:00:00. > :00:13.Welcome to It Takes Two, our penultimate Tuesday show for you.
:00:14. > :00:20.Their raunchy rumba almost saw them rumbled, Patrick and Anya are here.
:00:21. > :00:27.They're hot to foxtrot, Ian and Natalie teach us a ballroom classic.
:00:28. > :00:30.How gorgeous do they look. Hoping to knock Anton off the top of the
:00:31. > :00:37.leaderboard, Miss Karen Hauer returns. Hey, hot lips. The other KH
:00:38. > :00:42.is with us, Karen, with Choreography Corner. How will we get it all in?
:00:43. > :01:29.This is Strictly: It Takes Two. From London, this is Strictly It
:01:30. > :01:34.Takes Two. Please welcome your host Zoe Ball.
:01:35. > :01:38.APPLAUSE Hello, welcome to It Takes Two.
:01:39. > :01:44.Patrick and Anya's racy rumba certainly got the judges all hot
:01:45. > :01:46.under the collar, with Len and Bruno almost coming to blows. Despite a
:01:47. > :01:52.strong performance, they still found themselves in the dance-off. Here's
:01:53. > :01:56.a reminder of what happened. The hip action was very good, albeit
:01:57. > :02:02.economical, darling, that's probably a good thing. It was very
:02:03. > :02:06.understated. You were fan taskically strong framework. The tension
:02:07. > :02:11.between you and the focus you gave Anya, it was like none of us even
:02:12. > :02:17.existed in this room. I loved it. The bottom lieb, I thought you did
:02:18. > :02:20.-- line, I thought you did really well with a dance which is very
:02:21. > :02:25.difficult for male celebrities. You were intense, you had focus. You
:02:26. > :02:35.looked after her beautifully. I liked it. Eight. A sexy 10. 9. 9. As
:02:36. > :02:41.for as I'm concerned, this is one of the trickiest dances, for me to get
:02:42. > :02:49.one ten - get it! Who will you save? Patrick and Anya. Patrick and Anya.
:02:50. > :02:55.I have to go with Patrick and Anya. Please welcome Patrick and Anya!
:02:56. > :03:00.It's so difficult because it's bitter sweet because you have to say
:03:01. > :03:05.goodbye to Ashley. Congratulations you are the last man standing and
:03:06. > :03:11.you're into the semifinal. Yes. How are you feeling about that? I'm
:03:12. > :03:17.feeling pretty good. This is a serious bonus. Well deserved as
:03:18. > :03:21.well. Fact for you, here, folks, Patrick has matched Harry Judd and
:03:22. > :03:26.Colin Jackson's high scores of 36 for the rumba, that's the highest
:03:27. > :03:33.score that the men have got. Wow. Jump back, I want to kick myself. I
:03:34. > :03:37.know! How proud are you of Patrick? I'm so proud of you, to be honest,
:03:38. > :03:43.with you it was the hardest dance. It was a challenging week. You gave
:03:44. > :03:47.me 150% and like Darcey said, there was no-one else existed. Up were
:03:48. > :03:51.there with me on the dance floor, it was amazing. Which is what you want,
:03:52. > :03:54.that intensity. I was like that, into the television. Second place on
:03:55. > :04:01.the swing-a-thon as well. How difficult was it to stand out on the
:04:02. > :04:07.dance floor? I don't know how you stand out, you just keep going. We
:04:08. > :04:11.just focussed on each other. We had fun and I kept talking to him and
:04:12. > :04:17.come on. What's next? Come on, let's do it again. You were out there
:04:18. > :04:24.about if 18 -- about 18 minutes. Three or four days, it seemed to me.
:04:25. > :04:30.Joint leaders on the leaderboard and then the viewer vote and you're in
:04:31. > :04:34.the bottom two. I think everyone who was supporting me felt I was safe
:04:35. > :04:40.because I was at the top. They went, that's fine, he's cool. I know. They
:04:41. > :04:44.went down the pub. Great, fine, let's go. You came back fighting in
:04:45. > :04:47.the dance-off. You really did. Something that I really loved is
:04:48. > :04:52.when you came out and did the second time, you had taken on board what
:04:53. > :04:58.Craig said about being softer. I really noticed. Was that
:04:59. > :05:02.intentional? I kind of just did it again. We had a conversation right
:05:03. > :05:07.before we had to go on and I said do exactly the same thing, just you and
:05:08. > :05:12.me. Just you and me and slightly softer. It was. Just do it again. It
:05:13. > :05:19.was stunning. A lot of disagreement about the rumba between the judges.
:05:20. > :05:25.We all get confused. It's fantastic. I thought they were going to come to
:05:26. > :05:28.fisticuffs. Should it be aggressive, romantic? To be honest with you, I
:05:29. > :05:34.went for the content of the song. The song was beautiful. It was a sad
:05:35. > :05:37.song. It had a lot of desperation for it and wanting his woman to
:05:38. > :05:41.stay. I went with the story. Yes, I think it was a bit aggressive at
:05:42. > :05:46.times, because how else are you going to sell the -- tell the story?
:05:47. > :05:56.I mean, the basics were there. He told the story. He's an actor. Is
:05:57. > :06:00.he? ! It's like my interpretation of the passion of the man. So the story
:06:01. > :06:06.was he's lost his woman and he wants her back. He was desperate. Bruno
:06:07. > :06:12.said - passion works. Always works for me. For me. I remember that. Of
:06:13. > :06:17.course, you have to keep four judges happy with whatever you choreograph
:06:18. > :06:20.and work with the student who won't ever be quiet. It seems that you
:06:21. > :06:24.have the answer for that. This is good.
:06:25. > :06:30.Anya's devised a system when I speak during the dance, she said, "Right,
:06:31. > :06:37.no talking." Every time I do, she fines me 50 p. Slow. # Don't go
:06:38. > :06:53.back. Money! I'm dizzy. I'm whirling around. I
:06:54. > :06:57.owe you money. I owe you money. I may owe her around ?9. He owes me
:06:58. > :07:14.quite a lot. At least ?50. At least. Really? For that day only. That was
:07:15. > :07:18.week one. Semifinals are here. Two dances for you. Which are you doing
:07:19. > :07:24.this weekend? We are doing the paso doble and the waltz. I'm excited by
:07:25. > :07:31.both of those. How is training going so far? Scary. The paso doble is
:07:32. > :07:36.really tricky for me. At the moment, I'm finding it tricky to do with
:07:37. > :07:40.connecting it to the music. It's an old track, bit of a classic, and
:07:41. > :07:43.yeah, it's a bit tricky for me again. I guess you have to start
:07:44. > :07:47.from scratch. They're so different those dances. You couldn't have two
:07:48. > :07:52.different, talk about the end of the spectrum, a waltz and paso doble.
:07:53. > :08:00.How do you teach two dances like that in such a short space of time?
:08:01. > :08:06.Like Patrick said... (Whip cracking sounds) A little bit of that!
:08:07. > :08:09.Honestly with the muscle MEP rip with the waltz, we haven't started
:08:10. > :08:13.actually yet. But I think you will have an easier time. We have to work
:08:14. > :08:18.on the frame and concentrate on what the judges said before, keep the
:08:19. > :08:22.frame and just approach the same way we did any other dance and
:08:23. > :08:26.character, go with his strengths. You do that so well. Have faith.
:08:27. > :08:30.It's so exciting. Well done. Good luck this week. I'm looking forward
:08:31. > :08:34.to your paso doble. Patrick and Anya!
:08:35. > :08:38.APPLAUSE So far in our series of dance
:08:39. > :08:42.lessons, from the professionals, we've covered the cha cha cha and
:08:43. > :08:48.waltz. Tonight it's another ballroom classic. You may have seen a foxtrot
:08:49. > :08:51.performed many times over the years on Strictly, but would you recognise
:08:52. > :09:04.the basics? It's time to learn the dance step by step.
:09:05. > :09:10.Groovy. Please welcome It Takes Two's very own Fred and Ginger, Ian
:09:11. > :09:45.Waite and Natalie Lowe! APPLAUSE
:09:46. > :09:53.Absolutely stunning. Welcome back. Have a seat. Thank you for that. He
:09:54. > :09:57.swept me off my feet. He has that way with women. Bless him. That's
:09:58. > :09:59.nice. Thanknice. Thank you. Lovely to see you dancing again. That's the
:10:00. > :10:04.first time to dance on telly in ages. Welcome back. Long time
:10:05. > :10:10.coming. I'm in heels and everything. The foot is heeled. Very, very
:10:11. > :10:14.exciting. -- healed. Very exciting. Where did the foxtrot come from?
:10:15. > :10:19.Most people agree it originated in New York in 1914. Ballroom dancing
:10:20. > :10:23.until then hadn't change since the early waltzes. Then the introduction
:10:24. > :10:28.of new music, like ragtime changed all of that. The faster music meant
:10:29. > :10:35.everybody had to dance in hold, much closer together. I like that. Where
:10:36. > :10:41.did the name come from? The vaudeville actor Harry Fox was seen
:10:42. > :10:52.foxtrotting to ragtime music in theatre. He lent his name to it. The
:10:53. > :10:57.Fox trot becomes the foxtrot. How did it make its way into UK
:10:58. > :11:02.competitions? In 1921 what was then to become the World Dance Council
:11:03. > :11:06.agreed on the technique and everything of what was then to
:11:07. > :11:11.become the competitive foxtrot. Basically, what they did was they
:11:12. > :11:15.took away all the trotting and the skipping and hopping steps and
:11:16. > :11:19.slowed it down and made it what it is today. It's not really a trot.
:11:20. > :11:24.It's slightly misleading. Not at all. It's very smooth. Has the
:11:25. > :11:28.foxtrot had an influence on other dances? The quickstep is actually
:11:29. > :11:32.based on the foxtrot, it's just a little bit faster with charleston
:11:33. > :11:34.elements. Also, you will see with American smooth, it's very much
:11:35. > :11:38.based on the quickstep and foxtrot as well and every now and then you
:11:39. > :11:43.might see a waltz. I hope you're taking notes at home. To the
:11:44. > :11:46.untrained eye, the foxtrot could look similar to the waltz, what are
:11:47. > :11:50.the differences? With the waltz, there's a lot of rise and fall,
:11:51. > :11:56.which there's not in the foxtrot. And a lot of sway. With the foxtrot
:11:57. > :12:06.it's a travelling step and flatter. It's a rolls Roy action. -- rolls
:12:07. > :12:10.rice action. Rols Royce action. Let's take to the floor. You do
:12:11. > :12:11.quarter turns and there's a rise and fall.
:12:12. > :12:17.quarter turns and there's a rise and It's a litting. There's a lot of
:12:18. > :12:25.closing involving. Whereas with the foxtrot, we're doing straight lines.
:12:26. > :12:30.It's smooth. I could watch that man do that for hours. Me too! I would
:12:31. > :12:34.rather be in there, though. So graceful. Let's start from the very
:12:35. > :12:37.beginning. How would you teach beginners how to do that? Because
:12:38. > :12:41.it's quite a difficult dance to master, actually, the very lower
:12:42. > :12:46.level. There's a really difficult heel turn in there, what we normally
:12:47. > :12:50.do in a classroom is start with a slow rhythm. So these are the steps
:12:51. > :12:58.of the slow rhythm for the man. You go forward on your left foot. Then
:12:59. > :13:04.your right foot, side clo close, side close. Back on your left foot,
:13:05. > :13:15.back left, back right and then side close. It's like that. Walk, walk,
:13:16. > :13:19.side, close, walk. Walk, side close. What about the ladies. I'm going to
:13:20. > :13:26.turn my back to you. I'm not being rude. Lovely back too. Make sure you
:13:27. > :13:33.have a flexed knee. That allows you to move more freer. We step back on
:13:34. > :13:39.the right foot, right, left, side, together, forward right, forward
:13:40. > :13:45.left, side, together. Then you repeat that. A bit quicker. The
:13:46. > :13:53.timing is slow, slow, quick, quick, slow. Slow, quick, quick. If you
:13:54. > :13:59.fought together, it looks like -- if you put this together, it looks like
:14:00. > :14:06.this? The hold is more casual. It is walk, walk, side close, slow. Slow,
:14:07. > :14:12.quick, quick, slow. Slow, quick, quick, slow, slow. Shall we add the
:14:13. > :14:19.music and put us in the mood. Come on everybody. Here we go.
:14:20. > :14:24.This is how you do it if you're out socially. Then if we turn that into
:14:25. > :14:32.a classic Ian and Natalie foxtrot, look at that.
:14:33. > :14:40.APPLAUSE It's beautiful. I've been missing
:14:41. > :14:46.seeing them together like that. Around she goes! Go on Natalie Lowe!
:14:47. > :14:52.I'm not at all jealous, I promise (! ) Thank you very much, Ian and
:14:53. > :14:57.Natalie. By the way, give our love to Mel and Gordon. It's the big
:14:58. > :14:59.wedding on Friday. Can't wait to see it.
:15:00. > :15:03.I'm clapping at everything now. Over the last week, we've seen our
:15:04. > :15:06.normally poise and composed professional dancers descend into a
:15:07. > :15:13.rabble of drunken sailors, all for a good cause, to set a new world
:15:14. > :15:21.record. Here's a reminder of how it's done. He's mine now.
:15:22. > :15:27.This is a challenge to set a Guinness World Record for the most
:15:28. > :15:31.drunken sailor dance steps in 30 seconds. A drunken sailor is a cross
:15:32. > :15:35.step behind, a step to the side and then a replacement of weight to the
:15:36. > :15:43.starting foot. They need to make sure they cross behind and replace
:15:44. > :15:47.the wieght. Let the battle commence. Thank you, darling. Hoping she
:15:48. > :15:54.doesn't slip on the poop deck, please welcome Karen!
:15:55. > :16:01.Hey, crazy legs. Welcome back to the show. We've missed you. First, how
:16:02. > :16:05.is Kevin after the weekend? He's your boy. He had an emotional
:16:06. > :16:10.weekend. Is he all right? Yeah, he's doing great. He's smiling. My little
:16:11. > :16:13.Kevin from Grimsby. Two dances into the semifinal, it's exciting. You
:16:14. > :16:16.took part in the challenge last year, are you looking forward to
:16:17. > :16:20.another go at a world record attempt? Definitely. I mean, last
:16:21. > :16:26.year it was all about the performance and the beauty of
:16:27. > :16:31.dancing. The technique. Yes, that's what Pasha was saying yesterday.
:16:32. > :16:34.Look what happened to him. You did a delicate approach to your ball
:16:35. > :16:40.changes last year. Yeah, it was all about the foot work. This year, it's
:16:41. > :16:44.about the speed. Yes, I took my vitamins, ate my vegetables and I'm
:16:45. > :16:50.ready. Good girl. Let's see how Karen did.
:16:51. > :16:56.Last year was about the sophistication and technique. Not so
:16:57. > :17:03.much about speed. This year, I'm going to burn the floor. Hello
:17:04. > :17:06.Karen. Hello. How are you? Nervous. But determined. Please take to the
:17:07. > :17:13.floor. Thank you. Karen, are you ready? Yes. Richard
:17:14. > :17:17.are you ready? Never been readier. Are you ready? Very ready. Counting
:17:18. > :17:58.you down in three, two, one, go! Well done! Take a seat. I think my
:17:59. > :18:06.bear needs a rest. How was that? Let's do it again! Karen, hooray and
:18:07. > :18:10.up she rises. That was awesome. Fast and your technique was there. Really
:18:11. > :18:13.good challenge. Thank you. It was intense. My legs were starting to
:18:14. > :18:18.burn. My feet were starting to ache a little bit. I was trying to keep a
:18:19. > :18:24.smile, but trying to enjoy it at the same time. But it was a tough one.
:18:25. > :18:28.Brilliant! Brilliant technique. I liked your style there. You looked
:18:29. > :18:33.like you were going seriously fast. I was, I was trying, really, the
:18:34. > :18:39.panda was trying to help me out. I liked the panda venlt -- panda.
:18:40. > :18:45.Kevin has taken part. Is there any competition? No. No? Not at all. It
:18:46. > :18:50.is crunch time after the professionals tackled their drunken
:18:51. > :18:54.sailors, our adjudicators watched in slow motion to verify every single
:18:55. > :18:58.one. They had to be accurate. How many do you think you managed?
:18:59. > :19:02.Hopefully more than my kick ball changes? Fingers crossed. Let's have
:19:03. > :19:06.a look at the leaderboard as it stands:
:19:07. > :19:18.up top Anton with 72. Anton! I know. Who would have thought it. He's 83.
:19:19. > :19:22.Your drunken sailors have been countened and verified. -- counted
:19:23. > :19:37.and verified. I can reveal that you performed...
:19:38. > :19:47.68 in 30 seconds. No disqualifications. You're really gob
:19:48. > :19:56.smacked. Let's look at the leaderboard. You are placed quite
:19:57. > :20:00.nicely above Aljaz. You're in third place. Take a photograph of it. You
:20:01. > :20:04.are the highest scoring girl so far. Well done, Karen.
:20:05. > :20:13.You can find out how Artem got on tomorrow on the show. Give it up for
:20:14. > :20:16.Karen Hauer. APPLAUSE
:20:17. > :20:20.Saturday's quarter fiebls saw our celebrities raise their game
:20:21. > :20:22.further, as well as the spectacular swing-a-thon, here to give us her
:20:23. > :20:41.expert opinion is Karen Hardy. Welcome, Karen! Hello darling. It's
:20:42. > :20:46.all getting quite intense, the stakes are high. They all want it.
:20:47. > :20:49.We're into the semifinals. Let's talk about the weekend. What did you
:20:50. > :20:54.make of the swing-a-thon? I loved it. It's a real competition. There
:20:55. > :20:58.is more than one person on the dance floor and for the judges, they can
:20:59. > :21:02.really assess who the front runners are. Would you have agreed with the
:21:03. > :21:07.judges in the way they sent them out? Yeah, I think it's down to
:21:08. > :21:13.those judges. We saw Susanna going out first. I guess, at that moment,
:21:14. > :21:18.she might have looked the weakest. I thought Abbey went early for me.
:21:19. > :21:23.Again, this is the judges' moment really. We're seeing them alongside
:21:24. > :21:26.each other. Let's look at the individual dances. We start with
:21:27. > :21:30.Patrick and Anya and the rumba. Saved by the judges, a bit of
:21:31. > :21:34.disagreement from them on Saturday. Should it be romantic, passionate,
:21:35. > :21:39.aggressive? We've been on this subject before, what's your take?
:21:40. > :21:42.Really clear. It's up to the individual choreographer how they
:21:43. > :21:46.depict the song. The song will encourage the emotion of the dance
:21:47. > :21:50.and then it's relative to the celebrity they have got. I think,
:21:51. > :21:55.for me, this was a perfect delivery. But it did create some uproar. One
:21:56. > :22:01.thing I picked up on, which we're going to look at, technically, there
:22:02. > :22:07.are a couple of things going on down stairs. Look at that great big heel
:22:08. > :22:12.number one and number two. Len mentioned that. Foot work is the
:22:13. > :22:18.foundation of movement. But I think, we saw a beautiful dance again from
:22:19. > :22:25.Patrick here and the delivery of the dance is up to them as a couple to
:22:26. > :22:30.absolutely sell it. You can convince anybody anything. It's down to them
:22:31. > :22:33.to sell it. There were some -- was beautiful dancing in that routine.
:22:34. > :22:37.Have you to convince the judge -- you have to convince the judges and
:22:38. > :22:42.those at home. Susanna and Kevin and their Argentine tango. Not their
:22:43. > :22:47.best week. They were at the bottom of the leaderboard. Len said it
:22:48. > :22:51.lacked food and -- mood and atmosphere. Do you agree? At this
:22:52. > :22:55.stage of the game, it's because of hidden issues that you get something
:22:56. > :22:59.like that. There was something pivotal in this perform, the A line,
:23:00. > :23:04.when we dance the Argentine tango, you really are looking for the lady
:23:05. > :23:08.to learn how to lean into the man because the weight transition is
:23:09. > :23:12.different. As much as I really love this choreography, I would have
:23:13. > :23:18.liked a little more leg decoration and most importantly, that top
:23:19. > :23:22.A-line. It's almost like their heads are touching. Yes because we want to
:23:23. > :23:25.show the difference between the international tango and the
:23:26. > :23:31.Argentine tango. International their heads right out there. With this
:23:32. > :23:35.one, that could have affected - the judges are looking for a short time.
:23:36. > :23:39.You want to be nailing these very, very important technical elements.
:23:40. > :23:42.Natalie and Artem and their paso doble. Len was annoyed because he
:23:43. > :23:47.said it wasn't traditional enough. Was it traditional enough for you?
:23:48. > :23:52.I'm confused. The trained eye, it's the trained eye. I'm watching and
:23:53. > :23:55.thinking, look at this glamorous couple and they go into this move
:23:56. > :23:58.here, by the time they're into the move, they haven't even touched each
:23:59. > :24:02.other. My eyes are going, why are they not dancing, ballroom and
:24:03. > :24:06.Latin, American is about being together. I show that clip, how
:24:07. > :24:11.powerful they look when you dance with your partner in contact, it
:24:12. > :24:15.increases the strength of the performance. Now with the paso doble
:24:16. > :24:19.it's already a very powerful dance. But the step there where she walked
:24:20. > :24:23.around in a big circle, they could have done a grand circle where
:24:24. > :24:28.they're in hold and she walks around. I don't know why, big bad
:24:29. > :24:35.Artem of the choreography again. Again, maybe he's looking to impress
:24:36. > :24:38.the audience at home. But you have to impress the judges. You want the
:24:39. > :24:42.scores. It's making all the difference. Also, let's talk about
:24:43. > :24:47.Craig saying he thought it was too slick. Now people aren't good enough
:24:48. > :24:53.then he's telling Natalie it's too good. What did you make of that
:24:54. > :24:56.snrvelingts We teach our students it's about the lines and the beauty
:24:57. > :25:01.of the lines. We know, Natalie can do the arms and she did the two of
:25:02. > :25:05.them, perfected it. You could argue it was slightly too clean. From that
:25:06. > :25:11.element, I actually loved it. I think they nailed that. I don't know
:25:12. > :25:14.where - they were really nit picking. Tough on them on Saturday.
:25:15. > :25:19.They're strong. They'll fight on. Abbey and Aljaz and the Viennese
:25:20. > :25:23.waltz. Len says one or two issues with foot work. He didn't have time
:25:24. > :25:26.to get into them. Did you notice? Yes, straight away. Before we want
:25:27. > :25:31.to nit pick again. We are nit picking on these couples. This was
:25:32. > :25:36.sensational. The top line that we've talked about, look at it, the body
:25:37. > :25:41.contact, the head, absolutely. What did I see? Toes all the way through.
:25:42. > :25:46.Generally when the lady is driving a forward step she wants to take a
:25:47. > :25:50.strong heel lead. It's very difficult, when you are in a high
:25:51. > :25:55.heel for a lady. Early on with our beginners or celebrities, they tend
:25:56. > :25:58.to toe dance. When you toe dance, the movement is different. It would
:25:59. > :26:02.have been nice and what Len was after was a strong heel lead and it
:26:03. > :26:06.would have given strength and character to the dance. Will have
:26:07. > :26:11.taken that on board. Sophie and Brendan and the tango. Bruno called
:26:12. > :26:16.it an unexpected treat of a tango. It was beautiful. A lady that's
:26:17. > :26:20.showing us improvement. We wanted character from this lady and she
:26:21. > :26:23.delivered it. What we're seeing here is the strong head fix. I've picked
:26:24. > :26:29.up on what the judges talk about, the arms are beginning to get loose.
:26:30. > :26:32.The top line breaks again. All before that, she was brilliant. She
:26:33. > :26:37.held that top line, her head was out very nicely. But again, you have to
:26:38. > :26:41.maintain these things from a minute-and-a-half. In general,
:26:42. > :26:45.beautiful. She's ticking the boxes. What they ask for, she she delivers.
:26:46. > :26:49.They're talking about the V shape which was lacking, is that the head
:26:50. > :26:52.position? Well done. That's what we were saying earlier. In the
:26:53. > :26:55.international style the head goes right out, the arm over the back of
:26:56. > :27:00.the gentleman's arm, down in those knees. There's a big oversway image
:27:01. > :27:06.there. The Argentine tango and the whole lot comes in and we close the
:27:07. > :27:09.frame. I like it. Semifinals next. Now, if you look back at the
:27:10. > :27:13.beginning of the competition, are the five couples here at the end of
:27:14. > :27:17.you would have thought would be here? You know what, it's easy for
:27:18. > :27:21.me to say, yes, they're all the ones. I think there would have been
:27:22. > :27:27.one change. I don't think I would have seen Patrick stay in -- staying
:27:28. > :27:30.the test of time. He's proven to me, he's digging in and staying there. I
:27:31. > :27:36.think I would have thought Ashley would stay there by now. Other than
:27:37. > :27:39.that, yes, those are left. I like it when people surprise you like that.
:27:40. > :27:43.They're tackling two dances this week. You've been there as the
:27:44. > :27:47.professional with a celebrity, how difficult is it at this point, this
:27:48. > :27:51.many weeks, in everyone is getting tired and emotional, they want to
:27:52. > :27:55.win, to learn two dances and do them to perfection. I'm not going to lie
:27:56. > :28:01.again, it's gruelling. It's torturous. The aim of the game is to
:28:02. > :28:05.make it look beautiful. The body will be exhausted. It will be down
:28:06. > :28:11.to stamina. Not for the muscles. They know what they have to do. It's
:28:12. > :28:18.snap that of the mind. -- snap that of the mind -- stamina of the mind.
:28:19. > :28:22.Land in the dance-off, make a mistake and it could be the end of
:28:23. > :28:26.you. Focus on keeping the mind alive and think two more weekends left.
:28:27. > :28:33.That's all it is. Think about the trophy. I love you, you're adorable,
:28:34. > :28:35.Karen Hardy! Thank you to all my guests tonight. Tomorrow
:28:36. > :28:41.swing-a-thon champs Natalie and Artem are here. We have the latest
:28:42. > :28:44.instalment of the pro-challenge and Ian Waite with a bumper Wednesday
:28:45. > :28:46.Warm-Up. See you tomorrow.