:00:21. > :00:27.Boo! I scared myself then. Don't do that.
:00:27. > :00:31.Welcome to Wednesday's Hallowe'en. They topped the leaderboard with
:00:31. > :00:38.their tango on Saturday. Lewis and Flavia. This lady had some killer
:00:38. > :00:46.moves on Saturday. He mainly showed off his chest. It's Artem and Fern.
:00:46. > :00:51.And they did a paso doble so scorching they burnt the dancefloor.
:00:51. > :00:59.Richard and Erin in the house. Also, it's Wednesday, which means he is
:00:59. > :01:09.here with his wand. Where is Ian Waite? Anyway, this is It Takes Two.
:01:09. > :01:32.
:01:32. > :01:40.Live, from Television Centre, this is Strictly, It Takes Two. Please
:01:40. > :01:48.welcome your host, Zoe Ball. # Just a jump to the left
:01:48. > :01:53.# And then a step to the right # Put your hands on your hips... #
:01:53. > :01:56.I've done it wrong. Evening. Can I get a round of applause for that?
:01:56. > :02:01.Is that it? That's taken all my energy. Thank
:02:01. > :02:05.you. Now I know here on It Takes Two we have been celebrating
:02:05. > :02:08.Hallowe'en for what seems like three months but it is actually
:02:08. > :02:13.Hallowe'en today. We are going to over-egg it today.
:02:14. > :02:18.In a moment I will be chatting to Lewis and Flavia about their
:02:18. > :02:24.success at the weekend. In case you missed it, here is a quick recap.
:02:24. > :02:31.If you are scared of zombies, look away now. That really was a tango
:02:31. > :02:38.with a bite. Seamless transitions from character into dance. Spookily
:02:38. > :02:42.good. Just watch it in the kicks, you mustn't have a higher leg than
:02:43. > :02:52.your girl! It was fabulous. Your thumbs
:02:52. > :03:00.darling, it is sticking up like that. Get it down. 8. 9. 9.
:03:00. > :03:07.That was crazy. First 9s. As I was going around, what I did was, gave
:03:07. > :03:12.the judges the thumbs-up. Please welcome, Lewis and Flavia.
:03:12. > :03:17.Congratulations to the both of you. First 9s of the competition. Lewis,
:03:17. > :03:23.how thrilled were you on Saturday? Telethrilled. I wasn't too sure how
:03:23. > :03:28.it would go. -- I was very thrilled. I wasn't too sure how it would go,
:03:28. > :03:32.with the whole acting thing, but to get 9s were great. And you were
:03:32. > :03:37.saying you were thrilled it see Flavia's reaction, so that's when
:03:37. > :03:44.you knew how good it was. It is her favourite dance. I knew if she gave
:03:44. > :03:48.me a smile I would be happy. could she not be pleased? Was it an
:03:48. > :03:52.extra pressure knowing it was her favourite, signature dance She was
:03:52. > :03:57.dropping it in a if you times during the week that it was her
:03:57. > :04:02.favourite dance. I think she knew she was going to add a bit of
:04:02. > :04:06.pressure. One of my favourites. I love the Argentine tango. I love
:04:06. > :04:11.the ballroom tango too. Underlined with jokes. The second themed week
:04:11. > :04:16.for all the dancers. Flavia, do you think that Lewis has embraced the
:04:16. > :04:20.character of the dancing? I think so, definitely. We've had a pretty
:04:20. > :04:27.strong theme throughout, really. I think every week he is showing a
:04:27. > :04:31.bit more of - you know - his acting skills. There go the eyebrows.
:04:31. > :04:36.week it was really good because it was more his thing. He is quite
:04:36. > :04:41.moody and serious. Hey, come on. He has a cheeky side as well but he
:04:41. > :04:46.is comfortable with that feel of the tango. It was good. I was well
:04:46. > :04:52.convinced. Lots of praise flooding in online, Deborah said,
:04:52. > :04:56."Definitely one to watch and watch and watch... # I think Deborah
:04:56. > :05:00.likes you. Lots of positive feedback from everybody and your
:05:00. > :05:05.fans. That must give awe real drive in this competition. Definitely.
:05:05. > :05:09.You work so hard in the week. When it does go right it is nice to get
:05:09. > :05:14.praise. Thank you to everyone. think we do it for them, they gave
:05:14. > :05:18.us so much support. We want to do it for them. When we were talking
:05:18. > :05:22.on Friday, we were talking about the fact that sometimes you
:05:22. > :05:27.distract Flavia in the training room and try to make her laugh. Top
:05:27. > :05:31.of the leaderboard she must be exaggerating, but then I looked at
:05:31. > :05:37.the evidence and saw this. teaching you to dance, not mess
:05:37. > :05:43.around. Come on, catch. Mess around with flafia. It is not
:05:43. > :05:49.a tactic to get out of training. -- with Flavia. It is me being me.
:05:49. > :05:54.you count to 8? Sometimes. Stay with me. Come on, come on.
:05:54. > :05:59.Do you feel lucky? Help me. I get random questions popping into my
:05:59. > :06:03.head. If you could be any sandwich, what would you be? Why do you smell
:06:04. > :06:09.so lovely? Do you think you can do the impossible press-up? It is not
:06:09. > :06:15.me trying to find an excuse, it is just who I am.
:06:15. > :06:19.Come on, stop messing around. he! Naughty Lewis. Flavia
:06:19. > :06:23.encouraging for you because you are not the only dance teacher who has
:06:23. > :06:27.struggled with Lewis. This is from your school report, Lewis. Dance
:06:27. > :06:31.and drama, Year 7. Don't ask me how we got old of this "Lieu sis a
:06:31. > :06:35.truly exceptional dancer who moves with sophistication beyond his
:06:35. > :06:39.years. If he is to succeed in both subject areas and develop his
:06:39. > :06:45.skills further, he must find self- discipline and drive. If he fails
:06:45. > :06:50.to do so, history men dus talents will go to waste." That's what I
:06:50. > :06:54.tell him every day -- his tremendous talent. Where did you
:06:54. > :06:58.get that from? Source is protected. Psalm about this, week, how is the
:06:58. > :07:03.bounce? It is hard. Very hard, compared to the Latin dance we have
:07:03. > :07:07.done so far. It is tough. It is taking every ounce of me to get
:07:07. > :07:11.through. Is he keeping up with you? We have a method in our training.
:07:11. > :07:15.We will get there. It is a tricky one for the boys, the samba. Not
:07:15. > :07:19.one of the most favourite. I love it. We will be fine. We have high
:07:19. > :07:23.hopes for you. Flavia, you look so gorgeous, I would like to lick your
:07:23. > :07:28.face, you beautiful girl. Lewis and Flavia.
:07:28. > :07:38.Now, it's time for a man who could cast a spell on me any time with
:07:38. > :07:41.
:07:42. > :07:47.his magic machine. Ian Waite and Please welcome the enchanting Ian
:07:47. > :07:51.Waite. Hang on a minute. What the devil
:07:51. > :07:57.are you wearing, Ian? What are you doing? I was told by
:07:57. > :08:06.the team it was fancy dress. fell for it. We got you! Give us a
:08:06. > :08:09.twirl, Spied everman. You look devilishly handsome, even in tights.
:08:09. > :08:16.-- Spiderman. Did you enjoy Hallowe'en week on
:08:16. > :08:20.the show? Spooklicious. Michael and Natalie, he did great, didn't he?
:08:20. > :08:24.Fantastic. Another ballroom. What is he doing this week? He is doing
:08:24. > :08:30.foxtrot. He mastered the hold. Natalie is holding his head left.
:08:30. > :08:34.He has a tendency to look left. The one thing I have to say about this
:08:34. > :08:42.foxtrot is, there is only one thing that stands out for me, and that's
:08:42. > :08:46.the slows. There are slows in foxtrot. Slow, quick, quick, slow,
:08:46. > :08:52.slow, quick, quick. All right. Make sure you get those slows, Michael
:08:52. > :08:58.and you will get a good result. like your fluffy shoes. Happy
:08:58. > :09:02.birthday Michael, by the way. Kimberley and Pasha, great Little
:09:02. > :09:08.Red Riding Hood paso last week. What can you see this week? A nice
:09:08. > :09:11.little lift there. Pasha is the expert in armography and
:09:11. > :09:18.transitions. He does interesting choreography. They are almost
:09:18. > :09:20.getting tied up in Notts here. That's the thing with salsa. -- in
:09:20. > :09:24.knots. But it has interesting hand moves.
:09:24. > :09:34.If you get the wrong hand in the wrong position you are tie yourself
:09:34. > :09:40.up in knots. Be I hope they don't do that. With Kimberley, she needs
:09:40. > :09:46.places to shine. I'm finding it hard to take you seriously in that
:09:46. > :09:51.outfit. Richard and Erin are back in bullroom with a foxtrot. Can he
:09:51. > :09:55.follow the success last week. -- ballroom. I think his ballroom is
:09:55. > :09:59.good. His left side is perfect. Is right is a problem. This side is
:09:59. > :10:04.lovely, his back is lovely and straight. He gets his neck up and
:10:04. > :10:09.eye level is great. He tends to drop his elbow back slightly, which
:10:09. > :10:19.in turn creates his shoulder going forward. He needs to get that all
:10:19. > :10:24.in line. You have drawn crazy sqigles.
:10:24. > :10:28.Fern and Artem are doing the paso doble this week. How is Fern
:10:28. > :10:33.looking? This is a dance which needs intensity throughout. There
:10:33. > :10:37.is acting and character in this dance. So it is a great dance it
:10:37. > :10:44.practice your acting. A very technical term there. I know what
:10:44. > :10:49.you mean. I have stopped it, even if he is using her skirt, I would
:10:49. > :10:54.like her to get lots of shaping and air underneath the arms. You turned
:10:54. > :11:00.her into a spider like yourself. Lots of shaping like this. It is
:11:00. > :11:03.more difficult for me because I've got eight legs. Nicky and Karen are
:11:03. > :11:08.doing the dance of love this week, are you in love with what you have
:11:08. > :11:12.seen so far, Ian? I am, actually. For a Latin dance, for Nicky, this
:11:12. > :11:19.is really good. There are some places where I really believe that
:11:19. > :11:25.he is in the rumba, feeling the character of it. What I want him to
:11:25. > :11:32.do, is to stretch these lines out. Stretch the lines. A bit more chest,
:11:32. > :11:36.look up, a little bit more projection. I think if he can get
:11:36. > :11:41.his lines stronger and more positive, then I think he'll have a
:11:41. > :11:46.really good rumba. OK. I think we are with you. Thank you very much.
:11:46. > :11:50.Spiderman will be back in a moment. Even dressed like that, he does it
:11:50. > :11:55.for me. At the weekend Bruno said Fern was too nice and told her she
:11:55. > :12:00.should try to be more like a panto villain. Oh, no, he didn't. Oh, yes,
:12:00. > :12:06.he Zvery good, well done. If you missed it. Here is a quick reminder.
:12:06. > :12:13.Oh, yes, he did. If you missed it, here is a
:12:13. > :12:18.reminder. Too nicey nicey. Killer Queen. Think of panto villain.
:12:18. > :12:25.like the bad Queen in you. I think you should play with that character
:12:25. > :12:32.more and have more bad roles it, suits you. It has the how, not the
:12:32. > :12:38.wow. You have to push fern a bit more.
:12:38. > :12:42.4. 5. 6. I tried to give it everything I could. Artem fills me
:12:42. > :12:47.with instruction all week long. don't think it's possible to push
:12:47. > :12:53.more. Oh, you leave her alone. Please
:12:53. > :13:00.welcome Fern and Artem. Hello, fern, hi arte. You are a
:13:00. > :13:06.classy girl. I dr Artem. I thought it was a beautiful, smooth American
:13:06. > :13:10.smooth. It didn't fit with killer Queen. I couldn't inhabit here.
:13:10. > :13:13.That's the problem with theme week. You try to fit it in. Because the
:13:13. > :13:20.American smooth is very graceful and you were and Fern was really
:13:20. > :13:25.graceful But I wasn't killer Queen. You weren't killer Queen, which was
:13:25. > :13:29.Hallowe'en.! Second on the leaderboard, were you worried it
:13:29. > :13:33.might have been home time for you both. Second from the bottom. That
:13:33. > :13:37.would have been a dream. Very disappointing and, you know, it
:13:37. > :13:41.gives you a kick up the bum that you perhaps need. Is it encouraging
:13:41. > :13:47.that actually everybody saved you and picked up the phone and voted
:13:47. > :13:51.for you. Oh, man, it just was... Thank you. Britain loves Briten,
:13:51. > :13:55.you see. The judges said they want more energy, even in the American
:13:55. > :13:59.smooth. What do you make of what the judges are saying to Fern? Can
:13:59. > :14:06.you understand where they are coming from? I understand the theme
:14:06. > :14:10.to the dance, the Killer Queen. You cannot interpret it in the American
:14:10. > :14:18.smooth. So it was a version of the killer Queen that we created and I
:14:18. > :14:23.think it was good. Good, thank you. Can I say your steps were stunning.
:14:23. > :14:31.And the judges didn't say that. Craig mentioned it on the show.
:14:31. > :14:39.gave you a 4. If he said it was a good step, I was wondering why he
:14:39. > :14:44.gave us 4? Yes, there we go. Your outfit caused quite a stir online
:14:44. > :14:50.among female fans. Katherine said "Artem, seriously hot. Fern you
:14:50. > :14:55.looked so glam, brilliant routine, you deserved better marks." Thank
:14:55. > :14:59.you. A quick flash of Artem in his chamois for everyone who wanted to
:14:59. > :15:03.see that. How is your confidence after Saturday and the weekend?
:15:03. > :15:09.Well confidence gets a big old bash and then you think - well, you have
:15:09. > :15:15.to use it as a springboard and get back into the room and start doing
:15:15. > :15:20.the paso doble. On we go. And get on with it. How is the paso doble.
:15:20. > :15:25.Quite fun. A lot of fun. We had good fun so far. What are the major
:15:25. > :15:30.points he is drilling into you? Ian was saying, arms, elbow, don't
:15:30. > :15:35.be so nice, get with it. And you know. I was talking to an expert
:15:35. > :15:40.today who said that it's the - in these Spanish dances, it is the
:15:40. > :15:45.woman who is in charge. Yes, you see, I like that, take that role.
:15:45. > :15:50.Get angry with this boy. It doesn't work. No, because he is so gorgeous.
:15:50. > :16:00.Could be a bit mean or something or other? No don't do that, you will
:16:00. > :16:07.make her cry. Surely skirt graphy a go-go. Yes, there is a lot, there
:16:07. > :16:13.is a little bit of fannography and starography. A little bit of...
:16:13. > :16:19.Everything. I'm covered in bruises. Have you had some flamenco experts?
:16:19. > :16:24.Yes. A very good woman came in. thing we can't help but notice,
:16:24. > :16:28.Artem is the one raised training trouser leg. Is this something
:16:28. > :16:34.where you are trying to impress Julien McDonald, fashion or have
:16:34. > :16:40.you come in on your bicycle? quite sure myself. It does feel
:16:40. > :16:44.comfortable. Very odd but hey, it does the trick. I think it is when
:16:44. > :16:52.you are showing me girl steps, to show me ankles. He has lovely ank
:16:52. > :16:57.yes, sir. He does. -- ankles. Give it some this week, Fern, with the
:16:57. > :17:01.paso. Will you be wearing much on top? Probably not much. I can't
:17:01. > :17:06.wait. I like it. Give it up for Artem.
:17:06. > :17:14.At the weekend, Richard and Erin gave us a rather passionate paso
:17:14. > :17:19.doble performance. Darcey described him as "spook qui", Bruno told him
:17:19. > :17:25.he was "dramatic" and Len told him where to keep his spare change.
:17:25. > :17:29.Here is a reminder. The execution was not refined. The timing has to
:17:29. > :17:35.be good. You need to be more earthed, dance into and through the
:17:35. > :17:40.floor a lot more. The tilt in the hips. A tip, if you
:17:40. > :17:50.clench the bottom muscles that will create a much better tip. You come
:17:50. > :17:52.
:17:52. > :17:59.out and give it some. 5. 5. 7. Well I gave it everything I had.
:17:59. > :18:06.big step up on performance. I got a 7 from Len. I love Len. Please
:18:06. > :18:13.welcome Richard and Erin. Thank you. What a performance for
:18:13. > :18:18.you both. How much did you enjoy, Richard, being the big, butch
:18:18. > :18:25.bullfighter. I am butch. I loved every minute. It was my opportunity
:18:25. > :18:31.to step up to the performance and get the make-up on my face. I loved
:18:31. > :18:36.it. The energy. The crowd got up and stood on their feet. What more
:18:36. > :18:40.confidence do you need? Have you had a standing ovation? People
:18:40. > :18:46.leave when I come into the room. I'm surprised you are here.
:18:46. > :18:51.gave awe seven. A seven from Len on a Saturday night. No bad news. --
:18:51. > :18:55.Len gave you a seven. I know the fives are bringing madam out in
:18:55. > :19:01.hives. We keep getting fives. This week we are going for higher than
:19:01. > :19:11.fives. Fingers crossed. I'm not going to be there. There should be
:19:11. > :19:11.
:19:11. > :19:14.some hope. I love your pumpkin shirt. I'm wearing a faux pumpkin-
:19:14. > :19:19.coloured shirt. Loads of praise about you getting
:19:19. > :19:24.into character as the mat adore. Was that fun? I loved all of that.
:19:24. > :19:27.We had help with Ian with that, Spiderman. He showed us the cape. I
:19:27. > :19:32.was nervous about it, because if you get it wrong, you are waving
:19:32. > :19:36.around a dishcloth and then you have to do another minute and a-
:19:36. > :19:44.and-a-half. It wasn't ideal but I loved every minute. But you got
:19:44. > :19:50.that right. I hold my breath when boys do capework They knot it into
:19:50. > :20:00.a sarong! We have noticed at It Takes Two, you two have been
:20:00. > :20:00.
:20:00. > :20:07.getting wild in the training room. Have we? The Arnold Gossipus. An
:20:07. > :20:12.early bird, he can be found at daybreak. Usually a placid creature,
:20:12. > :20:18.when aggravated he will have an intense warning. An intelligent
:20:18. > :20:24.species. Where is my head? He is the hunter gatherer, providing for
:20:24. > :20:29.both him and his partner, the Boag. During migration, his role is to
:20:29. > :20:34.carry his partner south for warmer climates. He has one of the most
:20:34. > :20:43.elaborate mating dances in the entire animal kingdom and that is
:20:43. > :20:47.the Arnold, King of the Dancefloor. I think it's my favourite so far.
:20:47. > :20:53.There were involuntary expulsions when we are working in character. I
:20:53. > :21:00.tend to be more minute must than maximus. But you have broken the
:21:00. > :21:05.curse, Erin's curse of leaving week 4. Peter Shilton and Rory Bremner
:21:05. > :21:11.left week 4. She flagged that up. She said, "I didn't want to tell
:21:11. > :21:17.you." I didn't want it tell you that for the last two series, week
:21:17. > :21:23.4. -- I didn't want to tell you. we have broken the curse. We have.
:21:23. > :21:26.Foxtrot is a beautiful thing. Is it? Magnificent fun. Back in the
:21:26. > :21:29.ballroom. The only jeopardy this late in the competition, is bus it
:21:29. > :21:33.is my third time so there is no excuse for the frame as Ian pointed
:21:33. > :21:40.out. I have to get that right. Technically it has to be polished.
:21:40. > :21:46.I am allowed to tell you what I'm dancing to, am I not? Can he? Is
:21:46. > :21:52.he? It is a Shirley Bassey number. So again no bad news. Is it THE
:21:52. > :21:55.Shirley Bassey number. Not Diamonds Are Forever, but the other one.
:21:55. > :22:00.We'll leave it at that. You are confident in the ballroom and you
:22:00. > :22:06.have had your best score there before. How is he doing? Fabulous.
:22:06. > :22:09.A great change. Well he gets better. We had waltz and quickstep and the
:22:09. > :22:13.score went up and he has the opportunity this week to go up
:22:13. > :22:18.again. I'm hoping if everything goes well on the night. Last week
:22:18. > :22:22.the judges talked when we finished our paso doble, about technique. We
:22:22. > :22:27.have bang really gruelling that in. I'm hoping they'll see the
:22:27. > :22:32.technique and performance. You are the ballroom expert. She is hot to
:22:32. > :22:40.foxtrot. And I have to get into character again. Put it this way
:22:40. > :22:49.I'm a big spender who walks into a bar finds her slumped over a stool,
:22:49. > :22:56.channeling regret. The last time I met a girl in a bar
:22:56. > :23:00.we went home and watched Beaches. One of my favourite movies. I love
:23:00. > :23:03.Beaches. This weekend whilst there was frightening routines and
:23:03. > :23:13.startling performances on the dancefloor, there were also strange
:23:13. > :23:17.
:23:17. > :23:22.goes on behind the scenes. Take a I really like our dance this week,
:23:22. > :23:32.James. Yeah, it is good. What are you doing? I don't know.
:23:32. > :23:44.
:23:44. > :23:54.Ha, ha, ha. What are you doing?
:23:54. > :24:01.
:24:01. > :24:11.SCREAMS LAUGHTER Girls, are you ready??
:24:11. > :24:28.
:24:28. > :24:38.SCREAMS I don't know what is happening.
:24:38. > :24:49.
:24:49. > :24:53.Oh, naughty Bussel puppet master. Time to find out how the rest of
:24:53. > :24:58.our couples are getting on in training? Well welcome back the man
:24:58. > :25:01.with eight legs today. Ian Waite. I thank you. A beautiful Hallowe'en
:25:01. > :25:06.costume. Denise and James are doing the Viennese waltz this weekend.
:25:06. > :25:10.How are they looking in the training room? Well there is a lot
:25:10. > :25:15.of intro at the beginning, separate. She does it wonderfully well. Very
:25:15. > :25:21.good. Most of these things are separate. I wanted to tear apart
:25:21. > :25:25.the ballroom hold. But, let me just point this out, I will point it out,
:25:25. > :25:29.not tear it apart. She will love you for freezing it like that, when
:25:29. > :25:33.she looks like that. One, two, and three. Her head is in exactly the
:25:33. > :25:40.right position. She is looking through that window over her
:25:40. > :25:48.shoulder. The imaginery window. and above. I'm loving point two,
:25:48. > :25:53.she has her napbltd man's deltoid and lovely fingers. -- her hand in
:25:53. > :26:00.the man's deltoid. And absolutely in the right position. A
:26:00. > :26:03.professional would be pleased with that. Good girl. Colin and Kristina.
:26:03. > :26:08.Tough week, bottom two after salsa and they are doing the foxtrot this
:26:08. > :26:14.week, how does it look? Salsa, it was very difficult for him because
:26:14. > :26:19.he has 6'4" of body to co-ordinate. Ballroom, he is much better because
:26:19. > :26:23.he has that lovely poise. The only thing he has to contend with is the
:26:23. > :26:28.height difference. There is a big gap. It is a big difference between
:26:28. > :26:35.them but I wanted to point out footwork. In the foxtrot, he needs
:26:35. > :26:42.to use his feet properly, so he has his heel, ball, ball, heel, toe,
:26:42. > :26:45.toe. And he has got flat feet. He needs to make sure he is using his
:26:46. > :26:51.feet properly. I love the fact that your pants go down the back.
:26:51. > :26:56.Beautiful. I've got no pants on. Stop it. Victoria and Brendan are
:26:56. > :26:59.doing the samba. Excited about the fist sambas. It is a really
:26:59. > :27:04.difficult dance, samba, as Lewis was saying. There is bounce in it
:27:04. > :27:10.and lots of actions in it. They are just walking through this, so it is
:27:10. > :27:16.very difficult to critique it. But what I would say, three words,
:27:16. > :27:21.bounce, fluidity and rhythm. What are the three words? Bounce,
:27:21. > :27:26.fluidity and rhythm. Wonderful. Learning well. Lisa and Robin will
:27:26. > :27:30.be doing the tango this week. What do you think Ian Waite? They are
:27:30. > :27:36.dancing a fallaway in a Viennese cross. It is a difficult step to do.
:27:36. > :27:40.Two weeks ago I spoke about Sid's Viennese cross. He didn't do it
:27:40. > :27:44.very well. The Viennese cross goes like this for a laidy. Off she goes.
:27:44. > :27:49.Back, side, close, forward side cross.
:27:49. > :27:54.OK, did we get that everybody? I think so. The last two steps of
:27:54. > :27:59.that Viennese cross, she needs to really get around. Back side close,
:27:59. > :28:04.forward, get around and across. Then she will be fine with it.
:28:04. > :28:08.are loving that outfit just a little too much! Lewis and Flavia
:28:08. > :28:13.also doing the samba. He was saying he was finding it tough, how does
:28:13. > :28:16.he look? Well as he said, he has this bounce which is difficult.
:28:17. > :28:21.Here he is doing a brilliant job, with the bounce in the right place.
:28:21. > :28:25.Later on, though and if I just go back, watch his bounce. He does
:28:25. > :28:31.that bounce completely out of time. So he is not actually bouncing on
:28:31. > :28:38.the beat. Where should the bounce be? In samba the bounce should be
:28:38. > :28:45.on the beat. You've got one and two and three and four. Now if I do it
:28:45. > :28:50.like Lewis does it then it goes one and two and three and four...
:28:50. > :28:54.on. One and two and three and four... Thank you Ian Waite. That's