:00:12. > :00:18.Last week glitter and sparkles exploded on to the Strictly dance
:00:18. > :00:23.floor. # Baby you're a firework
:00:23. > :00:31.As our 11 fire crackers fought for place in the top ten.
:00:31. > :00:37.Some sky rocketed. A-maz-ing. sizzled. It is like looking in the
:00:37. > :00:42.mirror. Some failed to go off. Disaster. Time ran out for our
:00:42. > :00:44.secret agent. Who learned that sequins aren't forever.
:00:44. > :00:50.Tonight...$$NEWLINE # Here comes the girls
:00:50. > :00:55.Claudia, it's just me and you, no Brucie, I'm nervous. It is an
:00:55. > :01:05.iconic line, if we mess it up, he's going to be livid. Nice to see you,
:01:05. > :01:07.
:01:08. > :01:15.to see you, nice! Good Tess, you've got it. I'll give it a go, nice to
:01:15. > :01:20.see...you, to see...you. Maybe we need a second opinion. Any excuse
:01:20. > :01:28.for a celebrity montage. Baker it is Winkleman, I need your help.
:01:28. > :01:36.it is nice to see you. Hi Claudia, nice to see you. Shane it's Tess.
:01:36. > :01:43.Nice to see you, to see you nice? Thank you very much. Zoe? Nice to
:01:43. > :01:48.see you...Already Vernon. It's nice to see you, to see you nice. Don't
:01:48. > :01:56.you start. No, no girls, you are not giving it enough razzmatazz. It
:01:56. > :02:02.should be, nice to see you, to see you, nice! Got that then, tar ra.
:02:02. > :02:11.Bruce gives it much more gravitas. It is like this, nice to see you,
:02:11. > :02:21.to see u...nice! Thank you She's amazing. We can do that.
:02:21. > :02:57.
:02:57. > :03:07.Live, from Television Centre, please welcome your hosts, Tess
:03:07. > :03:29.
:03:29. > :03:33.Well, good evening ladies and gentlemen, and welcome to Strictly
:03:33. > :03:41.Come Dancing. Now, are you absolutely sure he's not here?
:03:41. > :03:46.Positive. And you're sure he won't mind? He has given me his express
:03:46. > :03:52.permission, to use the emortal words, "it's a first". I must say,
:03:52. > :03:59.I'm very nervous, shall we do that together. Shall we hold hands?
:03:59. > :04:09.Let's hold more than that. 1-2-3. It's nice to see you, to see you,
:04:09. > :04:12.nice! For you, Brucie, for you. To be truthful, that was freakishly
:04:12. > :04:16.empowering. It felled good. A big night tonight, not only are the
:04:16. > :04:20.girls in the show, but we are at the halfway point of the
:04:20. > :04:24.competition. With the top ten couples, all dancing to make it to
:04:24. > :04:30.Wembley! APPLAUSE
:04:30. > :04:34.Not everyone will get the chance to dance in the iconic arena, as one
:04:34. > :04:38.couple will leave the competition this weekend. Sad, but true, our
:04:38. > :04:48.couples are ready to do battle in the ballroom. Let's bring on the
:04:48. > :04:54.stars of our show. Snuggle in! Kimberley Walsh and her partner.
:04:54. > :04:58.West life's Nicky Byrne and his partner Karen. TV presenter, Fern
:04:58. > :05:07.Britton, and Artem Chigvintsev. Cricket legend, Michael Vaughan,
:05:07. > :05:12.and his partner, Natalie Lowe. Soap star Lisa Riley and her partner
:05:12. > :05:17.Robin Windsor. Olympic gymnast, Louis Smith, and partner, Flavia
:05:17. > :05:22.Cacace. Dani Harmer with partner Vincent Simone, presenter,
:05:22. > :05:26.performer, Denise Van Outen, and her partner, James Jordan. Showbiz
:05:26. > :05:36.reporter, Richard Arnold, and Erin Boag. And finally, Olympic golden
:05:36. > :05:46.
:05:46. > :05:49.girl cyclist, Victoria Pendleton, I think you will agree they are a
:05:49. > :05:54.good-looking group. Our top ten dressed to the nines. I must admit
:05:54. > :06:00.I'm slightly disappointed, Artem has a shirt on.
:06:00. > :06:06.Almost got a shirt on. Nice hat, Brendan, by the way. He hates the
:06:06. > :06:11.hat. It's a delight. Fully dressed stars are dancing for judges'
:06:11. > :06:16.scores and your votes at home. Their dancing fate is in your hands,
:06:16. > :06:21.the two couplings with the lowest public votes and judges' course
:06:21. > :06:26.will be in the bottom two and dance for their place. And will be off
:06:26. > :06:31.the show forever. On the red button is the brilliant Karen Hardy, and
:06:31. > :06:37.joining us this week is John Culshaw. Hello, good to see you
:06:37. > :06:45.both. If you want to hear their words of wisdom, why wouldn't you,
:06:45. > :06:49.press red now, you are good to go. Are we ready? Not really! It's time
:06:49. > :06:55.to start the dancing. The first couple is Denise Van Outen and
:06:55. > :06:59.James Jordan. Lady in red. Now then, they are
:06:59. > :07:03.doing the paso doble, in this dance the man does a lot of foot stamping.
:07:03. > :07:13.So the one thing that James didn't want to do this week was damage his
:07:13. > :07:14.
:07:14. > :07:20.I really enjoyed dancing the Viennese Waltz, I loved every
:07:20. > :07:23.second of it. Flowing, fluid, the rotation of equisite. As soon as we
:07:23. > :07:27.finished the dance, I just hugged James, because I was so relieved
:07:27. > :07:36.that I got it right. Because I have messed it up so many times before
:07:36. > :07:41.the live show. Poise, posture, perperformance. I was over the moon.
:07:41. > :07:46.Three nines, yeah! It has been a little bit of a difficult start to
:07:46. > :07:52.the week, James is injured. I have really hurt my ankle, couldn't even
:07:52. > :07:58.walk and I have been back and forth from the doctors all week.
:07:58. > :08:04.So Ian is dancing with Denise for me. Not for too long. Left arm
:08:04. > :08:09.across, spin. Ian is so good looky, he's dreamy.
:08:09. > :08:14.# I'm just a jealous guy. What are you laughing at? We have work to do.
:08:14. > :08:21.He's a really good teacher, fantastic physique. Denise, I got
:08:21. > :08:25.you a water. I'm fine, thanks, Ian already got me an extra hot, double
:08:25. > :08:29.shot mocha, with sprinkles. There is so much chemistry between
:08:29. > :08:33.me and Ian, it is like fireworks on the dance floor. Where's Ian?
:08:33. > :08:38.What's that noise? I don't know. By hook and by crook I will be dancing
:08:38. > :08:44.on Saturday night. You have got some explaining do!
:08:44. > :08:54.# I'm just a jealous guy Dancing the paso doble, Denise Van
:08:54. > :09:10.
:09:10. > :09:18.# The seven nation army # Couldn't hold me back
:09:18. > :09:21.# They gonna rip it off # Taking a time like behind me back
:09:21. > :09:30.# And I'm talking to myself at night
:09:30. > :09:33.night # Because I can't forget
:09:33. > :09:37.# Bach and back and forth through my mind
:09:37. > :09:47.# Like a cigarette # In the mist that's coming from my
:09:47. > :09:47.
:09:47. > :10:41.Apology for the loss of subtitles for 54 seconds
:10:41. > :10:51.eyes That was a red-hot paso doble. They
:10:51. > :10:54.are on their feet. Standing ovation. Receipt-hot paso there, Denise --
:10:54. > :10:58.red-hot paso there, Denise and James. How is the footholding up?
:10:58. > :11:03.It is OK, the doctor says I can't damage it any more, he said just
:11:03. > :11:06.take the pain. So I did. And that was absolutely phenomenal, what
:11:06. > :11:11.start to the show. It wouldn't be a show without this little lot. Let's
:11:11. > :11:18.have a cheer for the judges, Bruno Len and Darcey.
:11:18. > :11:21.APPLAUSE Let's have a big boo for Craig!
:11:21. > :11:26.BOO! I don't mean to be rude, sorry
:11:26. > :11:32.Craig, we might as well start as we mean to go on. Len, a tough week
:11:33. > :11:39.for Denise and James, how did they cope with the paso.
:11:39. > :11:41.Paso doble, I can hardly pass a comment. I thought it was fantastic,
:11:41. > :11:46.flair in the moment, care in the technique. You captured the
:11:46. > :11:54.character of the dance. You moved well, I thought it was terrific.
:11:54. > :12:00.Thank you. Bruno? Denise, the red menace. With
:12:00. > :12:05.a conquering power of a firestorm. The ardent and vibrant beauty and
:12:05. > :12:10.flavour of Spain, you have it all together. But jokes apart, I'm
:12:10. > :12:15.telling you, your lines, the way you finish your Spanish lines, with
:12:15. > :12:22.slight hint of Flamenco, which very, very few people do, was absolutely
:12:22. > :12:27.wonderful to look at. Craig what did you think? There was
:12:27. > :12:37.one balance issue, down here, sadly, and the side-by-side section, I
:12:37. > :12:41.have to say, drama, passion, the cheny turpbs were out of this world.
:12:41. > :12:48.Your charms -- turns, were out of this world. Your charms, and
:12:48. > :12:53.working with Ian has done you wonders!
:12:53. > :12:57.I would consider swapping partners, darling. I'm keeping James!
:12:57. > :13:02.thanks to Ian though. Darcey, did the paso do it for you? The guys
:13:02. > :13:07.are right. It is the most exciting role I have seen you dance, and
:13:07. > :13:16.perform. You played the role brilliantly. And Craig is right,
:13:16. > :13:18.the under arm cheney turns were immaculate. I lead that, let's not
:13:18. > :13:28.forget that! A great paso doble, fabulous.
:13:28. > :13:30.
:13:30. > :13:34.Thank you very much. Ladies and gentlemen, Denise and James.
:13:34. > :13:38.Well done. Thank you. Ian's here, it must have
:13:38. > :13:45.been tough, you had to dance with two boys? I have had had a lovely
:13:45. > :13:52.time. Ian's been amazing, thank you so much. Thank you, mate.
:13:52. > :13:56.I'm a bit bigger than James, it is a bit difficult to get used to.
:13:56. > :14:01.it went wrong I was going to blame him. Your foot almost fell off.
:14:01. > :14:04.Guild it up! It was bad, but Ian stood in, so that was fantastic,
:14:04. > :14:07.Denise has had a really tough week, because it is difficult dancing
:14:07. > :14:13.what with two totally different dancers, you are about six foot
:14:13. > :14:19.taller than me. It has been tough for her, but she is amazing as
:14:19. > :14:29.always. Thank you James. Scores are Time to get the scores from the
:14:29. > :14:43.
:14:43. > :14:47.I can't believe it. Those are the highest scores of the series, huge
:14:47. > :14:53.congratulations. Guess who will get all the credit. Ian! Well done Ian,
:14:53. > :14:59.we have made you a crown. Now, once all our star turns have danced, we
:14:59. > :15:09.will open the phone lines to vote. There are two ways to do it, each
:15:09. > :15:12.costing 50p. Have they done enough to win your vote. If the resounding
:15:12. > :15:15.to win your vote. If the resounding answer is yes call :
:15:15. > :15:22.You can't vote until all the couples have danced, I will be
:15:22. > :15:30.quite strict about that, really, look at my face, back to you.
:15:30. > :15:35.What a receipt-hot start to the show, amazing, our next couple is
:15:36. > :15:40.Richard Arnold and Erin Boag. The last week Richard, big spender,
:15:40. > :15:45.left him spent, and in the dance- off for the second time. Tonight
:15:45. > :15:47.he's hoping a cheeky Charlesen to won't make it third time unlucky,
:15:47. > :15:55.won't make it third time unlucky, and will see him safely through to
:15:55. > :16:00.Wembley. # Good looking, so refined. Oh no,
:16:00. > :16:05.go on. I forgot everything. Just went
:16:05. > :16:09.blank. I won't lie to you, it was terrifying, I was numb. It was like
:16:09. > :16:14.a puppet when you cut the strings. You have heard about this happening
:16:14. > :16:17.to people before, you never imagine it will happen to you.
:16:17. > :16:22.Going into the dance-off was a relief, it meant I could go out and
:16:22. > :16:27.do to properly. I have to say Richard.
:16:27. > :16:33.We were over the moon to still be here. I think she's going to be
:16:33. > :16:39.quite strict this week. I'm thrilled to be back, because I
:16:39. > :16:43.get to the Charleston. It couldn't be more me, I get to pull funny
:16:43. > :16:46.faces and do jazz hands. The judges keep asking, they want to see the
:16:46. > :16:51.real Richard Arnold, on Saturday night, I'm going to be the real
:16:51. > :16:55.Richard Arnold, if I get the steps right and if I can remember them. I
:16:55. > :16:58.never dreamed for one second that I would ever get to this point in the
:16:58. > :17:04.competition, where Wembley was actually a possibility. If I can
:17:04. > :17:09.just nail this Charleston. Just to increase the jeopardy this week,
:17:09. > :17:15.this is the first time I have done a dance where I can lift Erin.
:17:15. > :17:20.have to be really honest, I'm really nervous about the flip.
:17:20. > :17:25.could drop Erin on her head, I'm not sure in Strictly law, that is
:17:25. > :17:35.better or worse than forgetting your entire routine.
:17:35. > :17:53.
:17:53. > :17:57.Dancing the Charleston. Richard Full Of skaed lead.
:17:57. > :18:01.# I've got a sheet for my bed # And pillow for my head
:18:01. > :18:05.# I've got a pencil full of led # And water for my throat
:18:05. > :18:09.# I've got buttons on my coat # And sails on my boat
:18:09. > :18:13.# So much more than I needed beforele # Some shoes on my feet
:18:13. > :18:23.# A shelf of books and most of my teeth
:18:23. > :18:29.
:18:29. > :18:33.# I've got food in my belly # And nothing's gonna bring me down
:18:33. > :18:37.Nothing nothing gonna bring me down # I got a nice guitar
:18:37. > :18:41.# And tyres on my car # I'm out and about
:18:41. > :18:46.# And I'm in with a shout # I got a fair foot
:18:46. > :18:50.# Better than that # Food on my belly
:18:50. > :18:53.# And license for my telly # Nothing's gonna bring me down
:18:53. > :18:57.# Best of all # I've got my baby
:18:57. > :19:01.# Best of all I've got my baby # She's mine
:19:01. > :19:11.# And nothing's gonna bring me down # She's mighty fine
:19:11. > :19:17.
:19:17. > :19:23.# And she's all mine APPLAUSE
:19:23. > :19:28.That's what you call a cheeky Charleston. Come on over.
:19:28. > :19:33.King of the comeback. Last week you were a gangster, this week a
:19:33. > :19:37.hairdresser, which one suits you best? Trolley dolly, wait for next
:19:37. > :19:42.week. Plom misses, promises. I have a feel -- Promises, promises.
:19:42. > :19:49.have a feeling we saw the real Richard. Talk about high on hair
:19:49. > :19:54.spray, watching like two go mad at nicky Clarke's. Plenty of
:19:54. > :20:01.highlights but Saul slapstick, Erin, you must be very, very sore, he was
:20:01. > :20:07.really getting into it. Always time to start. I loved the running at
:20:07. > :20:10.the end, it was like Miranda Hart running for the bus! At least in
:20:10. > :20:19.the Charleston it is all about performance, slapstick and comdee.
:20:19. > :20:25.That was all there. A bit more swivel in the feet, but great fun.
:20:25. > :20:28.Craig, what did you make of it? Quirky, eccentric, groovy, very
:20:28. > :20:35.character-driven, which suits you, loved all the shouldn't, the truck
:20:35. > :20:45.and step, that was pretty cool. Good truck and step. I could have
:20:45. > :20:46.
:20:46. > :20:52.done without the spanky bottom. you sure! You did lose a little bit
:20:52. > :20:55.of timing, I have to say your best dance to date
:20:55. > :20:59.APPLAUSE Coming from Craig that means an
:20:59. > :21:05.awful lot. Darcey, did it do it for you? That was a fab Charleston.
:21:05. > :21:09.There was so many moves in that. I'm so glad you said that! I so
:21:09. > :21:12.enjoyed the choreography, Erin, fabulous job. Watch your flat feet,
:21:13. > :21:17.all the way through, you have to be on the toes, also to create the
:21:17. > :21:20.spin. So if you got on the edge of a stairs and you did rises, then
:21:20. > :21:28.you would get those muscles really working and you would understand
:21:28. > :21:33.what I'm talking about. I think I understand, rrrrr! Really enjoyed
:21:33. > :21:40.it. From the judges, how about you, Len, do you agree? I don't know
:21:40. > :21:45.about Nicky Clarke, it was Teesy Weasy. You can do me a haircut, a
:21:45. > :21:48.number two up the back and a bit at the front. If a dance is going to
:21:49. > :21:54.suit anyone, it was this. It was light, bright, fun, frivolous, you
:21:54. > :21:57.did a good job, well done. Thank you guys. You can't ask for better
:21:57. > :22:07.than that. Your best dance. Richard and Erin, ladies and gentlemen. Off
:22:07. > :22:11.
:22:11. > :22:16.you go. Listen to the family. You clever
:22:16. > :22:20.cat, the judges loved it. They said your best dance to date. That is
:22:20. > :22:25.lovely to hear half way through. We would love to get to Wembley, it is
:22:25. > :22:31.the furthest my dad thought I would get, because my sporting prowess
:22:31. > :22:35.isn't any good. Better with a root perm. I landeded on my feet, I
:22:35. > :22:40.can't tell you how nervous I was, not that I didn't trust you, it was,
:22:40. > :22:44.sometimes I landed on my head. had no idea that American tan would
:22:44. > :22:54.be my colour, what a view! It was a treat, thank you Richard. The
:22:54. > :23:10.
:23:10. > :23:15.That is the highest score of the series. Thank you, thank you.
:23:15. > :23:19.You don't want to be in the bottom two against? I'm rinsed, I have
:23:19. > :23:23.done it enough. I know a few who would. Look ahead, look at his
:23:23. > :23:33.little face, look at him. He look like an otter, who is slightly
:23:33. > :23:34.
:23:34. > :23:38.unwell. Call this number. Don't vote until all the couples have
:23:38. > :23:45.danced. Your vote won't count, and I will get, very, very angry. Look
:23:46. > :23:52.at me, livid. Our next couple tonight is Louis
:23:52. > :23:58.Smith and his partner, Flavia Cacace.
:23:58. > :24:02.Last week Lowe did the samba, but only three -- Louis did the samba,
:24:02. > :24:07.but only three of the judges got in the partied mood. What about the
:24:07. > :24:11.Waltz, here is how they got on with training. Saturday night was
:24:11. > :24:16.successful. I was really ill on the Friday. And Flavia was ill on
:24:16. > :24:21.Saturday. Flaf have a -- Flavia said let's go out there and let rip
:24:21. > :24:24.and you can die afterwards. Every dance studio in Britain will be
:24:24. > :24:32.congratulating you, because there was so many recoginsable samba
:24:32. > :24:40.steps. Backwalk, the platz, the maypole,
:24:40. > :24:49.rolling off the arm. All great, well done.
:24:49. > :24:54.That was harsh, anyone else agree? No. I thought it was harsh.
:24:54. > :24:58.Louis is a little bit naughty in training. No, that's exactly what I
:24:58. > :25:02.don't want. His mum came in today. Hi. And he was on his best
:25:03. > :25:06.behaviour, for a bit. Mum is here with food, trying to fatten me up.
:25:06. > :25:11.She used the food as a reason to come in and see if I was training
:25:11. > :25:18.as hard as I should be. I have a little roll of Sellotape, you could
:25:19. > :25:24.tape his thumb down. Kicking my back side when I'm to train with
:25:24. > :25:29.Flavia. That was encouragement. I got to Wembley my mum would have
:25:29. > :25:34.a smile from either-to-ear, I would want to do that. Can I have a break
:25:34. > :25:39.now, I'm tired? When you have finished your routine! OK. Love you
:25:39. > :25:49.mum, can you get out of here. Dance the Waltz, Louis Smith and
:25:49. > :25:55.
:25:55. > :25:58.# Moon river # Wider than a mile
:25:58. > :26:06.# I'm crossing you in style # I'm crossing you in style
:26:06. > :26:13.# Some day # Oh dream maker
:26:13. > :26:22.# You heartbreaker # Whenever you're going
:26:22. > :26:30.# I'm going your way # Two drifters
:26:30. > :26:40.# Off to see the world # You're such a lot of world
:26:40. > :26:40.
:26:40. > :26:46.# To see # We're after that same
:26:46. > :26:56.# Rainbow's end # Waiting round the bend
:26:56. > :27:06.# My Huckleberry friend # Moon river
:27:06. > :27:19.
:27:20. > :27:23.# And me APPLAUSE
:27:23. > :27:28.On their feet in the studio, standing ovations for Louis and
:27:28. > :27:31.Flavia. They are on their feet, Louis, this
:27:31. > :27:36.is getting to be a habit. You must be over the moon with that Very
:27:36. > :27:43.happy, a bit of a wobble in rehearsal. You get your breath back,
:27:43. > :27:51.while we welcome our fabulous singers. Hayley, Tommy, Andrea and
:27:51. > :27:56.lance. As well as Dave Arch and his fantastic orchestra.
:27:56. > :28:05.Craig, did you get into the swing of that Waltz? Not entirely, I'm
:28:05. > :28:08.afraid. I didn't like that fuerte turn at the top, it was very
:28:08. > :28:12.pedestrain. If you're going to do something like that, you have to be
:28:12. > :28:16.really good at it, because you are out there by yourself. You are
:28:16. > :28:22.wrong, I'm sorry, it was good, wasn't it. Also I felt you were
:28:22. > :28:27.getting a little bit out of time in the middle of it. It didn't feel
:28:27. > :28:32.like there was a very clear. (booing from the audience) There
:28:32. > :28:37.wasn't a clear downbeat. But that being...that being said there was a
:28:37. > :28:41.beautiful amount of rise and fall, I thought the pivots were very good,
:28:41. > :28:46.your head needs to go left a lot more, you have a habit of bringing
:28:46. > :28:48.it back. Your free arm is graceful now, I'm trying to find some
:28:48. > :28:56.positives here. The free arm working very well.
:28:56. > :29:02.To start with, that is rubbish. was a little bit sacharine sweet
:29:02. > :29:08.for me. (boos from the audience) Darcey do you have anything to say?
:29:08. > :29:13.Don't listen to him, the turn into the cheney, that is difficult to do,
:29:13. > :29:18.from your very first move. There was no hop. I'm not denying, that
:29:18. > :29:24.but it has to be done with style panache and a pointed foot would be
:29:24. > :29:30.noise. He didn't hop, I have seen so many people hop doing that.
:29:30. > :29:35.looked very pedestrain. It was very good. You don't even know what it
:29:35. > :29:39.means, pedestrain is you. No, no, no, I haven't finished. When you
:29:39. > :29:43.get into hold your posture is beautiful. You have a wandering
:29:43. > :29:49.head, keep it to the left the posture, your control, you won me
:29:49. > :29:56.over, thank you. He won all of us over, didn't he.
:29:56. > :30:01.Len, would you like to speak? a lot of Bolognese, honestly!
:30:01. > :30:09.Absolute nonsense. I tell you, he just says things for effect. That
:30:09. > :30:15.is nonsense, honestly, I tell you, OK those spins, try to do them, my
:30:15. > :30:20.old sausage, in a tail suit, as you spin the tails flare out, it
:30:20. > :30:24.becomes more difficult. You handled that well, your top was great, it
:30:24. > :30:28.had more polish than Number Ten's front door. I thought it was lovely.
:30:28. > :30:37.Incidentally, I think Richard has been doing your haircut, I realise
:30:37. > :30:42.that now. Listen, great, well done! APPLAUSE
:30:42. > :30:47.Louis, listen to me. You Waltzed your way into the heart of the
:30:47. > :30:52.nation. And about timing, he hasn't got a
:30:52. > :30:56.clue about it. When you do these dances on the 1-2, you're not
:30:56. > :31:00.supposed to mark 1-2-3 you go through it, you don't show it. You
:31:00. > :31:03.have to glide through it. You take the breath of the musical phrase,
:31:03. > :31:09.you don't emphasise the musical phrase, that is wrong. You have no
:31:09. > :31:13.idea how to dance. I didn't say that actually.Am I right. You have
:31:13. > :31:16.to glide through it T you have to take it like the crest of the wave,
:31:16. > :31:17.you should never emphasise it. Thank you very much for your
:31:17. > :31:27.extended opinion. Thank you for that.
:31:27. > :31:33.
:31:33. > :31:37.We loved it. Well done Louis.
:31:37. > :31:41.Well done, caused the first proper bust-up. That must be so weird.
:31:41. > :31:50.bit heated down there. What were you thinking? I'm not sure. I was
:31:50. > :31:54.thinking it was going to be ding- ding round 1. You Waltzed in the
:31:54. > :31:58.heart of the nation, Craig, grumpy, didn't have lunch? I listen to all
:31:58. > :32:08.the comments, good and bad, we take it on board, we try to fix it for
:32:08. > :32:27.
:32:27. > :32:33.later on in the show. Fixed the You got your number upside down!
:32:33. > :32:43.Are you happy with that? Yes.Le will win Craig over next week. To
:32:43. > :32:47.keep Louis in the ballroom call this number.
:32:47. > :32:54.Don't call until all couples have danced. If you do you may still be
:32:54. > :32:57.charged, fact! This is the life, thank you boys.
:32:57. > :33:03.Our next couple tonight is Fern Britton and her partner, Artem
:33:03. > :33:05.Chigvintsev. Last week, despite Artem losing his
:33:05. > :33:10.shirt, Fern still managed to struggle with the passion in the
:33:10. > :33:20.paso. But will she be able to sort it out for a salsa tonight. She
:33:20. > :33:20.
:33:20. > :33:24.certainly had fun in training, have I think the master stroke of the
:33:24. > :33:30.paso doble was Artem of in his skin. # Sex bomb
:33:30. > :33:34.# You're my sex bomb. Artem, it is like looking in the mirror.
:33:34. > :33:39.Apparently my naked chest was a lot of distraction. He looked so
:33:39. > :33:44.gorgeous, not only did he distract the judges, it distracted me, I'm
:33:44. > :33:48.all for it. I see the Fern on fireworks but with him it's no
:33:48. > :33:54.difficult. Then you start dusting and polishing the floor again. Get
:33:54. > :33:59.the power and fire out. He's always talking about the dusting and
:33:59. > :34:05.polishing, this week's routine should polish him off. I want Fern
:34:05. > :34:10.to think about salsa all the time. I want to introduce you to my
:34:10. > :34:13.friends, I hope they get you in the mood for salsa. When I say think
:34:13. > :34:21.salsa all the time, I mean all the time.
:34:21. > :34:27.Twice in one day, boys. 1-2-3. start with, it was quite fun.
:34:27. > :34:35.OK boys, that's enough. Thank you very much. OK.
:34:35. > :34:42.Gradually, it did become annoying. Home time.
:34:43. > :34:48.Not you two again, out. Salsa is definitely in my head this
:34:48. > :34:58.week. I just hope it get me to Wembley.
:34:58. > :35:13.
:35:13. > :35:23.Dancing the salsa, Fern Britton and # Everybody knows it's party time
:35:23. > :35:27.
:35:27. > :35:29.# And when the moon is rising up # I know you will be mine
:35:29. > :35:32.# Party the world goes round and round
:35:32. > :35:37.# You can feel the changes coming down
:35:37. > :35:45.# Everyone trying to survive # We're not just born to be alive
:35:45. > :35:49.# What I feel inside is true # # When the sun is setting in the
:35:49. > :35:59.# Everybody knows it's party time # And when the moon is rising high
:35:59. > :36:03.
:36:03. > :36:05.# I'll be on I know you will be mine
:36:06. > :36:08.# Hold it down # Party time
:36:08. > :36:11.# Hold it down # Party time
:36:11. > :36:15.# When the sun is setting in the # Everybody knows it's party time
:36:15. > :36:19.# And when the moon is rising high # I'll be out
:36:19. > :36:21.# Because I know you will be mine # When the sun is setting in the
:36:21. > :36:31.Member everybody knows it's party time
:36:31. > :36:35.
:36:35. > :36:40.# When the moon is rising high # When the moon is rising high
:36:40. > :36:45.# I know you will be mine That's what you call embracing the
:36:45. > :36:48.salsa spirit. You look amazing. have to clean all this up now.
:36:48. > :36:57.It is a right mess. Well done you, you look like you loved that.
:36:57. > :37:02.Did she clean up in the salsa for you? Definitely. This is your party.
:37:02. > :37:05.I liked it, I liked it. The only thing was the under arm passes,
:37:05. > :37:10.just don't lose your concentration and your feet, keep that rhythm
:37:10. > :37:19.going. You partied all the way through that. I loved your free
:37:19. > :37:23.Fern dancing salsa. Thank you. Look we can't stop her now.
:37:23. > :37:27.track was party time, and this was a party. You came out and you
:37:27. > :37:31.partied. When you took your top off I thought you were going to have my
:37:32. > :37:41.eye out for a win! This was your best dance so far. It was fun, it
:37:42. > :37:42.
:37:42. > :37:52.was good. Well done. Fern, what an interesting turn of
:37:52. > :37:56.
:37:56. > :38:01.events. From casual duster to saucey scrumpet. It was all the
:38:01. > :38:05.salsa, shaking your boobies, you are a great-looking woman, you look
:38:05. > :38:11.good doing it. I enjoyed it. Someone has had their vitamins
:38:11. > :38:21.today. Let's hear it for Fern and Artem, they tore it up.
:38:21. > :38:26.
:38:26. > :38:31.Well done. That was so your dance. I loved T I
:38:31. > :38:35.can't do all, that but I can do that! That was great. It is a
:38:35. > :38:45.delight. That band have been driving you mad? Oh gosh. Hold on a
:38:45. > :38:53.
:38:53. > :38:57.minute! Thank you, thank you. Go and wait in my dressing room. Are
:38:57. > :39:07.you over the moon with that reaction? I am very much so.
:39:07. > :39:22.
:39:22. > :39:25.you! Best dance. Thank you. Are you happy? I'm happy. You were
:39:25. > :39:33.absolutely brilliant. Fern needs your votes to make it to the bright
:39:33. > :39:43.lights of Wembley. They have special lights there.
:39:43. > :39:46.They are in the shape of reindeer! Call this number. Still to come
:39:46. > :39:51.tonight, you might want to sit down and prepare yourselves, there will
:39:52. > :39:58.be dancing from these people. Deadly serious.
:39:58. > :40:01.Next up, Victoria Pendleton and Brendan Cole.
:40:01. > :40:05.This week they are dancing the quickstep, it is a fast-paced dance,
:40:05. > :40:13.it requires a lot of speed and stamina. If there is one thing
:40:13. > :40:17.Victoria is good enough at, it is putting her foot to the peddle.
:40:17. > :40:21.Saturday, I was terrified standing up there in front of the judges.
:40:21. > :40:25.Also that stepping off and landing on one of them, I'm sure they would
:40:25. > :40:35.catch me. Would they. I just wanted to get through it. It was a last
:40:35. > :40:37.
:40:37. > :40:44.Vegas with a hangover! You were shaky. Shaky from start to finish.
:40:44. > :40:49.Those to go to go were...That just walking backwards. Brendan
:40:49. > :40:54.does stand up for his partner, I commend him for that. We never have
:40:55. > :40:59.to do that again! There is a chance you might.
:40:59. > :41:03.We can concentrate on dancing more suited to our style. This week I'm
:41:03. > :41:07.dancing the quickstep. I think it is fantastic dance. This is fun
:41:07. > :41:11.rpbg isn't it Brendan. Victoria feels comfortable with the ballroom
:41:11. > :41:15.rather than the Latin. It is a God week for us. Coming from a sports
:41:15. > :41:19.background is more of a hindrance, having a fiscal job, and one which
:41:19. > :41:23.I'm very good at, to having absolutely no skills. I do feel
:41:23. > :41:26.like I can do a better job than I did last Saturday, that's what
:41:26. > :41:33.motivates me. As it's one of Brendan's favourite dances, I feel
:41:33. > :41:41.like I owe it to him. Can you please stop taking up your own cor
:41:41. > :41:46.oingfee. I'm well aware I'm not - Choreography. I'm well aware I'm
:41:46. > :41:50.not the best dancer, but the fact the public have left me in, I'm
:41:50. > :42:00.hugely grateful for. Dancing the quickstep, Victoria
:42:00. > :42:16.
:42:16. > :42:26.# Luck be a lady tonight # Luck if you've ever been a lady
:42:26. > :42:35.# Do it again # Luck be a lady tonightle
:42:35. > :42:38.# Luck let a gentleman see # How nice a thing you can be
:42:38. > :42:48.I know the way you've treated other guys
:42:48. > :42:58.# You've been with # Well luck with a lady with me
:42:58. > :42:59.
:42:59. > :43:03.# So let's keep the party polite # Never get out of my sight
:43:03. > :43:13.# Stick with me baby # I'm the guy that you came in with
:43:13. > :43:14.
:43:14. > :43:24.# Luck with a lady tonight # Luck be a lady
:43:24. > :43:42.
:43:42. > :43:47.Wasn't that good ladies and gentlemen, that was good, so good.
:43:48. > :43:54.Victoria they are on their feet. On their feet. In the studio.
:43:54. > :44:03.Despite the fall Brendan, you are all right aren't you? What's that?
:44:03. > :44:12.I believe this belongs to you? dear. Let's hope he can get it
:44:12. > :44:21.open? I can't. There is cobwebs, thank you for
:44:22. > :44:26.that! It has been a long time since we have seen that. Are you all
:44:26. > :44:31.right, despite the trip. You looked like you were loving it. Happy to
:44:31. > :44:36.be in hold? Very happy. Will Victoria and Brendan will need the
:44:36. > :44:40.taxi? Victoria I will give you a lift home any time, Brendan can go
:44:40. > :44:43.in the cab. It was quickstep, and it was quick and lot of steps. As
:44:43. > :44:48.far as I could see you caught every step correctly. It was very fast,
:44:48. > :44:52.it was very slick in the foot work. Your upper body could be a bit more
:44:52. > :44:57.to end. I thought you did a great job with a difficult dance. Well
:44:57. > :45:02.done Victoria. Thank you.
:45:02. > :45:06.Bruno what do you think? Victoria, all you need is a strong man
:45:06. > :45:09.holding you all the way through and things change, incredibly. You were
:45:09. > :45:13.focused, at ease with yourself, looking beautiful and glamorous.
:45:13. > :45:19.Len is right, the foot work was very, very good, plaintiffs plenty
:45:19. > :45:26.of content. You have to maintain that - there was plenty of content.
:45:26. > :45:28.You have to maintain that each week. What happens is you have to
:45:28. > :45:35.maintain this, remember what it feels like and deliver again next
:45:35. > :45:40.week, this was good. Your left shoulder raises sometimes,
:45:40. > :45:44.you lost your frame just on the odd occasion, and I can sometimes see
:45:44. > :45:48.your foot work transfering to your upper body, which isn't great, but,
:45:48. > :45:53.I thought you moved across the floor with gusto, and the timing of
:45:53. > :45:57.it was sensational. You covered the floor beautifully. Darcey? Each
:45:57. > :46:00.week you grow with confidence, and you really look the part in the
:46:00. > :46:05.quickstep. He's right n the shoulders it does show, you have to
:46:05. > :46:12.really control that. Especially with the hopping step, they come up
:46:12. > :46:22.a bit. Lovely Lightfoot work, I really enjoyed it.
:46:22. > :46:26.
:46:26. > :46:30.Better than the samba, don't say the s-word! Off you go. Well done.
:46:30. > :46:35.Well done, did you enjoy it? I did, thanks. You looked so happeny, are
:46:35. > :46:45.you all right, did you do a rolly Polly on purpose? It was on
:46:45. > :47:08.
:47:08. > :47:14.Are you happy with that? That is a really good score. If you want to
:47:14. > :47:23.see Victoria hot foot it, or quick- step it, in next week. I'm
:47:23. > :47:27.genuinely just reading out loud! Call this number.
:47:27. > :47:32.Do not call until all couples have danced, if I have told you once, I
:47:32. > :47:42.have told you a thousand times. I'm not even making that up. Let's take
:47:42. > :47:49.
:47:49. > :47:53.We are only half way, all of that could change with the next dance.
:47:53. > :47:59.Who is it? The next couple is Dani Harmer and
:47:59. > :48:02.Vincent Simone. After two months of dancing with
:48:03. > :48:06.the Italian stallion, Dani is fast becoming the dark horse of the
:48:06. > :48:15.competition. Will their Tango see them gallop all the way to Wembley.
:48:15. > :48:25.Last week I got to jive, which was my favourite dance of all time.
:48:25. > :48:30.That really was a cutie-pie of a dance. Clean as a whistle, crisp as
:48:30. > :48:34.a Pringle, absolutely fab lou, I loved it. It is amazing getting
:48:34. > :48:43.good comment, it is even better when you get good scores. A nine
:48:43. > :48:48.off Len, well chuffed. This week I'm doing the Tango, our story is
:48:48. > :48:52.Vincent is cheating on me, how dare he. I'm going to call a hot dancer,
:48:52. > :48:57.which will be taking your place soon if you don't behave. How dare
:48:57. > :49:04.you. I'm pretending I'm flirting with other mysterious dancers, just
:49:04. > :49:09.to get more into the passionate mode. Hey Bella how you do?
:49:09. > :49:14.sure she's lovely girl, but Vincent sent's my man. The minute I paired
:49:14. > :49:18.up with him, I thought I have to do the Tango with this man. My hip.
:49:18. > :49:24.People have an expectation when I get to do the Tango. The Tango is
:49:24. > :49:29.my dance, it takes two to Tango. I'm praying this week goes well, I
:49:29. > :49:34.so want to go to Wembley, I have never been there before. It hurts
:49:34. > :49:37.your neck a bit. It is called the power of the love. It is a once in
:49:37. > :49:41.a lifetime opportunity, to dance with me. I like you so much.
:49:42. > :49:48.are intruding in my space. And dancing in Wembley. That is tango
:49:48. > :49:58.at its best. Dancing the tango, Dani Harmer and
:49:58. > :50:02.
:50:02. > :50:06.# She ain't real # She ain't gonna be able to love
:50:06. > :50:10.you like I will # She is a stranger
:50:10. > :50:16.# You and I have history # Or don't you remember
:50:16. > :50:21.# Sure she's got it all # But baby is that really what you
:50:21. > :50:25.want # Bless your soul
:50:25. > :50:32.# You got your head in the clouds # You made a fool out of you
:50:32. > :50:35.# But she's bringing you down # She made your heart melt # But
:50:35. > :50:40.you cold to the floor # Rumour has it
:50:40. > :50:48.# She ain't got your love any more # Rumour
:50:48. > :50:52.# Rumour has it # Rumour
:50:52. > :50:55.# She is half your age # I guess that's the reason that
:50:55. > :50:59.you stayed # I heard
:50:59. > :51:03.# You been missing me # You been telling people things
:51:03. > :51:09.you shouldn't be # Like when we creep out
:51:09. > :51:13.# And she ain't around # Haven't you heard
:51:13. > :51:21.# That rumours # Rumour has it
:51:21. > :51:31.# Rumour # Rumour has it he's the one I'm
:51:31. > :51:37.
:51:37. > :51:41.Spectacular. Standing ovation in the studio.
:51:41. > :51:45.Look at that, they are on their feet.
:51:45. > :51:50.They are on their feet. Really well done.
:51:50. > :51:53.You got to show off your acting skills there finally it suited you
:51:53. > :51:57.that dance, with the king of the tango. I hope you weren't voting
:51:57. > :52:02.for yourself, Vincent, the phone lines aren't open yet. Very
:52:02. > :52:07.important phone call. Not open yet. Bruno, did that Tango get your
:52:07. > :52:12.tongue wagging? Finger-licking good! I love it, it started with a
:52:12. > :52:17.strop, at the end of it a drop. With so much drama inbetween. But
:52:18. > :52:22.what you did, it was so clean. All the st, ucato, the changes of
:52:22. > :52:26.direction -- stucato, the changes in direction, you are a well-placed
:52:26. > :52:29.dancer. It was so sharp, so clean, and yet you maintained all the
:52:29. > :52:38.drama in the passion of the dance. The technique was wonderful, and
:52:38. > :52:43.the way you played it was wonderful. I really, really enjoyed watching.
:52:43. > :52:46.Craig? Yes, it's few, you are a lovely tech nis, it was clean, it
:52:46. > :52:54.was precise, -- technician, it was clean, it was sharp, it was a shame
:52:54. > :52:58.the dance finished earlier than the music. We couldn't hear at the end,
:52:58. > :53:08.people clapping. As a dancer, one has to time the dance to finish
:53:08. > :53:09.
:53:09. > :53:13.with the music. You can extend the dance! Thank you Bruno.
:53:13. > :53:18.Sorry. Darcey, do take over, please? I didn't like the beginning,
:53:18. > :53:23.you can come across a little like a moody teenager, instead of a feisty
:53:23. > :53:26.woman. But, as soon as you got into hold, you got better and better,
:53:27. > :53:33.and cleaner, and cleaner, and crisper, I loved it, it was
:53:33. > :53:37.brilliant. I actually loved the end, you were a little bit early, but
:53:37. > :53:42.the choreography that was fabulous, loved that.
:53:42. > :53:46.I have never seen anyone get into such a strop about getting into a
:53:46. > :53:50.phone box. What I liked of the light and shade about it. There was
:53:50. > :53:54.some parts that were so fast and so clever, and then there was other
:53:54. > :53:58.parts that were so slow, and almost still. That's what I love about
:53:58. > :54:03.dancing, light and shade, fast, slow, big, small, hard, soft, and
:54:03. > :54:07.we saw that, I thought you did a terrific job. Vincent, great
:54:07. > :54:17.choreography, Dani, well performed. Light and shade, lots of drama,
:54:17. > :54:20.
:54:20. > :54:25.Give it up for our pocket dynamos. Dani and Vincent. Well done.
:54:25. > :54:30.That was fantastic. Light and shade, drama. I loved it. You were elegant,
:54:30. > :54:34.there was time for case, but I left it. Too much. Too much. Sometimes
:54:34. > :54:38.there can be just too much Vincent. Too much. Quite a pressure to dance
:54:38. > :54:48.with the king of tango as he's known? There was more pressure on
:54:48. > :55:06.
:55:06. > :55:10.him than me. It was OK. Very good. That's your highest score of the
:55:11. > :55:14.series. That was brilliant, you did so well last week, to come back and
:55:14. > :55:24.do that. If you think Dani is dynamite on the dance floor, call
:55:24. > :55:26.
:55:26. > :55:30.Don't even look at your phone, don't make eye contact. Even if you
:55:30. > :55:35.are walking past, go like that. I will tell you when.
:55:35. > :55:43.Those phone numbers sounded so interesting. Our next couple
:55:43. > :55:46.tonight is Nicky Byrne and Karen Hauer. This week, Nicky is under a
:55:46. > :55:51.lot of pressure, not only is he dancing in front of 11 million
:55:51. > :55:56.viewsers and the judge, he's also got to perform in front of his
:55:56. > :56:05.Westlife band mate, Shane. Here is what happened happened in
:56:05. > :56:08.training this week. The dance of love. Just before I
:56:08. > :56:16.went on, I was going through a few steps, and Brendan went up and said
:56:16. > :56:20.you need to this, James walked by and they had a rumba-off, I took
:56:20. > :56:25.the advice. Caress the lady, to the lady. I thought I had given it
:56:25. > :56:30.everything, that is the best I have in a rumba, and still got
:56:30. > :56:35.criticised by some of the judges. For me it was a series of
:56:35. > :56:39.presentations, not enough rumba. James and them were giving me tips,
:56:39. > :56:42.they gave me the wrong one. I'm not blaming the advice, but it didn't
:56:42. > :56:52.work for Craig. A four and a seven from everybody else. We have to
:56:52. > :56:59.take it on the chin. Ahhhh. This week we're doing the
:56:59. > :57:04.foxtrot to a song called The Best Is Yet To Come by Michael Buble.
:57:05. > :57:09.I'm too close to the bottom two, the best is yet to come. In this
:57:10. > :57:13.week's dance I have incorporated a microphone for Nicky. If it was a
:57:13. > :57:18.can, it would be spilling out over the top. Is that annoying you?
:57:18. > :57:23.what is annoying is Craig will give us a four. You don't want to go out
:57:23. > :57:31.and miss out on Wembley. I want to go in Wembley. And dance in front
:57:31. > :57:35.of all those people of You can go there on the bus. To do something
:57:35. > :57:45.special there, outside of Westlife, I would do anything to get there.
:57:45. > :57:46.
:57:46. > :57:54.Dancing the foxtrot, Nicky Byrne # I just picked me a plum
:57:54. > :58:01.# You came along # And everything started to turn
:58:01. > :58:11.# Still it's a real good bet # Still it's a real good bet
:58:11. > :58:18.# The best is yet to come # And babe won't it be fine
:58:18. > :58:25.# You think you've seen the sun # But you ain't seen it shine
:58:25. > :58:30.# Wait till the warm-up's under way # Wait till our lips have met
:58:30. > :58:36.# Wait till you see that sunshine babe
:58:36. > :58:46.# You ain't seen nothing yet # The best is yet to come
:58:46. > :58:46.
:58:46. > :58:53.# And babe won't it be fine # The best is yet to come # Come
:58:53. > :59:00.the day you're mine # Come the day you're mine
:59:00. > :59:10.# I got plans for you baby # And baby you're gonna
:59:10. > :59:21.
:59:22. > :59:27.On their feet in the studio. Standing ovation.
:59:27. > :59:30.Enjoyed that Nicky, you earned that. You worked hard this week.
:59:30. > :59:38.Everybody is rooting for you in here tonight. So good in character.
:59:38. > :59:45.Thanks a lot. Craig, last week you gave Nicky a four. Did you see any
:59:45. > :59:55.improvement tonight, please say yes? That was Cheryl Cole doing it.
:59:55. > :59:57.
:59:57. > :00:02.No, I tell you what, I saw a vast improvement! So relieved.
:00:02. > :00:08.opening was fantastic, it was promising, so much excitement, and
:00:08. > :00:11.you actually, when you got in hold delivered that excitement. I could
:00:11. > :00:17.have done with a little more drive around the floor and all of those
:00:17. > :00:24.silly little things. But well done. A well done from Craig! Finally.
:00:24. > :00:28.Darcey. Yes, I really liked the start. You set that mood, the style,
:00:28. > :00:31.perfectly. I did miss a little drive, I missed the slow-quick-
:00:31. > :00:37.quick, you have to reach with the feet and legs out, you don't travel
:00:37. > :00:41.so well, it is a bit stilled. Still, a fabulous performance. Well done.
:00:41. > :00:43.Len? I have written down, you have to move more, which you have. You
:00:43. > :00:46.have got to move more. The reason is you don't drive off your
:00:46. > :00:50.standing leg and straighten. You are always a little bit flexed in
:00:50. > :00:55.the knee, having said that, I thought you had great style, I
:00:55. > :00:58.thought the performance was good. As the track is, "the best is yet
:00:58. > :01:03.to come", that is what I feel for you, the best is yet to come much
:01:03. > :01:07.that was your best dance for me. Well done. Best dance from Len.
:01:07. > :01:13.Bruno? Talk about rising to the occasion. And that beginning was
:01:13. > :01:16.pure Vegas, it was like, the Dean Martin show opening. You really did
:01:16. > :01:21.it perfectly. It was wonderful. They are right, you need a little
:01:21. > :01:23.more drive, especially when in hold. But the side-to-side, it was so
:01:23. > :01:28.wonderful to see, you are getting better. They are right, you are
:01:28. > :01:35.getting better every week, can't wait to see it again.
:01:35. > :01:38.Great comment from the judges, Shane liked it as well! We all
:01:38. > :01:48.loved the standing ovation in the studio. Nicky and Karen, ladies and
:01:48. > :01:53.
:01:53. > :01:55.gentlemen. Are you happy? Buzzing, yeah. I'm
:01:55. > :01:58.enjoying the competition so much, you work hard, that is where you
:01:58. > :02:03.want to get, you feel it. You are really confident now. Huge well
:02:03. > :02:13.done, both of you looked a bit like, Craig is going to be horrible, and
:02:13. > :02:35.
:02:35. > :02:39.then he was lovely. A huge well Are score of the season. Totally
:02:39. > :02:49.inappropriate. The judges have had their say, if you loved it and want
:02:49. > :02:51.
:02:51. > :03:01.to see Nicky back, call the number Plus, if you want loads of gossip
:03:01. > :03:03.
:03:03. > :03:10.find you on-line. A lot of stuff there, tonnes. Back
:03:10. > :03:15.to you Tess. The next couple is Kimberley Walsh and Pasha Kovalev.
:03:15. > :03:19.So, last week Kimberley wowed the judges when she really let her hair
:03:19. > :03:23.down for a sexy salsa. This week she's going dainty and demure for
:03:23. > :03:29.the Vienese Walt. Will it get her on to the Wembley dance floor. Here
:03:29. > :03:33.she is in training. One of the most exciting things on
:03:33. > :03:38.Saturday night of definitely getting lowered down from the
:03:38. > :03:43.ceiling in my little hoop. It was quite amusing to see how much the
:03:43. > :03:47.judges enjoyed my little dance at the desk. I loved it when you came
:03:47. > :03:52.up and flaunted yourself at me, do that every week and you get an
:03:52. > :04:01.extra mark. I was so happy when I saw the eights come up again, and
:04:01. > :04:05.then Bruno, nine! Yes. This week we're dancing the Vienese
:04:05. > :04:13.Walt, to an absolutely beautiful song by Christina Perry, it's
:04:13. > :04:21.called A Thousand Years. This week is extremely busy for he
:04:21. > :04:25.moo, I'm finishing off my -- for me, I'm finishing off my solo album, we
:04:25. > :04:30.have to do everything we can for this week. I went to Kimberley's
:04:30. > :04:33.recording studio to see if we can grab time to practice. We ended up
:04:34. > :04:38.dancing in a ridiculously small studio, when you have so little
:04:39. > :04:48.time, you have to take any chance you get. Do you want to listen to
:04:49. > :04:49.
:04:49. > :04:54.some of the stuff. I appreciate Pasha fitting in with my busy
:04:54. > :05:04.schedule. We are definitely going out there and give it our all. What
:05:04. > :05:04.
:05:04. > :05:14.did you think of it? I love it. Dancing the Vienese Walt, Kimberley
:05:14. > :05:22.
:05:22. > :05:26.# Colours and promises # How to be brave
:05:26. > :05:35.# How can I love # When I'm afraid
:05:35. > :05:45.# To fall # And watching you stand alone
:05:45. > :05:46.
:05:46. > :05:53.# All of my life # Suddenly goes away some how
:05:54. > :06:01.# One step closer # I died every day
:06:01. > :06:11.# Waiting for you # I love you
:06:11. > :06:12.
:06:12. > :06:15.# For a thousand years # I love you for a thousand years
:06:15. > :06:20.# All along # I believe
:06:20. > :06:23.# I would find you # Time has brought
:06:23. > :06:33.# That to me # I have loved you
:06:33. > :06:54.
:06:54. > :07:00.# For a thousand years Beautiful. Come on over Kimberley.
:07:00. > :07:05.Have a look around there, they are on their feet.
:07:05. > :07:14.They are on their feet, your mate Cheryl is on her feet over there.
:07:14. > :07:17.Beautiful Viennese Waltz. Did you get motion sickness from that
:07:17. > :07:20.rotation. I felt dizzy watching you. Did Kimberley live up to your
:07:20. > :07:26.expectation tonight? Very much, that was such an emotive
:07:26. > :07:29.performance. You really moved me. All the way through, which I
:07:29. > :07:32.haven't in theed in your other ballroom, is your beautiful
:07:32. > :07:36.extended, long neck. You made some beautiful lines with that, it
:07:36. > :07:39.really showed. I know you had a little difficult time with those
:07:39. > :07:43.promenades, they are difficult, not easy to transfer, push down through
:07:44. > :07:50.the supporting leg, very, very impressive. You made the shapes and
:07:50. > :07:55.you recovered very well. Wonderful performance, well done.
:07:55. > :08:02.You mentioned the neck, you have a lovely neck, Darcey noticed it.
:08:02. > :08:08.Kimberley Walsh, I'm going to call you Kimberley Waltz! More spins
:08:08. > :08:14.than Alastair Campbell. I loved transitions, in and out of hold.
:08:14. > :08:24.You did the fleckle, I thought you did it well, it was gentle and
:08:24. > :08:29.
:08:29. > :08:33.womens kal, I really enjoyed it. -- whimsical, I really enjoyed it.
:08:33. > :08:36.I loved the romance, will we end up together or separated at the end,
:08:37. > :08:43.nobody knows what will happen, but I will love you forever regardless.
:08:43. > :08:47.It is true, it is a story. But, Len is right, fantastic, sequence of
:08:47. > :08:52.spin in and out of hold, getting hold again. That was fantastic,
:08:52. > :08:56.seamless, beautifully done. It was near perfection, except, she's
:08:56. > :09:00.right, a tiny wobble, but apart from that, I am taleing you. There
:09:00. > :09:04.was another thing you didn't cross your feet on the reverse turn.
:09:04. > :09:09.You have had your turn, Craig. perfection. For me your head was
:09:09. > :09:17.just a little bit too high, your snout was pointing to the ceiling.
:09:17. > :09:20.Not my chin again! You hopped I think three times in that back turn.
:09:20. > :09:26.She recovered, only because she was pulled into shape. I thought
:09:26. > :09:30.actually it was a delicious Vienese, I really, really enjoyed it.
:09:30. > :09:40.have to be happy with that, delicious. Well done Kimberley and
:09:40. > :09:42.
:09:42. > :09:50.Pasha. It was so beautiful, with your long
:09:50. > :09:55.neck! I love that. You see. We like the long neck. Who doesn't. We all
:09:56. > :10:05.love the long neck. Thank you Nicky, thank you so much. Sit back down,
:10:06. > :10:25.
:10:25. > :10:30.That was your highest score. Very well done.
:10:30. > :10:36.Thank you so much. Well done. Well done. Are you over the moon? I'm so
:10:36. > :10:40.happy and relieved. Cheryl, she's lucky, just to be here. Just to be
:10:40. > :10:44.Cheryl! For you for that score, let's not pull on that string, also
:10:44. > :10:54.lucky. Do you want to see Kimberley in Wembley Arena next week, of
:10:54. > :10:57.
:10:57. > :11:00.Two more couples left to dance, then you are allowed to vote. Tess
:11:00. > :11:08.who is next? For our next couple it is Michael
:11:08. > :11:11.Vaughan and Natalie Lowe. The good news for Michael is, he
:11:11. > :11:15.loves ballroom, he thrives on ballroom, he's brilliant at the
:11:15. > :11:25.ballroom, the bad news is, tonight he's doing Latin.
:11:25. > :11:27.
:11:27. > :11:30.I was a lot more nervous last Saturday than I was the previous
:11:30. > :11:37.Saturday, because of the three ballrooms I have done the foxtrot
:11:38. > :11:45.was by far the hardest. # Somewhere beyond the sea
:11:45. > :11:50.Still in the zone, sailing away with confidence and control.
:11:50. > :11:55.Best foxtrot of the night, easy peasy, well done. The best foxtrot
:11:55. > :12:00.of the nice from Len, get in, he's the ballroom king. This week I'm
:12:00. > :12:04.doing Latin salsa. Step, step, stop. We have put more hours in, we have
:12:04. > :12:09.danced away from the Mir yo, we have closed our eyes. If I go for
:12:09. > :12:14.that, I will be like spaghetti man. Tried as much as possible to make
:12:14. > :12:19.sure we are improving. You need a performance face, not a clown face.
:12:19. > :12:23.The most important thing is getting balance of timing and performance.
:12:23. > :12:29.You like this? In time, but active. This is my biggest challenge
:12:29. > :12:32.because Latin so far has not been my forte. I'm going to take him to
:12:32. > :12:37.a salsa club to see how it is really done. Ready to do some salsa.
:12:37. > :12:41.We should join in, look at them all. The salsa club I went for it, there
:12:41. > :12:46.was people enjoying t the people were great, I went with the flow, I
:12:46. > :12:50.went a bit bonkers. Hopefully that doesn't happen on Saturday night.
:12:50. > :12:58.Everyone expects me to be vulnerable this Saturday night, I'm
:12:58. > :13:08.hoping I can surprise a few. Dancing the salsa, Michael Vaughan
:13:08. > :13:28.
:13:28. > :13:32.# Uh huh # When I had you to myself
:13:32. > :13:35.# I didn't want you around # Those pretty faces
:13:35. > :13:38.# Always made you # Stand out in the crowd
:13:38. > :13:42.# But someone picked you from the front
:13:42. > :13:45.# One glance was all it took # Now it's much too late for me
:13:45. > :13:49.# To take a second look # Oh baby
:13:49. > :13:53.# Give me one more chance # To show you that I love you
:13:53. > :13:58.# Won't you please let me # Back in your heart
:13:58. > :14:07.# Oh darling I was blind to let you # To let you go baby
:14:07. > :14:13.# But now since I've seen you # All I want
:14:13. > :14:16.# All I need # Just one more chance
:14:16. > :14:23.# To show you I love you # Baby
:14:23. > :14:26.# I want you back # Love than never ends
:14:26. > :14:31.# Oh baby # I was blind to let you go
:14:31. > :14:41.# Now since I've seen # You in his arms
:14:41. > :14:47.
:14:47. > :14:52.Come on over. You started a party with that salsa.
:14:52. > :14:57.And gave it, and your first lift. The lifts were the best bit, I
:14:57. > :15:01.think. And the hips weren't bad either, that Latin pout that you
:15:02. > :15:06.adopt, you have a Latin face, do you know that? I kind of didn't
:15:06. > :15:10.realise what my face was doing. Craig will love it. Coming to you
:15:10. > :15:15.Len, has captain ballroom finally cracked the Latin? Compared with
:15:15. > :15:18.some of your Latin dance, this was a lot better. A bit mechanical, and
:15:18. > :15:23.there was, somewhere in the middle of it a serious incident that went
:15:24. > :15:27.on. Well, there was. But I thought you had great content, the lift, I
:15:27. > :15:32.thought, were excellent, and you have come out, and given it a
:15:32. > :15:41.proper go, you know, you weren't ashamed of yourself. You came out
:15:41. > :15:46.and said this is it. Gowacha. Bruno? I think we can now say that
:15:46. > :15:50.you can bat for the Latin team as well as the ballroom team. Great to
:15:50. > :15:55.see you going both ways, it is about time. I think timing is still
:15:55. > :15:59.far from perfect. You know, you still need a little more
:15:59. > :16:09.lubrication in the hip, still a bit jagged, I tell you, it is so much
:16:09. > :16:11.
:16:11. > :16:14.better, it is almost a revelation. It must be difficult, of course,
:16:14. > :16:22.with Ramps in the audience, a sen racial in the dance, unlike
:16:22. > :16:26.yourself! -- a sensation in the dance, unlike yourself. I could see
:16:26. > :16:31.the mechanics of every single move you were given. It went horribly
:16:31. > :16:36.wrong in the centre, you didn't recover, she got you out of it,
:16:36. > :16:40.evently it is littered with timing issues, but I -- eventually, it was
:16:40. > :16:44.littered with timing issues, but I loved the lifts, your energy and
:16:44. > :16:52.commitment. Came good in the end. Darcey?
:16:52. > :16:55.liked it. I liked it, maybe not a sauceies salsa, you are quite cute,
:16:55. > :16:59.actually. But the preparations for the lifts, you really used your
:16:59. > :17:03.thigh, if you were lifting me, I would be so confident, that would
:17:03. > :17:13.be great, very safe. You don't use your back, it is perfect, you use
:17:13. > :17:20.
:17:20. > :17:25.your thighs, well done, I liked it. Well done. That was terrifying.
:17:25. > :17:28.What was the incident? We lost our routine, just for a little period.
:17:28. > :17:34.I couldn't tell, the lift was magnificent, up with the legs and
:17:34. > :17:39.the round and the flip? He's very strong. These hands drop many balls
:17:39. > :17:44.in my cricket career, to catch Natalie like that. Darcey said she
:17:44. > :17:54.wanted you to lift her, that's the wrap party sorted. I'll organise
:17:54. > :18:08.
:18:09. > :18:13.That's your highest Latin score. Your highest score in Latin. That
:18:14. > :18:23.is definitely improved, we have been working so hard. Michael wants
:18:24. > :18:28.
:18:28. > :18:32.to stay in the competition, to vote Don't pick up the phone, don't even
:18:32. > :18:39.go like that with your hand, don't pretend, that is illegal, only one
:18:39. > :18:45.more person to dance, who is it? Our final couple tonight is Lisa
:18:45. > :18:50.Riley and Robin Windsor. Lisa has earned high praise and
:18:50. > :18:53.scores with a fiercelessly fast routines. Our bundle of fun proved
:18:53. > :19:00.she can do slow and serious as well. Tonight it is all about the foot
:19:00. > :19:06.work, as she faces the foxtrot. Here they are in training.
:19:06. > :19:12.Last week I felt went really well. I was desperately proud of the
:19:12. > :19:16.routine. Fabulous. Amazing. I got a seven from Darcey, that made my
:19:16. > :19:20.week. The feet could have been cleaner and sharper. I completely
:19:20. > :19:24.agree with her, it is foot work all the way this week, as it has to be,
:19:24. > :19:28.I want to go out there on Saturday night and say your feet were in the
:19:28. > :19:35.right place, at the right time at the right speed. Inside, inside,
:19:35. > :19:39.outside, outside, inside. This week we are performing the foxtrot, or
:19:39. > :19:45.the "trot-on" as I like to call it. Heel, heel, toe. This week is all
:19:45. > :19:49.about the foot work. You hit the heels, and they are quick. We have
:19:49. > :19:55.been focusing on the heel turn, difficult for the laidy. Len will
:19:55. > :19:59.be watching this, he loves a heel- turn, so we have to get it right.
:19:59. > :20:05.You up on to your heels and place your double feet together, you have
:20:05. > :20:10.to hold all your weight on those heels, for me that is a lot of
:20:10. > :20:15.weight, and I have already broken one pair of shoes. Hopefully not on
:20:15. > :20:21.Saturday night. There is two in the routine, if he misses first one, he
:20:21. > :20:24.will definitely see the other one. Slower, slower. I know, I know. It
:20:24. > :20:34.is really important to me to pull it off. That gets me one step
:20:34. > :20:44.closer to Wembley, I would give anything to go to Wembley.
:20:44. > :21:03.
:21:03. > :21:07.Dancing the foxtrot, Lisa Riley and # An every lasting love
:21:07. > :21:10.# This will be # The one I've waited for
:21:10. > :21:17.# This will be # The first time anyone has known
:21:17. > :21:23.# I'm so glad # You found me in time
:21:23. > :21:29.# I'm so glad that # This will be
:21:29. > :21:34.# An ever lasting love for me # Oh
:21:34. > :21:43.# This will be # An ever lasting love
:21:43. > :21:48.# Oh yeah # Run along sunshine
:21:48. > :21:52.# Into my life # Fill me with happiness
:21:52. > :21:58.# That I ever knew # You have given me more joy
:21:58. > :22:02.# Than I ever dreamed of # No-one can take the place of you
:22:02. > :22:07.# This will be # An eternally
:22:07. > :22:17.# Hugging and squeezing # Kissing and squeezing
:22:17. > :22:26.
:22:26. > :22:30.Come over young laidy, you have been working hard, haven't U Look
:22:31. > :22:37.and me and you matching. We should have called each other before we
:22:37. > :22:42.left the house. Fabulous, you have been working on those feet. Bruno,
:22:42. > :22:49.has Lisa found her feet in the foxtrot, please say yes? Feet on
:22:49. > :22:53.fire, talk about showbiz pizas, I think you were going to a Liza
:22:53. > :23:03.Minelli number. I love the way you get into it. So much so, I told you
:23:03. > :23:04.
:23:04. > :23:08.before, you are not supposed to lead. He's supposed to lead. Your
:23:08. > :23:15.energy and performance is so wonderful. Your foot work as well.
:23:15. > :23:25.Be careful, though. Don't lead, don't push him forward, keep, you
:23:25. > :23:25.
:23:25. > :23:31.know. I'm trying to be a giraffe. All week. Madagascar.
:23:31. > :23:36.Craig? As always impecable timing, ferocious foot work, darling. I
:23:36. > :23:43.loved the line you made after the throw away oversway, but the rate
:23:43. > :23:48.at which you got into that darling was so cyclonic, I don't know how
:23:48. > :23:51.you actually handed, it was brilliant. Thank you so much. Thank
:23:51. > :23:54.you. Darcey? Wow Lisa you have worked
:23:55. > :23:59.hard on cleaning the foot work. I in theed everything, you were fast
:23:59. > :24:04.as well, it was the fastest foxtrot I have seen as well. I so love your
:24:04. > :24:13.enthusiasm, all the way through. That is your best ballroom dance.
:24:13. > :24:17.Thank you so much. What about the heel turns Len?
:24:17. > :24:21.saw that, you did attempt another one over there on the double
:24:21. > :24:27.reverse, that went a bit cranky, I won't worry about that, for me I
:24:27. > :24:37.don't know about the X Factor, you have the F-factor, good foxtrot,
:24:37. > :24:38.
:24:38. > :24:48.good footwork and fun! Well done. We all loved it, give it up for
:24:48. > :24:52.
:24:52. > :24:59.Lisa and Robin, off you go. Oops a daisy. Did you fall, are you
:24:59. > :25:02.all right? That was the other F, he fell! A huge well done to you two.
:25:02. > :25:05.You were always like, I like the Latin, find the ballroom slightly
:25:06. > :25:09.embarrassing, I will do it because you say I have to. You loved that?
:25:09. > :25:13.I have been working so hard last week, I loved it so much. We have
:25:13. > :25:17.had a ball doing it. Are you all right, are you in pain?
:25:17. > :25:27.embarrassed. Don't be. Don't be, you gave me a piggy back, I love
:25:27. > :25:44.
:25:44. > :25:47.Your highest scores, you clever girl.
:25:47. > :25:51.Well done, are you over the moon? Yes.
:25:51. > :25:59.Now, if you think Lisa deserves to dance another day, please write
:25:59. > :26:04.these numbers down. I don't know what to say to you.
:26:04. > :26:09.From a landline call. Lines open literally in moments.
:26:09. > :26:19.That is it, our couples have danced, our judges have been judgey, what
:26:19. > :26:30.
:26:30. > :26:36.I can't apologise enough. Now it is in your hands, only you can save
:26:36. > :26:44.your favourites from the dance-off, don't let the power go to your head,
:26:44. > :26:52.pick up the phone and vote, because the phone lines now are...open! I
:26:52. > :26:57.do think I never thought that would happen.
:26:57. > :27:01.Voting details can be found on the website. Please get permission from
:27:01. > :27:11.whoever pays the bill. Within reason. Here is a reminder of
:27:11. > :27:11.
:27:11. > :30:04.Apology for the loss of subtitles for 54 seconds
:30:04. > :30:08.tonight's performances and the all As our Brucie would say, didn't
:30:08. > :30:11.they do well? Yes they did. We have seen a lot of
:30:11. > :30:16.personal bests tonight, have our couples done enough to make it to
:30:16. > :30:22.Wembley next week? It is in your hand now, our top ten are all lined
:30:22. > :30:28.up, take a good look, only nine couples will be dancing when
:30:28. > :30:34.Strictly goes super-sizeed at Wembley Arena. Lines close at 8.20
:30:34. > :30:42.tonight, tomorrow's results night will have the two lowest scores
:30:42. > :30:46.facing etch other. -- each other. We will have the
:30:46. > :30:50.cast of Midnight Tango, you will regret missing it for the rest of