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