:00:07. > :00:12.Hello. Welcome to Tuesday's programme. A glittering line-up for
:00:13. > :00:18.you. You can't stop the beat. They've survived their second
:00:19. > :00:21.dance-off. Comeback kids Mark and Iveta are here. According to Len,
:00:22. > :00:26.they created a whole new dance on Saturday. Here to talk us through
:00:27. > :00:30.their wamba is Patrick and Anya. And to take a closer look at the
:00:31. > :00:37.weekend's choreography in fine detail, Karen is back. Plus, a brand
:00:38. > :00:49.new little treat for you, Janette and Pasha are here to teach us the
:00:50. > :01:28.cha-cha-cha. Charming. This is Strictly Come Dancing: It Takes Two.
:01:29. > :01:35.From London, this is stict stict stict. Please welcome your host, Zoe
:01:36. > :01:40.Ball. -- Strictly Come Dancing: It Takes Two. Please welcome your host,
:01:41. > :01:48.Zoe Ball. Hello and welcome. So, after weeks of pleading with Iveta,
:01:49. > :01:52.Mark was finally allowed to dance the dinosaur in Blackpool. The
:01:53. > :01:59.dance-off saw them on the verge of extinction. Here's a reminder of
:02:00. > :02:04.what happened. It was a show-stopping performance. Full of
:02:05. > :02:10.entertainment. I know it's entertaining, I do know that. I'm
:02:11. > :02:14.really looking for a lot more sort of technique. The kicks could have
:02:15. > :02:20.been sharper, but I had a wonderful time watching your performance. Big,
:02:21. > :02:28.brash, noisy and fabulous to watch. Well done.
:02:29. > :02:34.Amazing. I loved the dance. Craig's allowed his opinion. I'm not
:02:35. > :02:40.bothered because I loved it and had a great time. Judges, it's time to
:02:41. > :02:48.decide. I would like to save Fiona and Anton. Mark and Iveta. Mark and
:02:49. > :02:54.Iveta. Mark and Iveta. Back from the brink, it's Mark and Iveta. Can I
:02:55. > :02:59.just say, it was such a joyous jive. I wanted it leap off the sofa and
:03:00. > :03:04.join in. How disappointed were you to be in the bottom two again? To be
:03:05. > :03:10.honest, I expected to be in the bottom two, so I was all right. I
:03:11. > :03:17.genuinely was looking forward to do it again. That was the first
:03:18. > :03:21.thought. So much fun. When you went out to do it for the second time,
:03:22. > :03:27.did you enjoy it more? What was going through your head? That I
:03:28. > :03:33.wanted to do the best dance, because if our last one I want to go for it.
:03:34. > :03:36.It was one of those things where everything went right. We had a
:03:37. > :03:42.ball. You looked like you were loving it. I think that's all part
:03:43. > :03:46.of the competition. Iveta, the five from Craig, because the nation booed
:03:47. > :03:52.and hissed at that point. What do you make of that? Everybody Els
:03:53. > :03:56.gives you eight and -- else gives you eight and then he gives you
:03:57. > :04:01.five? I think he was aiming for ten and took out the wrong one.! It's
:04:02. > :04:07.OK. We all make mistakes. She is going to crush him. I love it.
:04:08. > :04:14.Darcey and Bruno commended you on the fact you are dancing more. You
:04:15. > :04:18.had worked so hard? Absolutely. I think I would qualify this, there
:04:19. > :04:22.were only a couple of moves from Hairspray. It was all stuff that
:04:23. > :04:26.Iveta had choreographed. That was one of the difficult things, because
:04:27. > :04:32.I was used to doing it one way and then suddenly new moves. It's one of
:04:33. > :04:38.the toughest dances for me, but I was less tired doing that than doing
:04:39. > :04:43.the rumba, because I loved it. Of course, the dinosaur. Yes. So
:04:44. > :04:49.exciting. We all leapt with joy. How hard has it been to convince her to
:04:50. > :04:55.let Dow it? I got the look the first time. What? When we do this? I
:04:56. > :04:59.suggested putting it in a different part for the judges and she said,
:05:00. > :05:06."Let's do it there and we can both do it." It was fabulous. We leapt in
:05:07. > :05:08.the air. It does seem it's not just the choreography that you might
:05:09. > :05:15.battle over in the training room. Look at this. I want to eat healthy,
:05:16. > :05:22.but there is never any food left for me. I'm going to say this to the
:05:23. > :05:30.nation - she steals all the grapes. Would you like some fruit before
:05:31. > :05:38.it's gone? Further to the grape incident, look how many stauburys
:05:39. > :05:44.are left -- strawberries are left. OK, we dance. She eats all the
:05:45. > :05:52.fruit. I was going to show you the blueberries, but there isn't any
:05:53. > :06:00.left. You don't want to eat that much. One of them is all squished. I
:06:01. > :06:02.love the blueberries. Gone! APPLAUSE
:06:03. > :06:08.We just love it. You make us laugh so much. Right, we have something
:06:09. > :06:13.for you, Mark. This is for you. This is your Strictly No Iveta. Stay
:06:14. > :06:25.away. Brilliant. It's not yours. Don't even look at these. She can't
:06:26. > :06:30.stay away. You mentioned the knee braces. You have never spoken about
:06:31. > :06:35.them. What can you tell us? Well, on the second week of rehearsals I for
:06:36. > :06:44.a cartilige in both my knees and I went and got MRIs and I had steroid
:06:45. > :06:48.injections and decided to carry on. I feel privileged to be doing the
:06:49. > :06:52.show. I didn't want the sympathy vote, because it's a positive show
:06:53. > :06:56.and people don't want to know, so I push on and do the best. It's been
:06:57. > :07:01.difficult for Iveta, because she has to choreograph around me not lifting
:07:02. > :07:05.and things. She has been absolutely amazing, as ever, getting me
:07:06. > :07:09.through. I don't want to dwell on it, because it's not an excuse. I
:07:10. > :07:15.want to be remembered for doing the best I could do. Wonderful. After
:07:16. > :07:23.the jive as well. You are great. We'll talk about the foxtrot, which
:07:24. > :07:29.you are doing this week. How is it coming along? It's coming! That's
:07:30. > :07:33.all she'll give me. I'll tell you what it was like today. After the
:07:34. > :07:38.jive and a long drive home on Sunday, the foxtrot was lots of me
:07:39. > :07:43.going, "I can't do that." The rise and fall. I'll just do the fall for
:07:44. > :07:49.now. Lots of, "I can't." She'll have you absolutely perfect for the
:07:50. > :07:58.weekend. How are you going to avoid the bottom two? Shirtless. At last.
:07:59. > :08:02.I was thinking you go shirtless and I'll got bottomless. What a
:08:03. > :08:09.combination that will be. Good luck this week. Thank you. Thank you.
:08:10. > :08:11.Mark and Iveta. APPLAUSE
:08:12. > :08:15.You may have watched Strictly for years and seen very many
:08:16. > :08:20.cha-cha-chas but are you able to recognise the basics? As a treat now
:08:21. > :08:24.for all of you, we'll look at the dance in more detail, going through
:08:25. > :08:37.the history and the moves step by step.
:08:38. > :08:45.Who better to teach us about the what what what, than a pair of Latin
:08:46. > :08:48.lovelyies. Hayley from Cuba and -- hailing from Cuba and Siberia, it's
:08:49. > :09:10.Pasha and Janette. Come on!
:09:11. > :09:15.APPLAUSE Janette and Pasha! Come an join us.
:09:16. > :09:21.I think I'm more in love with Janette than Pasha. Welcome. Thank
:09:22. > :09:27.you so much for that. Amazing watching you dance. Where does oh
:09:28. > :09:33.come from? Actual l it originated in Cuba, which is where I'm from. It
:09:34. > :09:38.came from mambo. It's a really slow tempo and there is a triple beat,
:09:39. > :09:43.one, two, three and they call it the triple mambo step. That is where it
:09:44. > :09:47.worked up to it. How did it get from Cuba to Strictly? There was a man a
:09:48. > :09:56.London-based teacher, but French and he was Monsieur Pierre. He went to
:09:57. > :10:00.Cuba in 1952 and saw the triple step being danced in rumbas and he liked
:10:01. > :10:06.it and enjoyed it. He brought it back and taught it as a separate
:10:07. > :10:11.step and called it the cha-cha-cha. He brought all the Latin dances to
:10:12. > :10:17.England and that's what you see now. Erer. Pasha, where does the name
:10:18. > :10:22.come from? Some people say it came from the sound of the shuffling feet
:10:23. > :10:26.on the floor. What what, what what what -- cha-cha-cha, cha-cha-cha,
:10:27. > :10:39.but I think it comes from the sounT of this instrument. It's the --
:10:40. > :10:44.sound of this instrument. It's the guerro. You want to move. I love the
:10:45. > :10:48.way you handle that. The eagle-eyed among you at home may have seen that
:10:49. > :10:53.the cha-cha-cha has been performed more than any dance on the show, 111
:10:54. > :10:59.times to be precise. Why so? Cha-cha-cha is one of the easiest
:11:00. > :11:06.dances as far as beat and steps. When I started dancing that was the
:11:07. > :11:10.first I learnt. Little Pasha. That's where it all begins, people. I love
:11:11. > :11:15.the history lesson. Shall we go and try some steps out? Let's do it.
:11:16. > :11:21.Everybody watching at home, this is especially for you, so get up off of
:11:22. > :11:25.the sofa. Your own private lesson. Where do we start? We'll start with
:11:26. > :11:30.the basic, so it's really simple. All you'll do is take three steps
:11:31. > :11:36.starting with the right foot. One, two, three. Do it again starting
:11:37. > :11:42.with the left. One, two, three. If you change the count to the words,
:11:43. > :11:49.it's cha-cha-cha, cha-cha-cha. Right before you do the third step you'll
:11:50. > :11:54.come forward with your left foot forward, back and then again one,
:11:55. > :12:00.two, three and go back with your right. Back and so when you put it
:12:01. > :12:05.together it looks like that. Cha-cha-cha, forward back,
:12:06. > :12:13.cha-cha-cha back and forward. Cha-cha, forward back. That is the
:12:14. > :12:18.basic. I love it. What can you do as a pair, Pasha? We have lots of
:12:19. > :12:22.wonderful steps, but before you attempt anything, just move away all
:12:23. > :12:29.the furniture and things which can fall, because it happens often.
:12:30. > :12:33.Especially when you're involved. Go. The step we call New York. Very
:12:34. > :12:39.simple. Very effective. Most of the time and every single dance on
:12:40. > :12:47.Strictly you can see it in the cha-cha-cha. We'll start with the
:12:48. > :12:51.chassis. It's cha-cha-cha. Now we'll hopefully find a mirror in front and
:12:52. > :12:55.turn to the mirror and say hello. Fix your tie if you have one or your
:12:56. > :13:00.skirt if you have one and then you are going back facing one another
:13:01. > :13:08.and do another chassis. Three steps, cha-cha-cha. Turn away and we look
:13:09. > :13:13.good and come back. Cha-cha-cha. You are going forward open, three steps
:13:14. > :13:22.in and place and open away and three steps in and place. I think we got
:13:23. > :13:30.it. Let's try it with music. I'm excited. OK, calm down. The basic.
:13:31. > :13:46.Cha-cha-cha. Cha-cha-cha. And New York. Cha-cha, open. New York. Is it
:13:47. > :13:51.something you have to do at a local dance school? You don't. You can do
:13:52. > :13:55.it at a nightclub or in the kitchen at home. As long as it's a song that
:13:56. > :14:01.have four beats and almost all the songs have four beats you can dance
:14:02. > :14:07.it. Such as this one. We know this one. It's Blurred Lines by Robin
:14:08. > :14:24.Thicke. We should finish with a freestyle.
:14:25. > :14:27.Give it up for Pasha and Janette. APPLAUSE
:14:28. > :14:35.I tell you what, if you're going to learn, learn from the best. A little
:14:36. > :14:39.hop there. Running man. A spirited performance. Now to the Copacabana.
:14:40. > :14:43.Patrick and Anya proved music and fashion aren't always the passion.
:14:44. > :14:47.They suffered another wardrobe malfunction, but it wasn't enough to
:14:48. > :14:54.stop them receiving their highest Latin score yet. Here's a reminder.
:14:55. > :14:58.The variety of the step and rhythm and everything was close to
:14:59. > :15:03.perfection. It's just unfortunate that it all went horribly wrong.
:15:04. > :15:09.That could have been dazzling. You came out and gave us a fast, pure
:15:10. > :15:22.technical samba, but it was superb. It's a wamba. You are a terrific
:15:23. > :15:25.dancer. Please believe me. A little malfunction with the dress, but we
:15:26. > :15:31.got through it. Thank you for being there. We're a team. The next one is
:15:32. > :15:40.going to be better. Oh, I hope so. Welcome Patrick and Anya. They keep
:15:41. > :15:44.showing that. Me shunt show that. Hello samba pants. Get you. Bruno
:15:45. > :15:50.said you were one of the best male samba dancers we've ever had on the
:15:51. > :15:55.show. Wow. I know. Wow. It must make you feel great? Fantastic. I can
:15:56. > :16:01.skip away and dance for the rest of my life. It was absolutely awesome.
:16:02. > :16:07.Bruno said it was almost perfection. How frustrating was it to have that
:16:08. > :16:15.wardrobe moment? We'll talk about it quickly and get it out of the way.
:16:16. > :16:23.We'll never talk of it again. It's called the hop. How frustrating. It
:16:24. > :16:26.would have been a mishap like choreography-wise I could forgive
:16:27. > :16:30.myself, but that, it was just, I don't know. It was absolutely - you
:16:31. > :16:36.know what, I didn't know how it happened. I just know it happened
:16:37. > :16:39.and I got out it. It felt like it was ten years. It was only two
:16:40. > :16:46.seconds, but thank you so much for coping with it and getting back just
:16:47. > :16:51.like that. It sounds a bit like being an actor, if something goes
:16:52. > :16:56.wrong you have to carry on. I'm always prepared for anything that
:16:57. > :17:00.can happen. It was so brilliant, because you couldn't actually see,
:17:01. > :17:06.but you were looking and you could see and Patrick wept, "I know what's
:17:07. > :17:10.going on." Then you picked up. Impressed. It happened in Blackpool.
:17:11. > :17:14.We'll move on. Craig said it's the kind of dance he would like to see
:17:15. > :17:19.again if you got to the final. Would it be a dance that you would choose
:17:20. > :17:27.to do again if given the chance? It's one of the ones I enjoyed. I
:17:28. > :17:31.might. If you've forgotten. We have to start thinking of these things.
:17:32. > :17:35.Patrick feeling the pressure of the competition. It's getting tough, but
:17:36. > :17:45.it seems to be getting to you a little in training. I had struion
:17:46. > :17:57.overload, I -- struion overload, I -- struion -- instruction overload,
:17:58. > :18:11.I believe, so I had to let go: Bum, bum, bum, and then it's bum, bum,
:18:12. > :18:21.bum. Flick, flick, go to the the side. Have I missed anything out?
:18:22. > :18:25.No. See. It's all going on. It's so much fun. This week, it's the
:18:26. > :18:33.Viennese Waltz. Obviously, not had loads of training, but how is it
:18:34. > :18:39.going so far? Honestly? Yes. Between just us, I haven't really started
:18:40. > :18:43.anything yet. Just the frame. I don't know why I'm laughing, because
:18:44. > :18:48.we aren't started. Practising my frame. We talked a lot about it, so
:18:49. > :18:53.I told him what to expect and he asked me about the lifts and he'll
:18:54. > :18:57.lead and it's yes, yes, no. You are so good at all and you've had your
:18:58. > :19:02.highest score for the American smooth and you got 37. With this
:19:03. > :19:08.Viennese Waltz, do you think you can top that? I I think what we'll go
:19:09. > :19:15.for is to bring the same focus and energy and level of quality with
:19:16. > :19:19.frame and foot work. -- footwork. Agree with her? Absolutely, I agree.
:19:20. > :19:28.We'll bring all of that to that. Can you feel the competition hotting up
:19:29. > :19:32.now? Oh, yeah. Everyone is going for their A star. Absolutely. In the
:19:33. > :19:36.end, but it's a competition so people are realise that one of us is
:19:37. > :19:41.going to go, so it's that realisation. I love it. Everyone is
:19:42. > :19:48.starting to fight. So exciting. Please go and try and practice now.
:19:49. > :19:55.You are not getting out of it. Good luck this weekend. I know it will be
:19:56. > :19:58.amazing. Patrick and Anna. APPLAUSE
:19:59. > :20:03.So, Saturday saw a downpour in Blackpool as it was raining tens.
:20:04. > :20:06.Hallelujah. I love that. Here to give her expert opinion on the
:20:07. > :20:21.highest-scoring weekend in the competition so far is Karen.
:20:22. > :20:31.Welcome, Karen, everybody. You look amazing. It's a paso shirt. What an
:20:32. > :20:36.amazing weekend in Blackpool. I loved every minute. We'll get stuck
:20:37. > :20:41.in. First, Susanna and Kevin and their paso doble. Did I hear tens?
:20:42. > :20:45.Did I hear tens? You said, didn't you? You said last week you wanted
:20:46. > :20:50.to see tens and look at that. Three come along. I think they're secretly
:20:51. > :20:55.list tong the show. -- listening to the show. What made it so
:20:56. > :20:59.impressive? The piece I've shown you here, it's what we call the twist
:21:00. > :21:05.and turns and they are fantastic. She doesn't do one or slow, but she
:21:06. > :21:11.does them fast timing and five of them. Normally we just get one, but
:21:12. > :21:16.this was incredible. She absolutely attacked the move. Attacked the
:21:17. > :21:23.dance. What I love most of all are beautiful professionals and on a car
:21:24. > :21:28.we have cruise control, but then the button I never push is sport. You
:21:29. > :21:32.watch the professionals, they're upping their game and Susanna kept
:21:33. > :21:35.up with Kevin the whole way. Not the difficulty with the choreography,
:21:36. > :21:38.but the pure energy that the professionals have got and someone
:21:39. > :21:44.like Susanna here kept up the whole way. Fantastic. Would you like to
:21:45. > :21:48.have seen four tens here? Technically there were a couple of
:21:49. > :21:54.things she was doing wrong, but I'll keep that secret. I was happy with
:21:55. > :22:01.the score she got. Natalie and Artem. Joint highest score. We have
:22:02. > :22:05.seep Charlstons with Sophie and Abbey. This is the highest yet. Was
:22:06. > :22:09.it your fast and what -- favourite and what did you love about it? It's
:22:10. > :22:15.been all about the Charlston. So many different characters as well.
:22:16. > :22:19.This was a Josephine Baker. Absolutely wonderful. She looks
:22:20. > :22:22.like, but look at this. What I want you to look at here. Artem is still
:22:23. > :22:27.and Natalie was doing the moving. What we normally do, we will do the
:22:28. > :22:32.complex moves and we let the celebrities stand still. But what we
:22:33. > :22:36.asked here, we said come on really push Natalie, get her to be doing
:22:37. > :22:40.the choreography and what she is doing there was fantastic. What we
:22:41. > :22:44.are seeing all the way through the routines now, she is doing the
:22:45. > :22:51.complex work and Artem is presenting her and it's fabulous. He's sitting
:22:52. > :22:55.back. Show your stuff. Abbey and Aljaz, the quickstep. Three tens and
:22:56. > :23:01.only a seven from Craig. Would it have been a ten from you? Dare I
:23:02. > :23:07.say, I may for once be the female version of Craig. Oh, Lord, there
:23:08. > :23:10.can't be two. I agreed with him. Let me explain why. Someone like
:23:11. > :23:13.Susanna, we said to her you have to correct that top line. She has
:23:14. > :23:17.corrected it. Someone like Ashley, you have to get the head in the
:23:18. > :23:21.right position. We have said now for several weeks, you have to get the
:23:22. > :23:25.gapping. They've got to get it together. It's been picked up and
:23:26. > :23:31.now and Craig has said clearly, gapping is one of the early things
:23:32. > :23:34.we want you to master. It's later on with the movement, but gapping
:23:35. > :23:39.should have been achieved earlier on. That said, at Blackpool, a
:23:40. > :23:44.quickstep on that dancefloor t was a sense aingal dance. -- sensational
:23:45. > :23:49.dance. But the more you gap the easier it is to move. Got to get
:23:50. > :23:56.them together. She is so tiny, it's kind of hard. Patrick and Anya and
:23:57. > :24:03.the samba. Bruno said close to perfection. Len said it was only the
:24:04. > :24:07.stationery samba walk that -- stagsary samba walk that --
:24:08. > :24:14.stationary samba walk that let them down. What is it? I'll have to take
:24:15. > :24:19.to the floor. Three steps. We close the feet and replace the weight and
:24:20. > :24:28.we come back again. It's literally that. And you've got the count. What
:24:29. > :24:34.happened and what we'll look at here with the piece that I've got, it
:24:35. > :24:37.actually went wrong earlier on. As he started. This is all going wrong.
:24:38. > :24:43.It feels like he's behind. He's trying to catch up, but then
:24:44. > :24:52.deliver. He was meant to do two and it all wept wrong for him there.
:24:53. > :24:59.That said, again, a sensational dance. Great music. But, again,
:25:00. > :25:07.nit-picking now on the technique and choreography, cue not afford to make
:25:08. > :25:13.missteaks. -- mistakes. Sophie and Brendan, the only critique was the
:25:14. > :25:17.top line. Would you be in agreement? I love this. I absolutely loved it.
:25:18. > :25:23.We were talking about the smallest of things that went wrong. There was
:25:24. > :25:27.so much right with this, this week. Incredible. They dance from hold
:25:28. > :25:33.across the table and then they've got to recover. We are talking about
:25:34. > :25:37.the gapping. Look at this. Look at this, nothing there. They're
:25:38. > :25:42.together, but still getting that amazing movement across the floor.
:25:43. > :25:48.Absolutely lovely. Craig picked up on the hand position. Simple. For
:25:49. > :25:51.the lady, there is an indent in the man's arms, if you place it there it
:25:52. > :25:56.looked graceful and finishes the line. If it steps over it looks like
:25:57. > :26:02.it's hanging on. Everything else was perfect. Ashley and Ola and the paso
:26:03. > :26:06.doble. The joint highest score of the series for him. Disagreement
:26:07. > :26:11.from the judges about his focus. Do you feel he maintained it
:26:12. > :26:18.throughout? He maintained it throughout, so much so I was sat
:26:19. > :26:24.there going and when it erupts like that and it catches you. His
:26:25. > :26:28.concentration was so deep. You see we have the two dancers here and
:26:29. > :26:32.there is no way he doesn't even look like the celebrity there, but a
:26:33. > :26:34.great dancer and keeping up with the energy and he's keeping up with the
:26:35. > :26:40.team of dancers with him and I absolutely love that. A lot of that
:26:41. > :26:44.is through the concentration in the intensity. Any time you are insecure
:26:45. > :26:48.you look down or you can lose your strength, but he maintained that
:26:49. > :26:55.throughout. Loved that and loved the choreography. Well done Ashley. Ben
:26:56. > :27:04.and Kristina. American smooth. Darcey was particularly impressed.
:27:05. > :27:07.Press arge lift into arabesque. What is one of those? -- pressage lift
:27:08. > :27:13.into arabesque. What is one of those? Look at this. How they are
:27:14. > :27:17.coming together. Into this lift, but what I love, straight up into a
:27:18. > :27:23.beautiful hold. We spoke earlier on about keeping a good frame. Here we
:27:24. > :27:28.go. Here is the arabesque position. He's in pressage. Beautiful lines
:27:29. > :27:33.through the body, giving her confidence to extend into her move.
:27:34. > :27:37.Anything like that, if he had made a movement wrong she would have been
:27:38. > :27:41.up there wobbling and she is at full extension and so is he and it was
:27:42. > :27:45.lovely. I think from the man's point of view, to pick up how he was
:27:46. > :27:50.recovering back into hold, that is where he's improving and improving.
:27:51. > :27:56.I love it. Keep it up, Ben. Mark and Iveta and the jive. Their highest
:27:57. > :28:00.score, but Craig says he wants to see more technique. Do you agree
:28:01. > :28:05.here? Yeah. I think, I watched this performance and we always say when
:28:06. > :28:10.you judge you must never judge with expectation. I'm going in and I had
:28:11. > :28:15.a little expectation and I was thinking it was going to be hard. He
:28:16. > :28:19.pulled me in. But it was through the strength of his dancing. He had flat
:28:20. > :28:24.feet and we have all heard because of his knees, but he had swing in
:28:25. > :28:29.this and the lovely swinging action and finishing of the arms and
:28:30. > :28:35.relationship between the two. They are unstoppable. They are like Mr
:28:36. > :28:38.and Mrs. I love this relationship. So much going for them. It's the
:28:39. > :28:45.detail that actually kept them there on the night. Well done to them and
:28:46. > :28:49.glorious as always, Karen Hardy. Thank you to all the guest.
:28:50. > :28:54.Tomorrow, I'll talk to Abbey and Aljaz and Susanna and Kevin and
:28:55. > :29:00.we'll look forward to next week's dances with Mr Ian Waite himself.