:00:00. > :00:07.Hello and welcome to It Takes Two. Tonight we've got all the training
:00:08. > :00:13.updates for you. And they survived their samba jungle adventure,
:00:14. > :00:17.Susanna and Kevin are here! CHEERING Saturday's quickstep saw
:00:18. > :00:24.them top of the leaderboard, Natalie and Artem are in. Their tango was
:00:25. > :00:29.full of snap, crackle and pop, on mat piia fans. And Vicki is here
:00:30. > :00:33.with an exclusive look at the costumes we can expect this weekend.
:00:34. > :01:15.She's gorgeous. This is Strictly It Takes Two.
:01:16. > :01:23.Live from London, this is Strictly It Takes Two. Please welcome your
:01:24. > :01:30.host, Zoe Ball! CHEERING
:01:31. > :01:35.Hello. Welcome to It Takes Two. It's time to get giddy as we edge ever
:01:36. > :01:38.closer to another weekend of dancefloor magic. Our celebrities
:01:39. > :01:44.have been training very hard all week - they are so good. I'm to see
:01:45. > :01:48.how they've all been getting on. We are dancing the Viennese waltz. I
:01:49. > :01:51.think I'm going to like the waltz. It is quite an unusual
:01:52. > :01:57.interpretation of the dance, because often people think of it as romantic
:01:58. > :02:03.but this is a powerful dance. The whole purpose of this number is who
:02:04. > :02:07.can be in charge. The hardest thing is rotation. The Viennese round goes
:02:08. > :02:14.round and round and round. When it comes to stop, Deborah's a little
:02:15. > :02:17.bit wobbly. She loves music, she loves concept. She loves everything
:02:18. > :02:21.about this. I have a feeling that on Saturday night this could be her
:02:22. > :02:32.best dance yet. Good, that's perfect. This week we're back to
:02:33. > :02:35.ballroom. We have the quickstep. I think quickstep is more difficult
:02:36. > :02:41.than any dance before. Don't hang your arms. The hardst part of this
:02:42. > :02:45.routine is frame. Your elbows are hanging like a broken wing. Followed
:02:46. > :02:50.by timing. One, two, three, four, five, change on five. Which is
:02:51. > :02:55.pretty much everything. Try to control your beautiful big body. So
:02:56. > :02:59.you stop on seven and eight. Once he gets going to the tempo of the song
:03:00. > :03:04.it is really hard for him to stop. It is like a train, once you stop
:03:05. > :03:09.running I can't stop you. I hope I can do well this week and do myself
:03:10. > :03:15.and Kristina justice. We are dancing the American smooth, so I have got
:03:16. > :03:22.to clean up my muddiness and smooth out my rough bits. I want to be...
:03:23. > :03:25.Ginger Rogers. Exactly. That's not what Ginger would have done. The
:03:26. > :03:29.American smooth takes a lot of control to slow everything down down
:03:30. > :03:35.and make it look calm and easy at the same time. You don't have to do
:03:36. > :03:41.this - grab! Kevin is quite ambitious with his lifts. I can't do
:03:42. > :03:46.it. You've got to. If we don't do lifts they'll say, well, you didn't
:03:47. > :03:51.take any chances. There is always the jeopardy of am I going make it?
:03:52. > :03:56.I hope it is going to come good on the night but it is always a panic
:03:57. > :03:59.at this point. We'll have more news from the training room throughout
:04:00. > :04:06.the show. Before that, please welcome Susanna and Kevin!
:04:07. > :04:11.CHEERING Are you laughing at the lft? It doesn't look like I'm being
:04:12. > :04:19.lifted but that I'm climbing on to Kevin. Have you got me? Not quite.
:04:20. > :04:24.Let's talk about the weekend. Superb samba sweethearts. The audience
:04:25. > :04:30.loved it and Len said he loved the bounce, the bum and the bongos. The
:04:31. > :04:35.three Bs. How were they for you, Susanna? I loved doing the samba.
:04:36. > :04:41.There was so much energy in it. We had a lot of fun doing it. It was
:04:42. > :04:48.ridiculous fun. I was a bit worried when Len said, you should be ashamed
:04:49. > :04:53.of yourself. I was thinking, oh, my goodness, and when he said the three
:04:54. > :04:56.Bs, I knew we were OK. The judges loved the energy but did agree you
:04:57. > :05:00.perhaps could have had better delivery. Was it a challenge, the
:05:01. > :05:05.samba? Everyone says it is a tricky dance to master, even the pros. Do
:05:06. > :05:12.you feel there was a lot to deliver this week? There she goes! I might
:05:13. > :05:17.be shaking but Kevin is giving it a bit more. I said to Susanna, the
:05:18. > :05:21.samba is notoriously difficult. People try and shy away from the
:05:22. > :05:26.samba a bit, because there's so many technical things you can get wrong.
:05:27. > :05:29.I said there is no way we can get everything right technically
:05:30. > :05:33.together, so we can either play it safe and be boring and try to get it
:05:34. > :05:37.right or have a blast and throw everything into it. It might be
:05:38. > :05:41.messy, or muddy as they called it, but at least we'll have fun and not
:05:42. > :05:46.regret everything, so that's what we went for. And it was such a huge
:05:47. > :05:51.production. We loved the Indiana jeans caper. When you've got that
:05:52. > :05:57.much production, the lights, and the acting, you've got to give it your
:05:58. > :06:04.all haven't you? I loved the opening bit where Kevin came across the
:06:05. > :06:08.crumbling rocks to save me. It is a heroine, hero fantasy. I've been
:06:09. > :06:13.saved by the hero. I was trying for the hero and in my head it was like,
:06:14. > :06:19.I'll save you. I watched it back and it was like, "Well I'll save you."
:06:20. > :06:24.Here comes little Kevin the schoolboy. Bless you. 29 a brilliant
:06:25. > :06:29.score. Teacher, are you pleased with your student? I know we always come
:06:30. > :06:34.on each week and have a good laugh, and I don't often say it. Suss
:06:35. > :06:40.sunshine, I've never known anyone work so hard. I'm so proud of you,
:06:41. > :06:45.because she puts everything in. It doesn't come naturally. The first
:06:46. > :06:50.few days, honestly, are a mess, usually. He gives with one hand and
:06:51. > :06:55.takes away with the other; smrks She works so hard to get it right. It
:06:56. > :07:00.will be difficult for you to get a word in edgeways, because she is
:07:01. > :07:08.always trying to get to know her new chum a little better.
:07:09. > :07:12.So, Kevin, come and have a seat. Who else do you teach? Who've you
:07:13. > :07:18.taught? What were you doing at 4. 4.30am? How long does it take you to
:07:19. > :07:24.pick up the choreography? Whatter you doing at 6? How are you going to
:07:25. > :07:27.carry on until 3? How tall are you? What would be your opening question
:07:28. > :07:32.to David Cameron? How are you finding it so far? What were you
:07:33. > :07:40.doing at 9. 15 this morning? Where have we got to and where are we
:07:41. > :07:44.going? All the way to the final. CHEERING Don't laugh, you never
:07:45. > :07:50.know, he might be right. This week you have got the American smooth,
:07:51. > :07:55.you are dancing to Tony Bennett. What more could you wish for? You've
:07:56. > :08:01.got snazzy lifts, as in head roll. Are you loving it? Absolutely. Kevin
:08:02. > :08:05.says very honestly, and it is true, it is always a mess at the beginning
:08:06. > :08:12.of the week. But we went in today and it felt really lovely. Beautiful
:08:13. > :08:17.music, a wonderful dancer to dance with, and fantastic moves that
:08:18. > :08:22.you've choreographed. It feels great. Whether it feels great on
:08:23. > :08:26.Saturday night... Good luck with that lift where you get his leg
:08:27. > :08:31.around his neck. It will be beautiful. Give it up for Susanna
:08:32. > :08:35.and Kevin! APPLAUSE Awesome. Back to the
:08:36. > :08:40.training room. Time to turn our attention to the first of this
:08:41. > :08:46.week's Latin dances. This week we are doing a salsa. The
:08:47. > :08:52.salsa is very difficult. There's a lot of turns. Foot-work, a lot of
:08:53. > :09:00.hip action. One, two, three... I've got my hips moving but my shoulders
:09:01. > :09:06.are a mystery. They can't do it. Oh, kind of. Shimmying? Dave is mostly
:09:07. > :09:13.struggling with remembering what's coming next. Sorry. Don't tell me.
:09:14. > :09:17.Don't tell me. One, two... OK, tell me. If I can get through this
:09:18. > :09:25.without putting a foot wrong, we'll have got away with something decent.
:09:26. > :09:31.Yes! Boom! This week I've dancing with jive. It is like you're
:09:32. > :09:36.skipping for four hours of training every night. On your toes on your
:09:37. > :09:39.toes. No, not that one. The challenge of the dance would be
:09:40. > :09:45.pretty much everything. Like a monkey. You should be good. Your
:09:46. > :09:48.arms are so long. Footwork, you can't be flat-footed. Your steps are
:09:49. > :09:54.wrong. I think it is because of all these big moves and I have big legs,
:09:55. > :10:01.so I find it hard to make everything I do look sharp and precise. It is
:10:02. > :10:06.quite a full-on routine. I do feel prepared for Saturday? No, not even
:10:07. > :10:15.a lit bit. No. We are dancing the samba. That kind
:10:16. > :10:20.of party Carnival, let go of inhinises, complete self expression.
:10:21. > :10:28.It is very technical. Hard to make it look good. Sorry, I've forgotten
:10:29. > :10:34.step. Queued is where my head is at, you count in 8s and then 6s and back
:10:35. > :10:39.to 8s. I'm not yet picking up exactly where I should be in the
:10:40. > :10:42.dance. It is challenging to do counts and dance at the same time.
:10:43. > :10:47.It is going to be tough but we are going to do our best. And six and
:10:48. > :10:52.seven and eight. It is going to be tough. Please
:10:53. > :10:56.welcome Natalie and Artem! CHEERING I love watching you all
:10:57. > :11:00.watch your training and getting slightly anxious. Well done fancy
:11:01. > :11:05.pants, amazing dance on Saturday night. Another brilliant one for
:11:06. > :11:12.you. And all on medication. Do you remember any of it? Not a lot. It
:11:13. > :11:17.was glorious. How comp us meant is were you before you went out there?
:11:18. > :11:21.It it was a tricky week. I think throughout the day was difficult. I
:11:22. > :11:25.was quite decades. When you get on that dancefloor it is just magic.
:11:26. > :11:30.Every time. No matter what happens. No, I don't remember an awful lot
:11:31. > :11:34.but I remember it feeling nice. How proud were you of Natalie, that she
:11:35. > :11:39.got through that tricky week and got through the pain and gave such a
:11:40. > :11:47.performance? I was pretty scared. Were you? I was, yes. Oh, no. At the
:11:48. > :11:52.beginning of the routine we had canes and they didn't work on the
:11:53. > :11:58.dress run. You dropped yours too, by the way. He was worried about his
:11:59. > :12:02.own dropping of the cane. There was lots of droppage. Was there never a
:12:03. > :12:08.point where you thought, let's drop the canes? I did think for a second,
:12:09. > :12:12.shall we do without the canes? No, let's leave them in, let's not
:12:13. > :12:16.change anything. We had worked so much with them by that point, it was
:12:17. > :12:20.all or nothing. It could have gone either way but it would have been
:12:21. > :12:26.dreadful if I dropped it. Len did say, he would have liked a bit more
:12:27. > :12:29.hold in the quickstep. Are there rules, stipulations that you have to
:12:30. > :12:37.be in quickstep for a certain amount of hold? I'm sure there is. But you
:12:38. > :12:41.ain't read the book? No. He's read it, torn it up and thrown it out.
:12:42. > :12:46.When wherever you listen to the music, it is kind of like you see
:12:47. > :12:51.the choreography in your own eyes. Sometimes I wonder, hey, am I going
:12:52. > :12:54.for the routine that's more entertaining or the rule of the
:12:55. > :13:00.books and make it exactly what it needs to be? It is a struggle. Which
:13:01. > :13:04.one are you going to go for? Sometimes you take chance and it
:13:05. > :13:08.works and other times it doesn't work. I think you took a chance and
:13:09. > :13:13.it did work. Three nines incredible. We reckon we might have picked up a
:13:14. > :13:18.little reason why you don't want to be in hold with Natalie all of the
:13:19. > :13:28.time. Hair. Hair. Did I mention that hair is everywhere?
:13:29. > :13:35.I do feel bad that I'm subsequentlies Artem to hair abuse.
:13:36. > :13:39.-- that I'm subjecting Artem to hair abuse. Every time, it becomes a bit
:13:40. > :13:50.of an issue right now, because there's lots of it. And it is
:13:51. > :13:56.hitting me in the face frequently. ? It is like a karate move. I feel
:13:57. > :14:04.like bring scissors and cutting it off. This friendship would be over,
:14:05. > :14:09.let me tell you. APPLAUSE Somebody please give me
:14:10. > :14:17.scissors. Tie it into a nice pineapple. Samba next. You've got
:14:18. > :14:24.the samba next. We have a Strictly fact for you. This man here, Artem,
:14:25. > :14:29.something has fawn off Artem, has never done samba before. Oh, no.
:14:30. > :14:37.Does this make you slightly worried, Natalie? Say yes. I think in good
:14:38. > :14:45.hands. I'm worried for myself rather than him. How is your sexy senorita?
:14:46. > :14:53.Probably far north of Spain, probably in Lancashire. I'm not sure
:14:54. > :15:00.it is senorita buts something. You've got Gypsy Kings. Go on Artem.
:15:01. > :15:05.I've been listening to this for a week. You've got to Latin and
:15:06. > :15:10.ballroom. Have you got a preference yet for either? Is there one you
:15:11. > :15:15.prefer the style of? Each week is my favourite dance so far. Every time
:15:16. > :15:20.we've come to a new one, I was glad to leave the rumba behind, I must
:15:21. > :15:25.admit. But quickstep I loved. Samba I'm loving this week as well. I'm
:15:26. > :15:30.not there yet. I'm kind of enjoying each one as it comes. I'm loving his
:15:31. > :15:34.facial expressions. He is happy with everything you say I think. Good
:15:35. > :15:36.luck with it on Saturday. Natalie and Artem!
:15:37. > :15:42.CHEERING Thank you. Back to the training
:15:43. > :15:45.room. Time to turn our attention to the rest of the weekend's Latin
:15:46. > :15:53.numbers. This week I am dancing with cha-cha.
:15:54. > :15:59.-- dancing the cha-cha. It is flirt oughtous and fun and -- flirtatious
:16:00. > :16:05.and tidy footwork. It is led by the hips. You have got to liberate your
:16:06. > :16:09.bottom half. It takes the different mind-set this one. You've got to be
:16:10. > :16:17.extrovert and Sophie isn't an extrovert. I used to look assured
:16:18. > :16:22.and confident, and I'm doing a cha-cha! I keep doing a really
:16:23. > :16:28.tentative, nervous, frightened little cha-cha, because I don't know
:16:29. > :16:35.what I'm up to just yet. We are dancing the salsa. I'm excited. It
:16:36. > :16:40.is a very quick, energetic and outgoing dance. There'll be lots of
:16:41. > :16:45.turns and swings and quite tricky on the physical side. Yeah, I feel it
:16:46. > :16:51.is going to take its toll on the old body. What Patrick is going to find
:16:52. > :16:57.difficult in salsa I think is to be able to find a fine line between his
:16:58. > :17:03.inner groove as well as control of the stem cells. -- control of the
:17:04. > :17:07.steps. It is all about the rhythm between two people. To get through
:17:08. > :17:12.the whole dance without making a mistake will still be the key for
:17:13. > :17:17.me. This week we are doing the paso doeb late. It is powerful, it is
:17:18. > :17:21.strong. I'm trying to remember the steps and my top line is going and
:17:22. > :17:28.the character and the core are going. Nice. Now without a smile.
:17:29. > :17:32.Pasha has to remind me sometimes to stop smiling and get back into
:17:33. > :17:37.character. Especially if I forget the steps, the character goes. One,
:17:38. > :17:43.two, three - that's better. We need to show we have chemistry together.
:17:44. > :17:46.Rachel struggles most with engaging her core and bringing her character
:17:47. > :17:53.into the dance. This is something which is very important and we had
:17:54. > :18:00.better pull it off on the night. My next guest may no longer have to
:18:01. > :18:07.apply 20,000 crystals by hand to Julien's outfit each week, but she
:18:08. > :18:12.is still the busiest woman on Strictly each week. Vicki is here!
:18:13. > :18:18.Ashley's shirt on Saturday. Brucie wasn't a fan of the shirt, but can
:18:19. > :18:24.you tell us, why are the promise and the dancer loving this kind of
:18:25. > :18:28.shirt. Exhibit A, if we bring in Jonathan our model. He's been
:18:29. > :18:34.wearing that all day, ladies and gentlemen. What is it that the boys
:18:35. > :18:38.love about these shirts? They are slim fitting the, a leotard. They
:18:39. > :18:43.like that. It give, it is nice and tight and won't have any shoulder
:18:44. > :18:48.lines rising. And they get a smooth top line. And they are stretchy. You
:18:49. > :18:54.have enjoyed wearing that today Jonathan? Thank you very much.
:18:55. > :18:57.APPLAUSE He hasn't taken it off all day.
:18:58. > :19:02.Let's talk about Abbey's beautiful foxtrot dress. This is stunning.
:19:03. > :19:07.That's beautiful. But unusual colours for a foxtrot. Abbey loves
:19:08. > :19:16.black. A bit of a compromise this week. To keep it nice and light
:19:17. > :19:23.we've given it a nude base. She gets her wish. She's been a good girl, so
:19:24. > :19:32.she deserves it. It is quite a delicate dress, simple in design.
:19:33. > :19:37.And a lot of gaudes. There is a half one in there. The half circle. Lots
:19:38. > :19:43.of those around the hem to give it lots of volume. All of the linings
:19:44. > :19:47.are lined with cream to make the hem stand out. I caught her admiring it
:19:48. > :19:55.earlier and I was trying to try it on. This is Iveta's waltz dress. It
:19:56. > :20:00.is unusual for us because we cut a 16-panel pattern for this dress. The
:20:01. > :20:06.machinists probably don't like it, because it is usually eight. More
:20:07. > :20:11.work for them. Hopefully we'll get an hourglass shape and Iveta will
:20:12. > :20:17.like it. And the feathers. I love the fact that you are breaking down
:20:18. > :20:24.the barriers of fashion. What am I talking about? Let's go to the
:20:25. > :20:28.ironing board. Let's talk about Rachel's paso doble outfit. All the
:20:29. > :20:32.Spanish themes and so you've got the Spanish colours here. The
:20:33. > :20:36.traditional colours are black and red. The actual dress will look
:20:37. > :20:41.quite contemporary on Saturday, because it has strong lines. The
:20:42. > :20:46.front is pro dominantly black and the back is red, so we'll get lots
:20:47. > :20:51.of contrast and movement through the skirt. Her legs are coming through
:20:52. > :20:56.all the nice Spanish lines, which I can't do. She's got a bit of
:20:57. > :21:03.fringing at the front as well. Ribbons, also of them, with cystals
:21:04. > :21:10.running through. And it has a purple lining, so a flash of purple as we
:21:11. > :21:14.go. Kristina is doing a quickstep. What's the thinking behind this one?
:21:15. > :21:20.It was mainly Kristina asked if she could have a pink dress for this
:21:21. > :21:25.number. Oh, princess. She loves corset feel and this dress ticked
:21:26. > :21:30.the box for Kristina. Sketch doesn't do it justice. On Saturday night you
:21:31. > :21:37.will see the detail through the bodice. She always looks stunning.
:21:38. > :21:46.Ate-panel, single layer. Nice and light. Last week Natalie core
:21:47. > :21:53.culottes for her quickstep. There's seven metres at the bottom of a
:21:54. > :21:58.skirt. When you are doing a dance like that, it is a lot of dress. By
:21:59. > :22:08.using the cool ots you would break the weight. Four metres instead of
:22:09. > :22:13.eight. An amazing job. Give it up for Vicki. Hey, Hallowe'en next
:22:14. > :22:20.week. That will be fun. Time to turn our attention to the last of the
:22:21. > :22:25.ballroom dances. This week we are dancing the
:22:26. > :22:31.quickstep. Don't run. It's fast, but I like that. There is no room for
:22:32. > :22:36.mistakes, though. Don't do extras. There is no space for extras. I
:22:37. > :22:41.really want to conquer any kind of self doubt. Good. It is difficult,
:22:42. > :22:47.because just when you conquer one mountain, the rumba, you are having
:22:48. > :22:51.to conquer another mountain. I am panicking. I'm trying so hard. I
:22:52. > :22:55.have to nail this. Keep going. Keep going. I just really want to go out
:22:56. > :23:01.there and dance my socks offer show them that I can do it.
:23:02. > :23:06.This week we are dancing the waltz. It is a very elegant, grateful
:23:07. > :23:11.dance, so I'm going to have to work on my footwork, travelling and maybe
:23:12. > :23:17.not being flat-footed. No, always times go from the heel. My ability
:23:18. > :23:24.is to show his ability to dance, not act, because we know he can do that.
:23:25. > :23:28.Iveta has put a lot of steps in there. I want the judges to see what
:23:29. > :23:33.he is capable of. I think what surprise me about the waltz is how
:23:34. > :23:39.fast it is. Your body's going one way and your feet the other, so it
:23:40. > :23:43.is hard to get your balance right. I've been stumbling over a few
:23:44. > :23:50.times, but I'll get there. This week I'm dancing the foxtrot.
:23:51. > :23:56.It looks so easy but it's not. It is a notoriously difficult dance for
:23:57. > :24:02.celebrities. The push through. I mimic everything Aljaz says, but I
:24:03. > :24:07.say it and don't do it with my feet. Abbey is a perfectionist, so every
:24:08. > :24:11.step I teach her, she make sure she gets it right. Some of the moves in
:24:12. > :24:19.this dance I've done previously, like the fallaway and the lungs,
:24:20. > :24:24.it's so - lung es, it's so nice to have an idea what you're doing.
:24:25. > :24:28.That's incredible. They are hoping that they'll be hot to foxtrot on
:24:29. > :24:34.Saturday. Abbey and Aljaz are here. Hello you two. Can I say, tango on
:24:35. > :24:38.Saturday, it was stunning. And your highest score to date, deservedly,
:24:39. > :24:42.so because it was so brilliant. Did it feel like your best dance when
:24:43. > :24:47.you are out there on the floor? I think so. When you have a great song
:24:48. > :24:51.and you are dancing a dance you enjoy, everything falls into place,
:24:52. > :24:54.don't you think? Definitely. I loved it. All the judges were unanimous in
:24:55. > :24:59.their love for it. Bruno particularly was loving your snappy
:25:00. > :25:04.staccato. He said he almost got whiplash watching you. How much but
:25:05. > :25:09.have to work noon with Abbey? We did put a lot of hours in, plus we did
:25:10. > :25:15.an assault course. I know, Private Benjamin. You were amazing. She
:25:16. > :25:22.really got right in the mud. I trieded to push him in a few times
:25:23. > :25:29.and he was like, over, no -- like oh, no. Aljaz is a girl! I did hear
:25:30. > :25:32.that you were so nervous that you were worried that you wouldn't be
:25:33. > :25:39.able to do it? I couldn't. If you look back I didn't do the step
:25:40. > :25:44.right. I was supposed to keep my leg out and my (Inaudible) I couldn't do
:25:45. > :25:48.it. But never mind. Another week we can do that one. From the jive,
:25:49. > :25:53.you've got a 28, you are back up there in the 30s. Did you feel you
:25:54. > :25:58.had a bit of something to prove to come back from the jive, not that
:25:59. > :26:03.was bad or anything. It was still amazing. She did a great job in jive
:26:04. > :26:07.but we knew there was going to be a ballroom, so we put a lot of effort
:26:08. > :26:14.into the tango and wanted to make it better and better aingd we
:26:15. > :26:19.succeeded. You've been dancing for seven weeks now. I can't believe
:26:20. > :26:24.that. Are you surprised that how quickly you are pick up the steps
:26:25. > :26:28.now? No! It is a different dance each week, so it is starting from
:26:29. > :26:32.scratch. There is a few steps that you recognise and the hold in the
:26:33. > :26:39.ballroom is similar. Definitely. That, in that sense it is easier but
:26:40. > :26:45.new dances, my leggings are bent from the first two days from tango.
:26:46. > :26:50.Straighten your legs. Darcey praised you for all your Shane, saying how
:26:51. > :26:58.good it is. Has the modelling come in handy? No, not at all. It is
:26:59. > :27:03.Aljaz. He is an amazing teacher and he pushes me into position. And he
:27:04. > :27:08.looks at you with those eyes and you go, I will do anything you say, Sir.
:27:09. > :27:13.You have an eye for fashion but you need to have a word with your
:27:14. > :27:21.partner about what he is wearing in the training room. You need to put
:27:22. > :27:27.tight leggings on so I can see your legs. It is not fair, because I
:27:28. > :27:36.can't see if you are bent or you're straight. I think you need to wear
:27:37. > :27:40.tight pants so I can see your legs. They still don't sell super-slim man
:27:41. > :27:47.pants. It looks horrible. Why would I wear that? I should wear legging
:27:48. > :27:52.yes, tomorrow, I promise. I've got a spare pair. It's OK. I don't believe
:27:53. > :27:56.they will fit me. APPLAUSE You should wear leggings
:27:57. > :28:01.Aljaz. We've got you a little paper. We thought they would go - try and
:28:02. > :28:06.wear those for us this week. The foxtrot for you this weekend. Aljaz
:28:07. > :28:10.this is one of your favourite dance it's. What is it you love so much
:28:11. > :28:16.about it and is Abbey going to be good at this one? She's going the be
:28:17. > :28:21.great -- she's going to be great. It is such a fluid davents it is
:28:22. > :28:27.similar foxtrot, but I love foxtrot and I'm really looking forward to
:28:28. > :28:33.it. You are a formidable couple. Abby, your job is to make sure that
:28:34. > :28:38.man wears those trousers. Good luck this weekend. You are so gorgeous. I
:28:39. > :28:42.can't even look at you you are so handsome, it is ridiculous. Abbey
:28:43. > :28:53.and Aljaz! That is it for today. Tomorrow at 6. 30 I will be joined
:28:54. > :28:58.by Fiona and Anton and Anya. Anneka Rice will also be here. Goodnight.