:00:00. > :00:09.Hello and welcome to Wednesday's It Takes Two. Have I got another
:00:10. > :00:13.brilliant line-up for you tonight? They were the hottest cabaret act in
:00:14. > :00:15.town on Saturday - it's Abbey and Aljaz!
:00:16. > :00:18.APPLAUSE They jumped and jived their way
:00:19. > :00:22.across the dancefloor and left the audience wailing - it's Ben and
:00:23. > :00:25.Kristina! APPLAUSE
:00:26. > :00:28.Mr Ian Waite is here to warm us all up.
:00:29. > :00:32.CHEERING Plus the lovely Natalie Lowe joins me to tell us the latest
:00:33. > :00:38.on our wedding couple, Mel and Gordon. This is Strictly It Takes
:00:39. > :01:18.Two. CHEERING AND APPLAUSE Cheer
:01:19. > :01:26.Live from London. This is Strictly It Takes Two. Please welcome your
:01:27. > :01:31.host, Zoe Ball. CHEERING
:01:32. > :01:35.Hello and welcome to Wednesday's It Takes Two. We've got a jam-packed
:01:36. > :01:39.show tonight, so we'd better get a move on. First up, it's a little on
:01:40. > :01:41.the chilly side out there, so let's get toasty - it's Ian and his weekly
:01:42. > :01:56.warm-up. Hello handsome. Please welcome Mr
:01:57. > :02:02.Ian Waite! CHEERING So nice to have a welcoming
:02:03. > :02:07.crowd like that isn't it? Have you been playing golf today darling?
:02:08. > :02:11.Only nine couples left in the competition. We had to say goodbye
:02:12. > :02:15.to Hairy Biker Dave, do you think it was the light decision made by the
:02:16. > :02:20.judges in the dance-off or should it have been Mark? No, I think at the
:02:21. > :02:25.end of the day David had a good run but he was probably the worst dancer
:02:26. > :02:31.in the end. He came and had a great time. And he will be fondly
:02:32. > :02:36.remembered. I miss him already. This weekend, everybody's going
:02:37. > :02:41.Blackpool. How exciting. Have you danced in Blackpool? How many times?
:02:42. > :02:48.Hundreds of times. Tell me later about the sprung floor. Let's talk
:02:49. > :02:54.about Ashley and Ola I was really chuffed. I was screaming week after
:02:55. > :02:59.week, get those shoulders down, get that head up right. I was pleased.
:03:00. > :03:05.On Saturday he did a great job. This weekend he's doing the paso doble,
:03:06. > :03:09.here he is in training with Ola. Some very nice straight, strong
:03:10. > :03:15.walks from him. Some twist turns. He needs a little more strength in his
:03:16. > :03:21.arms. And I want to point out this - we need to zoom in there. The hand.
:03:22. > :03:27.No, it is not too bad. He's obviously been told by Ola to do the
:03:28. > :03:31.Flamenco fingers, which is right, but he needs to curve it on the end
:03:32. > :03:36.so he shapes the arm, and finish off with the curve of the hand. He's
:03:37. > :03:40.doing that a little bit. It needs to come in. A simple thing and it will
:03:41. > :03:43.be perfect. Patrick and Anya following from their American smooth
:03:44. > :03:50.triumph at the weekend. Their first ten. He's top of the leaderboard and
:03:51. > :03:53.this week he's doing a samba. A remarkable improvement. This will be
:03:54. > :03:57.a great dance for him. He's got lots of rhythm. His Latin dances have
:03:58. > :04:03.always been much better haven't they? OK. This is Monday's training
:04:04. > :04:14.but already looking quite good. He's doing a love step there called the
:04:15. > :04:20.court jacque. You go forward on the heel and back on the ball. And then
:04:21. > :04:26.we turn. And oh hell. And then you do it. That seems quite
:04:27. > :04:34.straightforward. That's a lovely samba step. OK. Charleston. Last
:04:35. > :04:40.weekend, awesome. Abbey and Aljaz, talking to them in a minute. This
:04:41. > :04:44.weekend it is the quickstep. From one fast dance to another. It is a
:04:45. > :04:50.hard dance, the quickstep. So many moves, and a lot more choreography.
:04:51. > :04:55.What I want to show you here, I'm going to stop it quite early on and
:04:56. > :05:01.point out the hand. Obviously it is early days. She's trying to keep up
:05:02. > :05:05.with the whole, with all of the quicksteps, but sometimes that hand,
:05:06. > :05:12.if you leave the fingers. Do you need some help? If you leave the
:05:13. > :05:19.fingers on my arm down, it looks like you are holding on. Put that
:05:20. > :05:25.thumb and finger... Like that? And leave it off like that. Stunning.
:05:26. > :05:33.And then it looks like it is always light. I were I had a muscle like
:05:34. > :05:37.that. That sounds nice. Susanna and Kevin, wouzers last week. This week
:05:38. > :05:43.they are doing the paso doble. Tell me what you see. I think Susanna
:05:44. > :05:47.needs to be a little bit more, have a little more characterisation in
:05:48. > :05:53.this dance, but it is very early on. I think she will do it. But to
:05:54. > :06:03.create that, I have stopped it here, I want my magic wand. We've got the
:06:04. > :06:09.shaping here, going out into a chassis, is she needs to finish off
:06:10. > :06:13.with the me. And the foot. Foot to head, try and shape it. Mark and
:06:14. > :06:18.Iveta will be doing the jive in Blackpool. How is it looking? Well,
:06:19. > :06:21.Mark just needs to bring his body weight forward, because he's a
:06:22. > :06:24.little bit in the middle of his feet. He needs to bring his body
:06:25. > :06:28.weight forward. To do that he needs to pick up his centre, which will
:06:29. > :06:34.make him light in the body and it will bring his body on to the balls
:06:35. > :06:39.of his feet. Like we say on jive, you need to keep the weight on the
:06:40. > :06:43.balls. Keep it on the balls, Mark, and he will be brilliant. As an
:06:44. > :06:49.homage to Blackpool, a few buckets and spades. Aren't you clever? He'll
:06:50. > :06:56.be back in a minute. Ian Waite, thank you.
:06:57. > :07:02.APPLAUSE On Saturday night ababand Abbey's Charleston searched their
:07:03. > :07:05.highest score yet. Yippee! The enormous attention to detail was
:07:06. > :07:12.incredible in that dance routine. The it was loud, my darling, and it
:07:13. > :07:21.was proud. Well done, Abbey, a you have made a true dancer out of abab.
:07:22. > :07:33.Did -- made a true dancer out of Abbey. You don't need if AA. I will
:07:34. > :07:38.see you next week in Blackpool. Top score! Thanks to the fabulous
:07:39. > :07:44.Aljaz yet again, we've done a great dance and hopefully we'll still be
:07:45. > :07:49.here next week. She said, is you will left me
:07:50. > :07:56.hanging there. Please welcome Abbey and Aljaz. You can't help but smile
:07:57. > :08:00.when I watch that back. The coolest of cats and four nines. I was so
:08:01. > :08:08.happy. The week before I was in the bottom two, so we reallied hard and
:08:09. > :08:14.-- we tried really hard and made it the best we could and I think its
:08:15. > :08:22.worked. Four nines. Fantastic. Aljaz, great praise for your Bob
:08:23. > :08:28.Fosse-inspire dance. How much did you enjoy adding that twist to a
:08:29. > :08:32.Charleston It wasn't a typical Charleston. As soon as I heard the
:08:33. > :08:37.track I thought of it and I think it was a great addition, to do some
:08:38. > :08:43.Fosse in it. It worked really well and it suited Abbey as well. As well
:08:44. > :08:49.as upbeat and funny, putting Fosse in I think worked perfect. Huge
:08:50. > :08:55.praise from Darcey. She was so impressive with how you handled the
:08:56. > :09:03.hat. Props are tricky. The hat did misbehave, Zoe. It went over my eyes
:09:04. > :09:10.and fell off. Aljaz said, if the hat falls off, just leave it. It slid
:09:11. > :09:13.down over your eyes. And you carried on regardless. That was brilliant.
:09:14. > :09:18.Very professional. Aljaz, no criticism from any of the judges.
:09:19. > :09:24.Why weren't there any tens? What do you think was missing for that last
:09:25. > :09:29.point. Definitely the hat. It was the hat's fault. No, there was so
:09:30. > :09:33.much detail and continue tent. When something little -- And content.
:09:34. > :09:39.When something little goes wrong it throws you off, but thank God it
:09:40. > :09:44.didn't no throw Abbey off. She did a great Charleston. Hopefully next
:09:45. > :09:50.week. I ask that every week, Zoe. But sometimes it is good. Karen was
:09:51. > :09:54.saying this in choreography corner, sometimes you wait and wow! This
:09:55. > :10:00.week in the training room you've been focusing mainly on one thing.
:10:01. > :10:06.Over God. Oh, God. I don't like me hair. Right, left... This is the
:10:07. > :10:16.only problem we have. Every single time we are dancing it is like 20
:10:17. > :10:21.seconds of... O srurrup! -- oh shurrup! One and two, the When I was
:10:22. > :10:28.a little girl I went to ballet dancing. OK. And I got thrown out
:10:29. > :10:34.for not listening and just doing me hair in the mirror. Things don't
:10:35. > :10:40.change eh? APPLAUSE Bless you. It is so hard
:10:41. > :10:45.being in front of a mirror all day. Big mirrors as well. This week you
:10:46. > :10:50.are doing the quickstep. It's a joyous dance but tough because of
:10:51. > :10:55.the speed of the Charleston to the quickstep. This is the first week
:10:56. > :11:01.I've come into training and gone, I'm dying. It is finally taking its
:11:02. > :11:06.toll on me. I really want to give an impressive dance at Blackpool. I'm
:11:07. > :11:10.just physically drained now. I'm trying to think and me baby was up
:11:11. > :11:15.all night last night and the night before. She's got a new habit of
:11:16. > :11:21.getting in our bed and kicking us all night, so I'm shattered. I'm
:11:22. > :11:28.trying hard to keep going. In Er s, they do it all time. Keeping your
:11:29. > :11:31.energy up is really tough. Your music is Katrina The Waves. You
:11:32. > :11:38.can feel the speed of it. That's a brilliant track. Aljaz, how will the
:11:39. > :11:45.spring floor help you on Saturday? Will it help or hinder for Abbey? It
:11:46. > :11:49.is going to help, we need to find the correct timing so we don't
:11:50. > :11:53.bounce against it. I don't think it is that bad. I danced on it before
:11:54. > :11:59.when I was a kid doing Junior Blackpool. How old were you then?
:12:00. > :12:04.Around nine. Oh bless. There must be photos. We'll find them. So you've
:12:05. > :12:09.been there before. And for you Abbey it is not far from home. Have you
:12:10. > :12:13.spent much time in Blackpool? We used to go there to see the
:12:14. > :12:23.Blackpool illuminations and get in the car. My dad used to put the
:12:24. > :12:28.seats down, put the seats -- we had loads of sweets. I can't wait to get
:12:29. > :12:33.to Blackpool. Will the whole family be coming to watch you? Peter's
:12:34. > :12:38.coming. Me mum's coming. Me brothers are coming. No baby, because she is
:12:39. > :12:42.too young and she'll probably be screaming for me. Good luck with the
:12:43. > :12:49.energy levels this week. You are not getting out here alive wearing those
:12:50. > :12:54.boots. I'm having them. Good luck to Abbey and Aljaz! It is time now to
:12:55. > :13:04.get our second dose of Ian Waite. Yippee!
:13:05. > :13:10.Oh look. We've got four more councils to discuss with the
:13:11. > :13:16.gorgeous Ian Waite. APPLAUSE You look like Gatsby today.
:13:17. > :13:22.Let's talk about Fiona and Anton. This weekend they are dancing the
:13:23. > :13:27.American smooth. Anton Du Beke dancing with Fiona in the Blackpool
:13:28. > :13:33.Tower with the American smooth. What's not to love. At the beginning
:13:34. > :13:39.of this routine she goes into a lift. I want to show you that. We
:13:40. > :13:43.are going to slow it down. Anton's obviously told her to push down into
:13:44. > :13:47.my hands, but the trouble is she's lost her neck in the meantime. She
:13:48. > :13:53.needs to push down her shoulders as well to create a long neck and maybe
:13:54. > :13:57.shape her head on to his shoulder, which would help the shape of the
:13:58. > :14:02.actual line. OK. Be careful if you are trying that at home. I think it
:14:03. > :14:07.will be a great dance. Lovely. Natalie and Artem didn't get to do
:14:08. > :14:12.their jive. Hopefully we'll see it down the line. That will be good.
:14:13. > :14:17.Who knows? This weekend they are doing a Charleston. What do you make
:14:18. > :14:22.of it? Back to fighting fit this week. She looks phenomenal again.
:14:23. > :14:27.Some lovely Charleston stuff there with the twisting of the feet. A
:14:28. > :14:33.nice bit of survive el. And I stopped it here because they do some
:14:34. > :14:37.really interesting choreography, which is - I don't want to give it
:14:38. > :14:42.away, because it is something to look forward to. I think she does
:14:43. > :14:47.need to in some parts strengthen her feet in this dance. Sometimes they
:14:48. > :14:54.do look a little bit floppy or not toned, should I say? But ping
:14:55. > :15:01.because it is Blackpool and I like them... Kiss me quick, squeeze me
:15:02. > :15:07.slow. How lovely. Ben and Kristina will be during the American smooth
:15:08. > :15:13.this week. How is our Ben looking? Again another Viennese waltz
:15:14. > :15:18.American American smooth, like Rachel and poshia. I believe they
:15:19. > :15:26.had done a Viennese waltz before-hand. Ben's not done that yet
:15:27. > :15:33.I don't think. It is a big week for Ben. A big test. We've got one point
:15:34. > :15:37.up there and one point down there. Sit his whistful dreamy look?
:15:38. > :15:42.Amazing. What I would like him to do, as he steps to the side, is
:15:43. > :15:45.shape his head a little more left to create a little more space between
:15:46. > :15:51.him and Kristina. They have a bit of a height difference. And here he is
:15:52. > :15:55.doing a natural turn and crossing his feet on the first part. Don't do
:15:56. > :15:59.that on the natural turn but do it on the reverse turn. Can you show us
:16:00. > :16:04.quickly? Natural turn you close your feet. On a reverse turn you cross in
:16:05. > :16:11.front. But get that, Ben? Yes, he doctor. I hope so. Sophie and
:16:12. > :16:17.Brendan are doing a quickstep this weekend. What do you make of it so
:16:18. > :16:22.far? It is early days yet but I think Brendan's going through the
:16:23. > :16:25.routine and they've just had a practise hold there. Sophie's
:16:26. > :16:29.struggling a bit to keep up with him, as you can see. She's been
:16:30. > :16:34.thrown around a ill little bit. They've got matching outfits on.
:16:35. > :16:40.This does tend to happen. But what I thought would be quite nice, to show
:16:41. > :16:44.the differences in hold. This is something everybody goes on about.
:16:45. > :16:49.First of all a quickstep would be like a normal ballroom hold, like a
:16:50. > :16:58.waltz, so a nice open frame. With tango we make it a lot more compact.
:16:59. > :17:03.Lower the knees. Turn your head. I'm going to wrong way. It's been a
:17:04. > :17:10.while! And in lat lain it is more relaxed. We have the hold with the
:17:11. > :17:15.arms down. I like that one. Snazzy. Like a rumba. We should have
:17:16. > :17:19.rehearsed this. It has been a while. I've been in the garage, with the
:17:20. > :17:27.wheels off and everything. We'll see you next week gorgeous man in his
:17:28. > :17:31.golfing outfit. Ian Waite! As you know, Natalie Lowe's been teaching
:17:32. > :17:37.our wedding couple their first dance. Let's remind ourselves of our
:17:38. > :17:43.Mr and MrsS to be. I'm Gordon and this is my fiancee Melanie. I'm a
:17:44. > :17:50.massive Strictly fan. I have to go to sleep with a picture of my
:17:51. > :17:56.fiancee with Anton Du Beke hanging above my head. Goodnight Anton. We
:17:57. > :17:59.are getting married on 13th December. The guys I work with think
:18:00. > :18:03.I'm going to embarrass myself on national television. I'm petrified.
:18:04. > :18:09.To me it is going to make the wedding to be on the dancefloor and
:18:10. > :18:15.do something like they do on the TV. I can't believe this is happening.
:18:16. > :18:20.Please welcome Natalie Lowe! Hello my darling. How are you? Good. We've
:18:21. > :18:26.been missing you. Very excited for Mel and Gordon. How is the foot,
:18:27. > :18:33.before we start? Good, hopefully I get the go-ahead on Friday from my
:18:34. > :18:37.doctor. If that goes well will you be able to do the pro routines?
:18:38. > :18:42.After Blackpool. I'm hoping. It has been such a long process. We saw
:18:43. > :18:46.them dancing the cha-cha-cha last week, Mel and Gordon. We found out
:18:47. > :18:51.there is going to be a fusion kind of feel to their wedding dance. Tell
:18:52. > :18:57.me more. Well, I decided to do an American smooth and a waltz at the
:18:58. > :19:01.beginning. Nice. And cha-cha and salsa towards the end. Four styles
:19:02. > :19:05.of dancing. I thought I would throw everything in there and go for gold.
:19:06. > :19:10.You obviously think they are capable of that, so it is perfect. It is
:19:11. > :19:15.only four weeks until the big day. What have you got planned for them?
:19:16. > :19:19.We are going to tidy it up and make sure it is perfect to music. They
:19:20. > :19:23.know the choreography. I know they won't forget it on the night. Just
:19:24. > :19:27.clarifying the arm lines and the body contact. Just finding
:19:28. > :19:31.themselves within something that they've never ever done before.
:19:32. > :19:35.Finding their character and taking themselves out of them being Mel and
:19:36. > :19:39.Gordon from Southampton and putting themselves into a role and a
:19:40. > :19:43.character. That's what's going to make them shine on the night. OK.
:19:44. > :19:56.Let's have a look and see how Mel and Gordon have been getting on.
:19:57. > :20:02.Hello. Hello! How are you? Good. Come in. A little birdie told me
:20:03. > :20:06.that you don't like watching yourself and you haven't seen any of
:20:07. > :20:10.the It Takes Two shows yet. I'm going to make you watch yourself and
:20:11. > :20:15.show you how far you've progressed and how well you're doing. OK. Brace
:20:16. > :20:21.yourself. Let's meet the very lucky bride and
:20:22. > :20:34.groom, Melanie and Gordon. Here we go. The I look so nervous. You've
:20:35. > :20:38.seriously come such a long way. We were very stompy there. You were
:20:39. > :20:41.just learning the routine and now you know the routine. It is
:20:42. > :20:46.extraordinary how much you've improved. There's plenty more work
:20:47. > :20:50.to get done. Shall we get into the studio? Yep. Now they know their
:20:51. > :20:54.routine they know what they've got to do within that, now I can just
:20:55. > :20:58.make it a lot sharper and make it feel better so it doesn't just feel
:20:59. > :21:03.like steps. Watching the footage from the TV made me a bit more aware
:21:04. > :21:10.today of my posture. I think it helped with my posture. Now I'm
:21:11. > :21:15.standing a bit taller. Honestly, the song, and you two having a little
:21:16. > :21:20.smile in the middle of that waltz. It gets me every time. Today's
:21:21. > :21:23.session was extremely promising. We finished all of the choreography
:21:24. > :21:28.last session, so today was about just getting them feeling it,
:21:29. > :21:33.getting it a bit more flowing. Today was extremely promising for me. We
:21:34. > :21:40.can really start to visualise what it is hopefully going to look like
:21:41. > :21:45.on the night Now we are putting in the arms and trying to look at each
:21:46. > :21:51.other in the right moment, so we are dancing it more rather than walking
:21:52. > :21:58.it through I think. It's just the way he looks at her. Absolutely. So
:21:59. > :22:02.dreamy. Mel and Gordon, I can't believe it. Brilliant. And they are
:22:03. > :22:06.doing that piece that Anton is doing with Fiona. I saw you getting
:22:07. > :22:11.emotional. There There was a moment in the first part of the dance where
:22:12. > :22:16.he looked and grinned at her and she was being led by him, between away.
:22:17. > :22:20.It is quite emotional. It is, dancing. And they are getting
:22:21. > :22:23.married. What do they need to work on the most in the next four weeks?
:22:24. > :22:26.Just confidence. Knowing that they can do it and getting out there and
:22:27. > :22:32.give expecting it all they've got. Let all their inhibitions go and
:22:33. > :22:36.giver it their all. Confidence. Yes. And repetition in rehearsal and
:22:37. > :22:41.making sure that things are finished and they've got that chemistry and
:22:42. > :22:47.enjoying it. OK. And are you going to be giving them any more tricks in
:22:48. > :22:50.their routine? No, I want them to be wherer in at and go through the
:22:51. > :22:55.process and get as good as they can. They've still got four weeks to go.
:22:56. > :23:00.We are doing two or three time as week, three to four hour as night in
:23:01. > :23:06.rehearsals. Have you got your hat? Not yet, but I did get my invitation
:23:07. > :23:12.yesterday. You are going to have your Cilla moment. In the meantime
:23:13. > :23:17.good luck to Mel and Gordon. Lovely guys. Good luck with your foot.
:23:18. > :23:21.Fingers crossed. Back to our dancing duos now. On Saturday night they
:23:22. > :23:25.sailed their way to Blackpool with a naughty nautical number. We'll be
:23:26. > :23:29.catching up with Captain Cohen and his shipmate Kristina in a moment.
:23:30. > :23:36.But first let's look at their weekend story. Anchors away I tell
:23:37. > :23:42.you and mostly smooth sailing. Fruity up top and a bit of sponge
:23:43. > :23:50.down the bottom. Well I don't know why but I had this irresistible urge
:23:51. > :23:52.to join the Navy. For me it was a bit too leaden and laboured as I
:23:53. > :24:07.anticipated and expected. Well done, I'm so proud of you. It's
:24:08. > :24:14.not really something you can get down the the dumps about. It is what
:24:15. > :24:18.it is. I want to go to Blackpool. She wants to be in Blackpool. What
:24:19. > :24:24.the lady wants she normally gets. Please welcome Ben and Kristina!
:24:25. > :24:29.Hello. Hello sailor. I have to say, I did love that. A few people have
:24:30. > :24:33.said that. I hope you've kept those trousers. Absolutely. Anyway, well
:24:34. > :24:38.done on your brilliant jive on Saturday night. Thank you. You went
:24:39. > :24:45.from 32 the week before to a 26. Was there a bit of a gulp moment after
:24:46. > :24:50.you did the dance? I half expected a bad score after his comments. It was
:24:51. > :24:56.such a difficult week for me. Such a high-energy dance. There's a lot of
:24:57. > :25:01.footwork and timing, so I was really happy, we were happy to be able to
:25:02. > :25:06.complete it. In rehearsals I messed up so bad, I was thinking, oh, no, I
:25:07. > :25:11.hope I can do this on the live show. Which we did and we managed it.
:25:12. > :25:16.There was a moment when you thought, I might not even get through. This
:25:17. > :25:25.you did -- through this. You did brilliantly. Len gave you an 8 and
:25:26. > :25:30.Craig gave you a 4. It was so sweet of Len to stand up for us and give
:25:31. > :25:35.constructive criticism. Are it was a really good dance I think. It is a
:25:36. > :25:40.tough dance and he's a tall guy. The back flip took a lot out of him, to
:25:41. > :25:45.be honest. But that 4 is really naughty. I don't think it is a good
:25:46. > :25:54.one. It can go and sit in the corner. Yes. I still love you, by
:25:55. > :25:58.the way. I love him too. Is it confusing for you when you get a 4
:25:59. > :26:03.and #24e7b an 8. What do you focus on? I think the work you put in, you
:26:04. > :26:06.always wants reward for effort. If it's the consistent you really know
:26:07. > :26:10.that actually you've got something to work on. I'm far from the
:26:11. > :26:15.finished article, that's for sure. But it was such a camera diction in
:26:16. > :26:19.the scores it was a bit confusing. Sometimes you don't know whether you
:26:20. > :26:23.are coming or going but you have to put the work in training and go out
:26:24. > :26:27.and do your best. I always say, you can't control what they are going to
:26:28. > :26:33.do or what the public do. You have to do your best on the dancefloor.
:26:34. > :26:37.And you are going to Blackpool. Kristina looks after you on the
:26:38. > :26:44.floor and you look after her in the training room. Do I have to run like
:26:45. > :26:57.that? You don't have to run like me as if you are on Baywatch.
:26:58. > :27:04.Why are you running? You don't have a train to catch. Are you ready? I
:27:05. > :27:12.am ready. He keeps taking clothes off!
:27:13. > :27:23.He understands how much he has to be there for me.
:27:24. > :27:29.APPLAUSE It is brilliant. Any Ben Cohen in slo-mo is a hit every time.
:27:30. > :27:33.That's so good. This week you are doing the American smooth with a
:27:34. > :27:40.Viennese waltz in Blackpool. Is this going to be a good week for Ben? I
:27:41. > :27:45.really hope so. Well, it is the first time we are doing the Viennese
:27:46. > :27:51.waltz. It is something new to learn but there's some exciting lifts.
:27:52. > :27:56.He's a strong man. Last time he threw you halfway... I hope, so
:27:57. > :28:05.because it is a gorgeous piece of music. A lovely song. It is Alicia
:28:06. > :28:09.Keys you are dancing to. Are you daunted by the fact that you
:28:10. > :28:14.are dancing in the home of ballroom on Saturday? A little bit. I always
:28:15. > :28:20.get nervous when I'm about to perform anyway. It's a new dance.
:28:21. > :28:25.The jive's been and gone, the sailor outfit with wit. But I'm really
:28:26. > :28:29.looking forward to the weekend. Will there be any Cohen twist to your
:28:30. > :28:34.outfit? Obviously it is quite traditional, top and tails. Will
:28:35. > :28:38.there be any surprises? It is a surprise to me every week. I turn up
:28:39. > :28:43.on a Friday and say, what am I wearing, and they say just trousers
:28:44. > :28:49.this week or a sailor outfit. Good luck in Blackpool, Ben and Kristina!
:28:50. > :28:53.Cheers. That's it for tonight, a big thank
:28:54. > :28:56.you to all of my guests. I'm back tomorrow with three of our couples -
:28:57. > :28:58.Natalie and Artem, Susanna and Kevin, and Sophie and Brendan. See
:28:59. > :29:02.you then. Goodnight.