:00:12. > :00:17.Hello. Welcome to Tuesday's two two. Tonight's show very much a tale of
:00:17. > :00:19.two foxtrots. They survived dancing disaster to bounce back. Richard
:00:19. > :00:23.and Erin are here. APPLAUSE
:00:23. > :00:25.And on Saturday night they gave us the sweetest feeling, Michael and
:00:25. > :00:30.Natalie are here. APPLAUSE
:00:30. > :00:34.And to describe the difference between forgotten foot work and
:00:34. > :00:41.fleckerls, Karen Hardy is here. Three words come to mind when I see
:00:41. > :00:51.this man, godet, godet, godet, Julien MacDonald. What a line up.
:00:51. > :01:20.
:01:20. > :01:25.This is Strictly It Takes Two. Please welcome your host, Johnny
:01:25. > :01:30.Ball. Zrb Zoe Ball.
:01:30. > :01:35.Hello. Welcome to It Takes Two. Saturday saw Richard face every
:01:36. > :01:43.celebrity's worst fear as he forgot his foxtrot. Here's a reminder of
:01:43. > :01:48.what happened. A complete dance disaster. That was just a shame,
:01:48. > :01:54.because you just lost your focus. It was a tad ploddy. I'm going to
:01:54. > :02:04.call you the plod father. You've got a face on you like a frozen
:02:04. > :02:09.haddock. It all went terribly wrong. It was a dance disaster. Yeah, for
:02:09. > :02:19.once Craig hit it spot on. Maybe we'll get a chance to do it again.
:02:19. > :02:22.
:02:22. > :02:29.I think we might. I still love you. I love you too. Judges it's time
:02:29. > :02:32.toe decide. Richard and Erin. Richard and Erin? Richard and Erin.
:02:32. > :02:37.Please welcome Richard and Erin. APPLAUSE
:02:38. > :02:41.Thank you guys. Oh, my goodness me. Bless you forgetting your steps is
:02:41. > :02:45.the stuff that Strictly nightmares are made of. Did you ever think it
:02:45. > :02:50.could happen to you? There was a moment where I looked down and I
:02:50. > :02:57.thought, "Shave your legs, it's Saturday night." Then I just lost
:02:57. > :03:04.focus completely. It's all about myself, not you dear. It was one of
:03:04. > :03:09.those moments and my palms have gone clammy thinking about it. I've
:03:09. > :03:16.had my fair share of live television. But it was out of body.
:03:17. > :03:21.That was thought about anything else. I was thinking Mary Berry's
:03:21. > :03:27.Victoria sponge, and I must get the flour in. At what point did it slip
:03:27. > :03:31.away? I have no idea. Oh, I do. I remember well. As the pro, do you
:03:31. > :03:35.suddenly, did you see it in his eyes? I heard it. Because he
:03:35. > :03:39.actually turned to me, I felt it first, then I could feel that he
:03:39. > :03:44.was going off in another direction. I thought, I have to take him this
:03:44. > :03:54.way. He looked at me and went "I just can't remember". We have your
:03:54. > :04:03.
:04:03. > :04:11.Micks. Let's relive it again. Go on. Oh, no. Go right. Pifots.
:04:11. > :04:16.Pifots. -- pivots. When she said pivot, I
:04:16. > :04:20.thought, oh, I know that one. Let's have a go at that one. You can help.
:04:20. > :04:23.It does happen. It shows it was live TV. We just had to then go up
:04:23. > :04:28.and face those judges after that. The thing is that then you came
:04:28. > :04:31.back in the dance-off and you had a second chance to do it right.
:04:31. > :04:35.Cracker. You did it brilliantly. That was the thing that was most
:04:35. > :04:39.important to me redeeming ourselves in front of everybody. Because we
:04:39. > :04:44.had put the hours in. We trained, we worked, we had the number.
:04:44. > :04:48.was there. It was somewhere. I had to dig deep for it. We were
:04:48. > :04:53.prepared for the dance-off. I'm glad we got to do it. It shows that
:04:53. > :04:57.Richard is improving, he can do it. He went out there and got all his
:04:57. > :05:01.steps right and we were fortunate enough to stay. Not the best
:05:01. > :05:05.weekend but things improved on Monday, did they? On a Monday
:05:05. > :05:11.you're overwhelmed when you start a routine. You get through the
:05:11. > :05:17.weekend and you're giddy and you come in and you're like... Ah.
:05:17. > :05:22.Argh! Well done. It's Monday morning. Tell me why I
:05:22. > :05:26.don't like Mondays. Oh, God. Come on it's a Monday. This is like
:05:26. > :05:32.learning to walk again. I can't get this bit at all. It's like starting
:05:32. > :05:38.from the very beginning. Point your leg out. I can't do that. Ye you
:05:38. > :05:44.can. Tell me when you've finished. That's beautiful. I just threw up
:05:44. > :05:49.in my own mouth. He's a classy sort. We're nothing
:05:49. > :05:53.if not human. Mondays are difficult for everybody because it's a
:05:53. > :05:57.mountain to climb. Every Monday is a joy to be back, there she goes,
:05:57. > :06:03.welcome to week four, welcome to week five. This week, welcome to
:06:03. > :06:10.week six. Really? Welcome to the charleston. Jazz hands. How is it
:06:10. > :06:14.so far? We're loving it. Love it. It's like a keystone cop. It's very
:06:14. > :06:18.Richard. He's bubbly and fun, that's what it's all about, a story,
:06:18. > :06:22.we're telling a story and having fun. You can just let yourself go a
:06:22. > :06:27.bit this week. We're allowed to tell you a bit about the story.
:06:27. > :06:30.Come on. I'm her hairdresser. Do you think I'm being shoe horned
:06:30. > :06:34.into a cliche on this show. What are they trying to do. You would
:06:34. > :06:39.tell me wouldn't you? I'd always be honest with you. I think it will be
:06:39. > :06:42.a good week for you. I have julienne running up the most
:06:42. > :06:48.amazing frock, I have no idea what you're wearing. Richard and Erin!
:06:48. > :06:51.Thank you. With no themes, it was back to
:06:51. > :07:01.basics this weekend..celebrities rise to the challenge. Here to
:07:01. > :07:07.
:07:07. > :07:12.offer her expert opinion is Karen Welcome Karin!
:07:12. > :07:15.APPLAUSE A lady who throws down shapes and
:07:15. > :07:19.explains it to us. Really mixing it up this year, eight different
:07:19. > :07:23.styles on dance on Saturday, much to cover. First of all, Dani and
:07:23. > :07:27.Vincent and the jive. The highest scoring jive of the series. What
:07:27. > :07:31.made it so good? We've got to look straight at the choreography, of
:07:31. > :07:36.course, what was great about this, I've seen so much of the side by
:07:36. > :07:40.side kicks and flicks. But the true essence of a great jive is what we
:07:40. > :07:45.have here it circumstance laits. She's going under the arm and
:07:45. > :07:50.turning and the routine is turning and back again. The greatest jives
:07:50. > :07:53.in the world are all about turning. She did it so well. Nicki and Karin
:07:53. > :07:57.and the rumba. Craig said it was just a series of presentations,
:07:57. > :08:01.what due think? I quite like today. I'm going against the grain here. I
:08:01. > :08:05.thought it was brilliant. It was the perfect balance and why? Let's
:08:05. > :08:08.look straight away here. We've got look straight away here. We've got
:08:08. > :08:12.an open hip twist. He's dancing. He's using his hips, sending her
:08:12. > :08:17.into fan position. He's doing his back base ibgdz, forward checks.
:08:18. > :08:22.You don't need any more than that. Even at a high top level in the
:08:22. > :08:25.professional field it takes a world champion to come out and only do
:08:26. > :08:30.basics. You want the passion. The most thing about a woman, you've
:08:30. > :08:34.got to present her. It's not all about being the proud peacock in
:08:34. > :08:42.this dance. It's all about your woman and he did it brilliantly.
:08:42. > :08:52.Well done. Denise and James an the Vienneseualities. Huge 35 for this
:08:52. > :08:54.
:08:54. > :08:58.on Saturday. -- Viennese waltz. attention to detail is here. Look
:08:58. > :09:02.at the spin there where her arms are around her waist, then they're
:09:02. > :09:05.over her shoulders. These are the hardest spins to do. Any time the
:09:05. > :09:09.arms elevate, it makes the spins much more difficult. She could have
:09:09. > :09:13.arrived there, bumped, fallen over, missed the connection. She didn't.
:09:13. > :09:18.It was effortless. It's the attention to detail that make it's
:09:18. > :09:22.look so seamless and beautiful. Well done. Victoria and Brendan and
:09:22. > :09:26.the samba. Bruno very critical saying that at week five, her
:09:26. > :09:31.rhythm should be better. What do you think? I want to ask you, what
:09:31. > :09:36.does rhythm mean? I'm not sure and I can't spell it. A regular
:09:36. > :09:45.occurrence of accented beats. Now everyone says rhythm, do we know
:09:45. > :09:49.what it means? We take a metronome. It can never speed up and in
:09:49. > :09:53.Victoria's case it can never slow down. Once we set that. Am I
:09:54. > :09:58.sending you to sleep. What we have here, as she finishes the dance,
:09:58. > :10:01.the band keeps playing at this speed but she decides I'm going to
:10:01. > :10:05.slow down. That's what Bruno is talking about. The rhythm goes.
:10:05. > :10:09.Once the dance starts, you have to keep the beat going. Have you to
:10:09. > :10:13.keep the speed going. It doesn't mean keep the body moving, it means
:10:13. > :10:18.keep the regular beat ticking along. You can't slow down and have a cup
:10:18. > :10:22.of tea before the music is finished. Michael and Natalie and his foxtrot.
:10:22. > :10:27.Praise all round from the judges. Darcey was going on about his stiff
:10:27. > :10:31.neck. I could argue it needed to be more active. But definitely not
:10:31. > :10:35.stiff. Simply because the complex choreography he was doing, if you
:10:35. > :10:40.look here, we go into a beautiful action of a double fall away, which
:10:40. > :10:44.I love, not just one, there's one and here comes the second one, into
:10:44. > :10:48.the oversway. If we freeze it there, you can argue he needed to slightly
:10:48. > :10:53.give it a little bit of dance, a bit of a breathe. But definitely
:10:53. > :10:59.not stiff for me. I thought it was an incredible routine. I just think
:10:59. > :11:05.he looks suave and sophisticated out there. First class. Lisa and
:11:05. > :11:10.Robin and the tango. The judges almost came to blows over this. Was
:11:10. > :11:13.there too much up and downiness? Our knees should be really
:11:13. > :11:17.compressed in this dance. Because the knees are low, it means that
:11:17. > :11:20.we're meant to peel the feet, pick them up off the floor and put them
:11:20. > :11:25.down again. Now, it's very difficult because the knees are so
:11:25. > :11:29.bent, as you pick up, everything comes up with it. We tend to get
:11:29. > :11:34.this bouncing action. What you've got to do is stalk across the floor.
:11:34. > :11:39.You pick the knees up like that. If we look at this, you see this
:11:39. > :11:46.bouncing as she closes her feet, bounce, bounce. You need to keep
:11:46. > :11:51.that all on one level. In the moment, Craig used the wrong word
:11:51. > :11:57."guide" and everybody attacked them. We pick up the feet in tango but
:11:57. > :12:02.the level of the head must remain the same. That creates the stacatto
:12:02. > :12:07.action. Kimberly and Pasha, the highest score so far. Len spotted
:12:07. > :12:12.an incident with the arms. Due spot it? It was very slight. Look at the
:12:12. > :12:15.commitment she gave to it. Not only does she have fantastic routine of
:12:16. > :12:19.use of the arms, twist, turn and hey flick the head at the same time
:12:19. > :12:24.as I use my arm. Here is the mistake, there you go, he grabs,
:12:24. > :12:28.but what a team. They recover. That's what it's all about. When
:12:28. > :12:33.you have done a complex action like that, it, you can lose why you are.
:12:33. > :12:37.She was brilliant because we were seeing all this armology, people
:12:37. > :12:42.didn't see how great her technique was as well. In this for a long
:12:42. > :12:46.time. Fern and Artem and the paso doble. Some criticism again for
:12:46. > :12:49.Fern for not delivering the performance. Where is she going
:12:50. > :12:53.wrong? I say it to all my students, thinking and doing are two
:12:53. > :12:57.different things. If I shook your hand naturally in the street we'd
:12:57. > :13:01.do that. If you shake hands on TV you have to make it clear. She's
:13:01. > :13:05.thinking she's doing it right, but it's not coming through. I believe
:13:05. > :13:09.that it's the expectation. Everybody loves Fern. We're wanting
:13:09. > :13:12.her to look like a world champion. We love her but she's just not
:13:12. > :13:19.delivering that expectation for everyone. Give her a chance. She's
:13:19. > :13:24.growing. Louis and Flavia and the samba. Len praised the content. But
:13:24. > :13:27.Bruno said it strayed into salsa? Nowhere near a salsa. So far from
:13:27. > :13:33.it. This dance was incredible. I need to explain a few things. We've
:13:33. > :13:37.talked about rhythm today. In the samba, we have 11 different rhythms.
:13:37. > :13:40.Some of these steps of these rhythms have to be danced flat,
:13:40. > :13:47.some bounce and some curve. I'm going to show you how brilliant
:13:47. > :13:52.this dance was. Look here as we go into these steps. This step, his
:13:52. > :13:57.head stays flat throughout the dance. Natural turn, it's all
:13:57. > :14:03.stayed flat. He's not bouncing up and down. Now, he starts to bounce.
:14:03. > :14:06.Perfect. We had a combination of rhythms, some of them flat, some of
:14:06. > :14:10.them bounce. Don't be misunderstood that this dance should dance
:14:10. > :14:15.throughout. It should be a combination and he did it perfectly.
:14:15. > :14:18.Well done Louis. Richard and Erin and the foxtrot. We know now it all
:14:18. > :14:21.went wrong on the night. How hard is it for a celebrity to get back
:14:21. > :14:25.into the dance once you've forgotten where are you? There's
:14:25. > :14:31.something I always say to people, the answer's are -- the answers are
:14:31. > :14:36.in the music. What happened here was a meltdown on TV. He thought
:14:36. > :14:41.our lovely Erin twinkle toes were going to put him into steps. If I
:14:41. > :14:45.look at Erin's feet, then maybe they will help me. If he'd have
:14:45. > :14:48.just listened to the music, the beats were there, which we talked
:14:48. > :14:51.about tonight, and also, there's those big strong actions. He would
:14:51. > :14:56.have rehearsed it time and time again that would have said, I've
:14:56. > :15:01.done that all wrong, but this is my pivot. What he didn't do, he looked
:15:01. > :15:07.down at the feet. He was saved. Let's leave with that The Hardest
:15:08. > :15:11.Partism that you just taught us -- Hardyism - that you just taught us.
:15:12. > :15:19.The answers are always in the music. The answers are always in the music.
:15:19. > :15:24.Karen Hardy, thank you so much. Don't forget, you can catch Karen
:15:24. > :15:29.Hardy on the red button on Saturday. Who do you have with you? John
:15:29. > :15:34.Culshaw. You'll have everybody. For a second week in a row Michael and
:15:34. > :15:38.Natalie blew us away and their foxtrot landed them a whopping 31
:15:38. > :15:43.points. Here's a reminder of what happened.
:15:43. > :15:47.What a good job. I hope this dream will continue for you. You just
:15:47. > :15:53.need to add three things - style, you need to add swing and you need
:15:54. > :15:59.to add sway. You shine in ballroom. You're elegant, graceful and you
:15:59. > :16:09.glide. Wear tails every week, please. Best foxtrot of the night
:16:09. > :16:17.
:16:17. > :16:21.As soon as I get on the dance floor in the lives, I just kind of like
:16:21. > :16:27.it. I think you've got style. You had a little bit of swing, a little
:16:27. > :16:35.bit of sway. But not enough. Please welcome Michael and Natalie!
:16:35. > :16:40.APPLAUSE You start welling up watching these
:16:40. > :16:43.stories. They're like love stories. Len said best foxtrot of the night.
:16:44. > :16:48.How was it for you? I was nervous on Saturday night, more than last
:16:48. > :16:53.week. I kind of just got on the dance floor and relaxed about
:16:53. > :16:57.halfway through. The second half was better than the first half. The
:16:57. > :17:02.first few steps my legs were wobbling with nerves. How do you
:17:02. > :17:07.calm him before you go on? I done real -- I don't really. She has a
:17:07. > :17:12.little look. It's the look of fear. Please don't forget your steps or
:17:12. > :17:15.stay calm, keep cool, carry on. gives me a few last minute tips.
:17:15. > :17:19.You're about to go on. She says get your legs into the dance floor and
:17:19. > :17:23.you'll be OK. I know he's fine. It's just that initial, getting off
:17:23. > :17:27.on the right foot, starting on the right timing and then we're fine.
:17:27. > :17:32.The great thing is you matched your brilliant score for the quickstep
:17:32. > :17:36.the week br. You must be thrilled. Lots of praise from the judges.
:17:36. > :17:41.Annie from Pembrokeshire says "Well done Natalie, you've made a real
:17:41. > :17:46.dancer out of Michael." Is that good to have hard work recognised?
:17:46. > :17:49.I try to give her as much credit. I call her Harry Potter. She's like
:17:49. > :17:54.the Wizard of Oz. She's amazing. Only a few weeks ago I couldn't
:17:54. > :17:58.really move around the dance floor. To get 31 and 31 on consecutive
:17:58. > :18:02.weeks. She's doing something right. You're delivering. It's not just
:18:02. > :18:10.about me. You want to do the work. You deserve it. Clue in the title,
:18:10. > :18:13.It Takes Two. Very good. So Darcey said elegant and graceful, but
:18:13. > :18:23.quite how you achieve that when we've watched your training back is
:18:23. > :18:45.
:18:45. > :18:50.APPLAUSE They love it. It's funny seing that.
:18:50. > :18:55.We have a lot of fun. You work with sportsmen all the time. They must
:18:55. > :18:59.be notorious for playing tricks. You met your match. I got mine back.
:18:59. > :19:03.So salsa. We go from ballroom to salsa for you this week. You've
:19:03. > :19:07.struggled a bit with the Latin. Do you think this new-found confidence
:19:08. > :19:12.is going to carry through to this weekend? I really think it's a
:19:12. > :19:15.great opportunity because two weeks of ballroom has gone well. The two
:19:15. > :19:19.weekends previously with the Latin wasn't as good. I don't think
:19:19. > :19:24.anyone's going to expect anything. That is a point. That's my attitude
:19:24. > :19:27.for the week. Train as hard as for the ballroom and hopefully surprise
:19:27. > :19:34.a few. If there's no huge expectation, they're all like oh,
:19:34. > :19:37.here he comes, you can go that-da. Here we are, salsa king, look out.
:19:38. > :19:41.Could you say that with a bit more conviction next time. I'm hoping
:19:41. > :19:45.any way. The thing is, sheer hard work does translate onto the dance
:19:45. > :19:50.floor. You have been putting the hours in. You're right up there on
:19:50. > :19:54.the training hours, the most that you've done. Is that how you were
:19:54. > :19:58.with cricket. Is that a sportsman thing? If you spoke to my cricket
:19:58. > :20:01.coaches they wish I had tried a bit harder, as I do with the dance.
:20:01. > :20:05.It's the only way to get better, by putting the hours in. To catch up
:20:05. > :20:09.with the likes of Denise and Louis and Kimberly, I've had to put more
:20:09. > :20:13.time in. It's the only way I feel I can get the routines in my head and
:20:13. > :20:16.then somehow deliver a decent performance on a Saturday night.
:20:16. > :20:22.You have worked miracles before with Michael. Can you do it this
:20:22. > :20:28.week with the salsa? We're going to do what we do, try as hard as we
:20:28. > :20:32.try in every other dance. It's a great song. Tlgz a great feeling.
:20:32. > :20:38.Sprinkle your dust again. Bring some magic. We will do everything
:20:38. > :20:41.we can, have fun with it. I love dancing with you. I think he's
:20:41. > :20:46.amazing. Good luck with your salsa. I think it's going to be great.
:20:46. > :20:49.I believe. It gives you a warm feeling. A
:20:49. > :20:53.beautiful array of dresses on the dance floor this weekend. Who
:20:53. > :21:03.better to talk us through them than It Takes Two's very own style guru
:21:03. > :21:16.
:21:16. > :21:21.Mr Julien MacDonald. Please welcome Lord glamb mbas --
:21:21. > :21:26.glambasador. Was it good to see traditional outfits? I absolutely
:21:26. > :21:31.loved lamb week's show. It was sparkling, colourful and truly
:21:31. > :21:35.Strictly. Julienne's here. You could get excited about a pin I
:21:35. > :21:42.think. You've picked your favourite three outfits, as always. We're
:21:42. > :21:46.going in reverse order. Who's is number three? Victoria. Come on
:21:46. > :21:50.lady. This dress looks quite simple, but I'm told it's actually very
:21:50. > :21:57.complicated in design. It's a very complicated structure. There's a
:21:57. > :22:02.bod is. There's a cup. It's made from microfibre, very technical
:22:02. > :22:06.fabric, a beast to sew. But it looks amazing on her. It looks
:22:07. > :22:11.glorious. Tell me about the ruched Basque. That's what it says here.
:22:11. > :22:21.Thafrpblgts is a gathered cup to give her a bit of a lift and more
:22:21. > :22:22.
:22:22. > :22:26.of a fuller bust shape. So a like a show girl stylee. I need a ruched
:22:26. > :22:30.Basque. This is short at the front and long at the back. This is on
:22:30. > :22:35.trend. A lot of designers are experimenting with short and long
:22:35. > :22:41.hem. This is a special hem. I have been waiting week after week for a
:22:41. > :22:47.Strictly ruffle. You wanted a ruffle, you've got one. This is
:22:47. > :22:52.Strictly ruffles. It's not just one ruffle, it's a multitude of ruffles.
:22:52. > :22:57.Why I love ruffles so much, stop laughing, I'm being serious, they
:22:58. > :23:02.are the biggest fashion trend for next summer. If you have any
:23:02. > :23:08.ruffles in your wardrobe, ruffle them up and keep them for the
:23:08. > :23:16.summer. Can we all carry on a ruffle, honestly? It can be ageing.
:23:16. > :23:22.But as fashion will tick Tate, next summer you're going to see a lot of
:23:22. > :23:28.big, small, ruffles. We heard it from you first. Number two, who's
:23:28. > :23:34.is that? My number two of the week has to be Dani. She looked
:23:34. > :23:38.absolutely gorgeous in this outfit. Apparently leopard print on trend.
:23:38. > :23:45.It's always in fashion. Every description of an animal print is
:23:45. > :23:51.always in fashion. But it's great to see it Strictlyified. Does a
:23:51. > :23:55.skirt this length flatter a person of this stature? It's great if
:23:55. > :23:59.you're short. But if you're tall this kind of skirt can make you
:23:59. > :24:05.look like a giraffe. This is a special skirt. It's very special
:24:05. > :24:10.because this black border which is a bias border, sewn onto the skirt
:24:10. > :24:17.to open the skirt up and give it lots of volume. So when she's doing
:24:17. > :24:20.the spins it twirlz out and you can see the unitard underneath. It was
:24:21. > :24:25.pink! I've been paying attention. Do I get extra marks? And who is
:24:25. > :24:29.the top spot for you this week? Well, it has to be, this is the
:24:29. > :24:33.first on the fashion spot, Denise Van Outen. I'm so glad you said
:24:33. > :24:39.that. She looked gorgeous on Saturday night. Why does she
:24:39. > :24:45.deserve the top spot? She looks spepbsive and chic and it's what we
:24:45. > :24:50.want to see on Strictly, this kind of gorgeous dress. Apparently no
:24:50. > :24:54.godets this week. What is that then? I've told you before. Sorry,
:24:54. > :24:59.pay attention. A godet is a triangular piece of fabric inserted
:24:59. > :25:04.into a skirt to create volume. This is a big piece of fabric which
:25:04. > :25:10.falls flat onto a crinoline base. It's a crinoline base with lots of
:25:10. > :25:17.fabric all gathered to make the soft, floating Kandy Floss hem.
:25:17. > :25:23.I understand! Lovely embellishment on the bust area. The top half of
:25:23. > :25:28.the dress is incredible. This is a bugle bead. Bugle bead! I've never
:25:28. > :25:33.heard that before. It sounds special. It's a bugle bead which is
:25:33. > :25:37.a cylinder of glass and it's laminated with metallic inside. The
:25:37. > :25:42.metallic and fringing makes it very modern. We have a tale of two
:25:42. > :25:49.cities, a dress soft and romantic and very hard and graphic and very
:25:49. > :25:54.feminine on the top. I love it when you talk like. That Now not only
:25:54. > :25:58.Denise and Dani and Victor ya, you did have another favourite from --
:25:58. > :26:06.Victoria, you had another favourite. My guilty pleasure has to be Louis.
:26:06. > :26:12.Come on! This is a skin-tight top with an animal print on the top of
:26:12. > :26:17.a swirl. This is a zip top. Apparently he chose to stop the zip
:26:18. > :26:22.just there. Teasing. Classy boy. It will get lower as the weeks go on,
:26:22. > :26:29.I think. Apparently, look at him working it. Come on Louis. Get out
:26:29. > :26:32.of guns. He doesn't think the camera's running. Apparently he's
:26:32. > :26:41.just won Ultimate Hottie of the Year at the cosmopolitan awards.
:26:41. > :26:47.Deservedly. So He look s just like Po peye. Look, the reverse! Let's
:26:47. > :26:50.hear it for Louis. He worked it. Last week, with a help from Amy the
:26:50. > :26:55.zookeeper, you demonstrated how the Strictly outfits can cross over
:26:55. > :27:02.into the work place. You've been at it again. I've been very naughty. I
:27:02. > :27:10.have given Bev the plumber Lisa's hanky panky outfit to wear to work
:27:10. > :27:15.plumbing. I love it. Plumbing, surely not. Take a look.
:27:15. > :27:18.My name's Bev and I'm a plumber. This is my normal work outfit. But
:27:19. > :27:23.today, I've been sent a frock from Strictly and so I'm going to change
:27:23. > :27:33.from this to this. Wow! That's better. Time to go to
:27:33. > :27:41.
:27:41. > :27:46.Hi I've come to do your sink. look fantastic. Thank you. It felt
:27:46. > :27:50.amazing. Lots of stretch in it, which is good for reaching into all
:27:50. > :27:56.the hard to get to places, but the length of it not great for plumbing.
:27:56. > :28:06.How does it feel in a glamorous dress? Good, but it's a bit on the
:28:06. > :28:09.
:28:09. > :28:13.How are you doing with the high heels? I love them, but I don't
:28:13. > :28:17.think health and safety will be too impressed. I felt amazingly
:28:17. > :28:22.glamorous and it was good to feel that glamorous whilst working. I
:28:22. > :28:26.think my colleagues would love it. They'll be madly jealous. The best
:28:26. > :28:29.looking plumber I've ever had. been fantastic being made up for
:28:29. > :28:34.the day and wearing the dress. Unfortunately I've had to give it
:28:34. > :28:41.back now and go back to my old work clothes. But it doesn't mean I
:28:41. > :28:47.can't Accessorize. Let's hear it for Bev! She looked
:28:47. > :28:52.gorgeous. Thank you very much to Ann and Charles, Ann beautiful as
:28:52. > :28:58.well. Bev can fix my pipes any week in that dress. Thank you to Julien
:28:58. > :29:01.MacDonald. See you next week. Thank you to all my guests tonight.
:29:01. > :29:05.Tomorrow I'm talking to Denise and James, Louis and Flavia and