:00:08. > :00:14.Hello and welcome to Tuesday's It Takes Two. What a show tonight,
:00:15. > :00:19.fresh from celebrating his first 8 since 1972, Anton and Fiona are
:00:20. > :00:27.here. They waltzed their way to their best score yet on Saturday.
:00:28. > :00:35.Mark and Iveta join us. Karen is here to cast her eye on the
:00:36. > :00:38.weekend's chory and she won't -- the weekend's choreography and she won't
:00:39. > :01:25.hold back. This is It Takes Two! From London, this is Strictly: It
:01:26. > :01:31.Takes Two. Please welcome your host, Zoe Ball.
:01:32. > :01:38.Hello. Welcome to It Takes Two. So with a score breaking into the 30s,
:01:39. > :01:43.Saturday was a momentous day for Anton Du Beke. And he was finally
:01:44. > :01:54.able to lay the ghosts of scores to rest. Here is a reminder of their
:01:55. > :02:04.brilliant quickstep. Fiona finally putting on the glitz. High spirit in
:02:05. > :02:12.High Society. Finally, Fabulous Fiona! You are light on your feet.
:02:13. > :02:18.Keep your focus, your best dance. More confidence, plus more focus,
:02:19. > :02:28.plus more content equals more points. Well done.
:02:29. > :02:43.Oh my gosh! We have gone through 30. 30. Wow. Best marks. Best dance. And
:02:44. > :02:52.a standing ovation. Absolutely thrilled. Please welcome Fiona and
:02:53. > :02:57.Anton. Thank you. He hasn't come down yet. Please let it be Saturday
:02:58. > :03:02.again! You want to relive the whole thing. Universal praise from the
:03:03. > :03:08.judges on Saturday. You must have been delighted. More than delighted.
:03:09. > :03:15.I was so relieved. I really felt like I had my three-minute warning
:03:16. > :03:20.the week before. I was really, really delighted. Not as delighted
:03:21. > :03:27.as Anton. You can't wipe the smile off your face. Darcey said Fiona was
:03:28. > :03:31.finally fabulous. Why do you think the quickstep played to her
:03:32. > :03:37.strengths or is it all in the teaching? Of course it's the
:03:38. > :03:43.teaching! What we found - use a word Craig likes to use, a narrative. It
:03:44. > :03:49.wasn't just A equals B through the steps. We needed more, to hook it on
:03:50. > :03:55.something. We found a story. We had something running through the dance.
:03:56. > :03:59.I think that was a winner for Fiona and the way Fiona thinks and
:04:00. > :04:03.performs perhaps. Sometimes you fumble upon these things. We found
:04:04. > :04:08.this on Saturday. I thought it worked well. They mentioned the lack
:04:09. > :04:11.of connection. I was desperate to introduce that connection. We had
:04:12. > :04:16.the humour in there. Which was lovely. It gives you a point and you
:04:17. > :04:21.think we do this bit and that bit and it flows. Great trick. We know
:04:22. > :04:24.there has been the odd fluff here and there in your performances.
:04:25. > :04:28.Bruno said there might have been one on Saturday, we didn't notice. Do
:04:29. > :04:35.you think you are conquering those nerves? You must be relieved to have
:04:36. > :04:39.a good one under your belt? It's not just about conquering nerves, it was
:04:40. > :04:44.about focussing and learning if I did make a mistake not to let it
:04:45. > :04:48.worry me, which is to push through, which is Anton's phrase. Don't let
:04:49. > :04:53.them notice. That's what I have been learning We will adopt that mantra
:04:54. > :04:58.for life, I think. Push through! Push through. You did joke it was
:04:59. > :05:03.your first 8 since 1972. We dug in the archives and have gone back. It
:05:04. > :05:11.obviously wasn't that far back. Leila in 2009. Remember it well.
:05:12. > :05:15.2009! That's a lifetime ago. Is this shaping up to be a vintage year for
:05:16. > :05:20.you? It's lovely that you should ask, it's becoming - it's already a
:05:21. > :05:26.vintage year. It's been remarkable. Fiona is a gem. And wonderful to
:05:27. > :05:29.work with in the studio. With Saturday night gone we found a
:05:30. > :05:35.little something and we can build on that. You never know. We could crack
:05:36. > :05:40.on a bit further. I know. Fingers crossed. It was a vintage year.
:05:41. > :05:43.Anton may be receiving his highest scores for years but it seems the
:05:44. > :05:49.hard graft is getting to him a little! Can we bring in the crash
:05:50. > :05:56.mat, please. I feel a funny turn coming on. It's Anton's 11th series.
:05:57. > :06:08.There's an element of the stir crazy. I feel quite calm, I feel
:06:09. > :06:19.quite calm, I feel quite calm. Lemon tart! Top line, top line, top
:06:20. > :06:34.line. Top line! Oh! Tingle, tingle. Pigeon. Duck.
:06:35. > :06:44.Lovely. Just remind me again, who am I? Barmy du Beke. I might take that
:06:45. > :06:49.home if I am feeling sad. She understands every word. I am with
:06:50. > :06:54.you, pigeon and duck. This week it's Hallowe'en. What dance are you
:06:55. > :06:59.doing? The Charleston. I am loving it. What are you loving about it?
:07:00. > :07:03.It's so fun. It's fast and it's furious. It's whacky and mad and we
:07:04. > :07:08.can have humour, so it's a bit like last week. I can get into the role.
:07:09. > :07:14.I am loving it. It's really fun. Music to your ears. Sophie set the
:07:15. > :07:20.bar high, sort of flipping over the top. That was spectacular. Will you
:07:21. > :07:26.be attempting any stunts? There are hundreds in it. Oh, many, many.
:07:27. > :07:33.Dozens. I am doing all sorts of flips. Trampolines involved.
:07:34. > :07:39.Backward flip. Just you wait, Zoe. It's going to be awesome. I can't
:07:40. > :07:46.wait. Good luck with the Charleston on Saturday. Fiona and Anton! With
:07:47. > :07:49.five weeks of competition under their belts are celebrities now
:07:50. > :07:52.taking their performance to the next level? Here to offer her expert
:07:53. > :08:12.opinion is Karen Hardy. Welcome back, Karen Hardy! We love
:08:13. > :08:16.doing that. We need to do a routine to that. Everyone can join in at
:08:17. > :08:22.home. Let's crack on within the Latin number -- on with the Latin
:08:23. > :08:25.numbers. Patrick and Anya, due to the injury they had to
:08:26. > :08:30.rechoreograph. How difficult would it have been for him to face changes
:08:31. > :08:35.and cope with his injured arm? I think really hard. This is down to
:08:36. > :08:40.absolute teamwork. First of all, trying to make it work but what we
:08:41. > :08:43.saw here is the stress for our new professional wanting to prove
:08:44. > :08:48.herself with a celebrity. Once you have one hand leading and new
:08:49. > :08:54.choreography, if anything goes wrong which we do see, there is nothing
:08:55. > :08:58.she can do. She's at a loss there. What I absolutely love is the
:08:59. > :09:04.teamwork between these two. I must say the fight that came back in that
:09:05. > :09:09.dance-off. He fought harder in the dance-off. Fabulous. Sophie and
:09:10. > :09:12.Brendan and the cha-cha-cha divided judges. Darcey and Bruno were saying
:09:13. > :09:17.it's difficult to do a cha-cha when you have long legs. Is this true?
:09:18. > :09:22.For the record, what a load of rubbish. If you have long legs and
:09:23. > :09:27.you put a mini skirt on, maybe your legs are exposed. She has gorgeous
:09:28. > :09:31.legs. She had a perfectly cut dress. Absolutely stunning. What she's got
:09:32. > :09:36.to do, she's got to start using them. I talked about her needing to
:09:37. > :09:42.be more assertive and look here, it's a little bit casual again. She
:09:43. > :09:46.needs to make those actions with almost aggression. Making a
:09:47. > :09:50.statement. Every movement she makes a statement must be applied with it.
:09:51. > :10:01.A little bit more energy required in the Latin. She can do that, I think.
:10:02. > :10:06.Natalie and Artem and the samba. Craig got a little picky, she needs
:10:07. > :10:12.to heighten her double bounce action, what does that mean? That
:10:13. > :10:20.means I have to get up again! Like the skirt. Double bounce action is
:10:21. > :10:25.really hard. If we look at a step Natalie does. It's three steps that
:10:26. > :10:34.go one, two, three. But when we dance it we have to go up, down, up,
:10:35. > :10:40.down. We have to get a double bounce.
:10:41. > :10:48.The thing is for me things like a double bounce, the professionals
:10:49. > :10:52.have not time to teach that. I am looking for chory on the show that -
:10:53. > :10:56.choreography that we have never seen before on Strictly and I want to see
:10:57. > :11:02.judges demanding more exciting choreography from this girl. I think
:11:03. > :11:07.she can bring a lot more. That's a big statement. She will get it.
:11:08. > :11:10.Ashley and Ola and the jive. Len loved the speed and energy. He did
:11:11. > :11:15.feel Ashley lost technique a bit. Where do you think this was? There
:11:16. > :11:26.was a timing error I have here. It might have put off the technique a
:11:27. > :11:31.little bit. What's brilliant is Ola has put chassises everywhere. That's
:11:32. > :11:37.clever. To the audience and judges, wow, big marks. Technical steps.
:11:38. > :11:43.Three steps that go side, together, side. Very, very simple. But you put
:11:44. > :11:50.them everywhere in a jive it will look fast, snappy, and great. You
:11:51. > :11:54.cannot put outdoor shoes in a top-class dance competition. Must be
:11:55. > :12:08.dance shoes. As you can see, it affected the movement. Because of
:12:09. > :12:15.the pointy toes. Rachel and Pasha and the paso Doble. We need to see
:12:16. > :12:20.her vision coming out through her body. She's working really hard. The
:12:21. > :12:26.body doesn't move at all. It's left rigid. When we dance our voice or
:12:27. > :12:33.the story we are trying to depict is portrayed through our body movement.
:12:34. > :12:38.Can I borrow you for a second? Borrow away. If we kept our bodies
:12:39. > :12:46.rigid and I put my hand out. The message we are portraying here is
:12:47. > :12:52.formal. But what we want in a paso is warmth and... Hello! Exactly.
:12:53. > :12:57.There's got to be movement within the body. If you say the word
:12:58. > :13:01.aggression, that comes through the body, so it goes rigid. We need
:13:02. > :13:07.passion, movement, all those yummy words. She can be amazing. She can
:13:08. > :13:12.turn this around. Very simple changes. Dave and Karen and the
:13:13. > :13:15.salsa. A bit of a battering from the judges. Bruno said it was an
:13:16. > :13:19.achievement to be out of time all the way through which seemed harsh.
:13:20. > :13:22.What is Dave getting wrong, if anything? He is going to be out of
:13:23. > :13:29.time because he is not dancing. We are not even getting basic steps.
:13:30. > :13:40.Look, slow-mo. How can you... Even my grandmother can do this! Who
:13:41. > :13:44.cannot do the da-da-ha! We get that with some celebrities, in the
:13:45. > :13:48.training rooms it's fine but put them on a live performance night
:13:49. > :13:52.with all the costume and make-up it could go wrong. What we are seeing
:13:53. > :13:55.here is they're doing homework but when it comes to delivering on the
:13:56. > :13:59.night the nerves potentially are kicking in. Timing is going wrong.
:14:00. > :14:05.Steps not being delivered. We love him, though. We do. And we love you.
:14:06. > :14:11.Will you talk about ballroom in a minute? Absolutely. So, week after
:14:12. > :14:14.week Mark and Iveta have had the audience on their feet. On Saturday
:14:15. > :14:25.the waltz wowed the judges, too, receiving their highest scores to
:14:26. > :14:28.date. Here is what happened. What I love, you come out with this lovely
:14:29. > :14:35.naturalness about you which is terrific. Everything you do is
:14:36. > :14:40.always effective because it's so deeply felt. It's extremely well
:14:41. > :14:44.played. I thought you danced it simply, effectively, and with
:14:45. > :14:55.feeling and emotion. That was just beautiful to see.
:14:56. > :15:11.Yeah! He was nice to me. They gave us a 7, can you believe that? We
:15:12. > :15:17.finally like Craig. Yes. Craig's on side. It can only get better. Please
:15:18. > :15:21.welcome Mark and Iveta. Congratulations on a stunning
:15:22. > :15:27.performance on Saturday. It was so tender. Ismay from Belfast has said:
:15:28. > :15:32.I was in tears, never in all the years of watching have I found a
:15:33. > :15:35.routine so touching. No way, that's lovely. That's the effect your
:15:36. > :15:39.dancing is having on people. How special did it feel for you? It was
:15:40. > :15:43.brilliant. Obviously after the week before I was nervous because we just
:15:44. > :15:48.stripped everything back and were going to just dance. We were
:15:49. > :15:54.nervous. It was lovely. I really enjoyed doing it. I am reliving it
:15:55. > :15:58.now. After the bashing from Craig the week before was it important to
:15:59. > :16:02.you to impress him and could you ever have imagined that he would
:16:03. > :16:08.come out with the term "just beautiful"? It was amazing. A real
:16:09. > :16:12.shock. I was hoping because I had been working and worked on things he
:16:13. > :16:17.was talking about. It was a - it's so rewarding when you get comments
:16:18. > :16:25.like that and you think he noticed the work. How important was it after
:16:26. > :16:29.the MC Hammer fun-fest of the week before to strip it back and do
:16:30. > :16:34.something beautiful like that? I wanted to show versatility of Mark,
:16:35. > :16:40.and his ability is not just to be funny, he can be serious, he can
:16:41. > :16:46.dance. He can show technique. He doesn't need props. I wanted people
:16:47. > :16:51.to see that he can just dance and look beautiful and be good. On the
:16:52. > :16:57.Friday panel on Friday one of our guests mentioned that it wasn't the
:16:58. > :17:01.band playing MC Hammer, it was the proper track. But it was our band
:17:02. > :17:05.playing. They are that good. Well done Dave Arch and Tommy singing and
:17:06. > :17:10.Trevor and the gang. See they're that good. Back to the waltz now.
:17:11. > :17:14.High phrase from -- praise from Len who said you have a naturalness to
:17:15. > :17:20.your dancing. Has it surprised you how well you are performing? It
:17:21. > :17:24.really has. In your mind you think I am going to do that and actually
:17:25. > :17:28.when you are dancing, when you get up there it's really difficult
:17:29. > :17:32.sometimes to be emotional because you think I am going to get
:17:33. > :17:36.embarrassed and can't do this. When you jump in and do it it's brilliant
:17:37. > :17:40.because you think I have done it. At the end I was like, I did it! It's
:17:41. > :17:44.brilliant. The other thing is you are not just a natural dancer. Oh
:17:45. > :17:51.no! But also a natural singer. So much so that we think you are giving
:17:52. > :17:59.Iveta a run for her money. From the people who brought you Iveta's
:18:00. > :18:04.Greatest Hits comes a highly anticipated album from Mark,
:18:05. > :18:13.featuring your favourite songs... # I am going to smile... That's a nice
:18:14. > :18:25.voice! # To rule my kingdom, you must use fire # I don't know the
:18:26. > :18:32.rest. # You didn't know I could sing Lithuanian. Including a new duet
:18:33. > :18:38.with Iveta herself. # It's too late to apologise
:18:39. > :18:46.# It's too late Thankfully this album is not
:18:47. > :18:55.available to buy anywhere. It's too funny! I apologise if your dog is
:18:56. > :19:12.barking right now. Back to the Latin and it's a paso for you. How are you
:19:13. > :19:16.feeling about being that? Great, we are enjoying it. Is this going to be
:19:17. > :19:21.good for him? Well, he is feeling it. Now we have to make sure he is
:19:22. > :19:27.doing it. OK. We are not worried about technique at the moment. As
:19:28. > :19:30.long as you are feeling it. We have seen both comedy performances from
:19:31. > :19:37.you and heartfelt performances. Where will this in Hallowe'en walk
:19:38. > :19:44.fall -- week fall in those categories? I am curious myself.
:19:45. > :19:49.Probably more on the comedic. As usual, Iveta will do the steps all
:19:50. > :19:54.proper and I will try and squeeze something in there if she let's me.
:19:55. > :19:59.Will you let him squeeze in one of his own moves? We will see. I love
:20:00. > :20:11.it when she does that. If it's not one of those! We will see! Good luck
:20:12. > :20:14.this weekend. Last week saw Lisa Riley complete her work experience
:20:15. > :20:18.placement in Strictly's lighting department. As she didn't plunge the
:20:19. > :20:22.entire studio into darkness she was invited back again at the weekend.
:20:23. > :20:27.Here's how she got on as Strictly's new floor manager. I am back doing
:20:28. > :20:31.my work experience bit which means that I am the floor management
:20:32. > :20:38.team's newest recruit. I can shake my booty on the dance floor, but can
:20:39. > :20:41.I run one? The floor manager on Strictly is Alan. He has been
:20:42. > :20:47.running the floor for seven years but he is about to face his biggest
:20:48. > :20:51.challenge yet. Me! I found him. Yes, I really have. The head floor
:20:52. > :20:57.manager here on Strictly, explain what you do, Alan. I look after
:20:58. > :21:01.everything that happens here. The director will tell me what to do.
:21:02. > :21:09.It's a busy day. A lot to get through. We need to make sure we are
:21:10. > :21:17.on schedule. I have three FMs who will be showing you the ropes,
:21:18. > :21:25.they're like Charlie's Angels. You are going to need these. Pop those
:21:26. > :21:31.on. They're for you. Love it. A Madonna mic! Rachel and Pasha to the
:21:32. > :21:39.floor, please. I feel like I am working on a plane! We need to marks
:21:40. > :21:49.on the floor. They need a starting mark. There we go. There you go,
:21:50. > :21:56.Rachel. Enjoy. Good job. In the rehearsal they use cut-outs. I am
:21:57. > :22:00.going to leave Patrick there, lie down. He is in Casualty after all.
:22:01. > :22:04.This may seem crazy, but it's important for getting the lighting
:22:05. > :22:08.right. Right, don't fall over. The boys must be across everything at
:22:09. > :22:16.all times to try and avoid any delays. After all, the live show
:22:17. > :22:20.will wait for no one. Everyone to the stairs. Shout it Top of the
:22:21. > :22:27.stairs, please, quick as you can, no pressure! Get your frock on and
:22:28. > :22:33.lipstick! They're still shouting at me. I am going to get in bother. How
:22:34. > :22:37.are you getting on with Len? I am on it. I am outside his room. Hi, Len,
:22:38. > :22:45.please, we are ready for you. Ready for the live show? Come on. Off you
:22:46. > :22:51.go. The show is starting. Kristina, come on, please. Otherwise I am
:22:52. > :22:57.going to have to dance! It's the boys. Get in. On the stairs! Right
:22:58. > :23:03.time. He has the wrong stairs everybody. Just letting Dave know...
:23:04. > :23:10.Don't tell them it was me. I did take him up the wrong stairs. Right,
:23:11. > :23:16.I swear, that was like being on Challenge Anneka! I hope the boys
:23:17. > :23:20.are going to be proud of me. She's been efficient, on the ball. The
:23:21. > :23:29.lads better watch their back because we have a new heir. She might be
:23:30. > :23:35.stealing hur work. -- our work. And she's prettier than all three of us.
:23:36. > :23:40.Hang on, I am being called. We better do something. It's been great
:23:41. > :23:43.seeing how this massive show comes together and seeing everyone. Back
:23:44. > :23:47.to the studio. Five, four, three, two, one!
:23:48. > :23:53.She's good that Riley. Thank you very much. Earlier we looked at the
:23:54. > :24:07.Latin. Now it's about the ballroom in part two of Choreography Corner.
:24:08. > :24:13.Hello again, Karen Hardy! They love you.
:24:14. > :24:18.APPLAUSE AND CHEERING Abbey and Aljaz did a foxtrot, it
:24:19. > :24:25.was magnificent. Craig was extra picky and said that Abbey's foot
:24:26. > :24:30.sickle on the back step, what did he mean? In ballroom we are after
:24:31. > :24:34.control from the top of your head to the bottom of your toes. I thought
:24:35. > :24:38.here she was OK with her footwork but I picked up on something which I
:24:39. > :24:43.am concerned why the judges are not mentioning it yet. Can you see this
:24:44. > :24:49.big gap? Gapping is something that we want to pick up on early days. A
:24:50. > :24:53.sickle foot, that takes hours and hours of training, the Patting of
:24:54. > :24:57.the feet -- passing of the feet. Something like gapping we need to
:24:58. > :25:00.get mastered early. I am concerned it's not being brought up. I want
:25:01. > :25:04.them to hear about it, do something about it so later when they're still
:25:05. > :25:09.in the show... She has to push herself in. She's tiny, show. So
:25:10. > :25:13.slim. Partnering, ballroom dance something about the perfect harmony
:25:14. > :25:19.of the two bodies moving together. Beautiful. Poetry it is. Ben and
:25:20. > :25:23.Kristina and the quickstep. Len felt the business at the top with the
:25:24. > :25:28.couch, he felt it had gone on too long, would you agree? This is a
:25:29. > :25:31.dancing show. We want to see them dance. Look, if it takes a smack
:25:32. > :25:40.around the head with a pill low to get live -- pillow to get live into
:25:41. > :25:43.Ben, brilliant. It worked. He came alive. We saw that smile and him
:25:44. > :25:49.moving. The other thing that was interesting was the repetition of
:25:50. > :25:54.chassis. He is light, he is crisp. He can move across that floor.
:25:55. > :25:57.Potentially I would like to see more complex and complicated. I think he
:25:58. > :26:00.can do it. He is used to working as a team with a lot of difficult
:26:01. > :26:05.movements. He can do more than he is doing out there. Susanna and Kevin
:26:06. > :26:09.and the American smooth. Darcey commented that Susanna lacked a
:26:10. > :26:13.little confidence with her lifts. With a successful lift how much is
:26:14. > :26:18.confidence and how much is technique? 98% is all technique. You
:26:19. > :26:29.need to get timing together right as we see here and if you get it
:26:30. > :26:33.slightly wrong it will all go a disaster. Sometimes I - she has the
:26:34. > :26:37.opposite problem, she will throw herself into something 110% and hope
:26:38. > :26:40.it will come out the other side. You need that on the show, you need to
:26:41. > :26:44.believe in your professional and commit to the choreography.
:26:45. > :26:47.Sometimes it can look rough around the edges because she's thinking
:26:48. > :26:50.what's coming ahead rather than living the moment. If you do a lift
:26:51. > :26:54.get the timing right, get the delivery and exit the movement
:26:55. > :27:01.together before you start thinking about the next action. Fiona and
:27:02. > :27:04.Anton. The judges pleased to see an improvement. Bruno said there were a
:27:05. > :27:09.couple of mistakes in the footwork she covered well. Did you notice?
:27:10. > :27:13.There were little mistakes in there. I think it came about due to the
:27:14. > :27:17.acting. We see this several times. We have the hanky coming out and you
:27:18. > :27:22.have to stop the movement of the dance, get into this acting mode and
:27:23. > :27:27.pick the steps back up. Even there, a little error. That would catch the
:27:28. > :27:32.eye of the judges because there wouldn't be that natural progress
:27:33. > :27:37.together. There would be a hiccup. Mark and Iveta. A few comments about
:27:38. > :27:42.posture and frame. Bruno said it's hard to deliver a perfect topline
:27:43. > :27:47.with a waltz. Why is this? The waltz - what we had here a lot of simple
:27:48. > :27:54.steps, basic steps of the waltz. You are always exposing your celebrity.
:27:55. > :27:57.That said, the way that the audience are warming to him is so beautiful
:27:58. > :28:05.because he is delivering it so simple. There's no gadgets, he is
:28:06. > :28:12.literally coming out and doing that. What we saw here is something that
:28:13. > :28:16.we need to introduce to him, it's CBM, contrabody movement. What tends
:28:17. > :28:20.to happen if we are moving in a straight line it's fine. But as soon
:28:21. > :28:25.as we need to step outside partner or make a move around our partner we
:28:26. > :28:29.can't move the arm to move the partner, which is what we are seeing
:28:30. > :28:34.in encouragement of his arm movement. He has to learn contrabody
:28:35. > :28:37.movement that allows the body to turn and the feet continue in one
:28:38. > :28:41.direction. The body stays connected with the partner and the frame is
:28:42. > :28:45.not disturbed. It's just something else that we will hope to start
:28:46. > :28:49.introducing otherwise it will start looking stiff and again the arm will
:28:50. > :28:55.try to make the movement. A beautiful, graceful dance. Well
:28:56. > :29:02.done. And well done you, we will see you next week. Thank you. Thank you
:29:03. > :29:07.to all my guests. Tomorrow I will be talking to Dave and Karen and Sophie
:29:08. > :29:13.and Brendan and looking forward to Saturday's Hallowe'en spectacular
:29:14. > :29:15.with Ian Waite. See you tomorrow, good knight.