Browse content similar to Week 6. Check below for episodes and series from the same categories and more!
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Is a black cat. What is that?
Mariano oversized bad. As it swims | 0:00:39 | 0:00:45 | |
in for the fatal bite. The punk and
has eyes. And with their made spice. | 0:00:45 | 0:00:59 | |
What else friends with spies? I will
need some help. If you want to | 0:00:59 | 0:01:12 | |
survive Halloween you will need more
dancing and less messing about. I | 0:01:12 | 0:01:17 | |
will give you scary stories. less. | 0:01:17 | 0:01:51 | |
EVIL CACKLING.
This is where they used to film | 0:02:11 | 0:02:19 | |
Strictly. I wonder if it's haunted.
SPOOKY MUSIC. | 0:02:19 | 0:02:34 | |
# I've always been the one to
blame... | 0:02:34 | 0:02:37 | |
MUSIC: It's A Sin | 0:02:39 | 0:02:43 | |
CHEERING | 0:04:38 | 0:04:42 | |
Boo! | 0:04:46 | 0:04:47 | |
This is Strictly Come Dancing -
the Halloween special. | 0:04:47 | 0:04:50 | |
Please welcome into
haunted ballroom... | 0:04:50 | 0:04:53 | |
Terrifying Tess Daly... | 0:04:53 | 0:04:55 | |
And creepy Claudia Winkleman. | 0:04:55 | 0:05:00 | |
Hello and welcome to
Strictly Come Dancing - | 0:05:06 | 0:05:08 | |
the Halloween Special! | 0:05:08 | 0:05:09 | |
Huge thanks to our
celebrities and professional | 0:05:09 | 0:05:11 | |
dancers for that gloriously
ghoulish opening routine. | 0:05:11 | 0:05:15 | |
Last week, Brian and Amy
faced Simon and Karen | 0:05:15 | 0:05:17 | |
in the dance-off and
Brian became the fifth | 0:05:17 | 0:05:19 | |
celebrity to leave the competition. | 0:05:19 | 0:05:25 | |
-- the fourth celebrity. | 0:05:25 | 0:05:26 | |
Tonight, our remaining
11 couples are hoping | 0:05:26 | 0:05:28 | |
to work their magic
on our fearsome foursome. | 0:05:28 | 0:05:30 | |
So please welcome, the judges! | 0:05:30 | 0:05:33 | |
Darcey "Blood Curdling" Bussell... | 0:05:33 | 0:05:35 | |
Bruno "Terrifying" Tonioli... | 0:05:35 | 0:05:38 | |
Craig "Devil" Horwood... | 0:05:38 | 0:05:40 | |
And Shirley "Beastly" Ballas. | 0:05:40 | 0:05:44 | |
MUSIC: The Monster Mash | 0:05:53 | 0:05:56 | |
The judges, everyone. | 0:05:57 | 0:05:59 | |
Alarming! | 0:05:59 | 0:06:01 | |
Our couples are ready
to thrill and chill with | 0:06:01 | 0:06:03 | |
some hell-raising routines. | 0:06:03 | 0:06:04 | |
So please welcome... | 0:06:04 | 0:06:06 | |
Our Strictly stars... | 0:06:06 | 0:06:08 | |
TV presenter Ruth Langsford
and her partner, Anton du Beke. | 0:06:11 | 0:06:15 | |
EastEnders star Davood Ghadami
and his partner, Nadiya Bychkova. | 0:06:15 | 0:06:20 | |
Pop star Mollie King
and her partner, AJ Pritchard. | 0:06:20 | 0:06:24 | |
Actress and radio
presenter Gemma Atkinson | 0:06:24 | 0:06:27 | |
and her partner, Aljaz Skorjanec. | 0:06:27 | 0:06:30 | |
Presenter of Sunday
Brunch, Simon Rimmer | 0:06:30 | 0:06:32 | |
and his partner, Karen Clifton. | 0:06:32 | 0:06:34 | |
Entertainer and radio
broadcaster Debbie McGee | 0:06:34 | 0:06:37 | |
and her partner, Giovanni Pernice. | 0:06:37 | 0:06:39 | |
Singer Aston Merrygold and
his partner, Janette Manrara. | 0:06:39 | 0:06:44 | |
From Holby City, Joe McFadden,
and his partner, Katya Jones. | 0:06:44 | 0:06:48 | |
Comedian and presenter Susan Calman
and her partner, Kevin Clifton. | 0:06:48 | 0:06:51 | |
Paralympic gold
medallist Jonnie Peacock | 0:06:51 | 0:06:53 | |
and his partner, Oti Mabuse. | 0:06:53 | 0:06:55 | |
Singer and theatre
star Alexandra Burke | 0:06:55 | 0:07:00 | |
and her partner, Gorka Marquez. | 0:07:00 | 0:07:04 | |
CHEERING | 0:07:15 | 0:07:18 | |
Just look at our gruesome gang. | 0:07:18 | 0:07:20 | |
We've got zombies, spiders, devils - | 0:07:20 | 0:07:24 | |
and, scariest of all,
Anton Du Beke as himself. | 0:07:24 | 0:07:32 | |
You will be able to vote
for your favourite later on. | 0:07:32 | 0:07:35 | |
Your votes will be added
to the judges' scores to | 0:07:35 | 0:07:37 | |
decide which two couples
will face the dance-off | 0:07:37 | 0:07:39 | |
in Sunday night's Results Show. | 0:07:39 | 0:07:40 | |
Now that is scary. | 0:07:40 | 0:07:41 | |
It will then be down
to the judges alone to decide | 0:07:41 | 0:07:44 | |
who stays and who goes. | 0:07:44 | 0:07:45 | |
Dancing first is Jonnie Peacock
and his partner, Oti Mabuse. | 0:07:45 | 0:07:51 | |
CHEERING | 0:07:51 | 0:07:54 | |
Jonnie was thrilled with his
quickstep last week, | 0:07:54 | 0:07:57 | |
when he scored a nine from Shirley. | 0:07:57 | 0:08:00 | |
This week, they're pirates,
but never mind pieces of eight, | 0:08:00 | 0:08:02 | |
they just want some more nines. | 0:08:02 | 0:08:12 | |
How did you think it went? I think
that's the best it's gone all week. | 0:08:12 | 0:08:18 | |
You made that look easy. You didn't
miss a beat. We got our first nine! | 0:08:18 | 0:08:27 | |
So happy, we made it Halloween, and
now we want to push and get a ten. | 0:08:27 | 0:08:33 | |
We do. This week, we're going for
pirates. I think its pilots. Being | 0:08:33 | 0:08:37 | |
an amputee, it's nice. I think I've
got the perfect idea. The pirates | 0:08:37 | 0:08:42 | |
castle. Why are we going there?
Because we aaaaargh. Play, my | 0:08:42 | 0:08:53 | |
hearties. Why are we here, and why
are you dressed like that? We are | 0:08:53 | 0:09:00 | |
pirates and we've got to get into
the theme somehow. Let's take to the | 0:09:00 | 0:09:05 | |
water, but you're not getting in
dressed like that. Jonny Williams | 0:09:05 | 0:09:11 | |
wanted to take me out to sea, but
it's really a canal. -- Jonnie | 0:09:11 | 0:09:17 | |
really wanted. Do you feel like a
pirate? Yes. I hope the judges don't | 0:09:17 | 0:09:25 | |
make us walk the plank. Jonnie, come
back, we have to dance on Saturday! | 0:09:25 | 0:09:30 | |
Comeback! | 0:09:30 | 0:09:32 | |
Dancing the creepy cha-cha-cha, | 0:09:32 | 0:09:33 | |
Jonnie Peacock
and Oti "Monstrous" Mabuse. | 0:09:33 | 0:09:37 | |
MUSIC: Troublemaker | 0:09:40 | 0:09:44 | |
CHEERING | 0:11:14 | 0:11:17 | |
Enjoying your pirate character! | 0:11:26 | 0:11:29 | |
So well we! I love it. Give us an
aaaaargh. Aaaaargh. | 0:11:29 | 0:11:40 | |
Before we hear from the judges,
let's welcome our | 0:11:40 | 0:11:42 | |
fiendishly good live singers,
Hayley, Jamie, Andrea | 0:11:42 | 0:11:44 | |
and Tommy - and, of course,
Count Dave Arch and | 0:11:44 | 0:11:46 | |
his fang-tastic orchestra. | 0:11:46 | 0:11:50 | |
Lovely, guys. Did our Halloween
pirates float your boat doesn't | 0:11:50 | 0:12:00 | |
float your boat? , Well, Jonnie,
it's always difficult to start the | 0:12:00 | 0:12:04 | |
show, but you came out, you have a
great theme. I love the idea of what | 0:12:04 | 0:12:07 | |
you did. But there were some
movement in there not to | 0:12:07 | 0:12:11 | |
coordinated. I liked your natural
top and you had a compact chassis, | 0:12:11 | 0:12:17 | |
but there was no rotation. It lacked
body action for me. It looked a bit | 0:12:17 | 0:12:22 | |
like it was moving a bit difficult
for you. Not your best dance, but I | 0:12:22 | 0:12:26 | |
know you are a fighter and you'll
come back next week. | 0:12:26 | 0:12:28 | |
CHEERING
Bruno, I hardly recognise you. Iron | 0:12:28 | 0:12:36 | |
forget about Jack Sparrow. Who needs
them? We've got Jonnie Peacock! I | 0:12:36 | 0:12:41 | |
think what happened is you lodged
your boat on the wrong type. If you | 0:12:41 | 0:12:48 | |
are on the wrong type, the tide will
get something. You looked like you | 0:12:48 | 0:12:53 | |
were walking the plank at times, but
it's all part of the character. Reed | 0:12:53 | 0:12:58 | |
it's Halloween! Yes, and some dances
suit us, some don't, and I am sure | 0:12:58 | 0:13:03 | |
you will be back at your
swashbuckling best. There you go. | 0:13:03 | 0:13:08 | |
APPLAUSE
There was no action, which is the | 0:13:08 | 0:13:17 | |
biggest scenario, there was a bit in
time step where your hips were going | 0:13:17 | 0:13:21 | |
in the opposite direction. For me,
it was Stompie and flat-footed | 0:13:21 | 0:13:25 | |
throughout and I don't think it's a
dance that will suit you. Your | 0:13:25 | 0:13:29 | |
strength, I think, lies in ballroom.
Any positives, Darcey? You've worked | 0:13:29 | 0:13:38 | |
hard and I can see the concentration
and the amount of dance. When you | 0:13:38 | 0:13:41 | |
are finding the technique difficult
to master, for me, it's all about | 0:13:41 | 0:13:49 | |
the presentation. You have to think
about this character, exaggerating | 0:13:49 | 0:13:53 | |
this character. Have fun with it and
enjoy it. Good effort, well done. | 0:13:53 | 0:13:56 | |
APPLAUSE
Thank you, judges. Thank you, both. | 0:13:56 | 0:14:05 | |
Jonnie and Oti!
CHEERING | 0:14:05 | 0:14:09 | |
Very well done. Starting the show is
horrible. You said earlier, can I | 0:14:19 | 0:14:24 | |
just go second? It is not up to me.
My favourite thing, when you were | 0:14:24 | 0:14:29 | |
asked to do Strictly, you said you
would do it, but if I get to a | 0:14:29 | 0:14:33 | |
Halloween, I have got to be a
pirate. You did it. The cha-cha is | 0:14:33 | 0:14:38 | |
difficult. Especially for the male
celebrities, the hips. He gave his | 0:14:38 | 0:14:46 | |
best. The scores are in. | 0:14:46 | 0:14:53 | |
CHEERING
I do not want you to be | 0:15:09 | 0:15:14 | |
disappointed. That is fit enough.
They love you. I think the cha-cha | 0:15:14 | 0:15:20 | |
is not my dance. You did not like it
all week? We had some enjoyment but | 0:15:20 | 0:15:25 | |
when you speed it up, it seems to go
everywhere. When you have to as | 0:15:25 | 0:15:31 | |
Aston, and he goes, yes, you have
got the Janette. -- you have got the | 0:15:31 | 0:15:40 | |
cha-cha. If Aston does not have a
good line, there is trouble. | 0:15:40 | 0:15:49 | |
If you want to see Jonnie and Oti
stay in the competition, | 0:15:49 | 0:15:52 | |
all the details are on your screen
now, so you can vote | 0:15:52 | 0:15:55 | |
for them when voting opens
at the end of the show. | 0:15:55 | 0:15:57 | |
As it's Halloween, I've decided
to bring a mummy in to help | 0:15:57 | 0:16:00 | |
with terms and conditions. | 0:16:00 | 0:16:01 | |
It's AJ's mummy. | 0:16:01 | 0:16:02 | |
Thank you for doing this. She is 15
years younger than me. | 0:16:02 | 0:16:05 | |
Calls to the short number
from a mobile cost 15p. | 0:16:05 | 0:16:11 | |
Calls to the long number cost 15p
plus your network's access | 0:16:11 | 0:16:19 | |
charge and please ask
the bill payer's permission. | 0:16:19 | 0:16:21 | |
You can vote online by visiting
bbc.co.uk/strictly where | 0:16:21 | 0:16:23 | |
you will also find
terms and conditions. | 0:16:23 | 0:16:24 | |
Voting won't open until
all our couples have | 0:16:24 | 0:16:26 | |
danced. | 0:16:26 | 0:16:27 | |
Don't call yet, as your vote won't
count and you may still be charged. | 0:16:27 | 0:16:31 | |
Tess. | 0:16:31 | 0:16:32 | |
Good girl. She did very well. | 0:16:32 | 0:16:33 | |
Dancing next in the haunted
ballroom is Ruth Langsford | 0:16:33 | 0:16:35 | |
and her partner, Anton du Beke. | 0:16:35 | 0:16:36 | |
I'm with some of their supporters. | 0:16:36 | 0:16:39 | |
Lovely to see you. She is doing very
well. She's doing very well. | 0:16:39 | 0:16:42 | |
Tonight they're doing
the quickstep and | 0:16:42 | 0:16:44 | |
Ruth will be Samantha
from Bewitched, and with the support | 0:16:44 | 0:16:46 | |
of these guys, she's hoping to cast
a spell over the judges | 0:16:46 | 0:16:49 | |
and move up from the bottom
of the | 0:16:49 | 0:16:51 | |
leaderboard. | 0:16:51 | 0:16:52 | |
Fingers crossed. How was last week
for your? Did you enjoy it? I loved | 0:16:52 | 0:16:59 | |
it and I know I made mistakes, but
it was the first time that the | 0:16:59 | 0:17:04 | |
nerves left me. Once I had ripped
off the costume and the audience | 0:17:04 | 0:17:08 | |
went wild, I threw myself into the
dance. Hold onto this fun side. It | 0:17:08 | 0:17:14 | |
is fabulous, you came alive. Getting
a standing ovation is special. It is | 0:17:14 | 0:17:19 | |
a beautiful feeling. I cannot
believe I am in Halloween week. I am | 0:17:19 | 0:17:25 | |
thrilled. This week, Ruth is going
to be a witch and dance to the theme | 0:17:25 | 0:17:31 | |
tune of bewitched. I used to love
that series. She had magical powers, | 0:17:31 | 0:17:35 | |
she would wiggle her nose and
strange things would happen. There | 0:17:35 | 0:17:41 | |
is nobody more unlike a witch, but
maybe there is a hidden inside to | 0:17:41 | 0:17:44 | |
Ruth that I do not know. I have been
practising my nose twitch all week | 0:17:44 | 0:17:50 | |
and nothing. Watch. Obviously it is
Halloween, but for some reason, | 0:17:50 | 0:17:55 | |
today, there have been some things
going on. -- some strange things. | 0:17:55 | 0:18:09 | |
Anton. Hello. How did you get their?
No, this will not do. Stop messing | 0:18:09 | 0:18:16 | |
about. Turn me back, Ruth. | 0:18:16 | 0:18:19 | |
Dancing the quivering
quickstep, Ruth Langsford | 0:18:19 | 0:18:20 | |
and Anton "Demonic" Du Beke. | 0:18:20 | 0:18:30 | |
MUSIC: Bewitched | 0:18:33 | 0:18:36 | |
CHEERING | 0:19:48 | 0:19:51 | |
Ruth and Anton. Yes, the audience
love that quickstep. You work your | 0:19:59 | 0:20:09 | |
magic on us. That is for sure. | 0:20:09 | 0:20:11 | |
Did she cast a spell
over you, Bruno? | 0:20:11 | 0:20:15 | |
It was more like a curse. Look at
me. What happened? I have to say, I | 0:20:15 | 0:20:21 | |
was bewitched by the elegant look.
Do you not think? I was slightly | 0:20:21 | 0:20:27 | |
bothered by the frame. You keep
doing it. You have to charge the | 0:20:27 | 0:20:32 | |
bank. Nothing moves up here. Keep
that lovely frame. I was bewildered | 0:20:32 | 0:20:39 | |
by another thing. You went on the
wrong foot, but you managed to | 0:20:39 | 0:20:44 | |
recover. You noticed. You did not
lose the step, and you completed the | 0:20:44 | 0:20:49 | |
dance. Usually you fall to pieces.
It is good to see. I have got it | 0:20:49 | 0:20:56 | |
wrong, get back on it and finish it
and do not show it. Well done. | 0:20:56 | 0:21:01 | |
Keeping those nerves in check.
Craig. It lacked any style, I am | 0:21:01 | 0:21:07 | |
afraid. It -- you also had of a
slate grip at the beginning, for the | 0:21:07 | 0:21:14 | |
first 30 seconds, and Anton's arm.
It was too heavy and sloppy for this | 0:21:14 | 0:21:20 | |
particular dance. You went off on
the wrong foot, but your chassis was | 0:21:20 | 0:21:25 | |
out of time as well. For me, it was
the antithesis of light and bright. | 0:21:25 | 0:21:34 | |
I will use my noise to make it
disappear. It is not working. | 0:21:34 | 0:21:40 | |
Darcey. It was perfectly done in
character. You became the character. | 0:21:40 | 0:21:46 | |
You were light on your feet. You
have gained such confidence, but | 0:21:46 | 0:21:51 | |
just what you do not get comfortable
with it. They are right, do not grip | 0:21:51 | 0:21:56 | |
in frame when you are with lovely
Anton, yes. You made some little | 0:21:56 | 0:22:01 | |
mistakes, but you did not show it on
your face. You carried on. | 0:22:01 | 0:22:06 | |
CHEERING
And there was a lovely chassis, | 0:22:06 | 0:22:11 | |
defeat together, it was clean. You
have made a wonderful improvement, | 0:22:11 | 0:22:15 | |
so be proud. I am going to agree
with Darcey. You have made strides, | 0:22:15 | 0:22:25 | |
but you made several mistakes, so I
will have to deduct the point for | 0:22:25 | 0:22:28 | |
that. I will settle for one. Nine
will do for me. Do not make me can | 0:22:28 | 0:22:35 | |
those mistakes. Do not make me count
them. Nice, free-flowing, nice | 0:22:35 | 0:22:39 | |
trading. Not bad with the frame. You
have got to keep your elbows up and | 0:22:39 | 0:22:46 | |
to his right side but besides the
mistakes, you are improving. It is | 0:22:46 | 0:22:51 | |
going in the right direction. That
was so much Halloween fun. Thank you | 0:22:51 | 0:22:57 | |
both. Ruth and Anton.
CHEERING | 0:22:57 | 0:23:03 | |
Well done, kid. | 0:23:03 | 0:23:04 | |
Well done. Darcey said, be proud.
Last week he said was the first time | 0:23:08 | 0:23:17 | |
that you threw off the nerves and
you seem to enjoy that. I did, but I | 0:23:17 | 0:23:22 | |
was nervous flying in. That set me
off. You have got lovely support. I | 0:23:22 | 0:23:28 | |
have got my TV son. And Denise and
Stacey. People support you would | 0:23:28 | 0:23:36 | |
ever you go. The scores are in. Will
the judges please revealed there | 0:23:36 | 0:23:40 | |
scorers? | 0:23:40 | 0:23:41 | |
-- please reveal their scores. Happy
with that? Yes. If you turn those | 0:23:51 | 0:24:02 | |
sixes upside down, that could be the
nines. Let's call it 38. | 0:24:02 | 0:24:11 | |
If you loved that bewitching
quickstep and want to see | 0:24:11 | 0:24:14 | |
Ruth and Anton dancing again next
week, all the details | 0:24:14 | 0:24:16 | |
are on your screen now so you can
vote for them | 0:24:16 | 0:24:19 | |
when voting opens later on. | 0:24:19 | 0:24:20 | |
Still to come, Davood does
a romantic rumba with a | 0:24:20 | 0:24:22 | |
ghost. | 0:24:22 | 0:24:23 | |
That's the spirit. | 0:24:23 | 0:24:24 | |
Tess. | 0:24:24 | 0:24:25 | |
Next tonight is Simon Rimmer
and his partner, Karen Clifton. | 0:24:25 | 0:24:30 | |
APPLAUSE | 0:24:30 | 0:24:31 | |
They're dancing an American smooth. | 0:24:31 | 0:24:32 | |
And on this Halloween, the thing
Simon is most scared of is being | 0:24:32 | 0:24:35 | |
in the dance-off
for the third time. | 0:24:35 | 0:24:36 | |
On Saturday, the Charles Dunne was
such a fine dance. I love their | 0:24:44 | 0:24:49 | |
matching costumes and felt we were
going to have fun, and we did. The | 0:24:49 | 0:24:52 | |
recipe was missing some ingredients.
There was no swivel. Simon put it | 0:24:52 | 0:25:00 | |
all into the dance-off. It is great
to be her. I will give it 100%. This | 0:25:00 | 0:25:07 | |
week we are dancing and American
smooth beanies waltz to Delilah. We | 0:25:07 | 0:25:12 | |
are arguing over food, which sounds
like Karen and I anyway. As it is | 0:25:12 | 0:25:18 | |
Halloween and to get into the
Victorian feel of their dance, Karen | 0:25:18 | 0:25:23 | |
surprises Simon by summoning the
ghosts of his ancestors. Why are you | 0:25:23 | 0:25:27 | |
still in the training room? Hello,
lovely to see you. So lovely. Yes, I | 0:25:27 | 0:25:35 | |
figured I would sum in great uncle
Hubert so we could get the Victorian | 0:25:35 | 0:25:39 | |
feel for the dance. He looks in
great shape for someone over 120. | 0:25:39 | 0:25:44 | |
That woman he is with looks really
familiar. It has been quite | 0:25:44 | 0:25:50 | |
interesting having some guests from
the Victorian age. I am looking | 0:25:50 | 0:25:54 | |
forward to our beanies waltz this
week. I hope it is more ghostly than | 0:25:54 | 0:25:57 | |
gasoline. I really love my great
uncle Hubert but he is not as good | 0:25:57 | 0:26:03 | |
as me. No, he is better than you. | 0:26:03 | 0:26:08 | |
Dancing the eerie American
smooth, Simon Rimmer | 0:26:08 | 0:26:10 | |
and Karen "Cobweb" Clifton. | 0:26:10 | 0:26:20 | |
MUSIC: Delilah | 0:26:20 | 0:26:26 | |
CHEERING | 0:28:02 | 0:28:08 | |
That was a feast for our eyes. | 0:28:08 | 0:28:13 | |
Come on over. They are still
cheering. | 0:28:13 | 0:28:15 | |
And I must say,
you two look hideous! | 0:28:15 | 0:28:20 | |
Eat up. Finish dinner. I am loving
your hairstyle. | 0:28:20 | 0:28:23 | |
Let's see if that put a smile
on our joker's face, Craig? | 0:28:23 | 0:28:29 | |
Besides the one painted on, no. It
was the dance of the living dead. | 0:28:29 | 0:28:35 | |
Rigor mortis had set in. It was so
stiff. Your posture suffered, your | 0:28:35 | 0:28:40 | |
hands were splayed. I did not enjoy
it at all. I am so sorry. The Joker | 0:28:40 | 0:28:48 | |
is supposed to smile. Darcey. I know
you have had a tough time | 0:28:48 | 0:28:54 | |
rehearsing. There were definitely no
nerves. You're enjoying the | 0:28:54 | 0:28:58 | |
character. It pretty scary. An extra
point for the sideburns. It is true, | 0:28:58 | 0:29:05 | |
it was lumpy all the way through.
You have got to soften the knees to | 0:29:05 | 0:29:09 | |
create any glide across the floor.
There are still in character. I am | 0:29:09 | 0:29:15 | |
glad the character is still going.
The best bit was at the beginning, | 0:29:15 | 0:29:20 | |
on the table. You were partnering
Karen. That was the best bit, | 0:29:20 | 0:29:26 | |
definitely. Thank you. Shirley. | 0:29:26 | 0:29:32 | |
At the beginning, you were showing
growth in your confidence and, for | 0:29:32 | 0:29:36 | |
the most part, your frame is still
good. I know I sound a bit like | 0:29:36 | 0:29:41 | |
somebody nagging from Wallasey, but
you have to learn what closes, what | 0:29:41 | 0:29:46 | |
crosses, what is a flat foot, what
is a toe. With your soft knee, it | 0:29:46 | 0:29:53 | |
will help you to glide. Never
underestimate the power of a bit of | 0:29:53 | 0:29:55 | |
technique. Darling, that was not an
American Smooth. It was an American | 0:29:55 | 0:30:03 | |
horror story! I have seen
articulated lorries that are lighter | 0:30:03 | 0:30:09 | |
and have better rotation. I mean,
talk about heavy. You exterminated | 0:30:09 | 0:30:12 | |
that dance. But it's in the mood of
Halloween, so you definitely killed | 0:30:12 | 0:30:18 | |
it. We loved it!
CHEERING | 0:30:18 | 0:30:27 | |
Simon and Karen. | 0:30:27 | 0:30:32 | |
Can I ask you, what were you eating?
Oh, my goodness! In rehearsal, we | 0:30:45 | 0:30:51 | |
said, we mustn't do it on the show
because it's so dry but you can't | 0:30:51 | 0:30:55 | |
swallow. You ate the chicken. We
didn't think it was lumpy. You | 0:30:55 | 0:31:00 | |
looked like you had enormous fun.
You had an injury so only two days | 0:31:00 | 0:31:04 | |
of training. You enjoyed it, right?
I loved it. I'm so proud of you, but | 0:31:04 | 0:31:10 | |
having two days and being in the
studio just eight hours, come out | 0:31:10 | 0:31:15 | |
and do that... Jane is in the
audience, and she is the biggest | 0:31:15 | 0:31:22 | |
super in the world. Sky when I told
her I was in Strictly, I said, I'll | 0:31:22 | 0:31:29 | |
get Karen. That was in April. It was
booked in August. The scores are in. | 0:31:29 | 0:31:37 | |
The judges have their scores. Craig
Revel Horwood. Two. Darcey Bussell. | 0:31:37 | 0:31:43 | |
Five. Shirley Ballas. Five. Bruno
Tonioli. Four. They or just | 0:31:43 | 0:31:57 | |
shouting. Much better than 16. If
you are thinking, why don't I vote | 0:31:57 | 0:32:04 | |
for Simon and Karen, you can, but
only when the voting opens. | 0:32:04 | 0:32:07 | |
All the details you need
are on the screen now, | 0:32:07 | 0:32:10 | |
and voting will open at the end
of the show. | 0:32:10 | 0:32:12 | |
Still to come, Joe and Katya foxtrot
as spiders, and Mollie and AJ | 0:32:12 | 0:32:15 | |
perform a cha-cha as devils. | 0:32:15 | 0:32:18 | |
Yes, next up is Gemma Atkinson
and her partner, Aljaz Skorjanec. | 0:32:18 | 0:32:22 | |
For their Halloween routine,
Gemma will be a vampire hunter, | 0:32:24 | 0:32:26 | |
and she needs to get this jive right
because, at this stage | 0:32:26 | 0:32:29 | |
in the competition,
the stakes couldn't be higher. | 0:32:29 | 0:32:32 | |
Saturday, for me, wasn't the best
because I felt like, being 100% | 0:32:40 | 0:32:45 | |
honest, my dress was better than my
live run. You just start to | 0:32:45 | 0:32:49 | |
overstretch V neck. It could have
been better but somebody who's never | 0:32:49 | 0:32:54 | |
done it before, you are doing an
incredible job. It's hit home now | 0:32:54 | 0:32:58 | |
how much harder I need to work to
get that edge. For Halloween week, | 0:32:58 | 0:33:04 | |
we are doing a spooky jive. Our
story is that I am a vampire slayer | 0:33:04 | 0:33:10 | |
and Aljaz is a vampire. I'm a bit
worried about Aljaz. What happened | 0:33:10 | 0:33:17 | |
to your neck? I woke up and I've
been bitten. When we were dancing, | 0:33:17 | 0:33:22 | |
he looked really pale. Are you all
right? I'm fine. Aljaz is definitely | 0:33:22 | 0:33:27 | |
a vampire. Why are you dressed in a
cake? We're not doing paso doble, | 0:33:27 | 0:33:33 | |
are we? You need to go to a dentist
before Saturday, but that's good, | 0:33:33 | 0:33:39 | |
because that's what we're doing this
week, so I can use it. Aljaz, I'm | 0:33:39 | 0:33:44 | |
going to treat you to a. No! Know, a
steak dinner. Keep your energy up | 0:33:44 | 0:33:49 | |
doing the jive. I hope when foot the
vampire materialises before Saturday | 0:33:49 | 0:33:55 | |
night so we can both perform a
fantastic jive. -- I hope Aljaz the | 0:33:55 | 0:34:03 | |
vampire. | 0:34:03 | 0:34:04 | |
Dancing the jinxed jive, | 0:34:04 | 0:34:06 | |
Gemma Atkinson and
Aljaz "Scary" Skorjanec. | 0:34:06 | 0:34:10 | |
MUSIC: Ever Fallen In Love | 0:34:12 | 0:34:16 | |
CHEERING | 0:35:45 | 0:35:48 | |
In the ballroom. Come on over. Well
done, darling. Listen to that! | 0:35:55 | 0:36:07 | |
Energy! Energy! They've all fallen
in love. Did you enjoy it? I | 0:36:07 | 0:36:17 | |
certainly did. It was light, your
style was strong. Even your body, | 0:36:17 | 0:36:23 | |
having your torso forward, creating
that pump action was really | 0:36:23 | 0:36:26 | |
effective. Impressive, and the
complexity of that lovely sequence | 0:36:26 | 0:36:30 | |
of kicks when you are side by side,
very impressive. All the time, | 0:36:30 | 0:36:34 | |
holding onto that fun, carefree
attitude, which is just perfect. You | 0:36:34 | 0:36:40 | |
are going far, Gemma.
CHEERING | 0:36:40 | 0:36:49 | |
Gemma, there were some mistakes at
the beginning when you started. You | 0:36:49 | 0:36:52 | |
got on the wrong foot and there were
a couple of mistakes which I picked | 0:36:52 | 0:36:55 | |
up. You had a very nice link today,
and you had a beautiful rotation. | 0:36:55 | 0:37:01 | |
You rotated your hips and your arm,
which I thought was very good. For | 0:37:01 | 0:37:07 | |
me, I thought the posture could have
been more forward. I thought it | 0:37:07 | 0:37:10 | |
could have been accented a bit on
the twos and the fours. Not your | 0:37:10 | 0:37:16 | |
best number, but I know you are a
fighter and you'll come back next | 0:37:16 | 0:37:19 | |
week. Oh, Cruella! My sweet -- don't
mess with Gemma, because she is a | 0:37:19 | 0:37:32 | |
jive slayer! She got it in the end.
All done in the best possible taste. | 0:37:32 | 0:37:37 | |
Seriously, there was so much content
in that dance. It really was full | 0:37:37 | 0:37:43 | |
on, proper jive. Very, very
difficult. Very, very fast. You did | 0:37:43 | 0:37:46 | |
it without breaking a sweat, and I
missed the show for a week, but I | 0:37:46 | 0:37:51 | |
have to say your growth and
confidence in the joy of dancing, | 0:37:51 | 0:37:57 | |
this show is all about the joy of
dancing, and you have that, my | 0:37:57 | 0:38:01 | |
darling. I love it. That was there
to see, wasn't it? Craig, what do | 0:38:01 | 0:38:07 | |
you think? You lost synchronicity
through the fact that you made | 0:38:07 | 0:38:13 | |
mistakes, sadly, and there was a bit
of a lumpy moment going into that | 0:38:13 | 0:38:17 | |
flank and getting out of it, going
in and getting out were a bit messy, | 0:38:17 | 0:38:22 | |
but I've got to congratulate you on
the spins, a good amount of | 0:38:22 | 0:38:26 | |
retraction, and you maintained the
energy all the way to the end. It | 0:38:26 | 0:38:29 | |
was great. Thank you very much. We
all know, Gemma the jive slayer. | 0:38:29 | 0:38:36 | |
Thank you!
CHEERING | 0:38:36 | 0:38:39 | |
Gemma and Aljaz. Come on, partner.
CHEERING | 0:38:39 | 0:38:47 | |
All right, darling. Don't be
disappointed. I know. Never! She | 0:38:51 | 0:38:59 | |
wants to make you so happy. Reed she
does. As they said, I put so many | 0:38:59 | 0:39:06 | |
steps in every week, and you do them
to perfection. But I know the | 0:39:06 | 0:39:11 | |
beginning bit and that's annoying, I
forgot the easy bit! You never did | 0:39:11 | 0:39:14 | |
that in rehearsals. And they said
you have a joy of dance, don't you. | 0:39:14 | 0:39:21 | |
In the corridor when you are
practising, you were going to dance | 0:39:21 | 0:39:24 | |
for ever. We thought you did great.
Will the judges please reveal their | 0:39:24 | 0:39:32 | |
scores. Craig Revel Horwood. Reed
seven. Darcey Bussell. Eight. | 0:39:32 | 0:39:38 | |
Shirley Ballas. Seven. And Bruno
Tonioli. Eight. That's the best | 0:39:38 | 0:39:51 | |
we've ever done for a jive. We've
never got better. She's just | 0:39:51 | 0:39:54 | |
checking that you are happy. Very
happy. | 0:39:54 | 0:39:59 | |
If you've fallen in love with Gemma
and Aljaz's jive and think | 0:39:59 | 0:40:02 | |
they deserve your vote,
all the details you need | 0:40:02 | 0:40:04 | |
are on your screen. | 0:40:04 | 0:40:05 | |
Please don't call yet,
as voting won't open until all | 0:40:05 | 0:40:07 | |
of our couples have performed. | 0:40:07 | 0:40:08 | |
Still to come, Aston and Janette
smell like teen spirit. | 0:40:08 | 0:40:12 | |
Our next couple is Joe McFadden
and his partner, Katya Jones. | 0:40:12 | 0:40:19 | |
Last week, Joe got second on the
Leader Board. Tonight, they are | 0:40:19 | 0:40:25 | |
dressed as spiders and they are
hoping to crawl their way up to the | 0:40:25 | 0:40:28 | |
top spot. | 0:40:28 | 0:40:33 | |
A big day on Saturday. That was
amazing. I really went for it. The | 0:40:33 | 0:40:42 | |
Phoenix has risen from the ashes!
Ten. To get Ken was mind blowing. | 0:40:42 | 0:40:49 | |
Yeah! -- to get ten. Joe and Katya
get straight down to training. I'm | 0:40:49 | 0:40:58 | |
going to be the black widow spider
and you are going to be trapped in | 0:40:58 | 0:41:03 | |
my web. Funnily enough, I am quite
scared of spiders. I don't like them | 0:41:03 | 0:41:08 | |
much. As it's Halloween and catty as
a fear of spiders, Joe decides to | 0:41:08 | 0:41:14 | |
trick rather than to treat. -- and
Katya has a fear. I've got a spider | 0:41:14 | 0:41:21 | |
surprise for Katya.
SCREAMING. | 0:41:21 | 0:41:27 | |
It's a spider dog. That's Crumble.
It was my little crumble dog dressed | 0:41:27 | 0:41:35 | |
as a spider! It's got lost of feet,
but her footwork isn't good enough. | 0:41:35 | 0:41:41 | |
Not to need, is it? I hope yours is
going to be better on Saturday. | 0:41:41 | 0:41:48 | |
Crumble gave us a ten. She's a good
girl. I don't think she thought it | 0:41:48 | 0:41:52 | |
was to ruff. | 0:41:52 | 0:41:55 | |
Dancing the frightful foxtrot, | 0:41:55 | 0:41:56 | |
Joe McFadden and
Katya "Jeepers" Jones. | 0:41:56 | 0:42:00 | |
MUSIC: Trouble | 0:42:02 | 0:42:12 | |
CHEERING | 0:43:47 | 0:43:50 | |
Yes! Brilliant storytelling. Always
with you two. Still trapped in your | 0:43:53 | 0:44:03 | |
web. There you go. Shirley, you
scored him ten last week. What did | 0:44:03 | 0:44:14 | |
you think? I thought the concept was
created and you should your ability | 0:44:14 | 0:44:19 | |
with the spinning and topping and
turning. When you have a quick, it's | 0:44:19 | 0:44:24 | |
generally on the ball off the foot,
so it was a bit flat-footed. You did | 0:44:24 | 0:44:27 | |
some weaving and you had six quicks
backwards which should have been on | 0:44:27 | 0:44:32 | |
your toes. Generally, the flight,
the flow, being on top of it, a good | 0:44:32 | 0:44:38 | |
frame and I was pleased with you in
the ballroom style. You have got to | 0:44:38 | 0:44:47 | |
be really careful. A kiss from the
Black widow and you are closed. But | 0:44:47 | 0:44:51 | |
I have to say, you manage the
situation like a master. Sometimes | 0:44:51 | 0:44:57 | |
when you do this high concept, you
get lost in the concept. Once you | 0:44:57 | 0:45:03 | |
move into the ballroom dance, the
foxtrot, it becomes awkward. You did | 0:45:03 | 0:45:06 | |
not. Aldi translation, from the
character and the weirdness into the | 0:45:06 | 0:45:13 | |
proper dance, it was well executed.
Storytelling. Really good. Craig. I | 0:45:13 | 0:45:23 | |
really love the energy and drive you
provided in this particular foxtrot. | 0:45:23 | 0:45:29 | |
You also provided a little bit of
swing and sway, which was a delight. | 0:45:29 | 0:45:34 | |
And I loved the setup of the
storytelling, the drama inside the | 0:45:34 | 0:45:39 | |
dance. He gives us the drama.
Darcey. You did execute a very | 0:45:39 | 0:45:45 | |
difficult foxtrot. There were
wonderful moments when you sped up | 0:45:45 | 0:45:49 | |
on the lovely pivots when you came
round, and you were able to go | 0:45:49 | 0:45:53 | |
incredibly slow. Really, really
impressive. Actually, you were in | 0:45:53 | 0:45:59 | |
control. There were moments when you
did look slightly uncomfortable, but | 0:45:59 | 0:46:06 | |
fortunately, Katya did not eat you
up. I was in her hand. The judges | 0:46:06 | 0:46:11 | |
loved it and so did we. Great job.
Well done. Joe and Katya. | 0:46:11 | 0:46:17 | |
CHEERING | 0:46:17 | 0:46:26 | |
Well done. You must be over the
moon. You love the character dances | 0:46:28 | 0:46:32 | |
but I know that you find rehearsals
great and sometimes you coming and | 0:46:32 | 0:46:38 | |
it you go like this. It goes out of
the window a bit. Tonight was OK. It | 0:46:38 | 0:46:43 | |
was much better than OK. It was a
beautiful routine. The scores are | 0:46:43 | 0:46:48 | |
in. Ladies and gentlemen, the judges
have their scorers. | 0:46:48 | 0:46:54 | |
-- have their scores. Top of the
leaderboard. Fantastic. | 0:47:02 | 0:47:13 | |
If you don't want these spiders
to be ushered into a glass | 0:47:13 | 0:47:16 | |
with a piece of cardboard and then
thrown out of the show, you are | 0:47:16 | 0:47:20 | |
going to need to vote for them. | 0:47:20 | 0:47:21 | |
All the details you need
are on the screen now and the vote | 0:47:21 | 0:47:24 | |
The Charleston, you need
concentration but so much energy. It | 0:47:30 | 0:47:36 | |
is fast, furious, it feels like a
volcano. Ballroom is being the | 0:47:36 | 0:47:42 | |
steps. I need to be more dainty. I
need my arms and upper body to be | 0:47:42 | 0:47:47 | |
still and rigid and let the bottom
half do the talking. I am finding it | 0:47:47 | 0:47:53 | |
difficult to make it feel like a
dance right now. It is stepping by | 0:47:53 | 0:47:56 | |
numbers. I need to make sure that
when in hold my head is not flying | 0:47:56 | 0:48:02 | |
across the dance floor. | 0:48:02 | 0:48:04 | |
So much to look forward to tonight. | 0:48:04 | 0:48:06 | |
And as it's Halloween,
Claudia is pretending to be a ghost. | 0:48:06 | 0:48:12 | |
Up next is Mollie King
and her partner, AJ Pritchard. | 0:48:12 | 0:48:15 | |
CHEERING | 0:48:15 | 0:48:17 | |
They're going to be
demons doing the cha-cha. | 0:48:17 | 0:48:20 | |
All week, they've been working
on the finer points of the dance | 0:48:20 | 0:48:23 | |
because we all know for the judges
the devil is in the detail. | 0:48:23 | 0:48:26 | |
You can take it off now, Claude. | 0:48:26 | 0:48:29 | |
Take what off? | 0:48:29 | 0:48:32 | |
Saturday night was my favourite
night yet. I literally love that | 0:48:40 | 0:48:44 | |
dance. For 90 seconds I felt like a
princess. You were gliding around | 0:48:44 | 0:48:49 | |
like you were on a carousel of your
own. There was lots of wonderful | 0:48:49 | 0:48:54 | |
Viennese waltz on. Eight, eight.
Eight. The hard work paid off. One | 0:48:54 | 0:49:04 | |
of the favourite performances of my
life. This week, Mollie will be | 0:49:04 | 0:49:08 | |
hoping to stay red hot as she plays
the devil and dance is a cha-cha. | 0:49:08 | 0:49:15 | |
There are so many steps. Sometimes I
is overnight. Craig will not be | 0:49:15 | 0:49:19 | |
impressed with that cha-cha. What do
you mean, he will find it fabulous. | 0:49:19 | 0:49:27 | |
It is almost as though I can see two
sides AJ talking to me. The cha-cha | 0:49:27 | 0:49:34 | |
is a hard dance this week. You will
struggle. No, I believe in you, you | 0:49:34 | 0:49:40 | |
will be fine, do not let him scare
you. What were we doing? After a | 0:49:40 | 0:49:45 | |
long day of training, Mollie tries
to get a good night's sleep. Wake | 0:49:45 | 0:49:51 | |
up. Do not wake up. She needs her
sleep. She has to do. I just had a | 0:49:51 | 0:49:58 | |
nightmare. I hope we keep the devil
at bay and our performance is | 0:49:58 | 0:50:02 | |
nothing but angelic. | 0:50:02 | 0:50:05 | |
Dancing the chilling
cha-cha-cha, Mollie King and AJ | 0:50:05 | 0:50:07 | |
"Pumpkin" Pritchard. | 0:50:07 | 0:50:17 | |
MUSIC: Better The Devil You Know | 0:50:22 | 0:50:26 | |
CHEERING
Mollie and AJ. | 0:51:54 | 0:52:03 | |
For a couple of devils,
you two look really cute! | 0:52:03 | 0:52:05 | |
From these cheeky
devils, to another. | 0:52:05 | 0:52:07 | |
Bruno? | 0:52:07 | 0:52:12 | |
That was a devilishly good cha-cha.
There is so much fun, I wanted to | 0:52:12 | 0:52:16 | |
join in. I know that the performance
and connection has improved since I | 0:52:16 | 0:52:22 | |
was here last time. But there is one
thing in the cha-cha, you were | 0:52:22 | 0:52:26 | |
projecting the right field, the
fund, the cheekiness of it but you | 0:52:26 | 0:52:30 | |
have to be careful how you place
your feet. If you do not place your | 0:52:30 | 0:52:35 | |
feet correctly, the legs become
stiff and you do not get the right | 0:52:35 | 0:52:39 | |
hip action, and all you do is side
to side. It is not side to side, it | 0:52:39 | 0:52:43 | |
has to come through the leg. Apart
from that, great performance. Thank | 0:52:43 | 0:52:48 | |
you. Craig. I thought you needed
straighter legs throughout. There | 0:52:48 | 0:52:55 | |
were slight balance issues, only
slight. The beginnings of good hip | 0:52:55 | 0:53:00 | |
action, I think, so there is a
little teaser in there for us. The | 0:53:00 | 0:53:06 | |
rotation in your hips, when you sort
of grind down to the floor and back | 0:53:06 | 0:53:10 | |
was very good. And you looked
extremely confident and very | 0:53:10 | 0:53:15 | |
comfortable doing this dance. Well
done. Darcey. It suits you, your | 0:53:15 | 0:53:23 | |
cheeky, you're a nice little devil,
and not bad either. There were some | 0:53:23 | 0:53:28 | |
nice sharp accents were you finished
things. Your weight is a little bit | 0:53:28 | 0:53:32 | |
back, especially when you start to
time, he was trying to hang onto | 0:53:32 | 0:53:36 | |
you, but I love the Kylie Minogue
arm movements, nice emphasis. | 0:53:36 | 0:53:42 | |
Improvement all the way, keep going,
this focus and determination. You | 0:53:42 | 0:53:45 | |
will do well. Thank you. Shirley. I
think you look magnificent in your | 0:53:45 | 0:53:55 | |
outfit and you are bringing your
personality. Your strength of | 0:53:55 | 0:53:58 | |
character is coming through, but for
me, there are some issues. The | 0:53:58 | 0:54:02 | |
court, the centre of your body, it
needs to be more toned, and your | 0:54:02 | 0:54:07 | |
weight needs to be carried over the
balls of your feet. Because it is | 0:54:07 | 0:54:13 | |
collapsing in the centre, you are
waiting your shoulders as healings. | 0:54:13 | 0:54:18 | |
They are lifting. Your shoulder
blades need to be placed on and your | 0:54:18 | 0:54:22 | |
centre pulled up, so your legs and
arms will coordinate and everything | 0:54:22 | 0:54:26 | |
will work better. There are still
improvements but I want to give you | 0:54:26 | 0:54:30 | |
tips to move forwards. Thank you,
Shirley. That was a great cha-cha. | 0:54:30 | 0:54:38 | |
Well done, Mollie and AJ.
CHEERING | 0:54:38 | 0:54:47 | |
Thank you. Craig said you were
confident. You do not like Latin. I | 0:54:47 | 0:54:55 | |
hate it. I love the ballroom. Last
week was your favourite week and you | 0:54:55 | 0:55:00 | |
find the cha-cha the hardest. It has
been a tough week, but I loved it, | 0:55:00 | 0:55:06 | |
dancing to Kylie Minogue, it cannot
get better. You are right. The | 0:55:06 | 0:55:12 | |
scorers are in. We did the judges
please reveal their scorers. | 0:55:12 | 0:55:16 | |
OK. Are they disappointed? Yes. You
had a ball. Even if they did not | 0:55:28 | 0:55:34 | |
enjoy it. | 0:55:34 | 0:55:37 | |
If you thought Mollie and AJ's
cha-cha was fantastic, | 0:55:37 | 0:55:39 | |
then please make sure
that | 0:55:39 | 0:55:41 | |
they get your vote. | 0:55:41 | 0:55:42 | |
All the details you need
are on the screen now. | 0:55:42 | 0:55:44 | |
Voting will open at the end
of the show once all our | 0:55:44 | 0:55:47 | |
couples have danced. | 0:55:47 | 0:55:48 | |
We're just over halfway through. | 0:55:48 | 0:55:48 | |
We're just over halfway through. | 0:55:48 | 0:55:49 | |
Let's see how the leaderboard looks. | 0:55:49 | 0:55:52 | |
Our bad the top, we have Joe and
Katya with 32. Simon and is -- Karen | 0:55:52 | 0:56:01 | |
are down at the bottom with 16. That
can all change, because we have five | 0:56:01 | 0:56:06 | |
couples left. | 0:56:06 | 0:56:12 | |
Next, it's Alexandra Burke
and her partner, Gorka Marquez. | 0:56:12 | 0:56:15 | |
For this Halloween tango,
Alexandra's going to be a zombie. | 0:56:15 | 0:56:18 | |
When it comes to dancing we know
Alexandra is dead good | 0:56:18 | 0:56:20 | |
but the question is,
will she be any good dead? | 0:56:20 | 0:56:25 | |
How do you feel about Saturday? I
was | 0:56:25 | 0:56:27 | |
How do you feel about Saturday? I
was pleased but I felt like I could | 0:56:27 | 0:56:29 | |
have done better. Your clothes are
turning in. Bring the feet together | 0:56:29 | 0:56:34 | |
before you move onto the next step.
I want to improve on what they say. | 0:56:34 | 0:56:39 | |
I will take the criticism. I want to
get better at something I love | 0:56:39 | 0:56:43 | |
doing, which is to dance. This week
is Halloween week. We are dancing | 0:56:43 | 0:56:50 | |
the tango. Halloween has always
reminded me of my childhood, so I | 0:56:50 | 0:56:54 | |
will take Gorka to my primary school
today and meet the kids. This is | 0:56:54 | 0:56:59 | |
where everything began for you? Yes,
this is where the singing and acting | 0:56:59 | 0:57:03 | |
first started. Right here is where
my classroom old was. I think we are | 0:57:03 | 0:57:09 | |
and dressed. Let's get changed.
Changed? Yes, let's do it. I think | 0:57:09 | 0:57:15 | |
we are ready. Come on. I was very
excited that Alexandra and Gorka | 0:57:15 | 0:57:26 | |
came to our school today. Did you
know that I used to go to this | 0:57:26 | 0:57:30 | |
school? That is why I came here
today. They are my favourite. The | 0:57:30 | 0:57:35 | |
kids were so excited to see us
dancing. They loved it. I will | 0:57:35 | 0:57:39 | |
definitely be dancing the tango for
these kids today. Good luck. | 0:57:39 | 0:57:45 | |
Dancing the terrible tango,
Alexandra Burke and Gorka | 0:57:45 | 0:57:47 | |
"Monstrous" Marquez. | 0:57:47 | 0:57:49 | |
MUSIC: Maneater | 0:57:58 | 0:58:01 | |
CHEERING | 0:59:24 | 0:59:28 | |
What about that, ladies and
gentlemen? The tango by our zombies. | 0:59:31 | 0:59:39 | |
You brought that tango to life! Wow.
The back of my neck was standing up. | 0:59:39 | 0:59:46 | |
The judges were picky with you last
week but let's see what they think | 0:59:46 | 0:59:49 | |
tonight. You came out with all guns
blazing, darling. It did not stop | 0:59:49 | 0:59:55 | |
until the end, which I was delighted
with. It was full of intent and | 0:59:55 | 1:00:02 | |
purpose, its powerful -- pithead
power, wonderful staccato and | 1:00:02 | 1:00:07 | |
accents, and I really loved it. | 1:00:07 | 1:00:09 | |
Alexandra, you were fierce, not
wild, but strong and clean. And | 1:00:16 | 1:00:19 | |
those clipped moves come on every
transition, whenever you change | 1:00:19 | 1:00:24 | |
direction, the attack and everything
that came, and you recovered well, | 1:00:24 | 1:00:27 | |
when you were rolling around through
Gorka's legs, you came back up into | 1:00:27 | 1:00:34 | |
a cold, and the focus was brilliant,
terrifyingly good. -- into a hold. | 1:00:34 | 1:00:42 | |
As we say in Liverpool, you were
dead but, really great. You have an | 1:00:42 | 1:00:48 | |
immense free thing when you
separate. And then back into great | 1:00:48 | 1:00:52 | |
frame.
SLIGHT PROBLEM WITH SOUND. | 1:00:52 | 1:01:04 | |
Almost a perfect one from me, but
one little mistake you made. I know | 1:01:04 | 1:01:09 | |
what you mean. I can have your tango
for breakfast, lunch and dinner. She | 1:01:09 | 1:01:18 | |
goes like... She is like a tigress.
You attack everything absolutely | 1:01:18 | 1:01:21 | |
fearlessly. You go for it like an
animal, and I love that magnetism | 1:01:21 | 1:01:28 | |
and power. Something happened, and I
know why. I am the same. Sometimes | 1:01:28 | 1:01:34 | |
you get so carried away, you want to
do it so much, that the impetus | 1:01:34 | 1:01:38 | |
carrying you through, at times, in
certain moments, you need a moment | 1:01:38 | 1:01:44 | |
of stillness, you know what I mean,
to give a bit more punctuation, but | 1:01:44 | 1:01:47 | |
we're talking about the bigger
picture, and you are great. | 1:01:47 | 1:01:53 | |
CHEERING
You must be get happy with those | 1:01:53 | 1:01:55 | |
comments. Off you go. Let's hear it
for Alexandra and Gorka! | 1:01:55 | 1:02:00 | |
CHEERING | 1:02:00 | 1:02:06 | |
Well done, darling. You must have
been so happy. I'm so sorry because | 1:02:09 | 1:02:15 | |
I think something went a bit funny
with Shirley's microphone, but she | 1:02:15 | 1:02:21 | |
loved your staccato moves, she said
it was almost perfect. You haven't | 1:02:21 | 1:02:25 | |
been in a hold for a couple of
weeks. It's intense doing it, five | 1:02:25 | 1:02:30 | |
weeks, but I know where I went
wrong. We just did a couple of | 1:02:30 | 1:02:35 | |
steps, but I can feel... You know
what I'm like. I see what they're | 1:02:35 | 1:02:39 | |
saying and I want to improve. I had
a great time. She mused she went | 1:02:39 | 1:02:45 | |
wrong walking down... But you two
can now communicate just by looking | 1:02:45 | 1:02:48 | |
at each other. Absolutely. But you
frowned at him. Today I didn't and I | 1:02:48 | 1:02:56 | |
thought, if I shut in his heir, will
have stop. Good. Craig Revel | 1:02:56 | 1:03:03 | |
Horwood. Nine. Darcey Bussell. Nine.
Shirley Ballas. Nine. Bruno Tonioli. | 1:03:03 | 1:03:14 | |
Eight. Well done. That's the highest
tango so far this series. Well done. | 1:03:14 | 1:03:25 | |
If you don't want these brilliant
zombies to be out of the | 1:03:25 | 1:03:27 | |
competition, you'll need to show
your support. | 1:03:27 | 1:03:31 | |
All the details you need
are on the screen now, | 1:03:31 | 1:03:33 | |
and voting opens towards the end
of the show. | 1:03:33 | 1:03:35 | |
Still to come, Susan
is the Mother of Dragons. | 1:03:35 | 1:03:37 | |
Not easy during half-term. | 1:03:37 | 1:03:39 | |
Disaster at the soft play area. | 1:03:39 | 1:03:42 | |
Next on the floor is Davood Ghadami
and his partner, Nadiya Bychkova. | 1:03:42 | 1:03:48 | |
CHEERING | 1:03:48 | 1:03:53 | |
For this rumba, Nadiya is a flying
spirit in Davood's haunted house. | 1:03:53 | 1:03:56 | |
Don't worry if you hear things that
go bump in the night - | 1:03:56 | 1:04:00 | |
it's probably just Craig falling
off his chair again. | 1:04:00 | 1:04:02 | |
Was our best elected, wasn't it? It
was the best one and you did so | 1:04:10 | 1:04:13 | |
well. It was energised... You did
great. We get to do something I've | 1:04:13 | 1:04:21 | |
always wanted to do, Halloween week.
The greatest theme. Davood and | 1:04:21 | 1:04:29 | |
Nadiya want to cast a spell with the
haunting rumba. It's a tough dance. | 1:04:29 | 1:04:34 | |
What I have to say, it's the
toughest yet by quite a long way. As | 1:04:34 | 1:04:41 | |
Davood los Halloween so much, Nadiya
has a treat in store. You brought me | 1:04:41 | 1:04:47 | |
to a haunted house. Yes. They're
going to get lost in a maze with a | 1:04:47 | 1:04:51 | |
twist. It's made of mirrors. We been
taken through a mirror maze. That | 1:04:51 | 1:04:58 | |
place is very disorientating. I
can't see which way is out. That's | 1:04:58 | 1:05:02 | |
not out. As if the rumba wasn't
scary enough... Nadiya has brought | 1:05:02 | 1:05:06 | |
me here to scare me some more. Which
is lovely from your partner, isn't | 1:05:06 | 1:05:12 | |
it! That was a reflection. Where is
the real you? It was so much fun. It | 1:05:12 | 1:05:17 | |
scared him. That's freaky. OK, I'm
out of here! I'm not messing around. | 1:05:17 | 1:05:26 | |
We have to do some rumba now. If I
can deal with the house of horrors, | 1:05:26 | 1:05:31 | |
I can definitely deal with the
rumba. | 1:05:31 | 1:05:34 | |
Dancing the revolting rumba, | 1:05:34 | 1:05:35 | |
Davood Ghadami and
Nadiya "Blood Curdling" Bychkova. | 1:05:35 | 1:05:40 | |
MUSIC: Wicked Game | 1:05:47 | 1:05:56 | |
CHEERING | 1:07:25 | 1:07:27 | |
Absolutely gorgeous! Yes! You
brought the house down, the haunted | 1:07:36 | 1:07:42 | |
house. I know it's going to do that.
Did it sends a shiver down your | 1:07:42 | 1:07:50 | |
spine, Darcey? It wasn't bad. You
know, for a man to feel comfortable | 1:07:50 | 1:07:55 | |
with those fluid moves and have that
desire through their body, and | 1:07:55 | 1:07:59 | |
keeping it strong and controlled at
the same time, you did very well. | 1:07:59 | 1:08:01 | |
There wasn't much rumba basic, but
the improvement what really | 1:08:01 | 1:08:08 | |
surprised me was in your arms. You
had the ability to express them, | 1:08:08 | 1:08:13 | |
they had some sensitivity every time
they touched her. I was really | 1:08:13 | 1:08:15 | |
impressed with that. Well done.
APPLAUSE | 1:08:15 | 1:08:20 | |
It's difficult. Well, we've said
before that this is a very difficult | 1:08:20 | 1:08:27 | |
dance, and some rumbas are easy on
the eye but unfortunately, for me, | 1:08:27 | 1:08:32 | |
this was quite difficult on the eye,
and I'll explain why. You could have | 1:08:32 | 1:08:36 | |
danced a cooker rupture, which is a
basic step in two straight legs | 1:08:36 | 1:08:41 | |
where you rotate your hips, and you
did lunch after lunch after lunch. | 1:08:41 | 1:08:45 | |
So there was no flow from me, from
movement to movement. You're a | 1:08:45 | 1:08:50 | |
beautiful man and I recognise that
you have a beautiful feeling, but | 1:08:50 | 1:08:54 | |
that isn't enough for me this dance,
unfortunately. Plenty of six-pack | 1:08:54 | 1:08:59 | |
action. That suffice! Listen, no,
really. They called the rumba the | 1:08:59 | 1:09:11 | |
woman's dance, and you provided a
wonderful frame for your partner. | 1:09:11 | 1:09:14 | |
You played the part, enchanted by
the temptress. You were living every | 1:09:14 | 1:09:19 | |
moment. Your arms were much, much
better. Your intensity was there. | 1:09:19 | 1:09:26 | |
Yes, you could drag your feet a
little bit more. Drag the feet | 1:09:26 | 1:09:30 | |
through the floor. It gives you a
better hip action. But I thought the | 1:09:30 | 1:09:34 | |
overall performance was very, very
nice. Craig? As a dance, I loved it, | 1:09:34 | 1:09:44 | |
but as a rumba, I didn't. I didn't
think... There wasn't enough basic | 1:09:44 | 1:09:49 | |
steps, and the basic steps you did,
you didn't do very well, but I loved | 1:09:49 | 1:09:53 | |
the feeling and the emotion. I loved
the fact that you were presenting | 1:09:53 | 1:09:58 | |
the lady. I mean, you could put that
dance on a stage and it not be in a | 1:09:58 | 1:10:03 | |
competition and it would be very
beautiful. But there wasn't enough | 1:10:03 | 1:10:05 | |
of the rumba in it, really, for me,
anyway, to give you a higher score. | 1:10:05 | 1:10:12 | |
But, personally, I could sit and
watch that at home every day, | 1:10:12 | 1:10:15 | |
darling. Everyday, darling! Mixed
comments. It's challenging for the | 1:10:15 | 1:10:22 | |
male celebrities. Well done, Davood.
CHEERING | 1:10:22 | 1:10:28 | |
Well done. Well done. You've had a
hard week. It's been tough. First | 1:10:34 | 1:10:43 | |
male celebrity to do the rumba. We
were talking and it's so hard. He | 1:10:43 | 1:10:47 | |
did so well. It's the most difficult
dance by man because of all the body | 1:10:47 | 1:10:54 | |
action, but I think he did great. I
enjoyed it. Ollie Langford is here, | 1:10:54 | 1:11:01 | |
your TV mum, and one judge a day,
she didn't like and she said, that | 1:11:01 | 1:11:06 | |
do! -- Bonnie Langford. The judges
have their scores. Craig Revel | 1:11:06 | 1:11:13 | |
Horwood. Five. Darcey Bussell.
Seven. Shirley Ballas. Six. And | 1:11:13 | 1:11:20 | |
Bruno Tonioli. Seven. A couple of
seconds, and it am now. -- it's | 1:11:20 | 1:11:30 | |
done. | 1:11:30 | 1:11:31 | |
If you thought Davood and Nadiya's
rumba was an excellent | 1:11:31 | 1:11:34 | |
addition to the show,
then please make sure | 1:11:34 | 1:11:35 | |
that they get your vote. | 1:11:35 | 1:11:37 | |
All the details you need
are on your screen, | 1:11:37 | 1:11:39 | |
and voting will open once each
of our couples has performed. | 1:11:39 | 1:11:42 | |
Still to come, Debbie
and Giovanni do a Charleston, | 1:11:42 | 1:11:44 | |
Dancing next is Susan Calman
and her partner, Kevin Clifton. | 1:11:44 | 1:11:47 | |
CHEERING | 1:11:47 | 1:11:50 | |
They're doing a routine
inspired by Game Of Thrones, | 1:11:50 | 1:11:52 | |
where Kevin is
the King of the North, | 1:11:52 | 1:11:54 | |
but can Susan be
Queen of the Foxtrot? | 1:11:54 | 1:11:56 | |
Let's find out. | 1:11:56 | 1:12:00 | |
How did Saturday go? I loved it. You
didn't half go for it! Not your best | 1:12:05 | 1:12:13 | |
dance. No hip action. We were joint
bottom. But it gives us something to | 1:12:13 | 1:12:18 | |
work on. Exactly, Halloween week!
There we go. For Halloween, we are | 1:12:18 | 1:12:25 | |
dancing the foxtrot to Killer Queen.
We got our drag queen in Susan and | 1:12:25 | 1:12:35 | |
the warrior from the north, Kevin.
-- dragon Queen. During training, | 1:12:35 | 1:12:42 | |
Susan isn't quite feeling herself.
It happens to the best of us. I woke | 1:12:42 | 1:12:48 | |
up this morning and every time
something goes wrong... I breathe | 1:12:48 | 1:12:53 | |
flames like a dragon. Susan is
picking up the steps nice and | 1:12:53 | 1:12:59 | |
quickly and she has been on fire
every time she goes wrong. Didn't | 1:12:59 | 1:13:04 | |
mind so much because she was on hand
to warm up my coffee when it went | 1:13:04 | 1:13:10 | |
cold. Do you mind? No. Cheers. We've
worked flaming heart, so hopefully | 1:13:10 | 1:13:18 | |
our foxtrot will set the dance floor
alight. -- flaming hard. | 1:13:18 | 1:13:27 | |
Dancing the frightful foxtrot, | 1:13:27 | 1:13:29 | |
Susan Calman and
Kevin "Cackling" Clifton. | 1:13:29 | 1:13:32 | |
MUSIC: Killer Queen | 1:13:33 | 1:13:37 | |
CHEERING | 1:15:08 | 1:15:13 | |
How about that? Absolutely
brilliant. Brilliant. | 1:15:17 | 1:15:26 | |
You looked awesome, the pay review.
Magnificent. We were keeping it | 1:15:31 | 1:15:38 | |
understated for Halloween. Yes. I
like your style. I could feel the | 1:15:38 | 1:15:42 | |
heat from back there from those
flames. | 1:15:42 | 1:15:44 | |
She's a killer queen. | 1:15:44 | 1:15:45 | |
Was that a killer Foxtrot, Shirley? | 1:15:45 | 1:15:48 | |
You know how much I love you, but
for me, it lacked grace and | 1:15:48 | 1:15:52 | |
elegance. Hold on a minute. Give me
a minute. You just started to define | 1:15:52 | 1:16:02 | |
between that powerful Latin girl and
that beautiful floor in the smooth. | 1:16:02 | 1:16:07 | |
Today, it lacked that a little bit.
The foxtrot is the Rolls-Royce of | 1:16:07 | 1:16:11 | |
the dance. It was bang, bang. You
got on the wrong foot a few times. I | 1:16:11 | 1:16:17 | |
know you know that, you're smart.
Not your best dance for me today but | 1:16:17 | 1:16:23 | |
I know you will come back fighting.
For me, it liked everything that | 1:16:23 | 1:16:27 | |
foxtrot is about. I love you too,
Shirley, but for the Halloween Game | 1:16:27 | 1:16:34 | |
Of Thrones dragon breathing foxtrot,
Grace is not what we were going for. | 1:16:34 | 1:16:42 | |
It is a fair point.
INAUDIBLE | 1:16:42 | 1:16:49 | |
It is not the kind of foxtrot I like
to see. How about you? You have got | 1:16:49 | 1:16:56 | |
too many scripts and you have got
confused. All of a sudden it was | 1:16:56 | 1:17:02 | |
like Alice in Wonderland, chased by
the mad Hatter, and then a desperate | 1:17:02 | 1:17:08 | |
foxtrot. While of the madness of it
all. I really appreciate the fact | 1:17:08 | 1:17:13 | |
that you give it 110%, but it has to
be somehow be recognisable as a | 1:17:13 | 1:17:19 | |
foxtrot. It was at times, but
technically, lots of mistakes, my | 1:17:19 | 1:17:26 | |
darling, but always great fun to
watch. Thank you very much. So much | 1:17:26 | 1:17:31 | |
fun. Craig, last week you scored a
frugal four for Susan. What do you | 1:17:31 | 1:17:37 | |
think tonight? I thought my ride on
more at home had more grace and | 1:17:37 | 1:17:42 | |
elegance. It did like slow and it
was predestined. I understand what | 1:17:42 | 1:17:47 | |
you were trying to achieve. You did
achieve that, the Game Of Thrones | 1:17:47 | 1:17:52 | |
thing. It was not for me. You were
out of pulled along as well. That is | 1:17:52 | 1:17:58 | |
into the pot, sadly. Happy
Halloween. I have got some good | 1:17:58 | 1:18:05 | |
things. You came out and I could see
you were trying to maintain the | 1:18:05 | 1:18:09 | |
shoulders, you were keeping it down,
working on Bienek, you were | 1:18:09 | 1:18:13 | |
composing yourself. There was a
start, a transformation happening. | 1:18:13 | 1:18:22 | |
Little moments of style. It just did
not last. Your character is so | 1:18:22 | 1:18:28 | |
strong you get quite excited. I can
see that happening as you get more | 1:18:28 | 1:18:33 | |
and more into it. It is like, yes.
It is totally endearing, but try and | 1:18:33 | 1:18:39 | |
hold onto that and focus more. I am
just still excited to be on the | 1:18:39 | 1:18:44 | |
show. We are excited to have you.
Thank you, judges. Not the best | 1:18:44 | 1:18:50 | |
comments. You can always said your
dragon on them later. Off you go. | 1:18:50 | 1:18:56 | |
Susan and Kevin. You were great. | 1:18:56 | 1:18:59 | |
Susan, Susan. They were shouting up
here, no mistakes. There was not one | 1:19:06 | 1:19:11 | |
mistake. There were no mistakes. I
will be honest about it. I do not | 1:19:11 | 1:19:18 | |
really remember any mistakes. It is
Halloween on Strictly. If you do not | 1:19:18 | 1:19:21 | |
want to dress up and give it all you
have got, people do not want to see | 1:19:21 | 1:19:26 | |
subtle at home, do they? Also, the
girl who plays you in Game Of | 1:19:26 | 1:19:33 | |
Thrones, she is watching right now.
She has sent you a message. Hello. | 1:19:33 | 1:19:38 | |
Hello, Mother of Dragons. The scores
are in. Will the judges please | 1:19:38 | 1:19:45 | |
reveal their scores. | 1:19:45 | 1:19:46 | |
Right. Come on. Cuddles. Group hug. | 1:20:01 | 1:20:08 | |
If you enjoyed Susan
and Kevin's foxtrot, | 1:20:08 | 1:20:10 | |
then please make sure
you vote for them. | 1:20:10 | 1:20:12 | |
All the details you need
are on the screen now. | 1:20:12 | 1:20:15 | |
Please don't call yet,
voting will open later on in show. | 1:20:15 | 1:20:17 | |
Plus, if you want to know more
about our Strictly stars, | 1:20:17 | 1:20:20 | |
like where they like
to play hide and seek, | 1:20:20 | 1:20:22 | |
or their favourite board game,
head to | 1:20:22 | 1:20:24 | |
the website, bbc.co.uk/strictly. | 1:20:24 | 1:20:28 | |
I love you. | 1:20:28 | 1:20:30 | |
Tess. | 1:20:30 | 1:20:32 | |
Next up, it's Debbie McGee
and her partner, Giovanni Pernice. | 1:20:32 | 1:20:38 | |
For this Halloween routine
they're going to be | 1:20:38 | 1:20:40 | |
Frankenstein and his bride. | 1:20:40 | 1:20:41 | |
Next up, it's Debbie McGee
and her partner, Giovanni Pernice. | 1:20:41 | 1:20:46 | |
For this Halloween routine
they're going to be | 1:20:46 | 1:20:48 | |
Frankenstein and his bride. | 1:20:48 | 1:20:49 | |
And after being top
of the leaderboard last | 1:20:49 | 1:20:51 | |
week, they're hoping
for another monster score. | 1:20:51 | 1:20:53 | |
How do you feel about the weekend?
Wonderful, could not be better. I | 1:20:53 | 1:20:57 | |
have never seen as standing leg is
beautifully straight. That really | 1:20:57 | 1:21:02 | |
made me feel good. Well done.
Beautiful. This week, Debbie and | 1:21:02 | 1:21:10 | |
Giovanni are getting to grips with a
cheeky Charleston. This week it is | 1:21:10 | 1:21:14 | |
Halloween. I will be the
Frankenstein monster. That will be | 1:21:14 | 1:21:19 | |
scary but it would be fantastic if I
got to dance with a real monster. Do | 1:21:19 | 1:21:23 | |
not be silly? Much better. | 1:21:23 | 1:21:28 | |
That is not good enough. You need to
work on your swivel. Debbie, Debbie. | 1:21:35 | 1:21:42 | |
Debbie. Being a monster is no fun.
Debbie. This just will not do. Much | 1:21:44 | 1:21:55 | |
better. The real horror we be doing
my dance on Saturday night without | 1:21:55 | 1:22:02 | |
enough practice. You have a little
bit of Green left on your face. Come | 1:22:02 | 1:22:09 | |
on. Debbie. | 1:22:09 | 1:22:13 | |
Dancing a chilling Charleston,
Debbie McGee and Giovanni | 1:22:13 | 1:22:15 | |
"Petrifying" Pernice. | 1:22:15 | 1:22:24 | |
MUSIC: Frankie | 1:22:24 | 1:22:27 | |
CHEERING | 1:24:01 | 1:24:03 | |
Yes. Absolutely brilliant. A
brilliant Charleston from Debbie. | 1:24:09 | 1:24:19 | |
Amazing. I am not surprised he's
celebrating. | 1:24:19 | 1:24:22 | |
Those lifts terrify me! | 1:24:22 | 1:24:27 | |
Especially the last one. My
goodness. A standing ovation. You're | 1:24:27 | 1:24:31 | |
so brave. | 1:24:31 | 1:24:32 | |
Top of the leaderboard last week,
how did she do tonight, | 1:24:32 | 1:24:34 | |
Bruno? | 1:24:34 | 1:24:40 | |
Debbie, Giovanni, I am bitterly
disappointed. There was nothing | 1:24:40 | 1:24:44 | |
horrible about that. It was
brilliant. Absolutely brilliant. | 1:24:44 | 1:24:47 | |
Thank you. That is all he has got to
say. Craig. The round the world left | 1:24:47 | 1:24:55 | |
you did was a little bit clunky. It
is meant to be done in one move. My | 1:24:55 | 1:25:00 | |
fault. It still went wrong, darling.
I do not care. I am just saying, it | 1:25:00 | 1:25:06 | |
was my fault. It went wrong. It did.
But, there is a but. I love the | 1:25:06 | 1:25:16 | |
concept. I thought that was
brilliant. Cross, swivel and hope, | 1:25:16 | 1:25:21 | |
we never see. The Bardet flap was
perfect, straight arms, clean, | 1:25:21 | 1:25:26 | |
precise, incredible. -- birdie flap.
Darcey, you say she did not go | 1:25:26 | 1:25:37 | |
wrong? It was fantastic. We are
finally seeing this knotty flapper | 1:25:37 | 1:25:42 | |
renew. The precision, the speed, how
you produce those crazy lives. You | 1:25:42 | 1:25:50 | |
are fearless, agile woman. I love
that. Fearless is the right word. | 1:25:50 | 1:25:55 | |
Shirley. Come here. I am going to
give you my queen of Latin crown. | 1:25:55 | 1:26:01 | |
You deserve it. You were fantastic.
I loved everything about what you | 1:26:01 | 1:26:07 | |
did. There was nothing that I did
not like. You executed it. You were | 1:26:07 | 1:26:13 | |
brilliant. Well done.
CHEERING | 1:26:13 | 1:26:15 | |
Brilliant. Queen Of The South two.
That was phenomenal. Thank you. | 1:26:15 | 1:26:22 | |
Thank you so much, judges. Well
done, Debbie. The lifts as well. | 1:26:22 | 1:26:30 | |
Debbie and Giovanni. Thank you.
Darling, the queen of Latin crown. | 1:26:30 | 1:26:42 | |
And your mum is in the audience. She
is there. She was standing up and | 1:26:42 | 1:26:47 | |
cheering for you. Talk about change
of pace, rumba to the Charleston. I | 1:26:47 | 1:26:52 | |
cannot talk. Do not speak. Please
stand. The scorers are in. Ladies | 1:26:52 | 1:26:59 | |
and gentlemen, the judges have their
scores. | 1:26:59 | 1:27:01 | |
A fantastic ten. Queen, ten. | 1:27:13 | 1:27:15 | |
CHEERING
Well done. Well done, your first | 1:27:19 | 1:27:30 | |
tens. Top of the leaderboard. Ulick
tearful. Please do not do the left | 1:27:30 | 1:27:37 | |
again. It scared us all, but it was
brilliant. You must be over the | 1:27:37 | 1:27:40 | |
moon. | 1:27:40 | 1:27:43 | |
If you thought Debbie
and Giovanni's Charleston | 1:27:43 | 1:27:45 | |
was magnificent and you would
like | 1:27:45 | 1:27:46 | |
to see them dance again next
week, please make sure | 1:27:46 | 1:27:49 | |
that they get your vote. | 1:27:49 | 1:27:50 | |
Voting will open soon as we only
have one couple left to perform. | 1:27:50 | 1:27:53 | |
Tess. | 1:27:53 | 1:27:54 | |
Our final couple is Aston Merrygold
and his partner, Janette Manrara. | 1:27:54 | 1:27:58 | |
CHEERING | 1:27:58 | 1:28:02 | |
For their Halloween dance
they're going to be ghosts | 1:28:02 | 1:28:04 | |
doing a paso doble,
but will they | 1:28:04 | 1:28:05 | |
achieve their ghoul of getting top
marks from the judges? | 1:28:05 | 1:28:08 | |
I really loved Saturday but it was
very different. I was trying to stay | 1:28:15 | 1:28:19 | |
calm. You really got lost in the
music. I really got into it. It was | 1:28:19 | 1:28:25 | |
so nice for me to see you be that
emotional and honest. I sincerely | 1:28:25 | 1:28:29 | |
could feel your emotions. I think it
was impressive. Eight. The fact that | 1:28:29 | 1:28:34 | |
myself and the rest of the
contestants have made it this far is | 1:28:34 | 1:28:37 | |
amazing. This week, we are dancing
the petrifying paso doble. I am | 1:28:37 | 1:28:44 | |
pretty petrified. But the best bit
is we are dancing to smells like | 1:28:44 | 1:28:50 | |
teen spirit by nirvana. Perfect for
Halloween and Strictly Mac. To help | 1:28:50 | 1:28:57 | |
with his focus, Janette decides to
related rehearsals. A cemetery in | 1:28:57 | 1:29:01 | |
the daytime. Yes, I would not bring
easier at night, it is way too | 1:29:01 | 1:29:06 | |
scary. Come and look. Janette has
brought me to a cemetery to work on | 1:29:06 | 1:29:11 | |
my paso doble. The routine is coming
together nicely and I am getting | 1:29:11 | 1:29:16 | |
into the spirit of things. This is a
good place to practice. We are super | 1:29:16 | 1:29:20 | |
focused. Nothing can take away from
the paso doble determination that | 1:29:20 | 1:29:26 | |
you need. No, no, no. | 1:29:26 | 1:29:30 | |
Dancing the petrifying Paso Doble, | 1:29:35 | 1:29:37 | |
Aston Merrygold and
Janette Manrarahahahahaha. | 1:29:37 | 1:29:43 | |
MUSIC: Smells Like Teen Spirit | 1:29:44 | 1:29:48 | |
CHEERING | 1:31:24 | 1:31:28 | |
What a powerful finale! Oh! I think
everybody is on feet in here. | 1:31:34 | 1:31:44 | |
Incredible! You were in the zone
then, weren't you? We were right | 1:31:44 | 1:31:52 | |
there with you. Were you, Craig? The
paso doble should not contain lot, | 1:31:52 | 1:32:05 | |
hip-hop, street, body ripples. That
routine was full of it and can are | 1:32:05 | 1:32:08 | |
you what, I'm so glad it was. It was
amazing! Absolutely amazing. | 1:32:08 | 1:32:13 | |
CHEERING
Biting, dramatic bull-fighter. Gosh, | 1:32:13 | 1:32:23 | |
the power! And that strong shape,
how you would create and achieve | 1:32:23 | 1:32:28 | |
that curve, where you push your
pelvis forward, that is stunning. | 1:32:28 | 1:32:34 | |
What was most impressive, when you
got on to that stage, that so low, | 1:32:34 | 1:32:38 | |
how you beat out that rhythm. It was
crisp and exact. My goodness, you | 1:32:38 | 1:32:43 | |
owned this dance! You owned it! Rape
dancers are not just great because | 1:32:43 | 1:32:50 | |
of their technique, although they
are great cause their passion. -- | 1:32:50 | 1:32:54 | |
break dancers. You brought a modern
twist. It's not a conventional paso | 1:32:54 | 1:32:59 | |
doble, there was some bopping and
extra roles, but executed well, I | 1:32:59 | 1:33:05 | |
believed what you did, a very good
job, not so conventional for me, but | 1:33:05 | 1:33:09 | |
a great job. That was a paso doble
that brought the dead back to life! | 1:33:09 | 1:33:18 | |
What is wonderful about it, you
married tradition with innovation. | 1:33:18 | 1:33:25 | |
It was always a paso doble, but
there were some elements in it that | 1:33:25 | 1:33:28 | |
was so fresh and innovative. You
managed to do a working Cortez in | 1:33:28 | 1:33:36 | |
the middle, which was spot on. That
thing in the jam, totally wacky. I'm | 1:33:36 | 1:33:41 | |
telling you, the perfect Halloween
treat to finish let me say, our team | 1:33:41 | 1:33:48 | |
at hair, make-up and costumes, they
really are absolutely the best in | 1:33:48 | 1:33:53 | |
the business. Except for me!
CHEERING | 1:33:53 | 1:33:57 | |
I've been punished. By his mother.
What a way to close the show! That | 1:33:57 | 1:34:08 | |
was fantastic. Thank you so much.
Aston and Janette. | 1:34:08 | 1:34:14 | |
CHEERING
Well done. Aston and Janette, this | 1:34:16 | 1:34:27 | |
was your best week so far. High
heels on for the first time. This | 1:34:27 | 1:34:36 | |
came off halfway through. But you
carried on! I know you found it hard | 1:34:36 | 1:34:40 | |
without Brian tonight. A big kiss
for you, mate. Love you, buddy. We | 1:34:40 | 1:34:46 | |
all miss Brian. I know. Craig Revel
Horwood. Nine. Darcey Bussell. | 1:34:46 | 1:34:58 | |
Perfect ten. Sherry Ballas. Nine.
And Bruno Tonioli. Ten. Well done. | 1:34:58 | 1:35:12 | |
You must be over the moon. Aston and
Janette. | 1:35:12 | 1:35:17 | |
If Aston and Janette's Paso Doble
sent you to nirvana, | 1:35:17 | 1:35:20 | |
then please make sure
that they get your vote. | 1:35:20 | 1:35:22 | |
All the details you need to support
them are on your screen now, | 1:35:22 | 1:35:25 | |
and voting will open very shortly. | 1:35:25 | 1:35:26 | |
That's it. | 1:35:26 | 1:35:28 | |
All our couples have
performed and it's time | 1:35:28 | 1:35:29 | |
to look at the leaderboard. | 1:35:29 | 1:35:31 | |
Remember, you can change all that
by picking up the phone | 1:35:37 | 1:35:39 | |
or going online and voting
for your favourite. | 1:35:39 | 1:35:41 | |
And the vote is now... | 1:35:41 | 1:35:42 | |
Open! | 1:35:42 | 1:35:45 | |
MUSIC: Bat Out Of Hell | 1:35:45 | 1:35:46 | |
Calls to the short number
from a mobile cost 15p. | 1:35:46 | 1:35:48 | |
Calls to the long number cost 15p
plus your network's access charge, | 1:35:48 | 1:35:51 | |
and please ask the
bill payer's permission. | 1:35:51 | 1:35:53 | |
You can vote online by visiting
bbc.co.uk/strictly, where you will | 1:35:53 | 1:35:55 | |
also find terms and conditions. | 1:35:55 | 1:35:56 | |
Voting closes at 9pm tonight. | 1:35:56 | 1:35:57 | |
Please don't try to vote
if you're watching on demand. | 1:35:57 | 1:36:00 | |
To help you decide, here's
a reminder of tonight's | 1:36:00 | 1:36:02 | |
performances and the all-important
vote information. | 1:36:02 | 1:36:06 | |
What a show it's been. | 1:39:11 | 1:39:12 | |
A real Halloween night to remember. | 1:39:12 | 1:39:14 | |
We've had lots of tricks
and plenty of treats. | 1:39:14 | 1:39:16 | |
The standard of dancing has been
so high, it's frightening! | 1:39:16 | 1:39:20 | |
Remember, voting closes at nine
o'clock tonight so please make sure | 1:39:20 | 1:39:22 | |
you favourite couple gets your vote. | 1:39:22 | 1:39:24 | |
All of our spooky celebrities
are relying on your support | 1:39:24 | 1:39:26 | |
to stay in the competition. | 1:39:26 | 1:39:28 | |
And things are set to get
even scarier on tomorrow | 1:39:28 | 1:39:30 | |
night's Result Show,
as the two couples with the lowest | 1:39:30 | 1:39:33 | |
combined judges' score and viewer
vote will face each other | 1:39:33 | 1:39:35 | |
in the dreaded dance-off. | 1:39:35 | 1:39:36 | |
One couple must sadly
leave the competition. | 1:39:36 | 1:39:39 | |
Also tomorrow night,
performing their single | 1:39:39 | 1:39:41 | |
Scared Of The Dark, Steps
will be here. | 1:39:41 | 1:39:46 | |
CHEERING | 1:39:46 | 1:39:48 | |
And we have a haunting group
performance from our professional | 1:39:48 | 1:39:51 | |
dancers which I guarantee will send
an icy shiver down your spine. | 1:39:51 | 1:39:54 | |
So join us at 7:15pm tomorrow night,
when we'll find out who will be | 1:39:54 | 1:39:57 | |
the sixth couple to leave
Strictly Come Dancing. | 1:39:57 | 1:39:59 | |
That's at 7.15pm. | 1:39:59 | 1:40:01 | |
And in the meantime... | 1:40:01 | 1:40:03 | |
Keep dancing. | 1:40:03 | 1:40:06 | |
SOOTHING MUZAK PLAYS | 1:40:14 | 1:40:17 |