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This is Strictly Come Dancing The Results. Welcome our professional | 0:00:40 | 0:00:50 | |
0:00:50 | 0:00:50 | ||
Apology for the loss of subtitles for 126 seconds | 0:00:50 | 0:02:56 | |
CHEERING AND APPLAUSE Wow, what a lively start to our Strictly Sunday | 0:02:56 | 0:02:59 | |
Results Show. Thank you very much. Now we're warmed up and ready. So | 0:02:59 | 0:03:03 | |
Saturday night saw our nine couples deliver a ballroom box of delights | 0:03:03 | 0:03:08 | |
in a bid to stay in the competition. Who'll be on the dance floor next | 0:03:08 | 0:03:13 | |
week? And who'll be watching from their sofa? We're going to find out | 0:03:13 | 0:03:16 | |
very soon. First let's say hello to the people who have to be cruel to | 0:03:16 | 0:03:20 | |
be kind. For Craig, that's the perk of the job. It's our judges, Craig, | 0:03:20 | 0:03:24 | |
Len, Alesha and Bruno! APPLAUSE | 0:03:24 | 0:03:28 | |
What a lovely line up. Before we hear from them, let's see what else | 0:03:28 | 0:03:34 | |
is on the show tonight. Hello Claudia! | 0:03:34 | 0:03:43 | |
Thank you Tess. A stunning dance from Robin and Kristina. Plus he's | 0:03:43 | 0:03:50 | |
the rock star of the classical world Andre Rieu is here. Here's a | 0:03:50 | 0:03:54 | |
little of what happened during and after Saturday's show. What a great | 0:03:54 | 0:04:04 | |
night. Yeah I'm anxious. I feel nervous. | 0:04:04 | 0:04:08 | |
Touch-ups. Nervous. You realise we're about to go live in two | 0:04:08 | 0:04:16 | |
minutes? Alex started us off with that jive and she really went for | 0:04:16 | 0:04:24 | |
it. I had so much fun with you. Jived my little legs off. | 0:04:24 | 0:04:29 | |
Incredible opening to the show. You were a joy to watch tonight. He's | 0:04:29 | 0:04:31 | |
got potential to be better than you, this boy. | 0:04:31 | 0:04:41 | |
I thought that the routine was rather good. Yay! You're getting | 0:04:41 | 0:04:44 | |
better and better. So well done to you. That was the biggest dance of | 0:04:44 | 0:04:47 | |
my life tonight. Hopefully it's enough to get to Wembley. You can | 0:04:47 | 0:04:57 | |
0:04:57 | 0:04:59 | ||
only do your best. I'm afraid to say not your finest hour. Go for it, | 0:04:59 | 0:05:04 | |
sharper, cleaner, finish it. Three. Maybe that's why the publish -- | 0:05:04 | 0:05:10 | |
public is saving me. Craig has never given me a decent score. | 0:05:10 | 0:05:14 | |
Somebody has to be the worst and tonight it was Audley. It was filth | 0:05:14 | 0:05:21 | |
and I love today! Where was the intensity of it? I think Len is jet | 0:05:21 | 0:05:27 | |
lagged. We agree with Alesha. enjoyed it, but a little bit more | 0:05:27 | 0:05:37 | |
sizzle. Get in there. Best night so far, by a long way. | 0:05:37 | 0:05:41 | |
Jason's Viennese waltz I thought was really good. You were back in | 0:05:41 | 0:05:47 | |
the zone tonight, Jason. This dance could be a ten, but it's not, | 0:05:47 | 0:05:52 | |
because your arms are letting you down. We're here for the long haul. | 0:05:52 | 0:06:00 | |
We ain't sprinters. We're long distance runners. You're equally as | 0:06:00 | 0:06:04 | |
strong in your ballroom dancing as in the Latin, which makes you the | 0:06:04 | 0:06:09 | |
one to beat. You are truly a lady. I need to be sophisticated and lady | 0:06:09 | 0:06:17 | |
like. Hard work. You cheeky. I'm made up. Shell see has a | 0:06:17 | 0:06:24 | |
naturalness about her. She just comes out and does it. | 0:06:24 | 0:06:28 | |
Anita unleashes her basic instinct. For me that's what Argentine | 0:06:28 | 0:06:32 | |
tango's about. It's about creating a mood and an atmosphere. I felt | 0:06:32 | 0:06:36 | |
you got that. The intensity was there. You almost frightened me a | 0:06:36 | 0:06:46 | |
0:06:46 | 0:06:46 | ||
little bit. Nine. We got three nines! This routine was very, very | 0:06:46 | 0:06:53 | |
good. Good job. He's been amazing. Considering you've had to change | 0:06:53 | 0:06:58 | |
partners this week, you have done exceptionally done. Couldn't be | 0:06:58 | 0:07:03 | |
prouder. It's one of the best weeks I've had on Strictly. Really. | 0:07:03 | 0:07:07 | |
nervous about Wembley. That is proper scary. But I want to say | 0:07:07 | 0:07:12 | |
I've played Wembley. You really are your own special creation. What he | 0:07:12 | 0:07:22 | |
0:07:22 | 0:07:22 | ||
lacks in technique, he makes up for 100%. They're wonderful. Robbie, | 0:07:22 | 0:07:26 | |
you're wonderful. Because he has a wonderful time, we all have a | 0:07:26 | 0:07:32 | |
wonderful time. Can I do one of my big leaps again? Chelsee and Harry | 0:07:32 | 0:07:37 | |
at the top, and Audley at the bottom. And all the judges agree | 0:07:37 | 0:07:43 | |
that perhaps that was his worst dance. Great night. I've loved it! | 0:07:43 | 0:07:48 | |
A fabulous night of dancing, I think you'll agree, amazing. Who | 0:07:48 | 0:07:51 | |
impressed you enough to secure their place at Wembley? The results | 0:07:51 | 0:08:00 | |
are in. In no particular order, the first couple through to next week | 0:08:00 | 0:08:10 | |
0:08:10 | 0:08:28 | ||
is... Robbie and Ola! Also through are... Chelsee and | 0:08:28 | 0:08:38 | |
0:08:38 | 0:08:51 | ||
Pasha! Dancing again next week are... | 0:08:51 | 0:09:01 | |
0:09:01 | 0:09:10 | ||
Jason and Kristina! The next couple safe is... Holly | 0:09:10 | 0:09:20 | |
0:09:20 | 0:09:23 | ||
and Brendan! In the bottom two tonight and in | 0:09:23 | 0:09:33 | |
0:09:33 | 0:09:33 | ||
danger of leaving the competition are... Audley and Natalie. | 0:09:33 | 0:09:42 | |
The rest of you you have to wait to learn your fate. | 0:09:42 | 0:09:45 | |
Alesha, Audley and Natalie are here for the fourth time. Can they | 0:09:45 | 0:09:49 | |
possibly survive again? Audley has survived three times. He clearly | 0:09:49 | 0:09:52 | |
has a lot of support. You never know what way it could go. I wish | 0:09:52 | 0:09:56 | |
him the best of luck tonight. He's been a star. He can hold his head | 0:09:56 | 0:10:01 | |
up high. He's been brilliant. That's what you want to see. That's | 0:10:01 | 0:10:05 | |
all can you ask for. Never lost that smile. Len, what do you think | 0:10:05 | 0:10:09 | |
of the standard of dancing from our celebrities at this stage? There's | 0:10:09 | 0:10:14 | |
so many of them who are truly outstanding. I can't wait for the | 0:10:14 | 0:10:17 | |
thing to continue. They're just going to get better and better. | 0:10:17 | 0:10:21 | |
APPLAUSE Everybody's raising their game. | 0:10:21 | 0:10:25 | |
Thank you judges. Over to you Claudia. | 0:10:25 | 0:10:28 | |
Thank you, Tess. Congratulations to our first four safe couples. You | 0:10:28 | 0:10:34 | |
are all over the moon. First, you, Mr Arm placement, as I'm going to | 0:10:34 | 0:10:38 | |
call you, Robbie you cracked Craig, how happy were you? Happy, he's | 0:10:38 | 0:10:43 | |
been playing hard to get. I think I've finally won him over. Chelsee | 0:10:43 | 0:10:48 | |
your first ten. Yes! So happy. Massive congratulations. What's so | 0:10:48 | 0:10:52 | |
sweet, every week you're like "I can't really dance. I'm moving | 0:10:52 | 0:10:56 | |
around and there's music. Yeah then I'm going to go home." You got a | 0:10:56 | 0:11:04 | |
ten. Do you feel like a dancer? I don't feel like a dancer. No, I | 0:11:04 | 0:11:13 | |
don't. Do you realise now that you're good at it? No. Chelsee, by | 0:11:13 | 0:11:17 | |
the way, on behalf of us all, you're really, really good at it, | 0:11:17 | 0:11:19 | |
just so you know. APPLAUSE | 0:11:20 | 0:11:25 | |
Jason, you're through. You wanted to get to Wembley. You've played | 0:11:25 | 0:11:29 | |
there before. Is it terrifying or magnificent? It's such a big arena. | 0:11:29 | 0:11:33 | |
Holly and myself are from Australia, you know, and I've even heard of | 0:11:33 | 0:11:36 | |
Wembley in Australia, as a kid growing up with the football. To | 0:11:36 | 0:11:42 | |
actually have played there, massive. I'm sure for all of us, it's a | 0:11:42 | 0:11:45 | |
bench mark and that's where we've all wanted to get to. We're very | 0:11:45 | 0:11:49 | |
excited. Congratulations. Lovely to see Artem there. Congratulations, | 0:11:49 | 0:11:55 | |
you got your girl and boy through. She became an overnight success | 0:11:55 | 0:12:00 | |
after one play of this song on an American dance show. It led to 18 | 0:12:00 | 0:12:05 | |
million u tube hits and a record deal. Here singing Jar of Hearts, | 0:12:05 | 0:12:15 | |
0:12:15 | 0:12:16 | ||
welcome the brilliant Christina # I know I can't take one more step | 0:12:16 | 0:12:18 | |
towards you, # Cause all that's waiting is | 0:12:18 | 0:12:24 | |
regret # And don't you know I'm not your | 0:12:24 | 0:12:30 | |
ghost anymore? # You lost the love I loved the | 0:12:30 | 0:12:40 | |
0:12:40 | 0:12:41 | ||
most, # I learned to live half-alive | 0:12:41 | 0:12:50 | |
# And now you want me one more time, # And who do you think you are? | 0:12:50 | 0:12:57 | |
# Runnin' round leaving scars # Collecting your jar of hearts. | 0:12:57 | 0:13:04 | |
# And tearing love apart # You're gonna catch a cold. | 0:13:04 | 0:13:10 | |
# from the ice inside your soul # don't come back for me, | 0:13:10 | 0:13:18 | |
# Who do you think you are? # and dear, it took so long just to | 0:13:18 | 0:13:23 | |
feel alright, # Remember how to put back the | 0:13:23 | 0:13:28 | |
light in my eyes # I wish I had missed the first | 0:13:28 | 0:13:34 | |
time that we kissed, # 'Cause you broke all your | 0:13:34 | 0:13:40 | |
promises. # and now you're back | 0:13:40 | 0:13:49 | |
# you don't get to get me back. # And Who do you think you are? | 0:13:49 | 0:13:53 | |
# Runnin' 'round leaving scars # Collecting your jar of hearts, | 0:13:53 | 0:13:59 | |
# And tearing love apart # You're gonna catch a cold, | 0:13:59 | 0:14:07 | |
# From the ice inside your soul # don't come back for me, | 0:14:07 | 0:14:13 | |
# Don't come back at all # And who do you think you are? | 0:14:13 | 0:14:19 | |
# Runnin' 'round leaving scars # collecting your jar of hearts, | 0:14:19 | 0:14:25 | |
# tearing love apart # You're gonna catch a cold, | 0:14:25 | 0:14:31 | |
# From the ice inside your soul # Don't come back for me, | 0:14:31 | 0:14:41 | |
0:14:41 | 0:14:43 | ||
# Don't come back at all # Who do you think you are? | 0:14:43 | 0:14:53 | |
0:14:53 | 0:14:54 | ||
CHEERING AND APPLAUSE Absolute lay maizing. Beautiful dancing from | 0:14:54 | 0:14:59 | |
Robin and Kristina. Now we welcome the judges! Thank sow much for | 0:14:59 | 0:15:02 | |
coming up here. This is when we look at the dances in detail. I've | 0:15:02 | 0:15:07 | |
said it before, we can't do it alone. We need the help from... | 0:15:07 | 0:15:14 | |
Len's Lens. Yes! Look at those lovely close-ups. | 0:15:14 | 0:15:18 | |
Thank you again for coming up. The first thing I've got, a small gift | 0:15:18 | 0:15:22 | |
to us all. It's not just about dance. It's also about singing this | 0:15:22 | 0:15:25 | |
competition. We had Audley's microphone up. Have a listen to | 0:15:25 | 0:15:35 | |
0:15:35 | 0:15:43 | ||
this. # Woo-hoo # | 0:15:43 | 0:15:47 | |
It's lovely. He was in the mood. Len, I'm going to ask you about | 0:15:47 | 0:15:54 | |
Jason and Kristina. I know you like getting specific. You used the F | 0:15:54 | 0:15:59 | |
Word, the fleckerl. Was it perfect? No. What do you mean? It wasn't | 0:15:59 | 0:16:03 | |
perfect. It's lovely. He's too high on his balls unfortunately. Having | 0:16:03 | 0:16:09 | |
said that, it's a tricky thing. You have to do two in front, one behind. | 0:16:09 | 0:16:14 | |
There he goes, two in front, look out and one behind. That is the | 0:16:14 | 0:16:17 | |
fleckerl. It can go to the right which is the natural and it can go | 0:16:17 | 0:16:22 | |
to the left which is the reverse. If I see that step, I always like | 0:16:22 | 0:16:26 | |
it. Because a lot just do a thing called a standing spin, when you | 0:16:26 | 0:16:34 | |
just run, run, run. That was the fleckerl. Good on him. Old Jason | 0:16:34 | 0:16:40 | |
done a bunk beautiful. I'd like to talk about Chelsee and Paddy | 0:16:40 | 0:16:48 | |
Ashdown ya. You gave them a ten. -- -- Chelsee and Pasha. You gave them | 0:16:48 | 0:16:53 | |
a ten. Look at how beautiful she is. It's one of the most difficult | 0:16:53 | 0:16:57 | |
dances to do. She make it's look effortless. I don't think she's | 0:16:57 | 0:17:00 | |
training as much as everybody else. She's been working as well. That | 0:17:00 | 0:17:05 | |
shows how incredible she is. Can you imagine how amazing she'll be | 0:17:05 | 0:17:10 | |
when she puts more hours in. This girl is stunning. Yes, everybody | 0:17:10 | 0:17:15 | |
agrees. What's so sweet, she really thinks | 0:17:15 | 0:17:18 | |
she's quite bad. She's humble. She doesn't realise how good she is. | 0:17:18 | 0:17:26 | |
Craig, can I talk about Alex and James. I fell you were pernikety | 0:17:26 | 0:17:31 | |
about their kicks. When you watch this back, you'll change your mind. | 0:17:31 | 0:17:38 | |
Look, turn, here we go. Her feet aren't exactly apart or together | 0:17:38 | 0:17:44 | |
here. The timing is out. The floppy foot is ghastly. This isn't going | 0:17:44 | 0:17:49 | |
like I thought it would. No. It's showing every single flaw. The | 0:17:49 | 0:17:54 | |
reason I said if she pointed her toes that would land the line of | 0:17:54 | 0:18:00 | |
that particular kick and flick. wonder if that's the style. I think | 0:18:00 | 0:18:07 | |
it was lindy hop, kind of. still either choose to fleck or -- | 0:18:07 | 0:18:11 | |
flex or point. Not in between. had a lovely bounce. And the energy | 0:18:11 | 0:18:16 | |
was great. The timing was good. Bruno, I have almost my favourite | 0:18:16 | 0:18:20 | |
clip ever of you. Anita had just danced. You were struck by the | 0:18:20 | 0:18:25 | |
passion. She was into it. This is a clip of you. | 0:18:25 | 0:18:35 | |
0:18:35 | 0:18:40 | ||
What am I doing. Wait. Look! You little tiger. | 0:18:40 | 0:18:44 | |
I think regardless of the role of the judge, if somebody puts so much | 0:18:45 | 0:18:50 | |
into their performance, I just respond to it. What she did was so | 0:18:50 | 0:18:54 | |
into character. She was going for it. I love it and appreciate that. | 0:18:54 | 0:18:59 | |
It gets me going. I couldn't be more delighted. We've got slow | 0:18:59 | 0:19:04 | |
motion of Anita and Robin. I totally agree. Look at her face. | 0:19:04 | 0:19:10 | |
Look! She's into it. She knows what she wants. Yes. She's not going to | 0:19:10 | 0:19:14 | |
give it away easily. She is in charge. She did it great. The thing | 0:19:14 | 0:19:18 | |
about Anita, she's always get the characters right. She always knows | 0:19:18 | 0:19:22 | |
how to play it, not just how to dance it. It is great to see. | 0:19:22 | 0:19:27 | |
I want to compare that, that was real intensity with Harry's | 0:19:27 | 0:19:30 | |
intensity. Which you thought was wrong. Mr, I've just been on | 0:19:30 | 0:19:38 | |
holiday. No, no, don't start little winkle person. You're not correct. | 0:19:38 | 0:19:44 | |
You're going to eat those words. Have a look. It doesn't get more | 0:19:44 | 0:19:51 | |
intense than that. Go for it Harry. What are you on about. You have | 0:19:51 | 0:19:57 | |
just said to Claudia, you have said Anita full of passion. So is he! | 0:19:57 | 0:20:01 | |
Give us a break. The man play it's different than the woman. He's | 0:20:01 | 0:20:07 | |
there. Look he's like a rampant little stallion. No, he isn't. | 0:20:07 | 0:20:12 | |
There was no intensity. Yes there is! It's there. It's blatant. | 0:20:12 | 0:20:17 | |
Let Len have his say. Let me just say this, I gave one an eight and | 0:20:17 | 0:20:22 | |
one a nine. It wasn't exactly one was terrible and one was brilliant. | 0:20:22 | 0:20:26 | |
This is the thing what people don't understand with dancing. It's like | 0:20:26 | 0:20:31 | |
eating brufl sprouts. I like a brusel. Somebody else doesn't like | 0:20:31 | 0:20:35 | |
one. They might like carrots. doesn't mean they're wrong and I'm | 0:20:35 | 0:20:40 | |
right, it's taste. It's not an exact science. For me Anita's had | 0:20:40 | 0:20:44 | |
more intensity than Harry's. It's not a big deal, is it? No. There | 0:20:44 | 0:20:50 | |
you are. Oh, dear. This is going to bond us | 0:20:50 | 0:20:55 | |
all. It's a fabulous moment. We always have to show him, the Grant. | 0:20:55 | 0:21:05 | |
0:21:05 | 0:21:06 | ||
This is the best clip. Here we go. Off he goes! He's off! Like a | 0:21:06 | 0:21:10 | |
golden glitterball spinning around for his life. Isn't that absolutely | 0:21:10 | 0:21:11 | |
brilliant. Thank you very much judges! | 0:21:11 | 0:21:16 | |
APPLAUSE Now, four couples have bagsied | 0:21:16 | 0:21:20 | |
their seats on the Wembley bus so far. Who will be joining them? Over | 0:21:20 | 0:21:24 | |
to you Tess. Thank you. Four couples left, but | 0:21:24 | 0:21:32 | |
who's safe and who's in danger? It's time to find ou. -- out. | 0:21:32 | 0:21:41 | |
In no particular order safely through to Wembley are... Harry and | 0:21:41 | 0:21:51 | |
0:21:51 | 0:22:01 | ||
Aliona! Also safe are... Russell and | 0:22:01 | 0:22:06 | |
Flavia! APPLAUSE | 0:22:06 | 0:22:16 | |
0:22:16 | 0:22:17 | ||
Oh, wow! Thank you. That means Alex and James and Anita | 0:22:17 | 0:22:24 | |
and Robin, one of you is safe, one of you is in the bottom two. I can | 0:22:24 | 0:22:33 | |
reveal that the couple in the bottom two tonight is... Anita and | 0:22:33 | 0:22:40 | |
Robin. So Alex and James, congratulations, | 0:22:40 | 0:22:48 | |
you're through to Wembley. Bruno, you gave Anita and Robin a | 0:22:48 | 0:22:52 | |
nine on Saturday night. How disappointed are you? I am stunned, | 0:22:52 | 0:22:55 | |
shocked and appalled. Actually, she always, apart from the dancing, | 0:22:55 | 0:23:00 | |
that was very, very good, she performed a very, very good | 0:23:00 | 0:23:06 | |
Argentine tango. Her performance is not just Saturday, but every week, | 0:23:06 | 0:23:10 | |
being so focused. She's so professional. She gets the | 0:23:10 | 0:23:13 | |
characters right. She's a pleasure to watch. So I really do not | 0:23:13 | 0:23:17 | |
understand how she could be in this position. I don't understand. | 0:23:17 | 0:23:22 | |
of people agree with you. Don't blame the judges. | 0:23:22 | 0:23:26 | |
Craig next week we're live from Wembley. That's a lot of pressure | 0:23:26 | 0:23:29 | |
performing for 6,000 people. What do our dancers have to choreograph | 0:23:29 | 0:23:34 | |
in their routines? Because it's a much larger space, one has to be a | 0:23:34 | 0:23:38 | |
little bit more theatrical. You have to have broader brush strokes | 0:23:38 | 0:23:43 | |
with all the work. It's got to be dramatic and of course, mostly, | 0:23:43 | 0:23:48 | |
you've got to be entertaining. When it's a lot of people, 6,000, that's | 0:23:48 | 0:23:51 | |
enormous compared to our studios here. Even bigger and better. | 0:23:51 | 0:23:56 | |
going to be a shock to everybody. Thank you judges. | 0:23:56 | 0:23:59 | |
Now it's Remembrance Sunday today. To mark the occasion, Vincent and | 0:23:59 | 0:24:08 | |
Flavia went to this year's Silence in the Square. | 0:24:08 | 0:24:14 | |
Today's the 11th of November. We're here for Silence in the Square. | 0:24:14 | 0:24:23 | |
feel proud to have been asked to be part of this amazing day. Watching | 0:24:23 | 0:24:28 | |
Flavia and Vincent just takes you back to the days when you used to | 0:24:28 | 0:24:33 | |
be thrown around the dance floor. It just fitted the occasion | 0:24:33 | 0:24:37 | |
beautifully. Everyone here is quite moved by it, actually. You made my | 0:24:37 | 0:24:44 | |
day. We were amazed how many people made an effort to be here. The | 0:24:44 | 0:24:49 | |
square was jam packed. It was absolutely wonderful, a lot of lads | 0:24:49 | 0:24:52 | |
that didn't come back would be very grateful I'm sure. It's been quite | 0:24:52 | 0:25:02 | |
0:25:02 | 0:25:05 | ||
APPLAUSE Now performing We'll Meet Again and | 0:25:05 | 0:25:15 | |
0:25:15 | 0:25:15 | ||
Apology for the loss of subtitles for 126 seconds | 0:25:15 | 0:28:03 | |
joined by Anton and Erin, welcome CHEERING AND APPLAUSE Absolutely | 0:28:03 | 0:28:10 | |
brilliant. Audley, this is the fourth time we've had this chat. | 0:28:10 | 0:28:16 | |
Are you confident that you could get through again? I think, it's | 0:28:16 | 0:28:21 | |
been fourth time now, and you know, I'm dancing as best as I can. | 0:28:21 | 0:28:26 | |
Really, I mean, I don't want to go against Anita. I feel really bad | 0:28:26 | 0:28:30 | |
that Anita is here. She danced great. She deserves to go through. | 0:28:30 | 0:28:34 | |
No way. APPLAUSE | 0:28:34 | 0:28:41 | |
You are all, there is such a sense of camraderie. How shocked are you | 0:28:41 | 0:28:45 | |
Anita? From being our best score and getting two nines. I was quite | 0:28:45 | 0:28:48 | |
euphoric and suddenly, you're in the bottom two. Yes, of course, | 0:28:48 | 0:28:52 | |
it's a shock, yes. How sad would you be not to make it to Wembley | 0:28:52 | 0:28:56 | |
and leave Strictly? It's been devastated to leave the show, but | 0:28:56 | 0:29:02 | |
if people think it's time I went, then that's what I have to do. | 0:29:02 | 0:29:06 | |
All right. Cuddle her. Audley or aneat are about to be | 0:29:06 | 0:29:11 | |
knocked out of the competition. Here's what we'll miss. | 0:29:11 | 0:29:17 | |
Here I am again, twinkly lights above my head, looking at | 0:29:17 | 0:29:20 | |
elimination. Next week is Wembley and I do not want to go home before | 0:29:20 | 0:29:25 | |
then. I've boxed here six or seven times. I had my professional debut | 0:29:25 | 0:29:29 | |
at Wembley Arena. The opportunity to go back there and dance in front | 0:29:29 | 0:29:35 | |
of 6,000 people, I would love to do that. | 0:29:35 | 0:29:40 | |
Dancing live on Strictly is nervewracking, exciting, scary, | 0:29:40 | 0:29:44 | |
wonderful. The more I do it, the more I love it. I've done a lot of | 0:29:44 | 0:29:49 | |
wonderful things in my career, but this is unlike anything I've ever | 0:29:49 | 0:29:52 | |
done. But the best thing has to be dancing with Robin. | 0:29:53 | 0:29:57 | |
If I stay in the competition, I'm just going to do my best to let | 0:29:57 | 0:30:07 | |
0:30:07 | 0:30:10 | ||
people share a little with me the Audley and Natalie, and Anita and | 0:30:10 | 0:30:14 | |
Robin, one of you is about to leave the competition for good. | 0:30:14 | 0:30:24 | |
It's the moment of truth. Audley, Len said the only way you're going | 0:30:24 | 0:30:34 | |
0:30:34 | 0:30:34 | ||
to Wembley is on the Jubilee Line. Anita, Bruno described you as a | 0:30:34 | 0:30:41 | |
sexy mama queen of drama. But did the public agree? I can now reveal | 0:30:41 | 0:30:51 | |
0:30:51 | 0:30:54 | ||
the couple leaving Strictly Come Dancing tonight is... Audley and | 0:30:54 | 0:31:04 | |
0:31:04 | 0:31:04 | ||
Natalie. Congratulations Anita and Robin. | 0:31:04 | 0:31:14 | |
0:31:14 | 0:31:19 | ||
Audley and that thely please come and join me. | 0:31:19 | 0:31:25 | |
-- Audley and Natalie, please come and join me. Come on over, my | 0:31:25 | 0:31:25 | |
darling. CHEERING | 0:31:25 | 0:31:31 | |
You have been such a great sport throughout this competition. That | 0:31:31 | 0:31:36 | |
smile has never left your face. What's been your highlight? There's | 0:31:36 | 0:31:40 | |
been many. It's been a lot of fun. I've really enjoyed myself. The | 0:31:40 | 0:31:44 | |
first week I think I was 100 to one to go out the first week. All those | 0:31:44 | 0:31:51 | |
people who lost money on me, hopefully they got their money back | 0:31:51 | 0:31:58 | |
supporting me now. Natalie, anything you'd like to say? | 0:31:58 | 0:32:01 | |
excited we got this far. Thank you to the people at home who voted for | 0:32:01 | 0:32:07 | |
us and kept us in. It's been fun, but I've got to run. | 0:32:07 | 0:32:14 | |
He's always got the rime. -- rhyme. Thank you so much. If you'd like to | 0:32:14 | 0:32:21 | |
take your place, Audley and Natalie, ladies and gentleman. The big man, | 0:32:21 | 0:32:27 | |
I know, bid him farewell. Audley and Natalie join Zoe on Monday, It | 0:32:27 | 0:32:34 | |
Takes Two, 6.30pm, BBC Two. For all the back stage gossip go to | 0:32:34 | 0:32:39 | |
bbc.co.uk/Strictly. Also follow us on Twitter. Next week is the | 0:32:39 | 0:32:45 |