Street Art The Apprentice

This is not about a job anymore.

I'm the investor, and you are going to make me some money.

Heading to London, 16 potential business partners,

all keen to kickstart a company.

I'm not looking for a friend.

If I want a friend, I'll get a dog.

I'm looking for a partner.

This is about me investing £250,000 into a business with one of you.

On offer, a 50/50 deal with the nation's most demanding investor.

I'm going to tell you what.

You've thrown the gauntlet down, and I expect you to win.

Willing to bankroll new business in tough times,

Lord Sugar is on the hunt for one winning partnership.

Basic business principles went right down the drain on this thing.

You should have all known better.

-Start the car!

-It's a deal worth fighting for.

It's the same thing happening again,

we have an opinion, and you just don't like it.

16 candidates.

You don't have to teach me how to suck eggs, I'm in a rush.

Guys! If you want it, buy it!

12 tough weeks.

SMASHING

Bloody hell.

One life-changing opportunity.

You're fired. You're fired.

This is my boardroom, and by the way, this is my money.

You're fired.

Previously on The Apprentice...

This task is all about you starting a business from scratch.

Madam... Would you like a mop, would you?

Both teams set up stall in Essex.

£5! Only if you buy off me now!

Can I borrow you for a quick second?

Nick's team had a hit on its hands...

Essex do love tan.

It goes on evenly, it's no streaks.

There you go, madam. Thank you very much.

..but failed to keep supplies topped up.

-Now what do we do?

-They've got no more tan.

We've got 21 mp3 players, we've got 10 of the fake tan.

-Jade bought a pile of mixed products...

-'Well, I think...'

-Whatever you think, a mixture of the other stuff.

-That's not a strategy, is it?

..but her prices got squeezed.

The last five at a fiver, now.

Everything is half price!

In the boardroom, the tan took gold.

Nearly £1,000.

-Well done, guys.

-Well, well done.

Jade's discounts cost her dear.

It was a bad decision.

Tom's head for figures kept him safe.

It's quite clear that you shouldn't be sitting

in the boardroom here today.

-I know Azhar caused a problem.

-You're the team leader, you could have shut him down.

But Azhar's number was up.

Azhar, you're fired.

He became the seventh casualty of the boardroom.

Now nine remain

to fight for the chance to become Lord Sugar's business partner.

6am.

PHONE RINGS

Morning.

'Good morning.

'Lord Sugar would like you to meet him at Waterloo Station.

'The cars will be outside in 15 minutes.'

-Ohhh...

-Guys, we're getting picked up in 15 minutes.

And we're going to Waterloo.

-Waterloo?

-Oooh... Waterloo?

-Yeah.

Where do the trains go to from there?

We need to make sure we win.

Cos I don't want three losses on the bounce.

-No, no way.

-Can't be doing with it.

-It's a nightmare.

-Two in a row, Sterling, isn't it?

-Yeah.

-And you've won five out of seven, Nick?

-Yeah.

-As have you, haven't you?

-Yes.

-Won five out of seven, Gabrielle, you've won four, have you?

-Three.

Three, yes.

It's nice.

Waterloo.

Named after Wellington's famous victory.

For the candidates, the start of their next battle.

And underneath the arches, in high definition,

Lord Sugar.

Good morning, ladies and gentlemen.

I'm sorry I can't be with you today,

because I've got some urgent business to attend to.

You might be wondering what you're doing standing there in a tunnel.

Look around you,

because this is an example of what you're going to be selling next.

You're going to organise the sale of urban art tomorrow night

in two of London's cutting-edge galleries.

You're going to pick two artists to represent,

and it's very simple, the team that makes the most commission will win,

and in the losing team, one of you will be fired.

So I'll see you back in the boardroom in a couple of days.

Good luck.

The urban art market.

With some pieces fetching hundreds of thousands,

it's made street artists like Banksy bankable.

Teams must choose two artists, then sell their work to the public,

and a high end corporate client laid on by Lord Sugar.

-What do you think?

-First...

-Very interesting task.

-Yeah.

-Shall we start with PM?

-..both teams need leaders.

-I really want to put myself forward.

Yeah, I would also like to put myself forward.

I've worked with a couple of artists before,

doing their exhibition spaces, um... also working on the night as well, with the catering, whatever else.

I know they push a lot of drink, get everyone in the mood,

get everyone happy, you know, so these ideas, I've... I'm kind of accustomed to.

-RICKY: I'm voting for Gabby.

-I'll vote for Gabby. Just from the creative side.

STEPHEN: Yeah, um... OK.

-Well that's done then, that's three votes.

-Gabby, yeah. Good. OK.

On the other team...

I'll put myself up.

I've got a good interest in this, kind of, market,

I know a lot, well, I know a little bit about graffiti.

..a bid from wine broker, Tom.

I understand obviously the art and the technicalities of how graffiti's produced,

so I can tell the difference between a good quality piece and a bad quality graffiti piece.

You guys, you might not be able to read it, where I've got a good knowledge

of how to read the words that they've written.

-Music to my ears, this, Tom. If you want to be PM, then that's fantastic.

-That's fine.

-So, Tom, most of the stuff I have seen is names.

-Yeah.

I take it that's not where the money is, the money's in the pictures, is it?

It has to be something that's got a message behind it, that's got some history behind it.

Quite controversial.

One of the reasons Banksy's so famous that you might not know is that no-one knows his identity.

No-one's ever seen him, no-one knows what his name is.

Next for both teams - meet the artists.

And a game plan from project manager, Gabrielle.

Please, you know, show enthusiasm, show that...

You know, listen to what they say, show dedication,

cos at the end of the day, they'll be picking us to represent them.

-Let's go!

-Fantastic.

With five artists to see, the teams split.

-See you later.

-Have a good day, yeah? I'll be on the phone.

-See you later.

Half stay in London, the rest head to Bristol.

On Gabrielle's team, Nick and Ricky.

I think we are looking quite corporate.

I don't mind, it's professional, and we are an agent, we're offering a professional service,

but I also want them to think that we're offering a personable professional service.

I think we should take off our ties.

-Run that past Gabby.

-Yeah.

Heading west for the other team, Jade and Adam.

Tom said that no-one knows Banksy's identity.

That is the whole mystery of Banksy, is the fact that no-one knows him.

-I thought you meant no-one knew his...

-Yeah, everyone KNOWS him.

-Yeah, no-one...

-But it's like The Stig, innit?

Bristol -

birthplace of Banksy,

hotbed of urban art.

-Oh, yeah?

-Come and look at this.

-Wow.

-Hi, nice to meet you, Jade Nash.

-Hello, Jade.

First stop for Tom's talent spotters,

anti-establishment artist, SPQR.

To be honest with you, I do appreciate it, and I love that.

It gets your mind going, don't it?

-Keep you brainwashed, maybe that's...

-I love this.

..about the media and everything else and your opinions and ideas.

'I know nothing at all about urban art,

'so my strategy with the artist today is give them my unbiased, um... unique opinion, really,'

of how I interpret their art.

To me that means kids aren't kids for long enough any more.

Wow.

Yeah. Yeah.

London.

Project manager Tom's first call - his team's corporate client.

Car giant, Renault.

-Nice to meet you, Tom.

-Hi, Tom.

-Nice to meet you.

An art purchase from them could set their commissions racing.

We're going to be looking for two artists that are up and coming.

From my knowledge, you very much focus on, you know, cool, joie de vivre.

-Yeah.

-Now, for me, that works hand in hand with art.

-Yeah.

Its bang on trend, definitely.

I think what we're really keen to get across,

is we're a French car manufacturer, so Frenchness is definitely the first box you have to tick.

-Brilliant, OK.

-It's about sexiness, it's about innovation.

So from a briefing perspective,

this is definitely the key elements we want to tackle.

-Have you got an idea in mind for budget?

-..Budget?

-We're thinking around about the £5,000 mark.

-£5,000 mark.

NICK: On balance, I think Tom did a good job.

Clearly knows what he's talking about.

I sense that Tom is going to be a very strong leader on this task.

-'Pull the left-hand door and come to reception, please.'

-Thank you.

For the other team, Beefeater gin.

-Hi.

-Hi, I'm Gabrielle. Lovely to meet you.

Out to buy eye-catching art for its distillery.

We're looking for, just think of people coming into this distillery,

they see this piece of art and they go,

this is fantastic, this says everything about this brand,

says everything about London, it's a mixture of contemporary,

cos it's about urban art,

but it's also saying something about the tremendous history and heritage that we have in the brand.

That's what we're trying to, um... er... come across later on today,

someone quite unique, someone that you'll remember,

someone that, er, is individual with a bit of a twist.

I think we've got a feel for what you're all about based on what you said, which is really valuable.

We're going to visit some artists today that are up and coming,

and if you got on that train with that artist, that would be something you'd be at the beginning of.

-KARREN:

-I'm really concerned about how that went,

cos they have missed vital questions about the size, about location...

Perhaps the most vital of all is, "What's your budget?"

Do you have any other questions for us?

No, I think that's it.

-Hi, is that Nathan?

-You're right, yeah.

-Hi, Stephen.

Next stop for Gabrielle's team, artist Nathan Bowen.

Wow, looks really unbelievable, to be honest.

-I guess you've been doing this a while, Nathan, have you, or...

-I used to be a builder.

-OK.

-So I used to do a lot of artwork on building sites.

-No way!

So I wanted to combine, like, the artwork with the building sites,

so I came up with these characters, and with these characters,

instead of doing the builders, I thought I'd do the Queen's Royal Guards.

-The Beefeaters and that, yeah?

-Yeah, exactly.

Do you mind me asking, like, how much would someone pay for one of your pieces like that?

£500 in a gallery.

'Nathan seems to be the ideal candidate

'to pitch to the gin distillery, because he's very much into London,'

his images are that of Union Jacks.

-So Nathan, I mean, the bottom line is from our side, we absolutely...

-Love this.

-Love it.

-Thank you.

It's fantastic.

Look at that guy up there, his teeth are coming out.

-These work for graffiti, but you wouldn't put that on your bedroom wall, would you?

-No.

-Your client's not going to buy one of them.

-Let's carry on, shall we?

-Yeah.

On the streets of Bristol, the rest of Gabrielle's team.

Look at the one up there.

And a different take on Nathan Bowen's art.

You would see some crazy workman alien

peeing on another crazy workman alien selling well in London.

I don't like... I wouldn't pay for that.

I think that's awful.

Oh...

Shall we carry on?

THEY LAUGH

First appointment for Ricky and Nick...

-Nick.

-Nice to meet you.

-I'm Ricky.

-Ricky.

They're cool.

Wow.

Copyright - an urban artist with a painter's touch.

I love this stuff.

What kind of prices would these go for at a gallery?

The smallest paintings, they start at around 150 quid.

-The biggest ones, like this, they're 2,750, I think.

-Yeah.

You've had an exhibition in London before?

-Earlier this year, yeah.

-How did that work out?

I had 50 paintings, and they all sold.

-Amazing. So how long was the exhibition, just an evening?

-One day, yeah.

-A one-day exhibition?

-Fantastic.

-What do you think?

-I thought he was good. I like the different textures, and there was a lot of detail.

It's a really good talking point. I think they're lovely.

Shoreditch, east London.

KNOCK AT DOOR

-Hi there, how are you?

-How are you doing?

-I'm good. Lovely to meet you, it's Laura.

-I'm Pure Evil.

-Lovely to meet you, I'm Tom.

-Nice to meet you.

Next for Laura and graffiti enthusiast Tom,

the artist known as Pure Evil.

What sort of prices are these would these items in here go for?

That's a print, that's £150.

You know, in a frame, that's £210.

What attracts me to street art, and I have a few bits in my house,

is traditional kind of street art, spray paints. Er...

Myself, I'm a big fan of obviously Space Invader from France. I think it's absolutely excellent.

Banksy...

So when you went to California, who did you kind of take inspiration from,

cos obviously you have people like Shephard Fairey over on the west coast,

with Andre the Giant and the Obey, which obviously became huge, and that's absolutely mammoth.

NICK: 'I think that Tom's knowledge of the edgy urban art scene

'has gone pretty well for Phoenix.

'But I don't really think that they have set out'

to demonstrate to the artist

that they are the people to sell his work.

Right, see you later.

-I think he likes us.

-I think he liked us, I think he'll definitely be impressed with your knowledge.

Mmm. I think that he might be my first choice.

Here you go, ladies.

Hot on their heels, Gabrielle's team.

-Hello.

-Hi, I'm the artist known as Pure Evil, yes.

-Evil?

-How are you doing?

-Hi, I'm Gabrielle.

-Stephen. Nice to meet you.

-Lovely to meet you too.

-Hi, Jenna, nice to meet you.

-You all right?

GABRIELLE: Nothing's what it seems, everything, you know,

scratch the surface and you find a story beneath it,

it's, erm...

I like to be drawn... You know...

That caught my attention, and then when you get into it,

it really draws you in to see, you know, other parts, and you get a different story.

-KARREN:

-Gabrielle's arty side really comes to the fore in tasks like this.

She's very engaging, she talks to the artists on their own level.

-They're all like icons, really.

-Yeah.

-I kind of feel a bit drawn to, like, come over and...

-Yeah.

-Really look at it.

-Yeah.

-I... I really like that. I love this.

-That's what I'm saying, exactly.

I really love this.

Wow!

Yeah, so, welcome.

Oh, this is amazing,

this is so different to anything we've seen today.

Really, really cool.

Tom's team in Bristol meet their final artist of the day - Copyright.

I love the ones on the skateboard.

-Yeah.

-That's really unique, isn't it?

-Really unique.

Not much experience of art, but I've looked at a lot of paintings today,

and I've actually connected with quite a few of the artists, and my interpretations of their work,

but this, to me, is the best thing I've seen all day.

To me, it's very, um... hypnotising, really, your work.

You know, you could look at it for hours

and get several different meanings from it, really.

-I'm really...

-And it's, it's very good.

It's really unusual, I just haven't seen anything...

this is the only thing that's really stood out for me today.

-It's great, it's fantastic, love it.

-This is... In comparison to the other one.

-Absolutely.

Back in London...

If you'd like a drink, help yourselves, over here, there's wine, beer, cider...

-Whatever you like.

-Thank you very much, James.

Next for Gabrielle's team, the poster-sized paintings of James Jessop.

-Right, this is, this is your work, I mean...

-Yeah.

Just wow.

Almost gobsmacked, to be honest.

I work with text mostly in there, sort of like New York subway-rooted graffiti-style text,

and then throw it in the mix with some other stuff...

If I was to speak to people about art, about your art in particular,

what would you be really important, what's the most important thing you'd like me to say, think?

I'm obsessed, so, like, it's a pain,

it's just like I couldn't live without it.

And so get the energy going and that,

perhaps a few beers in the evening there as well to relax a bit as well.

James, the people who buy your art, are they connoisseurs, or...

Yeah, I mean...

I mean, I've just sold three paintings recently to a collector in Los Angeles.

They took two for £15,000 last week.

JENNA: I think he was very interesting.

He represents everything art's all about, I mean, Van Gogh chopped off his ear, for crying out loud.

That's the bottom line, these people are what I think art's all about,

nutcases who've got a bit of genius and that can draw stuff like that.

Finally for Tom and Laura...

Hi.

-How you doing?

-I'm Tom.

-All right, nice to meet you, I'm James Jessop.

-Welcome to my studio.

-Thanks very much for inviting us.

-Hello, how are you, it's Laura.

-All right?

So this is my latest piece, I'm very proud of the horror.

HE GROWLS

LAURA LAUGHS

This painting's called Subway Fiction.

It's like if I could go back to 1982, in like the TARDIS,

and spray a whole train, this is what I would do.

But there's that and there's that, there's a Dracula one here.

How much would, erm... you fetch for a piece like this?

I mean my record for this size canvas exactly is, like, £10,000.

-You said £10,000?

-Yeah, yeah.

-I'm a little bit concerned that it might be an acquired taste.

-Mmm.

I don't think it's a risk I want to take,

and I don't think it suits my taste

to the degree that I want to curate it.

7pm.

Tomorrow, both teams get east London galleries to sell from.

Tonight, a quick look.

Guys! This is fantastic!

Guys! Our own exhibition space!

I like it.

Well, I think it's a fabulous space.

Last job of the day, pick two artists.

How you doing, guys?

GABRIELLE: I'm putting forward Pure Evil as one option to go with,

and now, the rest is up to you.

We're leaning towards Copyright.

Do you feel you could do Copyright

'for the corporate one?'

No, we can't make the... Guys, we've got your Copyright, that's the one you go with,

that would be away from corporate.

-We'll make the decision with corporate cos we've seen it.

-OK, bye.

Cheers.

Gabby, my point is that we've seen the distillery,

so you can't make a decision based on what they've seen through their eyes.

-What would you do?

-I'd go with Nathan and Pure Evil on that basis.

-I'd go with Nathan and Pure Evil.

I completely agree.

I'm going with Nathan and Pure Evil.

-Hello, Jade speaking.

-'Can I ask,'

-what were your thoughts?

-'Copyright was my favourite,'

-I think it was Adam's favourite as well.

-Yeah.

-OK.

I'm pretty much going to go with Copyright from your end,

'Pure Evil is going to have to be a must.'

Yeah.

OK, all right, cheers, guys.

With both teams going for Pure Evil, the artist must decide.

Fingers crossed.

TELEPHONE RINGS

-'Hello.'

-Hello, is that Pure Evil?

-'Yes, it is.'

How are you doing? It's Tom from earlier.

I'm just giving as a call really, just to see what your thoughts are on exhibiting with us.

'Well, I think I'm going to go with Sterling.'

That's really disappointing.

Really disappointing.

'As a team, I thought your enthusiasm as for the artwork

'is probably going to help to actually sell it.'

-Lovely, thank you, Pure Evil and I'll see you tomorrow. Take care.

-'Take care.'

-Bye.

First choice gone,

and no plan B.

Erm, frustrating.

(Back to the drawing board.)

-I need to call the other team.

-Mm-hm.

-And let them know.

How are you getting on, guys?

All right, mate? Er, I'll just keep it short.

-'"Pure Evil said no.'

-Oh, really?

-You're joking.

So, what was your gut instinct?

'Um, SPQR.'

It was, it's... it's really about...

-What would you say? What was his main..?

-Tom, I mean, the guy was quite controversial...

-What do you mean?

-'Er, it was all, different things, like,'

subliminal messages and advertising. Erm...

I don't know. It's hard.

It's a no-win situation for us

because we've lost Pure Evil so I'm going to go for broke.

I'm going to go for James Jessop.

If we sell one of his pieces, get the right sort of person,

the right collector, we can win it.

-OK.

-Good job. Yes.

-Great, let's go.

-Get ready for tomorrow as well, yes.

-Well done.

For Gabrielle, Pure Evil

and Nathan Bowen.

For Tom, Copyright and James Jessop.

Not very happy, to be honest with you.

Not happy at all. At the end of the day,

having expertise, knowledge, a rapport with people counts for nothing,

which doesn't make any sense to me.

I actually think he's mental for going with them.

Brick Lane.

Centre of the East End urban art market.

Today, teams must set up their galleries.

-Wow.

-Oh, wow. This is really nice.

-Well cool.

-Tonight, they must sell to the public,

collectors and Lord Sugar's corporate clients.

Welcome to our gallery. Woo!

On Gabrielle's team, first glimpse of the work for Ricky and Nick...

Really quickly on Nathan, these are obviously the larger two pieces...

..including chosen artist for the gin company, Nathan Bowen.

His idea is just taking, you know, the traditional, say, beefeater,

or Queen's Guard and doing a bit of a twist and bring it to the modern age.

Oh my...

Yesterday I did see a number of pieces of art.

There was one piece I looked at, I didn't know who it was.

I thought, that's not the message we want to give to a corporate client.

And I found out today that that is Nathan. That's Nathan's art.

Cor, look at that.

At the other gallery,

first chance for the team to size up its collection.

Yeah.

I personally think that James Jessop's art is a bit of a risk.

The size of the artwork is massive.

It's colossal. How would you fit that in your front room?

I don't know. I hope the people coming tonight have got big wallets and even bigger front rooms.

-Yes, yes, perfect. Cheers.

-That works.

To win over potential buyers and her corporate client,

Gabriele plans to get Nathan drawing live during the show.

Yes, head height, that's fine. Yes, OK.

All right, perfect. Good stuff. Thanks again, Nathan.

En route to the gallery, a brainwave from Stephen.

-Hello?

-Hey, guys, how are you?

What I want going to do is talk to you very quickly about an idea I've had,

-that I've got to bring to the table so you know, OK?

-'OK.'

'To create this illusion of edginess, of criminality',

of something nobody sees, like Banksy,

'maybe Nathan does his live art out the back.'

Nobody actually sees Nathan.

'Um, I'll say I'm not 100% keen on it.'

I personally would back Nick on that one.

It doesn't feel like live art if you can't see it happening.

It's way outside the box. It's way outside the box.

I do love the idea, but I'm going to stick to the original plan

-and get him to do it live.

-OK, Gabrielle.

Thank you for loving the idea but not enough to take it on board.

All right then. See later, guys. Take care. Bye.

"I love the idea", but I'm not going to go with it. Just say, "Steve, I don't like the idea."

Mid afternoon.

Pick the box up...

On site for Tom's team, Copyright...

What's this one here called?

Forever Love 13.

..and James Jessop.

-The price on this one?

-We'll start at nine,

and then we'll do this one on an offer for six, can go down for six.

-Nine and can go down for six.

-Yes.

5 pm.

Five hours to sell urban art.

I think it looks really good.

Earning a 40% commission on every sale,

the team that makes the most will win.

We are open now, guys.

How are you, girls? Pleasure to meet you, I'm Adam.

If there's anything you need, just give me a shout, OK? Thank you.

With his gallery filling up,

priority for project manager Tom, sell a Jessop.

As soon as I walked in, that was the one that caught my eye. The Big Green Monster.

-It's a great piece.

-People can relate to it.

People have seen it a million times before, it's fun.

-Have you got a nice space behind your office desk?

-In our office, yes.

Ticket price on The Big Green Monster, £10,000.

The price is at the moment, obviously headline prices.

But the artist is there, so, you know, if there is something that took your fancy

and also if you wanted to take any of the smaller pieces,

there's room for negotiation if you took more than one piece.

It is a lot of money and I think with those sort of items,

people really need to talk themselves into it in a way.

There's only so much we can do because I think paying £10,000 for a painting

is a big ask but we've had interest in a couple of his stuff, so yes,

hopefully we can sell one by the end of the evening.

-How long are you going to stay for?

-I'll be here for another hour.

OK, well I'll try and catch up in a little bit.

-What's your name again, sorry?

-Ian.

-Ian, nice to meet you, Tom.

-Cheers, Tom.

-OK, no worries.

In Gabrielle's gallery...

-Anything you like in particular?

-Not really.

-No? Nothing?

Hunting for commissions, sales manager, Stephen.

-Do you want to take that away with you?

-I'll think about it.

Take it away?

-I'll have a think.

-Yeah?

On the other team...

-Can I tempt you with this one?

-I like this piece.

Raising interest, keenly priced Copyrights.

-Sold on that for you.

-Thanks a lot.

-Thank you.

Let be put that on there.

I think the artist appreciated my naivety and my innocence and my unbiased-ness.

Well exactly, exactly. That's what it's about, isn't it?

Yes, I hope so.

I interpret that art, what appears to be two of something,

is not always the same.

-That was my interpretation.

-Right.

-Which one did you want, sweetheart?

-Um, the bottom one.

Starting to shift pictures, market trader, Adam.

Yes, I can do you that as a print or I can do it in the frame.

-On the print itself. Just the print.

-Yes? Do you want one of those?

-Yes, please.

-No problem.

One of the questions we were asked today was which medium does he use?

A medium to me is someone you use to contact the other side.

Good stuff. If you need anything or you think you want to go ahead with the purchase,

I'll just be in the area. Just grab me again, OK? Have a wee think about it.

Trying the soft sell, bridal shop owner, Laura.

How are you doing?

-Yes, good thanks.

-Enjoying it?

-Yes, it's all right, yes.

-Good stuff, good stuff.

'It's not usually how I work.

'It's very different sales.'

How are you getting on? Are you enjoying it, yes?

-Yes, thank you.

-Good, good stuff.

We have a chat, sort of test the water, let them have a look around.

Before you know it, Adam's on them.

I can do you that for 180.

Adam's on a roll again, which is good.

You're going to get me shot, you lot. You're going to get me shot.

-I've agreed it. 65.

-65?

-Oh, good man.

OK, yes, deal, thank you. Cheers, mate. Nice one, yes.

Copyright's selling very, very, very well.

That's a sort of bread and butter stuff.

It's £750, please.

It only needs one sale of a Jessop to really bring the house down.

-I'd want it in my home.

-Yes, we want to sit in front of the telly and look at it.

I'm jealous you've got a wall big enough...

It would fit perfectly on our chimney breast.

-It would just, the dimensions of it would fit perfectly.

-It would work.

Are they going to take it?

Maybe, they like it.

Drawing attention at Gabrielle's gallery, Nathan's live show.

But at £500 a pop, his pictures are staying put.

For Pure Evil...

-He'll do two of these for 250 and divide them together.

-That's fine.

-Brilliant.

Sales look good.

We got 1,200 for this piece, 1,200 again for the other Dali,

-that's 2,400.

-Well done.

And the larger piece is 1,800, the JFK's Nightmare.

-Right.

-So, that's 4,200.

I'm looking to spend about three grand.

About 3,000. Well, you wouldn't be able to get all three pieces for £3,000.

Well, let's do the two then for two.

I'll agree with you now, 20% off the figures,

that brings it down to £3,360.

-Or we can go back down to two.

-Yes.

-I mean, it's not a big deal.

What I'd happily do is give you all three pieces,

a couple more drinks, for 3,200.

Do it at three-one and you've got a deal.

-£3,100, it's yours.

-Done.

At just over £3,000, the biggest deal so far.

Still stalking a monster sale...

Tom.

What's it going to take for us to patch up this green monster? Whereabouts do you live?

-Just down north London.

-That's not too bad.

There's a few others I was looking at before that one.

That's the kind of having a glass of wine before I go for that one.

What would it take? I don't know.

It's one of those that kind of, weighing our options.

8.30 pm.

For the car company client, a warm welcome.

-Wine, beer?

-Hi, Felicity, how are you doing? Are you good?

-Oh, hi, nice to meet you.

-I'm Julian.

-So, you made it OK?

-Yes.

Keen to drive a sale, Tom wheels out Copyright's women.

The thing is, it creates quite a striking impact.

And his best showroom sales pitch.

Obviously your company is, you know, sexy,

it's all about elegance and design and chic

and I feel that a lot of his designs encompass that.

At Gabrielle's gallery,

for the gin company,

no drinks at the door.

QUIET VOICES

Hello, good to see you again.

-Great to see you guys, great to see you.

-Hi, nice to meet you.

Great. Well, hopefully, we were really...

We were constantly thinking about what you'd like and what you think about Nathan.

So this is the... because nobody's really explained to us so far,

so, have you selected Nathan? How..?

Um, Yes, Nathan's what we had in mind when we thought about specifically,

because we spoke to Nathan yesterday,

he was very passionate about London

and tonight, we're giving real direction with the art there

and I think a lot of the images in there

coincide quite, hopefully, with what we saw in the distillery yesterday,

which is quite cool.

I've just witnessed a masterclass in how not to treat a corporate client.

Do you want a glass of wine or anything?

-We were hoping for gin and tonic.

-I wish.

You invite them to an event, when they turn up, you ignore them,

you don't introduce them to the rest of your team

and you forget to say goodbye when they are leaving.

It's a complete and utter ridiculous chain of events.

30 minutes to go.

Time to slash prices and get Nathan's graffiti off the wall.

-Go on.

-925. Would you do a deal?

-I'll do that.

-Right, shake hands with Nathan.

A set of four, knocked down to less than half price.

10 minutes to go.

The only way we can negotiate on price is if you take more than one item.

If you were to take it tonight, I might be able to give you up to 10% off.

And still no takers for the giant Jessops.

If you want it, buy it!

-Can we do the shake before the time goes off? £90.

-Thank you.

We've got one, we've got one, OK. One more sale.

One second, thank you very much...

DROWNED OUT BY APPLAUSE

Tonight, back to the house.

Tomorrow, in the board room, the full picture.

You can go through to the boardroom now.

Afternoon.

ALL: Good afternoon, Lord Sugar.

So, graffiti artist.

The irony will be the writing will be on the wall for one of you today.

I'll start off with Phoenix.

Who was the project manager?

-That was myself, Lord Sugar.

-Tom.

As soon as the task was set, I obviously let the others know

that I had obviously good knowledge about this scene.

A good team leader then?

-Yes?

-It's a bit of a no-brainer.

-Good knowledge.

-Are you happy with your team?

-Yeah.

How were you, Adam, you're in the fruit and veg business,

so how did you feel in this task?

I was certainly out of my comfort zone...

-Not looking for the Turner prize then, no?

-Not yet.

More like the turnip prize then?

You never know.

They first I'd heard of urban art

was when I went to Waterloo station and looked around.

You are the prime example of what this task is all about.

Throw you in to something you don't know, I want to see how you react.

-This is what it's all about.

-Of course, yeah, yeah.

Who was it that you actually wanted to represent?

We wanted Copyright from Bristol and Pure Evil from London.

Who did you get?

We got Copyright, we didn't get Pure Evil. So we had to change our strategy.

Why didn't you get Pure Evil?

Maybe I went in with the wrong tack.

What do you think?

Partially lack of enthusiasm, lack of a real desire to represent him.

That is the point, is it not?

Here I am, I'm the vendor, I'm the artist

and I have to entrust a group of people to represent me

and I get that by meeting them, first of all

and seeing whether they have the same enthusiasm about my work as I do.

-Maybe I was too interested...

-Maybe you were too interested in trying to put over yourself

as an expert rather than appreciating their work.

-What did you do, then?

-We felt we'd go for a high risk strategy

and take on James Jessop, whose work sells for between £8,000 to £10,000.

-Risky strategy, no?

-It was high risk.

Once strategy A went out the window,

I decided to roll the dice and go with James.

Mmm.

Right, Sterling.

-Gabrielle, you were the project manager. Is that right?

-I was, yes.

A good project manager or not?

Yeah, I think she motivated all of us.

I thought Gabrielle did a good job.

Can you tell me how you split the team up?

I sent Nick and Ricky to Bristol

and myself, Stephen and Jenna stayed here in London.

Was there a strategy of how to talk to artists?

Basically, we wanted to be as passionate as we could,

and ensure we would be representing in the best way possible.

Very polite.

You fawned, you flattered, you listened.

You couldn't have bestowed your enthusiasm

on more grateful subjects, I don't think.

So, you got Pure Evil, right?

-Yes.

-And they didn't.

Who went off to speak to the alcohol company?

That was myself, Stephen and Jenna.

Did you have something in mind for them when you chose one of your artists?

Yes, we'd taken a brief from the gin distillery

and Nathan felt that he was the best answer to what they were looking for.

-Did they give you an indication what their budget was?

-I didn't ask.

I did, no, I didn't ask, but I didn't ask on purpose.

-I did end up...

-You didn't ask on purpose?

Yes um, and I will explain why.

If we can obtain the piece of art for them,

they're willing to pay any price.

-Hold on. They're not willing to pay any price.

-No, but...

You've got to understand, you've got to ask the people,

what kind of ballpark are we talking here?

How much have you got in your budget for this? They're a company.

I didn't ask them on the budget.

You didn't know whether they had 500 quid to spend or 50,000 to spend. You didn't know.

That's correct. We didn't know.

The question wasn't asked by the London team, unfortunately.

Here you are going off, finding out a piece like this for 500 quid.

Their budget was actually £10,000.

-That's news to me, actually, to be honest.

-News to you?

-Yes, that is.

HE SIGHS

Let's find out what went on as far as the money was concerned, shall we?

Karren, the gin company, did they buy anything in the end?

Well, I don't think it will come as any shock that no,

they didn't order a commission from you.

-So zero?

-Zero.

Nick, the car company?

Well, they've placed an order for £5,000,

generating a commission of £2,000.

So you actually pulled something off there with the car company.

So, what about the gallery sales?

Total gallery sales reached £5,980,

giving a commission of £2,442.

Total commission, £4,442 for your team.

Karren, what was your gallery sales?

Gallery sales were 11,630,

which meant a total amount of commission

of £4,579.65.

Yes!

So, that's £137 difference.

Well, there's a treat going.

You'll be doing some action painting on a giant canvas.

Don't look for a corporate to buy it off though! No.

I'll see you on the next task, OK, all right.

A loss is a loss, I'm afraid.

You know the process.

One of you will be leaving today.

I'll see you later on.

Paint!

With little art knowledge, we got the artists' belief in us.

That's purely because people buy from people. It's the bottom line.

We won. I did lead them to victory.

I did lead all the team to the next task.

Bring it on! Hopefully, the next one we'll win as well.

Phew! Gutted!

I can't believe we've lost again. It's ridiculous.

We had £12,000 paintings on our wall.

It was my strategy and we didn't get Pure Evil. It's my fault, both of them.

Simple as that, really.

It was very, very close in sales.

It's gutting that we lost.

I have to take some responsibility. I went for the high-risk strategy.

I think the failure of this task lies with Tom, unfortunately.

The fact he's brought the canvas big enough to make a boxing ring out of,

shows he's still a bit wet behind the ears, unfortunately.

Would you send the candidates in, please?

-You can go through to the boardroom now.

-Thank you.

Right, well, Tom, and your team,

you lost by £130.

Where do you think you could have taken a lot more money?

I think, in hindsight, we realise that James Jessop

was too risky a strategy.

It was almost like we only had one artist.

You sold none of his stuff, did you?

The problem was, it was too big a price tag for a one night event.

Do you think you led this task very well?

I think I did a good job but I think there's definitely problems

with the way I approached some of the artists.

I kind of put all my eggs in one basket.

Pure Evil, just from my knowledge,

I felt he was probably the best option for us out there.

You didn't really have a contingency plan?

I mean, to add insult to injury,

they got Pure Evil.

-They took over 10 grand on his stuff.

-Really?

The loss of Pure Evil was a big mistake.

You've got to think about the second artist you want to represent -

how do you go about choosing him?

I was finding a little bit more information

about the options we had in Bristol and asking these guys honest opinion.

Adam will admit, he was going into it a bit blind.

-Completely!

-I was relying on Jade's opinion.

When he phoned back, when he lost Pure Evil,

he said, "Can you just go over some and tell me what you think?"

It's up to you - it was really tricky to decide which one to go on.

I think it's difficult for it to be up to me.

The problem here is losing Pure Evil and substituting it with something else.

At that time it was out of our control.

He made a decision.

-Our number one was this.

-What did you say about SPQR?

-It was too controversial.

-That's why they didn't want it.

-That was our opinion.

Is it fair to say, in the end, you called it, to go with James?

Going with James, if we sell one of his items

for £8,000, £10,000, that's the aim of our evening - to sell one piece.

-If we do, we're going to more than likely win this.

-You took a gamble.

I think you said you rolled the dice on it.

I did, yeah.

I've done things like that before. There's nothing wrong with that.

If they work, then you're home and dry. But, why didn't it work?

Probably because they were so big, I think it did limit our market.

People did come in and say, "It's really great

"but my house won't fit that."

As project manager, and the person with most knowledge,

I felt that it was a decision I had to make and I took the risk.

I feel that we still could have sold a little bit more

on the night in the gallery.

It was only we lost by £150.

Taking the corporate deal away, you got £5,900 worth of sales,

of which, Adam sold £2,480 worth.

OK? Jade 1,500 quid.

And you with £1,200.

Laura, you've got your own shop, you're own business,

and you only sold 750 quid's worth.

I can't really pinpoint what went wrong. All I can say was...

Maybe you're not a good salesperson.

Maybe you're just not a good business person.

I would honestly like to say that is the wrong judgement.

I don't question my sales ability. I can't take anything away from Adam. He did a fantastic job.

You'll probably admit there was blagging.

Between us all, we were sort of... that's not meant to be an insult.

I wouldn't say I blagged it.

You reckon he was blagging some of his sales?

I'm saying I didn't know much about this.

-He sold £2,480 worth.

-Yes.

-You sold 700.

-Yes.

You say you're out of your comfort zone?

You couldn't get anybody more out of his comfort zone than him.

He's a fruit and veg man. He's managed it.

During the course of the past eight weeks, he's shown he can adapt.

He started off like a bit of a nutter

but really he's actually moulded his way into the process.

So, on this particular task then,

who do you think is responsible for the failure? Who should leave?

Lord Sugar, it's a really difficult one.

The major decision was the fact that we went with James.

If you were there, surely you sensibly would have seen,

these are 12 foot tall. Who's going to fit them in their house?

Serious art collectors aren't bothered by size.

-Most of the people in there were though.

-Maybe we missed them.

You're limiting your market with 12 foot high paintings.

-That's the bottom line.

-Yes, that's a fair comment.

Tom, who are you bringing back in this boardroom?

I'll bring back Jade and Laura.

-Jade and Laura.

-Yep.

-Not bringing back Adam is a correct decision.

-Yep.

Adam, I'll see you on the next task.

Go back to the house, OK.

I'm going to have a chat with Nick and Karren.

I'll call you back in shortly.

Laura, is she one of those that suddenly breaks out and talks here?

When she's in the corner, Alan, in the boardroom, then she comes alive.

The only time when I saw Tom in deep trouble

was when he lost Pure Evil.

He didn't have a back-up plan.

Jade, why didn't she say,

"Don't take the gamble." Is she indecisive?

Is she standing back and letting someone else make the big decisions?

PHONE RINGS

Would you send the three of them in, please?

Lord Sugar will see you now.

I've got to find out who is responsible

-for the lack of success in this task.

-Yes.

I have to say, in taking the time on reading

some of the applications here, Laura claims sales is her best skill.

-Yes.

-These are your words, yes?

-Yes.

I am a very good salesperson and I now do not

question my sales ability.

For a direct sales company that I worked for,

I was top salesperson in the UK.

I managed to lead my team to be in the top ten in Europe.

I am a good salesperson. I just didn't work smart last night.

The fact of the matter is

you weren't the best salesperson on the day.

And yet that's one of the things that you say you're best at doing.

I think with regards to this task, I've only worked with Laura twice,

but I think she may have taken a bit of a back seat.

I was project manager and had a certain amount of knowledge,

but if it was me and it was a task where someone else was an expert,

I would still try to get to grips with it and have my own input.

I know everybody goes on about James, we had big pieces, we need to sell

one big one, but it's not like we sold out of Copyright's work.

We still had 50% of his stuff left.

-If Laura had sold £300 more, we wouldn't not have lost.

-One more print.

It's very easy to point the finger at myself now.

To be honest with you, I think it's quite unfair of you to say

that I took a back seat, Tom, Lord Sugar's always said that

somebody who's an expert in it would lead the way.

Tom led the way, but I still was involved in the conversations.

I was still involved.

Anyway, what's Jade doing back in here, Tom?

I've relied on Jade, really, as part of my sub-team to give me

some objective feedback,

and I have felt that what she came back with from Bristol was good.

We went with Copyright, that was fantastic. But once we lost Pure Evil.

-What I wanted people to do was...

-I think at the beginning.

Do you feel you're objective about SPQR?

Or have you only just got negatives?

Regarding that side, OK, I maybe didn't push SPQR as much as I could have.

I didn't want you to push him, I wanted you to be objective.

Do you remember last week, Jade, you were sitting here

-in a similar position, but you were in Tom's place?

-Yeah, yeah.

And you were very indecisive as to who you were going to bring back in.

-Is that you?

-No, it was not me. I can make a decision.

-Is that you?

-Of course it wasn't!

We had made a decision first of all and I really pushed for what

I knew I thought I could sell, and it did sell.

We were very decisive on that.

At least when I'm project manager, I'll make decisions. I'm not getting a democratic vote,

"Three people said this and two people said that..."

-So you stand by your decisions?

-Yes, every task, I stand by them.

-And therefore you accept that that can sometimes be deadly?

-Yeah.

So you're saying you are impulsive.

It's your way or no other way, you make a decision, done.

No, I strategise. I don't take any decisions lightly.

I try to look at the revenue and costs of each decision

and project what I think is a reasonable amount of money

we can make from any decision.

I've only been out of university for two years

and I already run the company with a multi-million pound turnover.

-There's a lot of responsibility.

-You do? Are you here for the right reasons?

-Completely the right reason.

-I don't want to waste a seat,

I don't want to waste space for somebody.

To me this is not a game.

-No, not at all.

-Do you understand?

-This is a serious opportunity...

-This is a fantastic opportunity.

..for someone to get £250,0000 investment with me

in a 50/50 company so we can go forward.

Out of the three of you, then, Tom, who was responsible, do you think?

Unfortunately, it comes down to sales.

I needed people on that sales floor who could generate

as much money as possible.

-Unfortunately, Laura was about 40% less than me.

-Tom...

-She was a third of what Adam did. She was half of what Jade did.

-Somebody was about...

That's a big discrepancy.

Somebody was about to spend £2,000

-at the end of night with myself.

-On the other hand, Jade didn't help enough as a sub-team leader.

I think she should have been a bit more objective

-and found out more information.

-I found out a lot of information.

Let's look at it. If I'd didn't have you or you,

me and Adam would have still made the same amount.

No, Adam would not have chose this one,

I was the one who selected them and really got involved in the artwork.

THEY ALL TALK OVER EACH OTHER

I sold £1,500, which is more than what you did.

Well, I did £6,200, cos I did the car company.

Yeah, but I got the guy to display the artwork for them

and chose it, so that was a team effort.

Actually, I think I performed well, I put my neck out there.

-I think if it's between the two of you, it should be Laura.

-No!

We needed £200 more sales, so it should be Laura, because

she was a bit unenthusiastic towards the end of the night.

That is completely unfair, and I have performed

consistently across the board in this eight-week period in sales.

It was just a five-hour period, I think it's not a true reflection.

I've put my hands up and said I didn't have the right strategy

on the night, but that does not mean I'm not a good salesperson.

THEY SHOUT OVER EACH OTHER

If we've had the right artist, we would have won.

If you didn't choose the one that had the 12-foot paintings...

-That wasn't down to me.

-But you were there as well!

You need to be accountable for things.

All I can put forward is that I know

and I am confident within myself that I've got the talent,

ambition and determination to go through this process,

and as far as I'm concerned, yes, last night was a bit of a nightmare

for myself and I'm devastated I didn't do more sales, but it

doesn't mean that I can't. It would be a travesty if I were to go today.

You are a great talker, you are a great talker.

I tell you what, if there was a prize for talking,

and I don't know whether it's talking too late, really.

Well, I hope not.

-Laura, who do you think should be fired?

-Tom.

Tom cost us Pure Evil, and if we'd had Pure Evil,

I don't think we'd be in this position today.

Tom, on this task alone, two massive, big flaws.

The loss of Pure Evil and the choosing of James.

Those decisions caused the fact that you didn't sell

as much as the other people did.

Jade, stretching beyond this task a little bit

is my concern about your indecisiveness in not pushing

forward one of the other people from Bristol.

That, I think, was another big error.

Tom...

..what with your existing business out there

and my concern about you taking the space of someone else...

..and these two errors...

I can assure you...

I don't want to hear any more.

Laura, you think you're a good salesperson,

-you're certainly a very good talker.

-I am.

I'm not totally convinced that you should remain in the process,

so, Laura...

you're fired.

Take care.

Thank you.

The thing that tipped the balance here, Tom,

was you took the risk, you stuck by your decisions,

you gambled, and on this occasion the gamble didn't come off.

Go back to the house, you two, I'll see you on the next task.

-Thank you, Lord Sugar.

-Thank you.

Feeling pretty gutted at the moment,

especially since I am so confident

in my own sales ability, and I can't believe that's what sent me home.

I think any one of them could go.

-Any one of the three?

-Any one of the three.

Tom is very switched on.

Unfortunately, in this case, he made the wrong decisions.

-Ey up!

-Hi!

-Well done.

-Oh, my God.

Tommy, lad! Well done, mate. Good to see you.

-Well done, mate.

-How are you?

-Oh, it's so horrible for Laura to go.

You all right?

The reason he kept me in, he said I made decisions and I stuck by them.

It didn't work this time, but it's getting down

to the last few people, so it's going to be competitive.

In the fight for Lord Sugar's £250,000 investment,

eight candidates remain.

Next time...

You're going to create a new image for English sparkling wine.

-..plenty of product testing...

-I can smell Christmas cake.

Are you happy to leave here without seeing an English sparkling wine?

Yes.

..and corking campaigns...

Action. CORK POPS

-Cheers!

-Great! That was good, that.

..but in the boardroom, someone's fizz goes flat.

Who was responsible for that rubbish?!

I don't know what you were thinking! You're fired.

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