don't even know how to get in touch with anybody.

-Exactly.

-Now, the men took care of that beautifully.

You put your cards, you put your phone numbers, you put everything.

You didn't do that.

Whose fault is it that I, as an investor, don't know who to call

about investing in the show?

Ultimately, the ladies who went to do the graphic design

-should have seen that...

-No. That's incorrect.

Mr Trump, she said, "Bring these four things

"to the printer," which were the four pages. And we brought them

to the printer, and then she said, "E-mail it to me first.

"I'll approve it, and then you can press 'Go'."

It was actually very childish.

THEY ALL TALK OVER EACH OTHER

Very boring. There's no back side to it, either.

-...girl in the window.

-Let me ask you this, Liza.

-Yes, Mr Trump?

-If you lose, who would you bring back with you?

I would definitely bring back Stephanie and Mahsa.

Which... Which is completely uncalled for.

-First of all...

-Well, not really.

-Well, sir, actually...

-Who bought the portfolio?

Let me ask you this. I am a music expert.

I know. And why weren't you the project manager?

I would have loved to have been, but she wanted to do it cos she hasn't yet.

-We were all there...

-Wait a minute.

Did you want to be the project manager?

Well, at the beginning, I thought it was theatre. Had I known it was musical,

-I definitely would have stepped up. However...

-Wait a minute.

When I made my presentation, all I talked about was musical.

-Right.

-So you knew it was musical.

-Well, at this point, though...

-Wait a minute. You just said something.

-You knew it was musical because I said musical.

-No, I didn't.

-That's a lot of crap.

-No, I said walking in, I didn't know...

-Walking in? What does that have to do with it?

-OK, well, I wasn't sure what our role or task would be.

But Liza had not been project manager yet.

-But you thought it was a play, and it was a musical.

-Sir, I can't be project manager every week.

I was just project manager a week ago.

At the end of the day, even though she...

-I like that point better than your last point.

-Well, I was going to continue.

-You should have said that, not lied to me.

-Yeah, I was going to continue.

You lied to me, and you shouldn't have done that. You could have said the second point.

It's a much better point, believe me.

OK, are you ready?

-BOTH:

-Yes, sir.

We have a split decision.

Daryl Roth loved the men's team.

Kristin Chenoweth loved the women's team.

And she thought you did a great job, Liza.

-Thank you, Mr Trump.

-All right?

John Yonover loved to break the tie.

The men's team. So I congratulate the men.

You've really done a great job.

And, David, an amazing comeback. One of the best I've seen in the history of The Apprentice.

-Thank you.

-So I congratulate you in particular.

Steuart, good job.

-Thank you.

-And you're going to be seeing a friend of mine,

Larry Young, the president and CEO of Snapple

and an amazing businessman.

So congratulations. Say hello to Larry.

-Thank you very much.

-OK? Good.

-Go to your suite.

-Thank you, sir.

Thank you, sir.

Nice job, guys.

Women, stay here. Somebody will be fired.

So, Poppy, what do you think went wrong?

I think that the biggest thing

was not including our contact information.

That's an oversight.

-To me, that was the biggest thing.

-Yes.

You do all that work, and then some guy like me...

I'm dying to invest.

And guess what happens? I can't find the number.

The next day, I wake up, and I don't want to even bother.

Right?

I don't understand it. What do you think happened, Liza?

Just to reiterate what Poppy said, I think it was really critical

to have that contact information.

But why did none of you think

of putting the single most important piece of information

into the packet?

Mahsa, why?

Mr Trump, when we went to go do the printing,

Liza had given us a very exact list

of what she wanted us to do.

We tried to execute what she wanted as fast as possible.

-She, in fact...

-Mahsa, why did Kristin like Liza so much?

I don't know, Mr Trump, because I was the one in the van this morning

-that wrote her three-sentence presentation.

-I'm not asking about you. Everything's about you.

-BRANDY: It is. Everything.

-Thank you.

THEY TALK OVER EACH OTHER

I asked you a question about somebody else,

and you start talking about you.

-BRANDY: It's such

-BLEEP.

-What is

-BLEEP?

-And I did. She's ready to tell me that I told her to shut the

-BLEEP

-up last week.

-MAHSA: She told me to shut the

-BLEEP

-up last week.

BRANDY: She is the most classless individual in everything she does.

-Thank you.

-I'm very composed. I treat everybody with respect.

I am so riled up right now, and it's because she treats everybody like

it is The Mahsa Show.

I see it myself. I mean, I'm asking you, "What did she do nice?"

-And you start talking about yourself.

-Because, Mr Trump...

-And I can understand how

Brandy said, "You know, I've had enough." Very interesting the way you did it.

-I have never said to anyone to shut the

-BLEEP

-up or anything like that.

BRANDY: But you point the finger.

-ANAND:

-Oh, the point of the finger.

She can't focus. She can't focus!

I told her - use her thumb. It's out. The finger's out.

BRANDY: It's unfair.

MAHSA: Can I respond? BRANDY: How long could you take the finger in your face before you snap?

-It wouldn't last long.

-Thank you, sir.

-A little longer, maybe, with a woman.

Thank you.

MAHSA: I'm a prosecutor, Mr Trump. When we point to defendants...

We're always pointing in court.

-DON:

-You have to know when to turn that off.

I'm trying to do that. I've been working on it.

I've been in the majority of these boardrooms -

-I've seen you do that repeatedly...

-Thank you.

-..where the question is about someone else...

and you rechannel it to make it a positive about yourself

and a detriment to everyone else.

BRANDY: Yes.

-So, Brandy, let me ask. I've been watching you and I've respected you...

-I'm sorry!

..but what happened to you in the last couple of minutes is sort of interesting.

You've gone a little bit wild.

-Because, you know...

-What is bringing this out in you?

Because I think that...

Unfortunately, our team is being affected by this fragmentation.

Brandy, what did I do wrong on this task?

You didn't do anything!

- When I tried to talk... - That's exactly what you did.

She told me to be in operations...

But, you know, Mahsa, you really are abrasive.

She's so abrasive.

-You really are abrasive.

-Mr Trump, that's my personality. I can't change that...

It's awful to work with.

-She's awful?

-To work with.

-She told me to shut the

-BLEEP

-up.

Yes. And I would say it again.

MAHSA: And you know what, Mr Trump? I wouldn't have said that,

because I never use those kind of words with anyone.

-POPPY:

-You were trying to give our strategy away to the men's team.

-All right, Mahsa. Hold it.

-Can we do the back story?

Go ahead, Brandy, finish.

She told the men's team, in the last task,

how much we made in the task, so the men knew.

He told them - 320.

-Now, wait a minute. Did you say that?

-Absolutely.

You mean before we told... Before we came out?

Before we knew the boardroom, she told...

-Is that true, Mahsa?

-Clint came and told me that they made 1,000,

-and I told them they won.

-Wait a minute. Is that true, Mahsa?

-Yes.

Before I gave the results.

Clint told me, too, sir.

She's lying about me! That is a lie!

I wasn't here last week, but I know it was a sales task,

and you're telling me that you knew you lost

and told the men before you ever entered the boardroom?

I can't believe we're bringing this stuff up.

No, we need to. That's the context of my comments.

You altered the whole dynamic of this process by doing that.

Mr Trump, he did it to me. I didn't know that she was going to...

-It really isn't being a team player.

-BRANDY: That's just the whole point.

- She sat there and she knew it too. - I did not!

Poppy, where was I? I was putting my make-up on in the...

What would you say if Mahsa actually gave that number to the men?

I was floored. I mean, I was there. I was floored.

Why would you do that, Mahsa?

He told me. We're all friends.

I don't care if... He told you, so you told him.

"He told me!" Listen to her blaming you now!

-DAVID: That is bull

-BLEEP.

-CLINT:

-That is a bald-faced lie.

-STEUART: Go in there!

Mr Trump, it is true that I told the men that number after...

-Why would you do that?

-It was a lapse in judgment. It was stupid.

-It's a lapse of judgment.

-It was stupid.

-A lot of other things are a lapse of judgment with you.

-It was very stupid,

but Clint told me, too, sir.

-STEUART:

-She's looking for a scapegoat.

Of course she is. Why would she throw me under the bus? Let's go nose-to-nose.

-ANAND:

-We'll support you 100%, man.

-DAVID: Absolutely.

-CLINT:

-This has to get cleared.

-TRUMP, MUFFLED:

-Mahsa, why would you do that?

He told me. I'm sorry, Mr Trump. I shouldn't have done it. That was a mistake.

You shouldn't have done it.

-AMANDA:

-'Mr Trump, the men are on their way back in.'

-Let them in.

Sit down.

What's on your mind, Clint?

Mr Trump, I wanted to come back and clear my name.

I've got three little boys and a wife to play for here and I am not going to be soiled by...

-By who, Mahsa?

-By Mahsa.

-I never lied to you, sir, and I'm not lying to you now...

Can I say...? Hey, Mahsa, just put your finger down and be quiet for a minute, all right?

-My finger's not up.

-Well, put it in your pockets, because if you point here, I won't be happy.

Don't get so dramatic. Calm down.

Mahsa cannot keep her mouth shut.

In the lobby at the hotel, Mahsa was talking about numbers.

She even told me particularly.

But did she tell you the number?

-Yes, sir, she did.

-I did. I told you.

-Did you tell them the number?

-He said, "Over 1,000."

-Sir, let me tell you this.

I knew I made 370 on the task,

and I was out pedalling most of the time.

So are you saying you had no idea?

-I had no idea what we made, sir.

-IVANKA: A total fabrication?

-I'm sorry?

-This is a total fabrication?

-I'll tell you exactly...

When Mahsa was talking and said that out loud,

I said, "Mahsa, you really only made..?"

That's what you're referring to. I said, "You really only made 360?"

-320...

-And she said, "Yeah. How much did y'all make?"

And I said, "Well, I think we made a heck of a lot more than that."

That's not what he... I can't believe you're lying!

-Hey, Brandy heard this conversation.

-Let me tell Mr Trump what happened.

Brandy was doing her make-up by the mirror.

Brandy was absolutely there.

You just said I was standing right next to you a minute ago, didn't you, sweetheart?

- I'm not talking about that. - It's all falling down.

It's not all falling down, Brandy.

-Hush it.

-I'm about as straight a shooter as you get.

-I try to be honest.

-So what are you telling me?

I'm telling you that I never divulged the number

that our team made - A, because we didn't know what we made.

When I heard the number 360, I thought they were just trying to butter us up

for a big slapping down in the boardroom.

-It was almost a joke.

-It WAS a joke.

Steuart heard it.

Clint, I think the fact that you wanted to come back in here to clear your name and risk putting yourself

-back in the boardroom probably makes a pretty big statement.

-I'd rather be fired tonight

-with clearing my name...

-Are you backing Clint, David?

I do not believe Clint gave a number. We didn't know a number.

-STEUART:

-Mr Trump?

-Yes, Steuart?

- I was with Clint during this entire period, for the most part. - Thank you, Steuart.

During the conversation?

-No.

-I was in the area.

-He wasn't with me.

-I never once heard Clint give a number,

-give a specific, give an anything.

-"It's well over 1,000."

Brandy, what do you think?

I have never raised my voice in this boardroom the way I just did.

I feel very passionate about this.

The lying is sort of... It just adds another element to it,

but the fact of the matter is that she's disloyal.

You think she's lying?

- Yes. - I have not lied, Mr Trump. I am not lying now!

Here we go.

-MAHSA: He said, "Well over 1,000."

-Let me...

Why would I lie? I am not lying!

Would you shut your mouth and stop screaming, with my name in vain?

I'm not lying! You're lying! I am not lying.

-When we came in here and the number actually... I was stunned.

-I am not lying.

Mahsa, forgetting about who said what... It doesn't matter, OK?

Wouldn't you say it's disloyal that you gave them the numbers?

The task was over. It was stupid I gave them the numbers. It wasn't disloyal.

What do you mean the task was over?

-The boardroom hadn't started.

-Right. That's true.

Now, whether or not you're allowed to do that,

that's one thing, but the loyalty to your team is pretty bad, right?

I don't think it's being disloyal...

-You think you made a mistake?

-I absolutely made a mistake.

Mahsa, you're fired.

-Go.

-Thank you so much for the opportunity, Mr Trump.

-Go, go.

Everybody, out.

Hi.

That's too bad, but that's the way it goes.

I made a very stupid mistake, and I got fired for it.

I think if I'd been a little bit quieter,

then I would have stayed in the game longer

and would not have made as many enemies.

I'm very shocked that I'm seeing the inside of this cab tonight.

I never thought it would happen.

Rockport presents Next Steps.

I think The Apprentice has really changed my life.

It's opened up doors that were always closed.

My dream is to be an on-camera personality,

a correspondent, a host.

It's something that I've been pursuing, and The Apprentice has

really ignited my passion all the more.