:00:13. > :00:22.This week on Strictly Come Dancing. Ten celebrities remain. Everyone is
:00:23. > :00:27.stepping up their game. We've got to put on a great show. All tended to
:00:28. > :00:34.prove to the judges they deserve their place. It isn't easy, I need
:00:35. > :00:40.to buck my ideas. And it could be curtains. Everyone is spilling sweat
:00:41. > :00:46.and tears to stay in. I've got the bruises to prove it. Got any oxygen?
:00:47. > :00:52.But for one of them it will be in vain. I'd be devastated.
:00:53. > :00:55.Heartbroken. I've got to deliver. I will give it my all. Ten will become
:00:56. > :01:39.nine. Live from the BBC,
:01:40. > :01:47.this is Strictly Come Dancing! Please welcome your hosts Tess Daly
:01:48. > :01:53.and Claudia Winkleman. Hello and welcome to
:01:54. > :02:21.Strictly Come Dancing! We're over halfway through
:02:22. > :02:23.the series and a different couple has topped
:02:24. > :02:26.the leaderboard each week which On last week's Halloween special it
:02:27. > :02:32.was Kirsty and Brendan and Jamelia and Tristan who had to face
:02:33. > :02:34.their fears when they ended up Sadly, it was Kirsty who lost out,
:02:35. > :02:39.becoming the first female celebrity Well, that depends on your votes
:02:40. > :02:47.and the thoughts of the four people Our celebrities have been
:02:48. > :03:24.training non-stop to impress. EastEnders actress, Kellie Bright,
:03:25. > :03:37.and her partner, Kevin Clifton. TV presenter, Anita Rani,
:03:38. > :03:41.and her partner, Gleb Savchenko. From BBC Proms
:03:42. > :03:44.and Radio 3 presenter, Katie Derham, Star of Call The Midwife,
:03:45. > :03:49.Helen George, and her partner, Actress, Georgia May Foote,
:03:50. > :03:56.and her partner, Giovanni Pernice. BBC Broadcaster and Journalist,
:03:57. > :03:59.Jeremy Vine, and his partner, Singer and Loose Women Star,
:04:00. > :04:03.Jamelia, and her partner, Pop star and TV personality,
:04:04. > :04:12.Peter Andre, and his partner, BBC Weather reporter,
:04:13. > :04:16.Carol Kirkwood, her partner, And, finally, from the Wanted,
:04:17. > :04:21.popstar Jay McGuiness There they are, just look at them,
:04:22. > :04:42.our tremendous Top 10, all hoping to be number one on the leaderboard
:04:43. > :04:45.by the end of the night. The two couples with the lowest
:04:46. > :04:48.combined scores from the judges and viewer votes will find themselves
:04:49. > :04:50.in the Dance Off tomorrow night. It will then be down to the judges
:04:51. > :04:54.to decide who stays and who goes. Opening the show tonight,
:04:55. > :04:56.it's Peter Andre They're doing a Charleston and
:04:57. > :05:08.at the start of the routine Janette That's the easy bit, it's dragging
:05:09. > :05:26.him away from it that's the problem. Last week it wasn't my best
:05:27. > :05:29.performance but it was great fun. You perform everything the same way.
:05:30. > :05:34.You have to become another character. I think it's time now to
:05:35. > :05:40.give something completely different and hopefully get a higher score.
:05:41. > :05:45.This week Peter is doing a vaudeville style Charleston. They
:05:46. > :05:48.mentioned you need to play a new character and I think the Charleston
:05:49. > :05:56.is the perfect opportunity. He's right. I know a guy who can help us
:05:57. > :06:00.out at a cabaret bar. Peter, this is Adam and Adam is a vaudeville
:06:01. > :06:04.enthusiast. I'm going to teach you a few games that will hopefully bring
:06:05. > :06:08.your vaudevillian character out. This exercise is all about
:06:09. > :06:13.exaggeration so I want you to follow genetic and you pick up one thing
:06:14. > :06:17.that she does. It is the hearts so we are starting to exaggerate, the
:06:18. > :06:21.most big saturating, did you know you did this with the arms? My
:06:22. > :06:25.favourite bit was the mirroring afterwards because we have that in
:06:26. > :06:29.the routine. Mirror perfectly what she does, still obviously looking.
:06:30. > :06:33.I'm seeing more of a vaudeville performance in Peter. I've learned a
:06:34. > :06:37.few vaudeville pointers to date so I hope I can deliver.
:06:38. > :06:41.Dancing the Charleston, Peter Andre and Janette Manrara.
:06:42. > :08:41.Wow. Brilliant! How about that for a reaction. Goodness me. You are
:08:42. > :08:43.opened the show with a staggering ovation and that reaction.
:08:44. > :08:45.Now, that's what I call a double act!
:08:46. > :08:55.Say hello to my little friend! You have worked wonders. Time to
:08:56. > :09:02.introduce our brilliant live singers. They are incredible. The
:09:03. > :09:06.Charleston is a dance you've been waiting to do. I'm so happy to do
:09:07. > :09:15.something where you can smile and have fun. It is great to see you
:09:16. > :09:21.doing your thing. That was their thing, was that your thing, Len? You
:09:22. > :09:25.started to show, absolute show stopper, your best dance. Tell you
:09:26. > :09:37.what, watch this, bad knee, fantastic!
:09:38. > :09:43.APPLAUSE Wow. Thank you, Len. He had an
:09:44. > :09:48.operation two weeks ago. You said he should take it to the next level,
:09:49. > :09:52.did he? Just what the doctor ordered, you embraced the character
:09:53. > :09:58.and became somebody else and it had a wonderful element of goofy
:09:59. > :10:02.slapstick comedy, the flavour of old-time music halls, very sharp,
:10:03. > :10:06.the scissors action was excellent. Did you put a double bounce in it?
:10:07. > :10:11.There was an element of Lindy hop. That is what I want to seek. I want
:10:12. > :10:16.to see a different performance every time and you delivered. He
:10:17. > :10:22.delivered. I appreciate it. Are you happy? You overbalanced on the left
:10:23. > :10:29.at the end. I understand. BOOING
:10:30. > :10:31.Only by a margin and you saved it. I thought the performance was
:10:32. > :10:37.absolutely exceptional. APPLAUSE
:10:38. > :10:45.He does not say that very often. It does mean a lot. Darcey. I could
:10:46. > :10:50.nearly mistake you as a professional out there.
:10:51. > :10:53.CHEERING As Bruno said you became the
:10:54. > :10:57.character, you became the style, it was excellent.
:10:58. > :11:01.APPLAUSE Thank you very much. Smashing start
:11:02. > :11:27.from the East to. Congratulations. If you don't mind
:11:28. > :11:33.me saying, Janette, you are a phenomenal choreographer. It is a
:11:34. > :11:37.team, Jenny and Darren, thank you so much. It was extraordinary, they
:11:38. > :11:41.said you had plateaued last week and I know you tried hard, you must have
:11:42. > :11:45.been happy with the comments. You know what, I finally woke up, I was
:11:46. > :11:50.sleeping for a few weeks and feel alive again so I'm very happy. Very
:11:51. > :11:55.well done. You've never had nine, how much would you like a nine? It
:11:56. > :12:01.would be amazing. But we just don't know. Cross your fingers.
:12:02. > :12:36.Peter, that is the highest score of the series. Well done. Are you
:12:37. > :12:40.buzzing? You know what, I'm so happy, I can't even tell you, well,
:12:41. > :12:41.I just did! Well done to both of you.
:12:42. > :12:47.6 22 52 12 from your mobile, 09015 22 52 12 from your landline or vote
:12:48. > :12:55.It's time for the terms and conditions.
:12:56. > :12:58.Calls cost 15p plus your network's access charge.
:12:59. > :13:00.Please ask the bill payer's permission.
:13:01. > :13:01.To vote online visit bbc.co.uk/strictly
:13:02. > :13:04.where you'll also find terms and conditions.
:13:05. > :13:09.Voting won't open until all our couples have danced.
:13:10. > :13:11.I love you, Janette, for the nodding.
:13:12. > :13:17.Not only that, but your vote won't count and you may still be charged.
:13:18. > :13:24.Go and call your family! Well done. I'm so excited about the tens.
:13:25. > :13:26.Our next couple is Jamelia and her partner, Tristan MacManus.
:13:27. > :13:34.Jamelia has now been in the Dance Off three times,
:13:35. > :13:39.so we're really hoping she impresses tonight with her Viennese waltz.
:13:40. > :13:44.She's dancing to a song called Trouble, let's hope she keeps out of
:13:45. > :13:52.it. Saturday night I had a brilliant
:13:53. > :13:57.time. Fantastic energy and great storytelling. He said fantastic,
:13:58. > :14:01.great, wicked. Being in the dance-off was a shock. I was in the
:14:02. > :14:05.Leader Board and every time I've been in the middle I've been in the
:14:06. > :14:11.dance-off, not an experience I want to repeat, not again. With it being
:14:12. > :14:15.the Viennese it has to be footwork focused. We have to make sure that
:14:16. > :14:22.we can nail it this week. My first day of training has gone
:14:23. > :14:26.surprisingly well. I feel that it is completely necessary for me to give
:14:27. > :14:31.this dance my absolute all. Nobody is going home until I get this
:14:32. > :14:34.right. It is a new one this week which is great stub we got down to
:14:35. > :14:37.hard work straightaway and I can definitely see progress and a change
:14:38. > :14:42.in attitude so it's great for stop super. I'm not happy being mediocre,
:14:43. > :14:48.I want to do a great dance. You need to nail buffer work, and the judges
:14:49. > :14:51.have pulled as up on it a lot. If that is something we can focus on to
:14:52. > :14:55.get that right we can really climb up the Leader Board. Come on, feet!
:14:56. > :15:00.It is imperative that I master the footwork. I really want to be on the
:15:01. > :15:01.top half of the Leader Board and I'm just going to give it my absolute
:15:02. > :15:06.all. Dancing the Viennese Waltz,
:15:07. > :17:07.Jamelia and Tristan MacManus. Thank you. So are you in that dress.
:17:08. > :17:13.You gave that your all. The guitar case got in the way. Bruno. You were
:17:14. > :17:17.sailing through it on the crest of a wave, my darling. Great floor, great
:17:18. > :17:24.movement. A couple of things you really have to work on. Extend and
:17:25. > :17:28.maintain the arc of your back. Sometimes there is some gapping that
:17:29. > :17:32.is being created. It loses a little bit the shape your movement was
:17:33. > :17:37.good. You were light on your feet. You have to work on these two things
:17:38. > :17:47.OK, yeah? Thank you. Otherwise very good. Craig The top line is
:17:48. > :17:52.problematic. It needs to be an extreme arch to your flak. It had
:17:53. > :17:56.flow and grace until you crashed into the guitar. That was led by
:17:57. > :18:06.Tristan there, darling. Floor craft there. It's OK. I thought you did
:18:07. > :18:10.really, really well. Thank you. You have been focussing on your foot
:18:11. > :18:15.work in training. Darcey, did it play off You look beautiful tonight.
:18:16. > :18:20.The movement around the dance floor you worked hard. Only when you get
:18:21. > :18:25.dizzy do you straighten up. You have to trust Tristan. Keep pushing away.
:18:26. > :18:30.I know that horrible feeling when you get that dizzy you keep doom
:18:31. > :18:35.coming up straight. The fleckerl at the end. You got back together and
:18:36. > :18:42.did a lovely fleckerl at the end. Thank you. Len, what did you think?
:18:43. > :18:46.The song is Trouble, for me the dance was no trouble at all. You
:18:47. > :18:51.breezed through it. Lovely amount of rotation. You worked on the foot
:18:52. > :18:55.work. I can see it, getting those heel leads driving off. Yes. The
:18:56. > :19:05.guitar got in the way a little bit. If you are in the Dance Off this
:19:06. > :19:07.week I'm going to pickle my walnuts. LAUGHTER Thank you judges.
:19:08. > :19:30.Hello. You do look completely gorgeous. Thank you. You really
:19:31. > :19:34.tried this week? Yeah, yeah. How much do you not want to be in the
:19:35. > :19:39.Dance Off? On a scale of - do you just think... No, no, I think you
:19:40. > :19:43.have to remain positive. I just hope that the public will see that I'm
:19:44. > :19:51.working and I'm trying. I really don't want to be there. If you don't
:19:52. > :19:57.me to be there, please, vote for me. You have seen such a change. She
:19:58. > :20:01.tries so hard, doesn't she? We have to change our focus all the time.
:20:02. > :20:06.This week most importantingly was the feet, closing our feet. When
:20:07. > :20:10.mistakes happen you have to compose yourself and keep going. Close your
:20:11. > :20:13.feet. We don't want Len to pickle his walnuts. I genuinely don't know
:20:14. > :20:14.what it means. Two more than last week? I'm really
:20:15. > :20:36.pleased. 6 22 52 11 from your mobile,
:20:37. > :20:41.09015 22 52 11 from your landline or Still to come, Anita and Gleb
:20:42. > :20:54.dance with mops and a bucket. Dancing next tonight is
:20:55. > :20:58.Carol Kirkwood and her partner, Last week, Carol scored
:20:59. > :21:06.a frighteningly low score of 13 for Now, it's week seven and Carol knows
:21:07. > :21:13.that the honeymoon is over and she really has to up her game if she
:21:14. > :21:28.wants to stay in the competition. Being part of the Hallowe'en
:21:29. > :21:34.spectacle was amazing. Your Rumba is grounds for divorce for
:21:35. > :21:39.irreconcilable differences to dance. Next week we will do a lot better
:21:40. > :21:43.and really, really going to push. I don't want to be at the bottom of
:21:44. > :21:49.the leaderboard. I want to prove to those who have faith in me that
:21:50. > :21:52.their faith is well placed. It's amazing to realise how much support
:21:53. > :21:56.the audience has been giving us? I know it. Makes me want to improve
:21:57. > :22:00.and make this dance the best yet. This week reare doing American
:22:01. > :22:06.Fergus Ewing smooth Fergus Ewing foxtrot. I'm worried about the Carol
:22:07. > :22:11.says she lifts. 'S afraid of lift. Let us get into position so I don't
:22:12. > :22:16.kill She disguises it you. By the fear of hurting me. I'm scared and
:22:17. > :22:19.don't want to damage him and ruin his career. When you have never done
:22:20. > :22:24.anything like that, you will be naturally scared. My Cat and myself
:22:25. > :22:29.are wide-awake. All I can think about is lifts. I'm at work and
:22:30. > :22:34.thinking about my dance on Saturday. These lifts, oh, my goodness. Auto
:22:35. > :22:37.you I'm really hoping we have a solid routine this week. It's
:22:38. > :22:39.halfway through the competition now. It's got to be good. That's what I'm
:22:40. > :22:43.aiming for. Dancing the American Smooth,
:22:44. > :22:45.Carol Kirkwood and Pasha Kovalev. How about that then? The lift at the
:22:46. > :24:33.end. Shopping and dancing with Pasha,
:24:34. > :24:40.you've got it all going on. Best combination. Indeed. What a
:24:41. > :24:45.Saturday Saturday night. Craig, did you buy that routine? It was like
:24:46. > :24:49.watching a bumper car ride, actually. You kept crashing in and
:24:50. > :24:54.out of one another, particularly in and out of lifts. Also, you must
:24:55. > :25:03.point your foot and take care of the line of the leg when you are up in
:25:04. > :25:07.that first and last lift. A flexed foot looks absolutely ugly. It made
:25:08. > :25:16.it look a little bit pedestrian. It's a vast improvement over last
:25:17. > :25:20.week. A vast improvement. Is Darcey? Well, without fail I can see the
:25:21. > :25:24.intent and energy you are putting into the dance now. That is such a
:25:25. > :25:29.relief. You have to come out there and sell it. You were selling it.
:25:30. > :25:32.There is a great improve am there. The lines, you were placing the arms
:25:33. > :25:37.with more feeling and grace. You've got to hold that focus right until
:25:38. > :25:42.the very end of the dance. I think you get into the excitement of it
:25:43. > :25:46.all and enjoy it so much that we lose the focus of where the lines
:25:47. > :25:51.are and the arms and that sensitivity. Really, a great
:25:52. > :25:58.improvement. A great improvement, two out of two. Len? Carol, listen,
:25:59. > :26:02.dancing begins with the feet. OK. So we have to start somewhere. If you
:26:03. > :26:08.listen to everyone you will do nothing. One of us is talking about
:26:09. > :26:11.your arms others about the fluidity of the movement, this, that and the
:26:12. > :26:15.other. Let us start with the feet. Let's work, I hope you are back next
:26:16. > :26:23.week, on getting beautiful foot work. So I can say, oh, Carol, that
:26:24. > :26:32.foot work was perfection. My advice - start somewhere, let's start with
:26:33. > :26:40.the feet. Bruno. Carol, I love you because you are consistent. Yeah.
:26:41. > :26:44.She's weather-proof, critic-proof, dance-proof nothing sticks she's
:26:45. > :26:52.like Teflon. Everything keeps sliding away. You have to put it in
:26:53. > :26:56.the right place, right order and listen to the music. I like your
:26:57. > :26:59.consistency, keep going. The audience don't agree with him.
:27:00. > :27:17.Congratulations. Other than Bruno the other judges said there had been
:27:18. > :27:23.real improvement. That must make you feel good It absolutely does. We are
:27:24. > :27:29.loving it. It's such good fun. That was high energy. The lifts. That was
:27:30. > :27:35.a different Carol. I'm fascinated how I to make you grumpy. We will
:27:36. > :27:41.talk about that after the show. You were worried about the lifts, did
:27:42. > :27:43.you enjoy them out there? I did. I was worrying about flattening poor
:27:44. > :28:05.Pasha. Don't be ridiculous. 17. Are you disappointed? It's four
:28:06. > :28:09.more than that last week. Yeah. We have been up-and-down, up-and-down.
:28:10. > :28:16.That's fun. They could you it a journey. We call it the "J" word.
:28:17. > :28:18.If you were sold on that shopping routine, then call:
:28:19. > :28:21.6 22 52 13 from your mobile, 09015 22 52 13 from
:28:22. > :28:24.your landline or vote online free of charge when the vote opens later.
:28:25. > :28:27.Remember, the judges scores are only half the story tonight and your
:28:28. > :28:31.Still to come, Jay gets stuck into an Argentine mango.
:28:32. > :28:46.Been looking forward to saying that for the last 10 years. Tess.
:28:47. > :28:48.Our next couple is Helen George and her partner Aljaz Skorjanec.
:28:49. > :28:52.This week they're doing the Rumba and all week Aljaz has been teaching
:28:53. > :28:55.Helen the dance of love, full of romance and passion -
:28:56. > :28:57.which is probably why Helen's girlfriends chose this week to come
:28:58. > :29:11.the weeks go on because you enjoy it so much and you don't want to be the
:29:12. > :29:22.person that goes home. You have come out of your box, it's a new Helen.
:29:23. > :29:27.Nine! We scored 34, the whole routine was mummylicious. This time
:29:28. > :29:33.Helen is taking some much downtime with her friends from her rumba
:29:34. > :29:40.routine. How is it going? It is going well. How are your hips? I get
:29:41. > :29:45.to see my best girlfriends tonight. We are really proud of you. It is so
:29:46. > :29:53.nice because I have not seen them for ages. Alias seems nice. He seems
:29:54. > :29:57.like a lovely man. -- Aljaz. What are we going to see on Saturday? It
:29:58. > :30:05.will be the most romantic dance so far. Even more than the one when you
:30:06. > :30:12.were mummies? I'm going to show them some steps from the rumba. Imprest?
:30:13. > :30:17.Aljaz invited my friends to dance and my friend Vicky had a lovely
:30:18. > :30:19.chance with Aljaz. He is a lovely man. I think I'm really ready to do
:30:20. > :30:23.the dance on Saturday now. Dancing the Rumba,
:30:24. > :32:31.Helen George and Aljaz Skorjanec. Oh! I say! That was hot, so hot you
:32:32. > :32:33.had to open your shirt to cool down. Simply stunning, emotional.
:32:34. > :32:42.I have to say I was transported into your romantic love story, you took
:32:43. > :32:47.me straight there that is what you need. The feeling, you stroked and
:32:48. > :32:53.caressed the floor with your feet, that's hard to achieve. Aligns,
:32:54. > :32:54.there was so much I liked, thank you.
:32:55. > :33:08.APPLAUSE -- the lines. Len. Basically, what's
:33:09. > :33:12.on the label is not on the tin. I could call this pencil a hammer but
:33:13. > :33:20.it is a pencil. For me that lacked enough basic rumba. There was a
:33:21. > :33:25.couple of opening outs, you went to fan but went nowhere with it. I had
:33:26. > :33:29.a pop the other week with George about the same thing and I've got to
:33:30. > :33:36.try and be consistent this. For me it lacked content. However, having
:33:37. > :33:39.said that, you are a fantastic dancer.
:33:40. > :33:46.APPLAUSE Bruno. My darling, you were like a
:33:47. > :33:53.siren out there whose sole purpose is to seduce and entrap. You entrap
:33:54. > :33:55.me, it was so intense, the performance was absolutely
:33:56. > :34:00.beautiful. The thing is that you're dancing is so uplifting that
:34:01. > :34:03.sometimes the hip action needs to be a little bit more rounded and
:34:04. > :34:09.continuous. That's what makes that kind of rumba Cuban motion flow. But
:34:10. > :34:18.the images and intention and the sex appeal was fantastic. Craig,
:34:19. > :34:24.underneath it all, you are an old romantic at heart. I loved the drama
:34:25. > :34:27.in that and you set up the story beautifully and told the story
:34:28. > :34:36.throughout. I would much prefer to see double underarm turn into a
:34:37. > :34:44.layout. I'm going against Len on that. It's a rumba, you can't change
:34:45. > :34:48.what it is Craig! You are allowed to choose what steps you use from the
:34:49. > :34:53.rumba, you don't have to use every single one of them. There were none.
:34:54. > :35:00.There were some colour in your defence and I liked it. Bruno is
:35:01. > :35:01.getting his coat! Stay with me, it is safer.
:35:02. > :35:23.I tell you what, we were going nuts for it up here. It's always
:35:24. > :35:30.difficult when the judges have a slight barney. What would you like
:35:31. > :35:35.to say to Len who said there was not enough rumba content? I agree in
:35:36. > :35:39.some way but we started the routine with rumba walks and we did the fan
:35:40. > :35:43.and opening outs. There can always be more dancing so try to find the
:35:44. > :35:46.balance between both is a little bit hard but she did an incredible job.
:35:47. > :36:10.You did an incredible job. Eight. 31 is a good score, not as
:36:11. > :36:14.high as last week but you are happy with that? It's the highest rumba
:36:15. > :36:19.score we have had this season so it is great. If you enjoyed the routine
:36:20. > :36:23.to Hello and you don't want them to say goodbye, then please call:
:36:24. > :36:27.09015 22 52 07 from your landline or vote online
:36:28. > :36:37.once we have seen all our couples perform.
:36:38. > :36:41.Still to come, Katie and Anton are dancing with a pair of curtains.
:36:42. > :36:43.Assuming they can pull themselves together!
:36:44. > :36:46.Our next couple is Jay McGuiness and his partner, Aliona Vilani.
:36:47. > :36:49.It's the moment we've all been waiting for, the first
:36:50. > :37:00.So, Len, how does it differ to the ordinary tango and what should
:37:01. > :37:06.The normal tango is more formal, you get into the hold and you stay there
:37:07. > :37:11.and the girl has got to be laid-back. In the Argentine tango
:37:12. > :37:16.you can be together, cheek to cheek, you can be wide apart, you want to
:37:17. > :37:20.see passion, flair and emotion. So, it's a little bit more, you know,
:37:21. > :37:27.you can go to town in the Argentine tango. We want passion and emotion.
:37:28. > :37:33.Buckets of it. I can't wait to see this. Let's see how they got on in
:37:34. > :37:37.training. Last Saturday we had lifts, which I've never done before
:37:38. > :37:42.and on top of that was the character of the Wolf. There was no stressing
:37:43. > :37:46.and no messing. I'd have liked to see more character. We got the
:37:47. > :37:54.approval of the judges and that felt great. Today week started learning
:37:55. > :38:01.the Argentine tango. Turn me. It is very dynamic and sultry and I think
:38:02. > :38:05.the dance will suit Jay. Argentine tango is a specialist dance, so we
:38:06. > :38:13.are going to have experts coming in to explain the injured things about
:38:14. > :38:16.the dance. Let's do this. The experts have shown us some awesome
:38:17. > :38:21.stuff, the way they move together is fascinating. And very small things
:38:22. > :38:27.like the way you hold someone our dance steps too. You can be in front
:38:28. > :38:30.of us. The tango is the result of European culture coming to Argentina
:38:31. > :38:35.in the early 19th-century. What he is going to have to do is try to get
:38:36. > :38:42.posture, intention, navigation skills, footwork. That's very good.
:38:43. > :38:45.He's got a lot to do this week. I'm putting in all of the hours I can in
:38:46. > :38:49.the training room and get home and go over it. I hope I do everyone
:38:50. > :38:53.proud and do the Argentine tango some justice this Saturday.
:38:54. > :38:55.Dancing the Argentine Tango, Jay McGuiness and Aliona Vilani.
:38:56. > :40:50.The audience are going wild, they are going wild. Wow, what a
:40:51. > :41:02.reaction. I love the intimacy, very dramatic.
:41:03. > :41:10.Is that what you were looking for, Len? Yes, polished performance, you
:41:11. > :41:16.must have used a J cloth! It was sleek, slick, nice intensity about
:41:17. > :41:19.it, the lifts were good. I know you are concentrating but sometimes you
:41:20. > :41:27.want to see a little bit of emotion come out through your face. And you
:41:28. > :41:32.keep that very bland. Sometimes that would help to show off the whole
:41:33. > :41:37.thing. But, lovely, clean, clear, crisp and lovely. Lovely. The first
:41:38. > :41:45.Argentine tango, have they set the bar high? Well, I felt it, I did
:41:46. > :41:51.expect excellent. I could feel the macho man bubbling under, you were
:41:52. > :41:57.focused and in the zone. Those lines you were hitting, picture-perfect.
:41:58. > :42:03.The feet were hitting the floor like laser-guided missiles. The precision
:42:04. > :42:08.was incredible. APPLAUSE
:42:09. > :42:17.I was transported to upper-class whereas -- Buenos Aires. I have to
:42:18. > :42:21.agree with Len about the acting side, you could be a lot more
:42:22. > :42:26.intense in this dance and have a lot more purpose in it. Foot wise I
:42:27. > :42:32.thought you were absolutely fine, I thought that was grateful stop but I
:42:33. > :42:36.was desperately lacking gaucho rural, the series of kicks that
:42:37. > :42:42.makes this particular dance stand out from the rest -- gauchos. You
:42:43. > :42:47.did one and that was it. There was lots of opportunity. I wanted this
:42:48. > :42:53.man to come out and shine. It did leave me wanting more. It felt like
:42:54. > :43:00.a warm up to the main event. Thank you, Bruno! Bruno has been making
:43:01. > :43:06.faces and he doesn't agree. Maybe I was watching another show, I don't
:43:07. > :43:09.know. I thought this was brilliant. Darcey, they have rarely been out of
:43:10. > :43:16.the top three, have they maintained that? You execute it to perfection.
:43:17. > :43:21.Those lines, everything Bruno said you are achieving. There was a
:43:22. > :43:26.beautiful detail when you crossed the legs when you lifted and turned
:43:27. > :43:32.out of it, I love what you do. But the same thing, I want to see this
:43:33. > :43:42.fire come out, this desire. It's just missing only that. OK, thank
:43:43. > :43:45.you. OK. Lots to work on but really great job.
:43:46. > :43:49.Off you go and get your scores. Jay and Aliona!
:43:50. > :44:07.Picture-perfect, precise, amazing. But do they want you to growl? I
:44:08. > :44:17.don't understand. Probably. Does that make sense to you? Acting. Yes.
:44:18. > :44:23.Are you all right? Yes. Not so chatty. I will hopefully be here
:44:24. > :44:26.next week and work on it. Oh my god! He is edible!
:44:27. > :44:55.Nine. Now at least you know when you come back what you need to work on.
:44:56. > :45:01.6 22 52 14 from your mobile, 09015 22 52 14 from your landline or vote
:45:02. > :45:14.There are five couples left to dance and all of this still to come.
:45:15. > :45:28.We are Kwik stepping to 42nd Street. I'm in heaven. This is Broadway
:45:29. > :45:33.glamour. It don't feel like the Jive as an acrobatics We are dancing
:45:34. > :45:37.session. The Tango. I musn't smile. I'm struggle with parts of the dance
:45:38. > :45:42.because it's so fast. I'm 24 and I feel 50. The waltz did a beautiful
:45:43. > :45:49.dance. I love it. I just haven't got hold of it yet.
:45:50. > :45:51.Next up is Katie Derham and her partner Anton Du Beke.
:45:52. > :45:58.They're doing a routine that's set in a theatre.
:45:59. > :46:07.Not that sort of theatre. It's a musical theatre.
:46:08. > :46:11.And she's hoping their Quickstep to 42nd Street will get them rave
:46:12. > :46:25.Musical! Hallowe'en, it was always going to be epic. I can't say it was
:46:26. > :46:28.perfect. I know it wasn't. The crowd seemed to love it. They were
:46:29. > :46:33.cheering it. Was brilliant. Then we went over to the judges. It wasn't
:46:34. > :46:41.great, Kate, I wish it was. What do you want me to do? It felt like my
:46:42. > :46:48.happy balloon was popped. Oh, dear. Sorry! Toe, toe. Quickstep, great.
:46:49. > :46:52.Toe, toe, correct. There are steps I'm doing that I know from previous
:46:53. > :46:56.dances. We are doing them an awful lot faster. Looking in good shape at
:46:57. > :47:00.the moment. I got the steps right. I'm loving doing a ballroom dance
:47:01. > :47:06.again. Not bad. What I want to show you is a performance by a tremendous
:47:07. > :47:14.ballroom dancer. It's such a good performance. We watched our Viennese
:47:15. > :47:17.Waltz. . After the dodgy couple of weeks, we can do that well. Remember
:47:18. > :47:23.the feeling of that. Take it into this week. That was great. I'm
:47:24. > :47:30.enjoying dancing with Katie she has such enthusiasm for what she's
:47:31. > :47:37.doing. I'm lucky to be with Anton, who I get on very well indeed. I
:47:38. > :47:41.want to do it for him. It's one of those dances, if it goes well it
:47:42. > :47:43.could be amazing. I just really hope it does and it all comes together on
:47:44. > :47:48.Saturday night. BOOM! Dancing the quickstep,
:47:49. > :49:36.Katie Derham and Anton Du Beke. You've come back strong. A crowd
:49:37. > :49:42.pleaser. Great musical number. Let's see what the critics thought. Bruno?
:49:43. > :49:49.The images I felt I was like on 5th Avenue. So much beauty and glamour.
:49:50. > :49:56.Actually, I have to say, you started that ride really. Like in 5th Avenue
:49:57. > :50:00.there are potholes. Once once you hit the potholes you lose the foot
:50:01. > :50:05.work. The foot work went. The frame then went. The beginning was great.
:50:06. > :50:08.There were so many mistakes - you know, it happened. The potential is
:50:09. > :50:13.there. You have to get it right, really. When it's right, it's great.
:50:14. > :50:16.But it really was - it was hitting one pothole after another. Then
:50:17. > :50:24.everything a little went. It's there. We want to see it. OK. It's
:50:25. > :50:29.there. Two difficult weeks. Are they back on top, Craig? That was an
:50:30. > :50:33.ambitious routine which I think you were right to go for Anton I know
:50:34. > :50:37.that Katie is capable of doing it. If you had one more week on this
:50:38. > :50:44.particular routine you would have absolutely smashed it. But, just
:50:45. > :50:51.tonight, sadly, that didn't happen. It didn't happen. An extra day. Do
:50:52. > :50:55.you think the dance suited Katie It was. It was made for you. You are
:50:56. > :50:59.beautifully light on your feet. The frame and everything. When it's that
:51:00. > :51:03.challenging. It was a very difficult combination of steps you gave her.
:51:04. > :51:09.As they say it's brilliant because - I know you can can do it. When it
:51:10. > :51:18.goes wrong. Then it was too challenging, sadly. You made the
:51:19. > :51:25.mistakes and the core weakens, the frame weakens. It's very
:51:26. > :51:31.frustrating. I know you can do that. Len They were classic, classy, Radio
:51:32. > :51:35.3. Other parts were like 5 Live, sporty, fast, full on. The problem
:51:36. > :51:40.is, when you dance at that speed, with that amount of steps, you can
:51:41. > :51:46.lose a little bit of control, and that's what happened. But, other
:51:47. > :51:52.than that, you can't take away the fact it was a fantastic performance.
:51:53. > :52:03.Well done. Thank you. Thank you, Len.
:52:04. > :52:05.Take a few quick steps up to Claudia.
:52:06. > :52:23.Fantastic. It was superfast, brilliantly put together. We were
:52:24. > :52:29.not aware, were you? A couple. Only a couple. They went on a while, but
:52:30. > :52:35.they were only a couple. They don't even count! It must be lovely to be
:52:36. > :52:41.back in ballroom with the King. So lovely. If I'd known I would have
:52:42. > :52:43.got sleeves. I feel we had a job lot on.
:52:44. > :53:15.26. Were you expected more? Yeah, 46. Katie. I made a couple of
:53:16. > :53:17.mistakes, they spotted them. To keep Katie and Anton dancing
:53:18. > :53:20.through to next week call 6 22 52 05 from your mobile,
:53:21. > :53:24.09015 22 52 05 from your landline or you can vote for free online
:53:25. > :53:26.when the vote opens later. Still to come,
:53:27. > :53:29.Kellie and Kevin do a waltz Our next couple is Anita Rani
:53:30. > :53:39.and her partner Gleb Savchenko. Last week saw Anita flying as
:53:40. > :53:48.Maleficent in her Waltz and it was This week they're doing a Jive
:53:49. > :53:52.dressed as a pair of cleaners. So they're hoping to wipe
:53:53. > :54:07.the floor with the opposition Flying down from the ceiling as
:54:08. > :54:11.Maleficent was incredible. Mr Ballroom said... The waltz was
:54:12. > :54:17.fabulous. That is the best compliment a girl can get. That is
:54:18. > :54:22.one of the most dramatic waltz I've ever seen. Hallowe'en exceeded all
:54:23. > :54:26.my expectations. It was spectacular. This week we're doing a Jive. It's
:54:27. > :54:32.superfast with a lot of foot work. I'm scared. I will take you to a
:54:33. > :54:36.dance class. Some guys doing the Jive have more energy than you and I
:54:37. > :54:43.together. Where are you talking me, Gleb? You'll see. Thank you. Hello,
:54:44. > :54:51.is this a Jive class? Can I join your class. We joined in with the
:54:52. > :55:00.toddler Jive class. My goodness they can move. Who has more energy th
:55:01. > :55:03.toddlers. I will be worn out. It was amazing having them in my class
:55:04. > :55:12.today. We will show you our Jive. What do we get out of 10? I will be
:55:13. > :55:17.thinking of you on Saturday. Hopefully we will do a good job. I
:55:18. > :55:24.hope the children inspired them for the energy they need for the Jive.
:55:25. > :55:28.This is what we have to teach every week. I got a hug. Good luck, Anita
:55:29. > :55:31.and Gleb. Dancing the Jive,
:55:32. > :57:24.Anita Rani and Gleb Savchenko. Yes. You can take it? Just a little
:57:25. > :57:30.bit. I say yes all the time. I can see clearly. Loved the mop. Craig,
:57:31. > :57:34.was it a clean Jive? You can come and clean my house any day. It would
:57:35. > :57:38.be done in less than five minutes. That rate was fast and furious.
:57:39. > :57:46.Energetic. I loved the stylisation of it. You dance in a combat way.
:57:47. > :57:52.With your kicks you didn't quite get the Jive style. I loved the routine.
:57:53. > :57:56.Thank you, Craig. So did the audience. Darcey, enough energy for
:57:57. > :58:02.you? Brilliant, the action the energy. You are one fit lady. She is
:58:03. > :58:07.so fit. You are not out of breath or anything, are you? What is brilliant
:58:08. > :58:10.you are relaxed on top, the legs are, woing hard and sharp for me it
:58:11. > :58:17.was more about the feet. I could have more point and not so flappy.
:58:18. > :58:26.They get flappy. A fab Jive, thank you. Len? For me, it's what I call a
:58:27. > :58:33.full of dance. It was full of fun, full of energy, full of sharp kicks
:58:34. > :58:38.and flicks. I tell you what, steady on now! I'm full of praise because
:58:39. > :58:46.it was terrific. APPLAUSE.
:58:47. > :58:52.Thank you. Bruno? Anita Gleb, you're hired. You're multi tasking
:58:53. > :59:02.beautifully. Tonight, Anita, you broke through the mould. Mould. You
:59:03. > :59:14.on fire. You were selling it, you were tight. Your best dance yet.
:59:15. > :59:18.Thank you! A a A clean sweep with that. You work hard.
:59:19. > :59:21.Go and see if you clean up with the scores.
:59:22. > :59:37.Your best score yet. Your floor work has gone to new levels. You enjoyed
:59:38. > :59:41.the jive, didn't you? I loved it, it is so difficult and there is a point
:59:42. > :59:46.during the week when you say, no way, and then that happens and it's
:59:47. > :59:51.like OK. Gleb jumped on me and I did something so that was OK! You have
:59:52. > :59:56.never had a nine. How much would you like a nine? Well, who wouldn't like
:59:57. > :00:25.nine? I don't want to tempt fate. Nine. Congratulations. If you'd like
:00:26. > :00:30.Anita and Gleb to be mopping up a lot of votes tonight:
:00:31. > :00:32.call 6 22 52 03 from your mobile, 09015 22 52 03
:00:33. > :00:35.from your landline or vote online when the vote opens later.
:00:36. > :00:40.Still to come, Jeremy does a tango with a horse.
:00:41. > :00:45.Yes, that is fact, welcome to strictly come prancing!
:00:46. > :00:49.Our next couple is Kellie Bright and her partner Kevin Clifton.
:00:50. > :00:55.After last week's dramatic full-on paso it's time for Kellie and Kevin
:00:56. > :00:57.to calm things down with an elegant ballroom number.
:00:58. > :01:04.Even with some extra training at a tea dance, this waltz isn't
:01:05. > :01:13.Saturday night was a brilliant night.
:01:14. > :01:18.I was really pleased that I didn't fall over, or fall off the end of
:01:19. > :01:23.the table. You are a wonderful dancer. As long as I feel I've done
:01:24. > :01:30.my best each week then that is all I can do.
:01:31. > :01:34.That way. It is the waltz this week. I thought a nice way to get into the
:01:35. > :01:45.spirit of this would be to take you to a T Dan -- tea dance. I've always
:01:46. > :01:48.wanted to go to one. The waltz is a traditional dance and to be able to
:01:49. > :01:54.do that at eight tea dance which is also quite traditional is lovely.
:01:55. > :02:00.Does everybody watch Strictly Come Dancing? Who is your favourite? I
:02:01. > :02:06.love coming here, everybody is dancing. It is giving her lots of
:02:07. > :02:12.encouragement and it's a great atmosphere. I was being spun around
:02:13. > :02:18.earlier. You didn't put your head out then either. The support for
:02:19. > :02:23.myself and Kevin has been so lovely. It's got to be at ten! I have to say
:02:24. > :02:26.I prefer this lot to the normal judges!
:02:27. > :02:33.Dancing the Waltz, Kellie Bright and Kevin Clifton.
:02:34. > :04:24.They are on their feet in the studio.
:04:25. > :04:26.You packed everything into that waltz.
:04:27. > :04:29.I could see that you worked on the top line very hard.
:04:30. > :04:33.Darcey, could they be on the move back to the top of the leaderboard?
:04:34. > :04:39.I think so, I really think so. It is wonderful.
:04:40. > :04:44.APPLAUSE What you give is this quality and
:04:45. > :04:49.this finesse. I know because you are a strong lady. I have to say when
:04:50. > :04:52.you get into the top line, which is a great improvement on those
:04:53. > :04:58.shoulders, your core is so strong. X to Kevin and holding back, it's very
:04:59. > :05:07.impressive, it's only be right shoulder. -- next to Kevin. My right
:05:08. > :05:11.shoulder has a life of its own. You are bringing it into it just too
:05:12. > :05:15.much. But there is improvement there and I could see you were trying
:05:16. > :05:20.really hard but I really enjoyed it, though. I really did.
:05:21. > :05:24.APPLAUSE Len, and you enjoy seeing a more
:05:25. > :05:31.graceful side to Kellie? I thought it was full of charm and grace. Yuna
:05:32. > :05:36.how to please Len, three double reverse turns, beautiful -- you know
:05:37. > :05:40.how. There was something going on with your right arm on occasions. I
:05:41. > :05:45.don't know if you got too far over on Kevin's right side but lovely
:05:46. > :05:56.fluid movement. You are a great all-round dancer. Bruno. You are
:05:57. > :05:59.becoming the king and queen of nostalgia, another wonderful trip
:06:00. > :06:01.down memory lane, one of these wonderful Julian Fellowes
:06:02. > :06:08.screenplays, expertly crafted, dutifully detailed a wonderfully
:06:09. > :06:13.acted. I think what happens is I think you get tight, that's what it
:06:14. > :06:17.is. Relaxed the shoulders and that would allow you to keep the fluidity
:06:18. > :06:20.in the top line and also on the underarm terms. But again, it is a
:06:21. > :06:26.great performance. APPLAUSE
:06:27. > :06:29.It makes you look a little hard on the top line rather than soft and
:06:30. > :06:35.femme fatale, darling. You lost a bit of balance at the end but you
:06:36. > :06:39.caught up with it and recovered beautifully and it was a lovely
:06:40. > :06:44.routine. Well done. Thank you, judges. Improving week on week.
:06:45. > :07:05.Get in! Last week you said to me, after some very energetic routines,
:07:06. > :07:09.I'm quite looking forward to the waltz, did you enjoy it? I did enjoy
:07:10. > :07:15.it but it is harder than it looks. You said to Zoe on It Takes Two this
:07:16. > :07:20.will be fine and then oh no. It has been a tough week this week. But you
:07:21. > :07:23.got there. We wanted to show a softer side because we have been
:07:24. > :07:30.doing lots of fast dances and we wanted to show that we can do that
:07:31. > :07:32.as a partnership, showing finesse. Len said you are a great all-round
:07:33. > :07:59.dancer. That is a lovely comment. Eight. Not your best score but an
:08:00. > :08:00.improvement on last week. It is an improvement.
:08:01. > :08:05.If you don't want Kellie and Kevin to pack up and move out
:08:06. > :08:08.of the competition, call: 6 22 52 01 from your mobile,
:08:09. > :08:11.09015 22 52 01 from your landline, or vote online later to keep Kellie
:08:12. > :08:20.We have the same thing, Claudia and I.
:08:21. > :08:22.Next up is Jeremy Vine and his partner Karen Clifton.
:08:23. > :08:33.This week Jeremy's doing the tango, it's a serious dance and to
:08:34. > :08:36.demonstrate the gravitas of the routine, he's dressed up as a cowboy
:08:37. > :08:38.and will be riding a big, plastic horse.
:08:39. > :08:49.I think because it was Halloween and because it was fun I didn't want
:08:50. > :09:01.them to say it was rubbish, and they didn't! Craig gave us a four. Four
:09:02. > :09:06.from Craig! This week we are dancing the tango, it's a very intense
:09:07. > :09:10.dance. It sounds serious. It is serious actually. So they will need
:09:11. > :09:16.all the time they can get and with that in mind Karen heads to Radio 2
:09:17. > :09:20.for a bit of extra practice. I'm really excited to see him doing his
:09:21. > :09:27.thing in his own environment. Hold your horses, let me get back to
:09:28. > :09:33.Yvonne! Very serious! Hello. It is really nice having her here. He made
:09:34. > :09:36.me feel so at home. BBC Radio 2, we have Karen Clifton in the studio.
:09:37. > :09:42.Jeremy Hunt I were able to talk about the tango. I had the best time
:09:43. > :09:45.on strip become dancing and I want you to say that and that would make
:09:46. > :09:50.me happy. You have to have your chin up. I saw his serious journalist
:09:51. > :09:57.side and that is what you need for the tango. I've got to think happy,
:09:58. > :09:58.happy, news face, love, joy, news face, that's the tango!
:09:59. > :10:01.CHUCKLES Dancing the tango,
:10:02. > :10:11.Jeremy Vine and Karen Clifton. Jeremy, you are back! I'm back
:10:12. > :10:19.because I want to dance with you! Everybody is going wild in the
:10:20. > :12:06.studio. Thank you! Thank you! They really
:12:07. > :12:24.like it. You were the only one
:12:25. > :12:27.in the studio who didn't have I'm trying to read them here. The
:12:28. > :12:33.best cowboy face. Len, was that cowboy routine good,
:12:34. > :12:40.bad, or ugly? What I love is there is always
:12:41. > :12:47.anticipation when you come out, you don't know what to expect and there
:12:48. > :12:53.you are coming out looking like Woody from Toy Story and off you go
:12:54. > :12:56.and into the tango and it is wacky and fun and wild and I always loved
:12:57. > :13:07.watching you. That is how the West was lost, in
:13:08. > :13:11.spite of the odds, like General Custer you went for attack. It was a
:13:12. > :13:21.glorious disaster. BOOING
:13:22. > :13:22.Really! It's true! I don't think they agree with him, Jeremy
:13:23. > :13:24.Craig, you saw an improvement last week and
:13:25. > :13:29.Forrest up that was a big moment for us. Big moment for all of us.
:13:30. > :13:39.It definitely had a staccato nature to it which the dance requires, it's
:13:40. > :13:47.like playing the motto with you, we never know where the limb will land
:13:48. > :13:55.at any time. I enjoyed your little bottom going like this as you went
:13:56. > :14:02.past the desk. We must do that again! Do it again, do it again!
:14:03. > :14:12.Darcey can't speak, she's laughing too much! OK! I have to compose
:14:13. > :14:17.myself! Compose yourself. What is fabulous is your determination, and
:14:18. > :14:20.well done for keeping a straight face all the way through, because I
:14:21. > :14:26.know that is very difficult for you. And there was great improvement
:14:27. > :14:32.in your topline. You get a little bit carried away.
:14:33. > :14:36.APPLAUSE The frame, it is holding it until
:14:37. > :14:40.the very end, and like a lot of things you get a little bit carried
:14:41. > :14:45.away but I will never get bored of watching you, never, never. We all
:14:46. > :15:07.love you. You are an extraordinary creature.
:15:08. > :15:14.If anybody is watching at home and just wants to make this their screen
:15:15. > :15:21.saver. Do that tango face for me. Like that. It's eerie and fantastic.
:15:22. > :15:25.It was a great tango. How much fun have you had. You have been training
:15:26. > :15:30.him, been ill and you have still done it. It's tough keeping a
:15:31. > :15:38.straight face he giggles all the time. There has been a great
:15:39. > :15:41.improvement. Let's not forget the horse. He was vital.
:15:42. > :16:09.I don't want to nag but if you enjoyed Jeremy and Karen
:16:10. > :16:13.dancing with a horse call 6 22 52 10 from your mobile, 09015 22 52 10
:16:14. > :16:19.from your landline, or vote online for free when voting opens later.
:16:20. > :16:27.Guess how many people are left to dance? One. Phew. Tess.
:16:28. > :16:29.Our final couple is Georgia May Foote
:16:30. > :16:33.After topping the leaderboard last week, and being crowned Len's Queen
:16:34. > :16:35.of Halloween, Georgia is hoping this Gypsy Kings' routine,
:16:36. > :16:54.Last Saturday night was possibly the best night of my entire life. The
:16:55. > :16:59.Queen of Hallowe'en. 9. We were top of the leaderboard. Yes. I could
:17:00. > :17:03.leave now knowing I've done that. Hopefully we will continue each week
:17:04. > :17:09.to be up there at the top. This week we have the Sam pa. What is the
:17:10. > :17:23.concept this week? You pretend to be an actress. Do you miss home? I miss
:17:24. > :17:28.my mum's cooking. Why we don't go on a Manchester Italy slash everything
:17:29. > :17:34.tour. I can't wait. This is Old Trafford. The first thing I think of
:17:35. > :17:39.when I come to Old Trafford is the colosseum. Don't you There is
:17:40. > :17:46.nothing like a colosseum here. There is the Manchester Canal. Or the
:17:47. > :17:53.Manchester Riviera. Where are the gondolas? What do you think that?
:17:54. > :17:59.It's not really Italian. I hope the next stop will be better. Next stop.
:18:00. > :18:08.Italian food here in Manchester. It's really like my mum's cooking. I
:18:09. > :18:12.think our Manchester/Italian tour was perfect. Giovanni might not
:18:13. > :18:16.think it, but it's certainly put me in the mood for Saturday.
:18:17. > :18:18.Dancing the Samba, Georgia May Foote and Giovanni Peniche.
:18:19. > :20:12.The crowd are on their feet. Well done, darling.
:20:13. > :20:27.You owned the dance. APPLAUSE.
:20:28. > :20:37.Enjoy it. What a Samba. Bruno, from one Italian to another. (Speaks
:20:38. > :20:51.Italian) Translate! Don't you understand? Really good. Premier
:20:52. > :20:56.League dancers. It had the flavour and the acceleration of a Ferrari.
:20:57. > :21:01.You were, again, another outstanding performance. Tonight, you just
:21:02. > :21:06.became a fantastic dancer to a level I've never seen before. You were
:21:07. > :21:11.performing it like I've never seen. You were brilliant. A couple of
:21:12. > :21:15.light slight losses of balance. That's the way to go. Don't hold
:21:16. > :21:20.back. Never hold back. Last week, Craig, they topped the leaderboard.
:21:21. > :21:24.What do you think tonight? You handled the speed of that dance so
:21:25. > :21:29.well. So fast. You lost technique along the way. That happens. You
:21:30. > :21:32.missed a hand over here after the promenade runs. Something went
:21:33. > :21:38.wrong. What an incredible dance. Thank you. Congratulations. Thank
:21:39. > :21:43.you, Craig. Darcey? Georgia, I mean both of you, you ate up that dance
:21:44. > :21:47.floor. It was like a bullet coming out of a gun. It was amazing. It was
:21:48. > :21:51.incredible to think that you could hold on to as much technique that
:21:52. > :22:02.you did, being that speed, but fabulous. Thank you. Len? Well, I
:22:03. > :22:07.don't know what coffee you were drinking it weren't decaff. You came
:22:08. > :22:14.out like my favourite pizza, hot and spicy. You killed it. Well done!
:22:15. > :22:17.Killed it, hot, line and sinker they fell for it.
:22:18. > :22:31.Well done. What a dance. What choreography. They completely loved
:22:32. > :22:34.it, didn't they Yeah, it was so fast. OK, thank you very much. Good.
:22:35. > :22:37.Scores are in. Second on the leaderboard. Are you
:22:38. > :23:01.happy? So happy. That's amazing. If you don't want Giovanni to
:23:02. > :23:05.actually be waiting on people in a cafe next week, then call:
:23:06. > :23:08.6 22 52 09 from your mobile, 09015 22 52 09 from your landline or
:23:09. > :23:10.vote online Let's take a look
:23:11. > :23:25.at the leaderboard. At the top, Peter and Janette. He at
:23:26. > :23:38.the bottom Carol and Pasha. Remember you can change all that
:23:39. > :23:40.by picking up Giovanni, I've borrowed one
:23:41. > :23:50.of your friends The voting is now - get ready
:23:51. > :24:02.Ricardo - OPEN. Calls cost 15p plus
:24:03. > :24:05.your network's access charge. Please ask
:24:06. > :24:06.the bill payer's permission. To vote online visit
:24:07. > :24:07.bbc.co.uk/strictly where you'll also find terms
:24:08. > :24:09.and conditions. Please don't vote
:24:10. > :24:12.if you're watching on demand. To help you decide, here's a
:24:13. > :24:15.reminder of tonight's performances We've seen it all -
:24:16. > :27:11.a sensational Samba and, of course, the first
:27:12. > :27:13.Argentine Tango of the series. Our 10 couples have dazzled us with
:27:14. > :27:17.their routines and can do no more. Don't forget voting closes
:27:18. > :27:21.at 8.25pm tonight, so you don't have They're all desperate to stay in the
:27:22. > :27:27.competition, but sadly two couples will have to face the Dance
:27:28. > :27:30.Off in tomorrow night's Results show at 7.15pm, and one couple will be
:27:31. > :27:33.leaving Strictly Come Dancing! We also have a very special
:27:34. > :27:35.Remembrance Day routine from our brilliant professional
:27:36. > :27:37.dancers and a performance from the one and only Seal, who'll
:27:38. > :27:40.be singing his new single, right For all that make sure you tune
:27:41. > :28:07.in at 7.15pm. Come on! Stop causing friction.
:28:08. > :28:11.We're trying to move on.