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Line | From | To | |
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The Internationals team has changed a lot. | 0:00:04 | 0:00:08 | |
CHEERING | 0:00:08 | 0:00:11 | |
A lot of people have left, new people came in. | 0:00:11 | 0:00:14 | |
I'm the new dance captain, | 0:00:14 | 0:00:16 | |
and with internationals right around the corner, | 0:00:16 | 0:00:18 | |
we need to do everything possible to keep this team together. | 0:00:18 | 0:00:21 | |
Michelle's supposed to be back from Madison by now. | 0:00:24 | 0:00:27 | |
-I'm just really going to miss you guys. -Well, we'll see you soon. | 0:00:27 | 0:00:30 | |
Yeah. | 0:00:30 | 0:00:31 | |
She's not here and no-one's heard from her. | 0:00:31 | 0:00:34 | |
We don't know if she's just going to stay there or not. | 0:00:34 | 0:00:37 | |
James and I are doing OK. | 0:00:39 | 0:00:41 | |
It's a little bit hard now just because he's spending | 0:00:41 | 0:00:44 | |
a lot of time with the band. | 0:00:44 | 0:00:45 | |
I'm dividing my time between the band and dance. | 0:00:45 | 0:00:48 | |
It's just difficult to not see him all the time. | 0:00:48 | 0:00:51 | |
I went from J-Troupe to A-Troupe. | 0:00:52 | 0:00:54 | |
Being on A-Troupe is pretty crazy and awesome. | 0:00:54 | 0:00:57 | |
Sometimes I feel like people still think I'm a J-Trouper, | 0:00:57 | 0:01:00 | |
so I have to work that much harder to prove myself. | 0:01:00 | 0:01:03 | |
Switching from Elite to The Next Step | 0:01:04 | 0:01:07 | |
was the best decision I ever made. | 0:01:07 | 0:01:09 | |
Eldon and I really like each other but James says he can't date me | 0:01:12 | 0:01:16 | |
till he gets 30 pirouettes. | 0:01:16 | 0:01:17 | |
30 pirouettes? | 0:01:17 | 0:01:18 | |
If you two start dating, it will end in heartbreak for the both of you. | 0:01:18 | 0:01:21 | |
I really like her. I have to do this the right way. | 0:01:21 | 0:01:24 | |
# Bigger than an empire | 0:01:24 | 0:01:26 | |
# Bigger than an empire... # | 0:01:26 | 0:01:29 | |
I moved from Elite to The Next Step and it's amazing. | 0:01:29 | 0:01:32 | |
# Everything looks hopeless From down below... # | 0:01:32 | 0:01:35 | |
I'm not really part of The Next Step. | 0:01:35 | 0:01:37 | |
I'm just a visitor from England, cos I'm on the exchange programme. | 0:01:37 | 0:01:40 | |
Now that I'm here, which one of you is leaving? | 0:01:40 | 0:01:43 | |
And just as I arrived, there was this girl called Amanda | 0:01:43 | 0:01:45 | |
who was sent to Sweden. | 0:01:45 | 0:01:47 | |
You're not going to be featured in the Internationals routines. | 0:01:47 | 0:01:50 | |
All of a sudden, I'm an alternate? | 0:01:50 | 0:01:52 | |
Fine, I'll go to Sweden. | 0:01:52 | 0:01:54 | |
I'm back in A-Troupe. And the only reason why | 0:01:55 | 0:01:58 | |
I had an opportunity to audition is because... | 0:01:58 | 0:02:00 | |
I've been offered a position under Le Ballet de la Reine | 0:02:00 | 0:02:03 | |
for The Nutcracker. | 0:02:03 | 0:02:04 | |
There's no way I'm going to take this opportunity for granted. | 0:02:04 | 0:02:07 | |
This means everything to me. | 0:02:07 | 0:02:10 | |
The song that we're dancing to is called Empire. | 0:02:10 | 0:02:12 | |
We started as this small studio that went to Regionals | 0:02:12 | 0:02:15 | |
and now look at us, | 0:02:15 | 0:02:17 | |
we're going to Internationals. We're building an empire. | 0:02:17 | 0:02:21 | |
# We are going to show the world | 0:02:21 | 0:02:26 | |
# Everything we're made of | 0:02:26 | 0:02:31 | |
# We're going to tear the roof off this place | 0:02:31 | 0:02:37 | |
# Stand up... # | 0:02:43 | 0:02:45 | |
Hold, hold, hold and good! | 0:03:03 | 0:03:05 | |
Great job, you guys! | 0:03:05 | 0:03:07 | |
Awesome. Take five, grab some water, catch your breath | 0:03:07 | 0:03:10 | |
and we're going to do it again, all right? | 0:03:10 | 0:03:12 | |
-Look what just came in the mail. -What? -This. -What? | 0:03:12 | 0:03:15 | |
It's from Internationals. | 0:03:15 | 0:03:17 | |
-No, it's my turn, you opened it last time. -So? | 0:03:17 | 0:03:20 | |
Kate opened the last envelope, so guess who gets to open this one. | 0:03:20 | 0:03:23 | |
Phoebe. | 0:03:24 | 0:03:25 | |
OK, I'll read it. | 0:03:25 | 0:03:27 | |
So, once again, I did not get to open the envelope. | 0:03:27 | 0:03:30 | |
Any round that ends in a tie will be decided by a duet battle. | 0:03:30 | 0:03:34 | |
So who do you think our duet will be? | 0:03:34 | 0:03:37 | |
Well, you know, West and I got a pretty good duet going on, | 0:03:37 | 0:03:40 | |
-so, you know, I think we can make it work. -West and you? | 0:03:40 | 0:03:43 | |
-West and I. -A duet takes two people. | 0:03:43 | 0:03:45 | |
West and you? How about James and Riley take the duet? | 0:03:45 | 0:03:50 | |
James and Riley are our perfect duet. | 0:03:50 | 0:03:53 | |
As long as their relationship goes well, we're good. | 0:03:53 | 0:03:56 | |
I'm actually very excited to do this duet with James just because | 0:03:56 | 0:03:58 | |
I know that we have very good chemistry | 0:03:58 | 0:04:01 | |
and it will also be nice to spend more time with him. | 0:04:01 | 0:04:03 | |
So do you want to practise after rehearsals, | 0:04:03 | 0:04:05 | |
put something together? | 0:04:05 | 0:04:06 | |
I would but right after rehearsal I've got band practice. | 0:04:06 | 0:04:09 | |
-Oh, OK, why don't we meet here at three? -Three. Here at three. | 0:04:09 | 0:04:13 | |
-Yes. -Done. | 0:04:13 | 0:04:15 | |
-Hey, guys. -ALL: Hey! | 0:04:15 | 0:04:17 | |
When Michelle enters the studio, I just need to know if she's with us | 0:04:17 | 0:04:21 | |
or if she's leaving, cos we have to get this team ready. | 0:04:21 | 0:04:24 | |
So are you staying or are you going back to Madison? | 0:04:24 | 0:04:27 | |
I've decided to stay here. | 0:04:32 | 0:04:34 | |
CHEERING | 0:04:34 | 0:04:36 | |
Ultimately, my heart is with The Next Step. | 0:04:36 | 0:04:39 | |
I've got to be there for the team. | 0:04:39 | 0:04:40 | |
I'm so happy Michelle decided to stay. | 0:04:40 | 0:04:43 | |
We really, really need her on our team. | 0:04:43 | 0:04:46 | |
# I got two chicken feet | 0:04:53 | 0:04:58 | |
# And I'm trying to cross the road | 0:04:58 | 0:05:01 | |
# Running away from my Broken heart... # | 0:05:03 | 0:05:08 | |
I'm in band practice, just jamming out with my boys... | 0:05:08 | 0:05:11 | |
# I don't think you got a chicken head | 0:05:11 | 0:05:15 | |
# I think you got a chicken heart | 0:05:15 | 0:05:18 | |
# Because the way... | 0:05:18 | 0:05:21 | |
# I run away from love... # | 0:05:21 | 0:05:23 | |
James? | 0:05:23 | 0:05:25 | |
-Oh, yo, what's up? -Hi, did you lose track of time again? | 0:05:27 | 0:05:31 | |
Why, what time is it? | 0:05:31 | 0:05:33 | |
-3.30pm. -3.30pm. Oh! | 0:05:33 | 0:05:36 | |
I...forgot about rehearsals with Riley. | 0:05:36 | 0:05:39 | |
-I'm so sorry, I totally forgot. -No, it's OK. | 0:05:39 | 0:05:42 | |
But we still have 30 minutes in Studio A, do you want to rehearse? | 0:05:42 | 0:05:45 | |
-30 minutes. Oh, thing is, band practice is almost over. -OK. | 0:05:45 | 0:05:49 | |
-So maybe could we, I don't know, get some ideas out here? -Here? | 0:05:49 | 0:05:53 | |
-OK, you were talking about that lift. -Yes. | 0:05:53 | 0:05:55 | |
THE BAND PLAYS | 0:05:55 | 0:05:57 | |
-OK, this is not going to work. -What? | 0:05:57 | 0:05:59 | |
Why don't I just meet you in Studio A in ten minutes? | 0:05:59 | 0:06:01 | |
What are you talking about? | 0:06:01 | 0:06:03 | |
Man, you can't go, we need you. | 0:06:03 | 0:06:05 | |
You've got to finish band practice. | 0:06:05 | 0:06:07 | |
To be honest, my heart's kind of with the band right now. | 0:06:07 | 0:06:10 | |
I do want to stay here and practise. | 0:06:10 | 0:06:12 | |
-So why did you want to see me out here? -So James couldn't see us. | 0:06:15 | 0:06:20 | |
-See what? -I think we're far enough away from everyone. | 0:06:21 | 0:06:25 | |
I made you a map of all the sweet spots in our studio, | 0:06:25 | 0:06:29 | |
in the music room, and some outside as well. | 0:06:29 | 0:06:32 | |
Thalia and I like to search for positive energy, | 0:06:32 | 0:06:35 | |
or sweet spots, as we call it, to dance in. | 0:06:35 | 0:06:38 | |
And we're actually the only two that I know who can actually feel it. | 0:06:38 | 0:06:42 | |
It must be a shared bond between us. | 0:06:42 | 0:06:46 | |
-I can't wait till test them out. -Yeah, it'll be fun. | 0:06:46 | 0:06:48 | |
All right, I should probably go before James sees us so, see you. | 0:06:48 | 0:06:51 | |
Bye. | 0:06:51 | 0:06:53 | |
The map may seem romantic to someone like James but it's not. | 0:06:53 | 0:06:58 | |
He's so romantic. | 0:06:58 | 0:07:00 | |
# You set me on fire | 0:07:00 | 0:07:03 | |
# Your love is just like a flame | 0:07:03 | 0:07:05 | |
# You're burning me up | 0:07:05 | 0:07:06 | |
-# Fire -Fire... # | 0:07:06 | 0:07:10 | |
I'm in Studio A waiting for James, again. | 0:07:12 | 0:07:15 | |
Our rehearsal time is basically done, | 0:07:15 | 0:07:17 | |
so I don't know what I'm going to do. | 0:07:17 | 0:07:20 | |
-Hi. -Hi. -What are you doing now? | 0:07:22 | 0:07:25 | |
Well, I was supposed to be rehearsing with James but he kind of bailed. | 0:07:25 | 0:07:29 | |
So you're just waiting around for him to be ready? | 0:07:29 | 0:07:33 | |
I was but he's just juggling a lot of things right now. | 0:07:33 | 0:07:37 | |
We're just going to have to reschedule the rehearsal. | 0:07:37 | 0:07:39 | |
I'm just waiting for his band practice to be over. | 0:07:39 | 0:07:41 | |
OK. It's just... | 0:07:41 | 0:07:43 | |
Sorry, but I just think it's ridiculous | 0:07:43 | 0:07:46 | |
and boring that you're just waiting around for James to be ready. | 0:07:46 | 0:07:49 | |
I mean, I'm sorry, but do you want to be a ridiculous, boring person? | 0:07:49 | 0:07:54 | |
No. | 0:07:54 | 0:07:55 | |
Come on, then, let's go do something fun. | 0:07:55 | 0:07:58 | |
As much as I hate to admit it, Ella's right. | 0:08:01 | 0:08:05 | |
I shouldn't just be waiting around for James. | 0:08:05 | 0:08:08 | |
There should be a sweet spot right about here. | 0:08:17 | 0:08:21 | |
I asked Michelle to help me look for sweet spots around the studio. | 0:08:21 | 0:08:24 | |
She's been away for a while, | 0:08:24 | 0:08:25 | |
so I thought it would be a great opportunity to catch up. | 0:08:25 | 0:08:29 | |
OK, that is definitely a sweet spot. | 0:08:29 | 0:08:32 | |
Thalia has felt all these sweet spots, | 0:08:32 | 0:08:34 | |
but I don't feel anything, I don't get it. | 0:08:34 | 0:08:37 | |
Whoa. You need to try this one. | 0:08:39 | 0:08:42 | |
Move up a little bit. | 0:08:44 | 0:08:46 | |
-Anything? -No. | 0:08:46 | 0:08:48 | |
This spot feels like every other spot that we've tried out. | 0:08:48 | 0:08:50 | |
I really don't understand how she isn't feeling this sweet spot. | 0:08:50 | 0:08:53 | |
It's so strong. | 0:08:53 | 0:08:55 | |
Impossible, take off your shoes. | 0:08:55 | 0:08:57 | |
Oh, yes, I feel it! I feel it in the back, it's tingling. | 0:09:01 | 0:09:05 | |
Oh, a lot of tingling, that's a sweet spot, yeah. | 0:09:05 | 0:09:07 | |
Are you telling the truth? | 0:09:07 | 0:09:09 | |
No, I'm lying. | 0:09:09 | 0:09:11 | |
Let's keep going. | 0:09:11 | 0:09:12 | |
What are you doing? | 0:09:12 | 0:09:14 | |
Just wait. Trust me. | 0:09:14 | 0:09:15 | |
-Yeah? -Um... | 0:09:17 | 0:09:19 | |
Do I rock it? | 0:09:19 | 0:09:21 | |
'I've been hanging around with Ella a little while now,' | 0:09:21 | 0:09:24 | |
and things are getting stranger by the minute. | 0:09:24 | 0:09:27 | |
-So rotten that it just fell out. -You should try it. -Me? -Yeah! | 0:09:27 | 0:09:31 | |
No, I don't want to look silly. | 0:09:31 | 0:09:33 | |
Come on, silly is good. You need to join me here. | 0:09:33 | 0:09:36 | |
-Do it. -OK. -Yeah, come on. | 0:09:36 | 0:09:38 | |
All right, one more. You need to get... | 0:09:38 | 0:09:41 | |
-Oh, my goodness. -Beautiful. -Is it good? -Yeah. | 0:09:41 | 0:09:43 | |
Strike a pose for me. | 0:09:43 | 0:09:45 | |
'I really like making people have fun.' | 0:09:45 | 0:09:46 | |
I think I'm finally getting through to her. | 0:09:46 | 0:09:49 | |
-OK. What's next? -Right, I've got it. | 0:09:49 | 0:09:51 | |
So we're going to go up to the counter | 0:09:51 | 0:09:53 | |
and we're going to order some drinks and you have to be me | 0:09:53 | 0:09:55 | |
-and I have to be you. -I have to be you? | 0:09:55 | 0:09:57 | |
-Yeah, you have to do my English accent. -Oh, my gosh, OK. | 0:09:57 | 0:10:00 | |
So like, "Hi, my name's Ella." Try it. | 0:10:00 | 0:10:02 | |
-ENGLISH ACCENT: Hi, my name's Ella. -Yeah. | 0:10:02 | 0:10:03 | |
-Did I do it? Is it good? -A little bit Australian. | 0:10:03 | 0:10:06 | |
-A little bit Australian. I don't... -Hi. -Hi. -My. -My. -Name. -Name. | 0:10:06 | 0:10:09 | |
-Is. -Is. -Ella. -Ella. -Is. -Is. -Is. -Is. | 0:10:09 | 0:10:13 | |
Who knew that loosening up this much could be so much fun? | 0:10:14 | 0:10:17 | |
All right, now me, I'll try and do you. | 0:10:17 | 0:10:19 | |
-My name is Riley. -My name is Riley. | 0:10:19 | 0:10:22 | |
-Riley. -Riley. -Riley. -Riley. -Yeah! -Yeah? | 0:10:22 | 0:10:25 | |
Ella is definitely rubbing off on me a little bit. | 0:10:25 | 0:10:27 | |
-OK. -OK. | 0:10:27 | 0:10:28 | |
THEY GIGGLE | 0:10:28 | 0:10:29 | |
-AMERICAN ACCENT: -Hi, my name is Riley and I'd like to order a juice. | 0:10:31 | 0:10:35 | |
Thanks. | 0:10:35 | 0:10:36 | |
ENGLISH ACCENT:: Hi, my name is Ella | 0:10:36 | 0:10:38 | |
and I would like to order some tea and crumpets | 0:10:38 | 0:10:40 | |
and other British things. | 0:10:40 | 0:10:43 | |
Hanging out with Ella is actually really fun. | 0:10:43 | 0:10:46 | |
I mean, James never worries about being responsible, | 0:10:46 | 0:10:49 | |
so maybe I shouldn't either. | 0:10:49 | 0:10:51 | |
I just wrote Thalia a love letter, | 0:10:59 | 0:11:01 | |
just telling her pretty much how I feel about her | 0:11:01 | 0:11:04 | |
and I put it underneath the bench | 0:11:04 | 0:11:06 | |
because that's the last spot on the sweet spot map. | 0:11:06 | 0:11:09 | |
James says that I'm not allowed to tell Thalia how I feel | 0:11:10 | 0:11:15 | |
but he never said anything about writing how I feel. | 0:11:15 | 0:11:18 | |
I just outsmarted James. | 0:11:18 | 0:11:20 | |
Just finished band practice, so I text Riley up | 0:11:22 | 0:11:24 | |
to let her know that I'm available to rehearse now. | 0:11:24 | 0:11:26 | |
THEY LAUGH | 0:11:26 | 0:11:29 | |
PHONE CHIMES | 0:11:29 | 0:11:31 | |
Ugh. | 0:11:31 | 0:11:32 | |
Oh, so now James has time for me? | 0:11:32 | 0:11:34 | |
No, I don't think so, I'm busy. | 0:11:34 | 0:11:36 | |
-Is it James? -Yeah. | 0:11:36 | 0:11:38 | |
I don't want to deal with him right now. | 0:11:38 | 0:11:40 | |
I mean, I was waiting for him all day long, | 0:11:40 | 0:11:43 | |
so now it's his turn to wait for me. | 0:11:43 | 0:11:45 | |
# Come on, give it up... # | 0:11:47 | 0:11:49 | |
There it is, right there. | 0:11:53 | 0:11:55 | |
-Do you feel anything? -Nothing. | 0:11:57 | 0:12:00 | |
It's a good thing that Thalia and Eldon found each other | 0:12:00 | 0:12:02 | |
because they're both crazy and they're the only two people | 0:12:02 | 0:12:05 | |
on the planet that believe in these sweet spots. | 0:12:05 | 0:12:08 | |
Michelle that is, like, the strongest one. | 0:12:08 | 0:12:10 | |
I don't understand how you're not feeling this. | 0:12:10 | 0:12:13 | |
Thalia, can we just go someplace else? | 0:12:16 | 0:12:18 | |
No, I really like this spot. I'm going to stay here. | 0:12:18 | 0:12:21 | |
There's supposed to be one in the hallway, | 0:12:21 | 0:12:23 | |
-if you want to go look for it. -Sure. I'll go. | 0:12:23 | 0:12:26 | |
Thalia has given me the map to look for the sweet spots in the hallway. | 0:12:27 | 0:12:31 | |
And I find this letter, | 0:12:39 | 0:12:41 | |
and I discover that it's a love letter from Eldon to Thalia. | 0:12:41 | 0:12:47 | |
It's just the most romantic thing ever. | 0:12:47 | 0:12:49 | |
Eldon must really like Thalia. | 0:12:49 | 0:12:52 | |
I cannot wait to give Thalia this letter. | 0:12:57 | 0:12:59 | |
We've been having such a great time today, | 0:13:07 | 0:13:09 | |
so I'm sure whatever Ella has planned will be awesome. | 0:13:09 | 0:13:12 | |
-I have the best idea. -OK. | 0:13:12 | 0:13:14 | |
-I'm going to teach you how to play football. -Why? | 0:13:15 | 0:13:19 | |
Because it loosens and refreshes all your dancery muscles | 0:13:19 | 0:13:23 | |
in a completely new way and you get to kick a ball. | 0:13:23 | 0:13:27 | |
Right, OK. Move back. Let's go. | 0:13:27 | 0:13:29 | |
I don't know about this. Maybe we should go outside. | 0:13:29 | 0:13:31 | |
'I am way too uncomfortable with this.' | 0:13:31 | 0:13:34 | |
I do not want to be playing soccer in Studio A. | 0:13:34 | 0:13:37 | |
-It's fine, just carry on. Ready? I'm going to hit it. -OK. | 0:13:37 | 0:13:40 | |
Really? Come on, a little bit harder than that. Just let go, it's fine. | 0:13:44 | 0:13:48 | |
You're not going to break anything. | 0:13:48 | 0:13:50 | |
Step back a little bit. A little bit more. Yeah. | 0:13:51 | 0:13:54 | |
Give it a big whack. Go. | 0:13:54 | 0:13:58 | |
SMASHING | 0:13:58 | 0:13:59 | |
We walk over to see that the Nationals trophy is broken. | 0:14:13 | 0:14:17 | |
I don't know what to do, because Miss Kate is going to kill us. | 0:14:17 | 0:14:21 | |
Whoops. | 0:14:21 | 0:14:23 | |
I'm in Miss Kate's office right now | 0:14:35 | 0:14:37 | |
because Ella and I broke the Nationals trophy. | 0:14:37 | 0:14:42 | |
I am so disappointed in you two. | 0:14:42 | 0:14:43 | |
This trophy is not ours to break. | 0:14:45 | 0:14:46 | |
I need to give this to the team that wins Nationals next year. | 0:14:46 | 0:14:49 | |
Well, if you win Nationals next year, | 0:14:49 | 0:14:51 | |
you could just give the trophy to yourself, right? | 0:14:51 | 0:14:54 | |
And then no-one will ever know. | 0:14:54 | 0:14:56 | |
Oh, that would just be fantastic but that is not the point. | 0:14:56 | 0:14:59 | |
Do you know how expensive it's going to be to fix this thing? | 0:14:59 | 0:15:01 | |
I am so sorry, Miss Kate. | 0:15:01 | 0:15:03 | |
-Why don't I teach to work it off? -Fine. | 0:15:03 | 0:15:06 | |
Weekends for the rest of your life, if that's how long it takes. | 0:15:06 | 0:15:10 | |
-Yeah, I'm in. -You're not even going to be here | 0:15:10 | 0:15:12 | |
long enough to pay it off. | 0:15:12 | 0:15:14 | |
That's the happiest thing I've heard all day. | 0:15:14 | 0:15:17 | |
Both of you out. Now. | 0:15:17 | 0:15:19 | |
Nothing seems to faze this girl. | 0:15:22 | 0:15:24 | |
I'm just waiting for Thalia to arrive, | 0:15:31 | 0:15:32 | |
so I can give her the love note that I found. | 0:15:32 | 0:15:35 | |
Can I get a juice? | 0:15:35 | 0:15:36 | |
I haven't heard anything back from Riley yet. | 0:15:36 | 0:15:38 | |
So I'm just going to chill until I hear back from her. | 0:15:38 | 0:15:42 | |
-Hey, Michelle, what are you doing? -Hey. | 0:15:42 | 0:15:44 | |
-What's up? -Nothing. | 0:15:44 | 0:15:46 | |
Thalia and I were out all day looking for these sweet spots. | 0:15:46 | 0:15:49 | |
Sweet spots? Wow, it sounds like something Eldon would do. | 0:15:49 | 0:15:52 | |
Yeah, it is. Eldon gave Thalia this whole map of all these sweet spots | 0:15:52 | 0:15:56 | |
and I found this letter that Eldon wrote to Thalia. | 0:15:56 | 0:15:59 | |
It's so cute. | 0:15:59 | 0:16:01 | |
'Hold on.' | 0:16:01 | 0:16:02 | |
Eldon is writing Thalia love notes? | 0:16:02 | 0:16:05 | |
No, he has not reached 30 pirouettes yet. | 0:16:05 | 0:16:08 | |
-Can I just see...? Could I...? -Well, I... | 0:16:08 | 0:16:10 | |
Sure. | 0:16:12 | 0:16:13 | |
Right, you know what, Michelle? I can take it from here. | 0:16:16 | 0:16:18 | |
This love letter is in direct violation | 0:16:18 | 0:16:21 | |
of the 30-pirouette agreement. | 0:16:21 | 0:16:23 | |
I can not believe we broke the Nationals trophy. | 0:16:26 | 0:16:29 | |
Stuff happens, you know. | 0:16:31 | 0:16:33 | |
-Yeah, cos we were playing soccer in the studio. -What's next? | 0:16:33 | 0:16:37 | |
Why don't we rehearse? | 0:16:37 | 0:16:39 | |
Why don't you teach me some moves from England? | 0:16:39 | 0:16:41 | |
Or not. Why can't we do something fun? | 0:16:43 | 0:16:47 | |
I am done with Ella and her stupid games. | 0:16:47 | 0:16:50 | |
OK, you know what? I'm going to find James | 0:16:50 | 0:16:52 | |
and see if he wants to rehearse. | 0:16:52 | 0:16:53 | |
OK, that's fine, go back to sitting around waiting for James. | 0:16:53 | 0:16:57 | |
My life is more exciting than that. | 0:16:57 | 0:16:59 | |
Oh, really? | 0:16:59 | 0:17:01 | |
Besides today, what was the most exciting thing you ever did? | 0:17:01 | 0:17:04 | |
I...got my braces off. | 0:17:07 | 0:17:08 | |
Oh, that's so tragic. | 0:17:10 | 0:17:13 | |
Look, right, sometimes in life things have consequences | 0:17:13 | 0:17:18 | |
but what's the alternative? | 0:17:18 | 0:17:21 | |
Sitting around waiting for something good to happen? | 0:17:21 | 0:17:24 | |
Come on. | 0:17:24 | 0:17:25 | |
'Maybe Ella's right. I do need more excitement in my life.' | 0:17:26 | 0:17:30 | |
But how do I do that? | 0:17:30 | 0:17:33 | |
'I'm walking into Hidalgo's with Thalia right now' | 0:17:39 | 0:17:43 | |
and I don't know why James wants us to meet there. | 0:17:43 | 0:17:45 | |
I'm thinking maybe he's going to let us date finally. | 0:17:45 | 0:17:49 | |
I need to talk to you guys about something. | 0:17:49 | 0:17:52 | |
What did I say about talking to each other? | 0:17:52 | 0:17:54 | |
How did James get this note? | 0:17:54 | 0:17:57 | |
Is that a love letter? | 0:17:57 | 0:17:59 | |
No, no, it's nothing. It's my... | 0:17:59 | 0:18:01 | |
-Oh, is it nothing? -It's nothing? | 0:18:01 | 0:18:04 | |
No, it's a... | 0:18:04 | 0:18:05 | |
Hey, why don't we see if it sounds like nothing? | 0:18:05 | 0:18:09 | |
"I get lost in the hazelnut pools of your eyes." | 0:18:11 | 0:18:16 | |
You said that? | 0:18:16 | 0:18:17 | |
Yeah, although I wasn't sure if hazelnut was one or two words. | 0:18:17 | 0:18:21 | |
It's one word. | 0:18:21 | 0:18:22 | |
I think it's really sweet Eldon wrote me a love note. | 0:18:22 | 0:18:24 | |
I wish I could read the whole thing. | 0:18:24 | 0:18:26 | |
Oh, that's so cute. | 0:18:26 | 0:18:28 | |
It gets worse. | 0:18:28 | 0:18:29 | |
"When you dance, I see invisible bolts of lightning | 0:18:29 | 0:18:33 | |
"shoot from your body." | 0:18:33 | 0:18:35 | |
James seems pretty mad | 0:18:35 | 0:18:37 | |
but I'm more focused on Thalia and Thalia seems to like it. | 0:18:37 | 0:18:41 | |
If it's invisible, you cannot see them. | 0:18:41 | 0:18:44 | |
I felt it. | 0:18:44 | 0:18:45 | |
Seriously, Eldon! | 0:18:45 | 0:18:47 | |
You know what, I think I made my point. | 0:18:47 | 0:18:49 | |
From now on, no talking, no direct communication | 0:18:49 | 0:18:53 | |
and definitely no letters. | 0:18:53 | 0:18:56 | |
-Yeah, but he's not... -No, no, no, no. | 0:18:56 | 0:18:58 | |
This is for your own good. | 0:18:58 | 0:19:00 | |
I understand that 30 pirouettes is a lot, it's almost impossible. | 0:19:00 | 0:19:03 | |
And, hey, I could make it lower. | 0:19:03 | 0:19:05 | |
But do you really want to be a 21/22 pirouette kind of relationship? | 0:19:05 | 0:19:10 | |
Or do you two want to be a 30 pirouette relationship? | 0:19:10 | 0:19:13 | |
I want to be with you. | 0:19:15 | 0:19:17 | |
I want to be with you, too. | 0:19:17 | 0:19:19 | |
I've never liked a girl like I like you. | 0:19:19 | 0:19:22 | |
I just want to know that I'm ready for it. | 0:19:25 | 0:19:27 | |
I don't want anything to mess this up. | 0:19:27 | 0:19:29 | |
So if 30 pirouettes is what it takes... | 0:19:29 | 0:19:32 | |
..then I want a 30-pirouette relationship. | 0:19:33 | 0:19:36 | |
Good. I'm glad we could finally all agree on something. | 0:19:36 | 0:19:39 | |
Now, no more communication whatsoever. | 0:19:39 | 0:19:42 | |
Get out of my sight. | 0:19:42 | 0:19:44 | |
'I'm glad that we're all on the same page now.' | 0:19:44 | 0:19:46 | |
I believe in these two. | 0:19:46 | 0:19:48 | |
Riley and I have finally found some time | 0:19:56 | 0:19:58 | |
to work on our duet, and we're just getting started. | 0:19:58 | 0:20:01 | |
Did you get my text message earlier? | 0:20:01 | 0:20:04 | |
Oh, yes, I did but I was busy with Ella, so... | 0:20:04 | 0:20:08 | |
Oh, Ella. | 0:20:08 | 0:20:09 | |
'I can't believe Riley ignored my text.' | 0:20:09 | 0:20:12 | |
Then she just blows me off. | 0:20:12 | 0:20:15 | |
Can I ask you a question? | 0:20:15 | 0:20:17 | |
Yeah, shoot. | 0:20:17 | 0:20:19 | |
You're always doing crazy stuff and not worrying about the consequences. | 0:20:19 | 0:20:22 | |
How do you do it? | 0:20:22 | 0:20:24 | |
I don't know, you just live in the moment. | 0:20:24 | 0:20:27 | |
Stop worrying about what's going to happen to you after the fact | 0:20:27 | 0:20:30 | |
so much and just take in what's happening now. | 0:20:30 | 0:20:33 | |
OK, but if you're not worrying about anything, | 0:20:34 | 0:20:37 | |
then how do you know if you've gone too far? | 0:20:37 | 0:20:40 | |
Well, actually, that's the great thing about you. | 0:20:40 | 0:20:43 | |
I mean, you're the sensible one. | 0:20:43 | 0:20:46 | |
When you're around, I don't really have to worry about that. | 0:20:46 | 0:20:49 | |
James likes me because I'm the sensible one in our relationship. | 0:20:52 | 0:20:56 | |
But maybe that's not who I want to be anymore. | 0:20:57 | 0:21:00 | |
# We, we're going to show the world | 0:21:04 | 0:21:10 | |
# Everything we're made of | 0:21:10 | 0:21:14 | |
# We're going to tear The roof off this place | 0:21:14 | 0:21:19 | |
# You, you can never fade us out | 0:21:20 | 0:21:25 | |
# Don't even ask the DJ | 0:21:25 | 0:21:28 | |
# Everybody knows we own this land. # | 0:21:28 | 0:21:32 |