:00:12. > :00:17.Hello and welcome to Tuesday's show. On tonight's programme: They are
:00:17. > :00:22.still here, Kimberley and Pasha. APPLAUSE They got top scores this
:00:22. > :00:27.weekend, top scores of the series so far, Denise and James are here.
:00:27. > :00:31.APPLAUSE She's a hardy woman to please. She has such high
:00:31. > :00:37.expectations. Karen Hardy is here with Choreography Corner. APPLAUSE
:00:37. > :00:47.Julien Macdonald is here tonight. APPLAUSE It will be a marvellous
:00:47. > :01:16.
:01:16. > :01:22.This is Strictly: It Takes Two. Please welcome your host, Zoe Ball!
:01:22. > :01:27.APPLAUSE Hello. Welcome to Tuesday's It Takes Two. In a moment,
:01:27. > :01:33.I will be chatting to Kimberley and Pasha. Here is a reminder of their
:01:33. > :01:38.romantic Viennese waltz from the weekend.
:01:38. > :01:47.That was such an emotive performance. You really moved me.
:01:47. > :01:52.It was gentle, I really enjoyed it. Well done. Oh, really achingly
:01:52. > :02:01.romantic. I love the sense of are we going to end up together? Or are
:02:01. > :02:11.we going to be separated at the end? That was a delicious Viennese.
:02:11. > :02:11.
:02:11. > :02:18.I loved it. Yes! We got a nine from Len. And Bruno. And Bruno.
:02:18. > :02:23.enjoyed it. People enjoyed it. That was great reaction. Amazing. Which
:02:23. > :02:29.of you will be back to dance again next week? Judges? Kimberley and
:02:29. > :02:34.Pasha. Kimberley and Pasha. Kimberley and Pasha. Please welcome
:02:34. > :02:40.Kimberley and Pasha. APPLAUSE Oh, goodness me. What an emotional
:02:40. > :02:44.weekend you had. Such a beautiful Viennese waltz. Then, second on the
:02:44. > :02:48.leaderboard. To be in the bottom two, you must have been devastated?
:02:48. > :02:53.I was gutted to be in the bottom two. We had really enjoyed our
:02:53. > :02:56.dance on Saturday. Obviously, we got our highest scores so far. We
:02:56. > :03:04.were really happy and, yeah... was worried about you, during the
:03:04. > :03:09.results you were going pale rerks. She is going to fall down! -- paler.
:03:09. > :03:13.She is going to fall down? She was holding on to me. Pasha, how did
:03:13. > :03:21.you feel? This is the first time you have been in the bottom two is
:03:21. > :03:27.this Yes. LAUGHTER Oh no, don't... How did it feel for you? It was
:03:27. > :03:31.fine. I was really concerned about Kimberley. I could feel the energy
:03:31. > :03:37.change around her and she was like holding on. I was, are you OK? Are
:03:37. > :03:40.you going to fall now? He was so good. He stayed so calm which
:03:40. > :03:45.helped me to gather myself together. I had a little moment where I
:03:45. > :03:50.thought oh God, I don't know if I can do this. He gave me the, yes,
:03:50. > :03:54.you can. He is so good. He is. are a lucky girl. So many messages
:03:54. > :03:59.of support for you online. Loads of messages coming in. People are
:03:59. > :04:04.shocked to see you in the bottom two. "How was Kimberley in the
:04:04. > :04:10.bottom two? Her dance was beautiful." It is a warning to
:04:10. > :04:15.everyone. They need to vote for you? Yeah. You should take heart
:04:15. > :04:21.because Tom Chambers was in the bottom two and he went on to win.
:04:21. > :04:28.See! It can happen. Also, your mate, Cheryl Cole was in the bottom two
:04:28. > :04:33.on Pop stars The Riels and look at her now! -- The Rivals and look at
:04:33. > :04:39.her now. Fact! Did that make you more nervous dancing in front of
:04:39. > :04:45.her? No. I was quite calm. It was nice having her there. Between you
:04:45. > :04:52.and me, who else did she like in the show? She loved Denise. I'm not
:04:52. > :04:56.just saying that because she is here! She loved Denise' dance.
:04:56. > :05:02.week, you got the Samba. Yes. Wembley. How have you found it so
:05:02. > :05:10.far? Only a bit of practice so far? So far, so good. I'm enjoying it.
:05:10. > :05:17.It is really fun. She likes to shake it more than... We have seen
:05:17. > :05:21.you... Shaky, shaky, shaking. quite an intricate dance, all the
:05:21. > :05:27.different rhythms. How difficult will it be for Kimberley to pick it
:05:27. > :05:32.up? She is doing really well. She likes to shake it! LAUGHTER
:05:32. > :05:38.Kimberley Walsh, she likes to shake it! OK.S also, you have Children In
:05:38. > :05:43.Need. You are performing on Children In Need -- OK. Also, you
:05:43. > :05:46.have Children In Need. You have performing on Children In Need. How
:05:46. > :05:52.will that affect your training? will be a hard week. We will still
:05:52. > :05:56.be working really hard. We need to put as many hours as possible in.
:05:56. > :06:00.Wembley! It is Wembley. You have played to massive crowds in Girls
:06:00. > :06:04.Aloud. How daunting is Wembley to dance out there? You know, it is
:06:04. > :06:08.really daunting to think about... Don't think about it! OK. LAUGHTER
:06:09. > :06:13.Imagine you are in your nan's sitting room and it will all be
:06:13. > :06:19.fine. You have been consistent with your scores for three weeks. How
:06:19. > :06:23.are you going to wow them at Wembley? Like I said, she likes to
:06:23. > :06:26.shake it! LAUGHTER I'm getting quite excited. Good luck at Wembley.
:06:27. > :06:33.Thank you. Enjoy Children In Need on Friday. Good luck to you both.
:06:33. > :06:37.Thank you. Thank you. APPLAUSE This weekend, we saw a fab paso doble
:06:37. > :06:42.from Denise and James. We witnessed Richard playing the bongos on
:06:42. > :06:52.Erin's bum and Michael and Natalie gave us a pants performance - a
:06:52. > :06:58.
:06:58. > :07:04.flash! Here to tell us more is Please welcome Karen Hardy!
:07:04. > :07:10.APPLAUSE Hello. I get excited when you come here. This weekend, the
:07:10. > :07:14.judges gave out 11 nines. That is an awful lot of nines at this point.
:07:14. > :07:18.Is the standard of dance the best we have seen? It is. It is coming
:07:18. > :07:22.together now. Back in the early weeks, all the seeds were planted
:07:22. > :07:26.to learn the technique, the footwork, body, frame, all of those
:07:26. > :07:31.things. Those people that have grasped it now, it is all beginning
:07:31. > :07:34.to flower and look beautiful. love you bringing farming into
:07:34. > :07:39.dancing(!) LAUGHTER Let's talk about the weekend. Kimberley and
:07:39. > :07:43.Pasha. What a shocker they were in the bottom two. It was very, very
:07:43. > :07:48.interesting. What I liked here was how quick Len's eye was. Look at
:07:48. > :07:51.the beautiful steps here. We are doing reverse turns which means
:07:52. > :07:56.that Kimberley's meant to be crossing her feet and closing. She
:07:57. > :08:01.did the wrong footwork. But Len picked up on it. He doesn't miss a
:08:01. > :08:06.trick. What I think, it could have been what led up to the foot fault
:08:06. > :08:11.here and the imbalance. It was still so beautiful and so elegant.
:08:11. > :08:15.Not worthy of the bottom two. is still here, so that is great.
:08:15. > :08:18.Yes. Michael and Natalie did the salsa. He got a lot of praise for
:08:18. > :08:24.his lifts. Why were they so impressive? I think what I really
:08:24. > :08:29.loved about these two, it was that salsa meltdown. We can see it going
:08:29. > :08:34.wrong, sadly again. What I love, the chemistry between these two,
:08:34. > :08:37.they have got to deliver the lifts. Lifts give you good points. Get it
:08:37. > :08:44.back together, let's make this work. They got the chemistry. That could
:08:44. > :08:48.have been a mouse lifting an elephant! It turned out beautiful.
:08:48. > :08:52.They work together. Denise and James and the paso doble. Highest
:08:52. > :08:59.score of the series so far. What did their paso doble have that so
:08:59. > :09:04.many others haven't? The missing ingredient was the competitive edge.
:09:04. > :09:08.We have always said how great her technique is, the frame, all these
:09:08. > :09:12.things. I have never seen in her eyes as much as we have seen in
:09:12. > :09:16.this number, the, "I'm in this competition!" The paso doble
:09:16. > :09:20.encourages you to do that. She has to keep that sparkle in her eye,
:09:20. > :09:24.not to be afraid to be the front- runner, to show them that she can
:09:24. > :09:29.win this. She's got to keep going every week and keep that sparkle.
:09:29. > :09:32.You are here to win! Richard and Erin and their Charleston. It is
:09:32. > :09:37.all about character. It is all about performance. He really pulled
:09:37. > :09:43.this off well at the weekend. How technically good was he? How clever
:09:43. > :09:48.is this little munchkin?! He's got the personality. He's got
:09:48. > :09:52.everything going on. We have the faces, but then every week when I
:09:52. > :09:57.look at his technique, it is terrible. Look what he does. Bring
:09:57. > :10:00.out the smiles! Bring out the cheeks! Bring out the jazz hands!
:10:00. > :10:04.And that's what he's been very clever with. He brings us the
:10:04. > :10:09.entertainment factor every week. The judges will now really start
:10:09. > :10:13.looking downstairs a lot more. He's got to improve. Dani and Vincent
:10:13. > :10:18.and their tango. Craig said fantastic dancer. How can she
:10:18. > :10:22.improve and get to nines and tens? There isn't much more that she's
:10:22. > :10:28.got to do. She has to keep going along with what she is doing. She
:10:28. > :10:33.delivers great choreography. She gets the timing right. She does
:10:33. > :10:35.good technique. I'm loving the slows and the quicks. It is all
:10:35. > :10:39.bringing layering to the performance. We are waiting for
:10:39. > :10:44.that moment when it all comes together, the right song, the right
:10:44. > :10:47.dance and up will go those tens. Good. Let's hope that happens at
:10:47. > :10:53.Wembley. Louis and Flavia and the waltz. Craig gave them a six. What
:10:53. > :10:56.did you make of that? Nowhere near a six. It was beautiful. But what
:10:56. > :11:01.amazed me was the uproar between the judges. And things didn't make
:11:01. > :11:04.sense to me. What he does was so beautiful. Firstly, the most
:11:05. > :11:09.important thing in the waltz is that we do accent a beat. We accent
:11:09. > :11:13.the one, two, three, one, two, three. There was a discussion as
:11:13. > :11:17.well about his head position. His choreography is really interesting.
:11:17. > :11:21.Rotating all the time. It asked the head to go from its basic position
:11:21. > :11:24.into promenade position, it has to come back again, it has to change.
:11:25. > :11:31.So it should have that natural movement of the head. The one thing
:11:31. > :11:36.that was overlooked. He was too fast for the music! Ah. In general,
:11:36. > :11:42.with what the judges were talking about, I was getting frustrated. It
:11:42. > :11:47.was worthy of something much higher than a six. Beautiful frame, great
:11:47. > :11:50.top line. Beautiful development across the floor. A couple of
:11:50. > :11:54.timing errors. Thank you. Victoria and Brendan and the quickstep. So
:11:54. > :11:57.the junls think she is mastering the footwork -- judges think she is
:11:57. > :12:02.mastering the footwork, but needs work on her frame and shoulders?
:12:02. > :12:06.Let's have a look at it. Can you see how the shoulders are right up
:12:07. > :12:11.there by the ears. If we don't have a good frame, we can't see the
:12:11. > :12:16.great performance that is going on inside. She's dancing so incredibly
:12:16. > :12:21.well. And what happens is as we lead into the dancing now, she is
:12:21. > :12:23.able, she recovers it and it breaks again. She recovers it. That has to
:12:24. > :12:28.be Brendan pulling her back into place all the time. That doesn't
:12:28. > :12:31.want to happen. Every great lady should be able to hold her own
:12:31. > :12:36.position and her own frame. Each person in the partnership has their
:12:36. > :12:40.own frame and that is what comes together, two people moving around
:12:40. > :12:44.the dancefloor as one. Lisa and Robin and the foxtrot. They focused
:12:44. > :12:50.on the footwork all week. How good was her footwork? The speed, when
:12:50. > :12:54.the song came on, whoosh! They were flying. What I loved was the
:12:54. > :12:58.attention to the footwork. Why is that important? Now, we are going
:12:58. > :13:01.to see - there's the heel turn. Now, it wasn't her best. I don't want
:13:01. > :13:08.her to get upset about that. What is great, remember we have said the
:13:09. > :13:13.more she's working on that footwork, it will build on her performances.
:13:13. > :13:19.Maybe she didn't get them together, but she had a go at it. It is the
:13:19. > :13:24.mechanical strength that will help her. Nicky and Karen, I love the
:13:24. > :13:28.whole performance. The judges saying he needs to move more?
:13:29. > :13:36.opening was fantastic. It is a foxtrot. As he takes up here and he
:13:36. > :13:39.starts to dance, I didn't see him starting to drive. It is OK. In
:13:39. > :13:43.week six, he should be really getting those legs driving across
:13:43. > :13:51.the floor now. I'm building up to think I will probably have to
:13:51. > :13:55.demonstrate. Please. APPLAUSE We love it. OK. We have our standing
:13:55. > :13:59.leg and our free leg. It doesn't matter which one you are working on.
:13:59. > :14:04.You have one that wants to do the work automatically. There's one
:14:04. > :14:09.that must be doing the work for you. The one that doesn't have the
:14:09. > :14:14.weight... I'm following you. Keeps wanting to do the work. This is the
:14:14. > :14:20.leg, the standing leg. You have to create the work out of the standing
:14:20. > :14:27.leg and that is where you start to drive. Oh! Come on! APPLAUSE Give
:14:27. > :14:32.us more! I'm going to sit down. Don't! Stop it! It is the... She's
:14:32. > :14:37.still got it! Get out of here! Wembley next weekend. What do our
:14:38. > :14:42.contestants need to do to perform? It is huge. The one thing I say
:14:42. > :14:45.every time - be careful about going out to the audience. You always
:14:45. > :14:49.bring the audience into your performance. They come to you. They
:14:49. > :14:53.are paying to see you. All that money is going to Children In Need.
:14:53. > :15:00.You must not go out to them. That is where very important. Bring the
:15:00. > :15:04.audience in to you. I adore you. Thank you. APPLAUSE On Saturday,
:15:04. > :15:10.they charged their way to the top of the leaderboard, receiving a
:15:10. > :15:14.full house of nines. In case you missed it, here is a reminder of
:15:14. > :15:19.how Denise and James got the judges in a spin. You captured the
:15:19. > :15:26.character with the dance. You moved well. I thought it was terrific.
:15:26. > :15:31.Denise, the red menace, with a conquering power of a firestorm!
:15:32. > :15:38.The turns are amazing. They are out of this world. It is the most
:15:38. > :15:48.exciting role I have seen you dance and perform. A great paso doble.
:15:48. > :15:50.
:15:50. > :15:53.Fabulous. Yes! So happy. So proud of you. Thank you. I really enjoyed
:15:53. > :16:00.it. You were performing that. The first week I have felt from
:16:00. > :16:08.beginning to the end, you were in it! I loved it. Please welcome
:16:08. > :16:13.Denise and James. APPLAUSE You were awesome on Saturday night. Thank
:16:13. > :16:20.you. Not you! Oh. Did you love it out there? I loved it. It was one
:16:20. > :16:24.of my favourite dances. I could be aggressive. We like that. Also,
:16:24. > :16:29.there was the whole drama of whether James was going to be able
:16:29. > :16:33.to dance. When did they make the decision? I always wanted to dance
:16:33. > :16:41.with Denise, but I was given the go-ahead on Saturday. Up until that
:16:41. > :16:51.point, you didn't know who you were going to be dancing with. Not a
:16:51. > :16:51.
:16:51. > :16:56.ScoobyDoo! He is well-jel! I think Craig should concentrate on
:16:56. > :17:05.commenting on the celebrities and not worry about the professional
:17:05. > :17:11.dancers. He's not qualified to judge us. Oh. Glad you got that off
:17:11. > :17:16.your chest! I have been in love with Ian Waite since 2005. Are you
:17:16. > :17:21.well-jel? I can't bear watching you two together! I'm like that!
:17:21. > :17:25.LAUGHTER I'm back with James now. Can I have him back now? Yeah.
:17:25. > :17:30.you got to dance the paso with him and you did fall in love with him.
:17:30. > :17:34.Have a look at this. I thought myself and Denise had something
:17:34. > :17:38.special. I'm noticing that there's something brewing between Ian and
:17:38. > :17:42.Denise now. # Love lift us up... #
:17:42. > :17:48.I thought you are like the other half of me. He is taller than James.
:17:48. > :17:52.Which I like. He is really good fun. Which I like. He is a really good
:17:52. > :18:01.teacher. Which I like. Did you change it to make it better? I
:18:01. > :18:07.really like Ian! I want to get close to you, Ian! I know, darling.
:18:07. > :18:15.He has nice, long arms, lovely long legs. So nice to dance with. I feel
:18:15. > :18:18.like a gooseberry! Oh, it's so much fun winding up James! It is really
:18:18. > :18:24.funny(!) He gave me such a hard time so it is nice to get my own
:18:24. > :18:27.back. We have you something very special. Not another one. I have a
:18:27. > :18:34.collection. You have only got to get a few more and you will have
:18:35. > :18:37.the full set! You can be my little poof! LAUGHTER This week, the
:18:37. > :18:41.Charleston. I'm imagining this dance will suit you. How is the
:18:41. > :18:45.training so far? Well, it's been good so far. It is quite an
:18:45. > :18:51.energetic dance, which I am looking forward to. I don't know at the
:18:51. > :18:54.moment. There is a lot of character and lifts? Yes. James looks
:18:54. > :18:58.concerned? I am. Why? For the professional dancers, this is
:18:58. > :19:02.something out of our comfort zone. I am trying to push the boundaries.
:19:02. > :19:07.All the professionals have choreographers come in for the
:19:08. > :19:17.Charleston. You do Latin and ballroom. Charleston... Charleston
:19:18. > :19:18.
:19:18. > :19:25.and salsa we get help - and Argentine tango. So today, you were
:19:25. > :19:30.laughing in the studio. We are dancing to Walk Like An Egyptian...
:19:30. > :19:35.He looks like a pigeon. LAUGHTER I have never been able to do that
:19:35. > :19:42.stuff either. I can't do that. make it look so easy. Do it.
:19:42. > :19:47.can't. Do it. Do it again. LAUGHTER I can do that. But I can't...
:19:47. > :19:53.Hopefully, you will get to see this at Wembley. It's gone! I'm not
:19:53. > :19:58.doing it. You are dancing at Wembley this week in front of 6,000
:19:58. > :20:04.people. So a big floor. Does that fill you with nerves or excitement?
:20:04. > :20:11.I will be nervous on the day. I am so excited. We all wanted to get to
:20:11. > :20:16.Wembley. Never ever played to a crowd that big, so - you have! How
:20:16. > :20:23.many times have you told me? Loads! Good luck at Wembley this week.
:20:23. > :20:31.Good luck with the head moves. your pigeon! LAUGHTER Give it up
:20:31. > :20:35.for Denise and James. Thank you. APPLAUSE Get off! On Saturday night,
:20:35. > :20:45.the dancefloor was full of godets, ruffles and sequins. Here to tell
:20:45. > :20:51.
:20:52. > :20:57.us who wore them best is Julien Welcome the right honourable Julien
:20:57. > :21:01.Macdonald! APPLAUSE Hello. Welcome back. Welcome back. The weekend, it
:21:01. > :21:07.was all about the girls. They took the top spots, but I want to know
:21:07. > :21:12.who was top in the frocks spots? Who is your number three? My number
:21:12. > :21:22.three this week is the gorgeous Kimberley! Ah. Gorgeous in this
:21:22. > :21:23.
:21:23. > :21:29.dress. She was quite a - the frock was stunning. It was almost a tale
:21:29. > :21:35.of two dresses, two cities. Gorgeous colours, super-complicated.
:21:35. > :21:42.She waltzed it all away. When you say "super-complicated" - give me
:21:42. > :21:50.some facts? Well, there was over 4,000 mixed crystals, all hand-sewn
:21:50. > :21:55.on. Stretched georgette. Laced. Not any old lace. It was like a dark-
:21:55. > :22:00.grey lace, covered in sequins and a lot of ruffles. We know from last
:22:00. > :22:06.week that you love your ruffles. Where are the ruffles? The ruffles
:22:06. > :22:13.are on the skirt. There's over 26 metres of tulle, all gathered and
:22:13. > :22:20.all ruffled up! LAUGHTER I do love that! What is georgette? Georgette
:22:20. > :22:25.is a very silk-based fabric, which we use a lot to create light,
:22:25. > :22:34.floaty fabrics and skirts. Lovely. Is that georgette, her wings?
:22:34. > :22:40.wings are georgette. This is not just any old georgette, this is
:22:40. > :22:47.STRETCHED georgette! Who is your number two this week? My number two
:22:47. > :22:52.this week blew me away, Denise Van Outen. Look at her moves. What can
:22:52. > :22:56.you tell me about this incredible red dress? She reminded me of
:22:56. > :23:01.Sharon Stone. What I loved about her, I loved everything about her.
:23:01. > :23:07.Not just the dress, the hair, the make-up. It was totally modern. And
:23:07. > :23:11.I loved it. What can you tell me - is that the Sharon Stone bit?
:23:12. > :23:16.LAUGHTER What can you tell me about the detailing? It was a very
:23:16. > :23:22.complicated dress as well. The thing is, it was a combination of
:23:22. > :23:28.two very different fabrics. A stretched mesh bodice mixed with a
:23:28. > :23:33.satin and a crepe skirt. You have a light and stretchy fabric. This
:23:33. > :23:38.added to the drama of the dress. You make anything sound saucy! This
:23:38. > :23:44.was the most covered-up that Denise has ever been. What do you think of
:23:44. > :23:49.the design? Could she have shown more flesh? It is very sporty, it
:23:49. > :23:58.is very graphic, modern, lots of slashing all around the top part.
:23:58. > :24:00.Over 4,500 mixed crystals. Siam, shades of red and a dangerous
:24:00. > :24:06.Bordeaux crystal dazzling on the top of the dress and with a heavy
:24:06. > :24:11.skirt and this split, if that split got any higher it would be reaching
:24:11. > :24:18.the sky! APPLAUSE I'm going to give you a round of applause for that.
:24:18. > :24:24.That wasn't your top spot. Who is your numb bier one? My number one -
:24:24. > :24:28.- number one? My number one has to be the lady in pink! We are sad to
:24:28. > :24:32.see her go. It is great to see a woman having fun. What a
:24:32. > :24:39.transformation of a woman. She looks incredible. I watched the
:24:39. > :24:45.live show. When she came out, she was just there, yang, fresh,
:24:45. > :24:50.beautiful. Wow! She's lost so much weight. What can you tell me about
:24:50. > :24:55.the detailing? This is incredible. It has over 12 metres of fringe.
:24:55. > :24:59.The fringe is sewn together ten centimetres away from each other.
:24:59. > :25:07.So the fringe is light and not heavy. Does somebody have to sew
:25:07. > :25:12.each one? It is on a band. It is sewn on with the hands of angels!
:25:12. > :25:19.LAUGHTER The thing, is fringe adds movement, it is a 19 20s thing. For
:25:19. > :25:24.a woman of this age to wear a tiny pink dress, full of fringe, she
:25:24. > :25:32.just makes it work. Do not try it at home. You could look like mutton
:25:32. > :25:36.dressed as lamb. This is... Are you looking at me?! No, not at all. We
:25:36. > :25:42.are in Strictly World! Tell me about the mesh as well. This is
:25:42. > :25:48.clever. There aren't sleeves, but there are sleeves? It is based on a
:25:48. > :25:53.tulle illusion. I am not lying. It is an invisible tulle which holds
:25:53. > :26:02.the dress together. That is what helps the dress from falling apart.
:26:02. > :26:07.If the dress - the dress is moulded on to her body. This deep low V-
:26:07. > :26:12.neckline makes this part of her body longer, thinner and more
:26:13. > :26:17.gorgeous! So many clever tricks. How gorgeous! Last week, Bev, the
:26:17. > :26:25.plumber, showed us how you could make the messy job of unblocking U-
:26:25. > :26:29.bends that bit more glamorous. Whose dream have you granted this
:26:29. > :26:39.week? I have sent Roger, a fish porter, Richard's paso outfit,
:26:39. > :26:41.
:26:41. > :26:49.which is skin-tight, colourful, what else do you want?! Hi, my name
:26:49. > :26:54.is Roger. I'm a fish porter at Billingsgate Fish Market. This
:26:54. > :27:04.morning, I was sent an outfit which belongs to Richard. So now it is
:27:04. > :27:12.
:27:12. > :27:18.time for me to transform from this to this! WHISTLES New firm's outfit.
:27:18. > :27:28.The old paso doble! Very good. have been Strictlified. My work
:27:28. > :27:30.
:27:31. > :27:40.colleagues are jealous of me today! What do you think? LAUGHTER
:27:41. > :27:42.
:27:42. > :27:45.Gorgeous! Brighten up the market! Yes! Glamour? In Billingsgate? Who
:27:45. > :27:51.would ever think of it? Wouldn't you want to just take that home and
:27:51. > :28:01.put a pair of legs on it? That will be the best dance partner in the
:28:01. > :28:09.
:28:09. > :28:19.market. The only thing is, this Yes! I have enjoyed being
:28:19. > :28:19.
:28:19. > :28:27.Strictlified, but I don't think it will catch on! Whiting, �2.20 a
:28:27. > :28:32.kilo! Roger! APPLAUSE He's got the moves. Hi to all the lads at
:28:32. > :28:38.Billingsgate. Thank you so much. Will you come back next week?