:00:00. > :00:14.Hello and welcome to Tuesday's It Takes Two. Tonight, it was a close
:00:15. > :00:21.shave for our bald Bond villain but he lives to dance another day. Mark
:00:22. > :00:25.and Iveta are here. They gave us Hollywood glamour, it's Strictly's
:00:26. > :00:31.answer to Fred and Ginger, Patrick and Anya are here. Here to give the
:00:32. > :00:34.weekend's choreography is our dance detective Karen Hardy. This is
:00:35. > :01:34.Strictly: It Takes Two. Hello and welcome to It Takes Two.
:01:35. > :01:37.It's Tuesday. Our remaining nine celebrities are breathing a Hugh
:01:38. > :01:40.sigh of relief, save in the knowledge they have one more week
:01:41. > :01:43.left in the competition. For Mark and Iveta it was almost the end of
:01:44. > :01:48.the line when they found themselves in the bottom two for the first
:01:49. > :01:53.time. Hear here next. First, here's a reminder of what happened. If only
:01:54. > :01:59.you had stroked the floor with your foot like you stroked your white
:02:00. > :02:04.pussy cat it would have been a stronger rumba. On the end of your
:02:05. > :02:07.arms are hands and it's your hands that need shaping. It's all very
:02:08. > :02:11.well to have beautiful arms which I think you achieved Georgeously, but
:02:12. > :02:20.-- gorgeously, but unfortunately there is no shaping. You tried
:02:21. > :02:26.Goldfinger, it ended up a fish finger. You are an actor and every
:02:27. > :02:38.dance you play a part. You come out with the character. I found the
:02:39. > :02:43.dance difficult all week. You can only listen to the judges and take
:02:44. > :02:50.it on board. Judges, it's time to decide. I would like to save Mark
:02:51. > :02:58.and Iveta. Mark and Iveta. Mark and Iveta. Please welcome Mark and
:02:59. > :03:02.Iveta. Can I say you were a brilliant Blofeld and the brilliant
:03:03. > :03:08.thing is you are going to Blackpool! You did have to survive the dreaded
:03:09. > :03:11.dance-off. First one for you. How was that experience and also going
:03:12. > :03:16.up against your mate, Dave? That was the worst thing. I sort of expected
:03:17. > :03:22.to be there. I deserved to be there. The dance wasn't the easiest dance
:03:23. > :03:27.and going up against Dave was the worst really. He is such a great guy
:03:28. > :03:31.and such an entertainer. Oh, like, no, of all the people. The two of
:03:32. > :03:37.you have become so close, how upset were you to say goodbye to him?
:03:38. > :03:41.Really upset. The thing is you realise it's an entertainment show.
:03:42. > :03:46.I was talking to him today on the phone and we are going to keep in
:03:47. > :03:51.touch. It's OK. He is OK, he is going to be all right. We were both
:03:52. > :04:02.laughing about it. Brilliant. I will miss him. We all miss him. Iveta,
:04:03. > :04:05.let's talk about the rumba. Len said very difficult dance. Was last week
:04:06. > :04:09.a struggle? At the beginning I thought it's going to be good for
:04:10. > :04:13.Mark because I think he can do anything. I think he can. She
:04:14. > :04:17.believes in you. It's a more difficult dance because it's slower
:04:18. > :04:21.so you have to create more actions and lines. And be in charge and be
:04:22. > :04:28.dominant. If you don't have enough it looks a bit still. I wasn't keen
:04:29. > :04:32.on the song, if I am honest. But sometimes you get given a song and
:04:33. > :04:39.you have to go with it. This is the thing. It's a romantic dance, the
:04:40. > :04:44.rumba. And that makes that quite difficult. It was a tricky one. It
:04:45. > :04:52.wasn't a funny one, wasn't a serious one. It was kind of... I didn't know
:04:53. > :04:56.where to place it really. Iveta always, always gears the
:04:57. > :05:00.choreography to me. That's the first thing she thinks about and that's
:05:01. > :05:05.why she's brilliant. She thinks of what I can do and works around that.
:05:06. > :05:13.The worst thing about Saturday was the fact that I felt like I let her
:05:14. > :05:17.down. I know, but, you know, you try 100% and because Iveta works so hard
:05:18. > :05:21.you think I want to do it and make sure she's smiling at the end. Well,
:05:22. > :05:25.you are still here and going to Blackpool. It's not all bad. We must
:05:26. > :05:31.speak about Iveta's outfit. Was that an outfit or was it sprayed on? You
:05:32. > :05:38.looked incredible. It was all sprayed on! Amazing. You look
:05:39. > :05:44.stunning tonight, as well. We are beginning to notice this signature
:05:45. > :05:53.move. We have seen it. Let's look. It is the looker-shooter leg lift.
:05:54. > :05:57.Look at that! Incredible. We have all been trying it at home and with
:05:58. > :06:02.varying degrees of success. Is it something you will ever attempt,
:06:03. > :06:05.Mark? Well, I taught her it actually. It's something I like to
:06:06. > :06:10.do. Not maybe on screen, but at home quite a lot. I can do it with both
:06:11. > :06:14.legs at the same time. OK. I don't think we could handle that. She's
:06:15. > :06:19.perfected it, you must be proud. Iveta is teaching you to dance but
:06:20. > :06:22.you are teaching her something in return. The local lingo. Take a
:06:23. > :06:27.look. I am learning the correct
:06:28. > :06:34.pronounceation. I will come back to you and I'll be speaking in a
:06:35. > :06:47.British accent. Iveta. Iveta. Well, I know how to say my name. Ivetaaa!
:06:48. > :07:04.All right? All right. All right, darling! All right, darling. Halloo!
:07:05. > :07:11.I'm going up t'pub My name is Michael cane. Who -- Caine. Who is
:07:12. > :07:18.that? Away the lads. We should start a language school. You two give us
:07:19. > :07:26.so much joy. You are going to Blackpool. It's your birthday at the
:07:27. > :07:32.weekend. We have lost him. You are doing a jive. My 21st on Saturday.
:07:33. > :07:37.Brilliant. A big birthday. It is a big one. How much fun is the jive
:07:38. > :07:44.going to be at Blackpool? It's great fun. We kind of set out yesterday to
:07:45. > :07:47.have fun and all I want to do this week is get back to what we love
:07:48. > :07:52.doing, creating something that's great fun and we can smile through
:07:53. > :07:56.it and not - do it for the people who supported us and have a great
:07:57. > :08:11.time. That's what we are going to do. Excellent. Iveta is giving me
:08:12. > :08:19.that look. No dinosaur? I asked her this weekend. Give it up for Mark
:08:20. > :08:33.and Iveta. She's a Florida-born fiery Cuban, he is a sexy Slovenian
:08:34. > :08:41.with dimples to die for. If you want to get to know more about two of our
:08:42. > :08:47.newest pros, look at this. Hello, takes takes. Welcome to our lives.
:08:48. > :09:00.Have a good day. You too. I will miss you. Miss you more. Love you.
:09:01. > :09:10.Bye. He's gone! This is our living room. And this is where we like to
:09:11. > :09:20.sit back and relax. This is my zen area.
:09:21. > :09:26.Got it! This is our shelving unit. Aljaz is
:09:27. > :09:29.obsessed with playing video games. This is all his video games,
:09:30. > :09:37.specifically soccer. Unfortunately, I don't really cook. So I don't have
:09:38. > :09:40.any cook books except for my first two from Dave and The Hairy Bikers,
:09:41. > :09:45.so thank you, Dave, very much. This is our fridge. Aljaz is obsessed
:09:46. > :09:49.with pineapple juice. He loves it. Can't live without ham. We have ham
:09:50. > :09:56.with crackers, with bread. Ham with whatever. Even ham with bananas.
:09:57. > :10:01.That remind me, I don't have more bananas. I have it with spaghetti,
:10:02. > :10:08.with soup. I ran out of bananas. I have to get some bananas. So, this
:10:09. > :10:16.is our bedroom. I am not going to show you too much of that.
:10:17. > :10:21.This is what I like to call my sentimental area. It has bits and
:10:22. > :10:28.bobs I really love. This is number one. His name is Little Ali. It was
:10:29. > :10:32.a gift given to me by Aljaz. I still have the note. I can't wait to see
:10:33. > :10:37.your beautiful face, here's a little thing to remind you of me, I love
:10:38. > :10:42.you. Aljaz doesn't know that while he is gone all day and I am here by
:10:43. > :10:56.myself just at home, I am actually quite the keen gamer.
:10:57. > :11:09.Now this is Aljaz and I's favourite part of the flat. It's the balcony
:11:10. > :11:15.because look at our view! You might be wondering why we have a
:11:16. > :11:22.low set of seats and high set. If you look at this from Janette's
:11:23. > :11:29.point of view, you see nothing. No bridge, no Eye, no Shard. If you
:11:30. > :11:35.move to the lovely bar stools now I can enjoy the coffee with a view.
:11:36. > :11:39.Right guys. Thank you for visiting, I hope you have enjoyed and learned
:11:40. > :11:49.and explored but I have serious gaming to do. So, get out! Bye, go
:11:50. > :11:56.on. See you. Thank you gorgeous, Janette. I will be round. This year
:11:57. > :12:02.there was a big fat F for choreography, that stands for fast
:12:03. > :12:05.footwork, flips and a bit of Fosse. Who brought along their A-game?
:12:06. > :12:17.Let's ask Karen. She is the diva of the dance floor,
:12:18. > :12:21.Queen of choreography, it's Karen Hardy! Hello, darling. Welcome back.
:12:22. > :12:31.What did you make of the overall choreography at the weekend? The
:12:32. > :12:36.S-word. Sensational. Bring the competition on. It was fabulous. I
:12:37. > :12:41.felt the competition has really begun now. There is a real fight.
:12:42. > :12:45.It's exciting. We are entering the 8th week. Are you still impressed by
:12:46. > :12:51.the same people at the beginning or is it changing? There is a few
:12:52. > :12:56.little changes. Always the boys start slowly and then whoosh!
:12:57. > :13:00.Patrick and Ben, keeping my eye on those two. Fantastic weekend we just
:13:01. > :13:03.had from them. It's the same when any young man learns to dance,
:13:04. > :13:07.they're nervous in the beginning but like driving that Ferrari, once
:13:08. > :13:12.they've got it, whoosh they want to show off! Let's talk about Ashley
:13:13. > :13:16.and Ola and the quickstep. Len said it's so difficult the quickstep
:13:17. > :13:20.because the top line has to be calm and feet has to work furiously
:13:21. > :13:25.underneath. How well did Ashley handle that? The dance of the swans,
:13:26. > :13:29.that's what I say. He was fantastic. Cool and calm at the top. And the
:13:30. > :13:38.feet were going like crazy. What did I love most? We all talked about -
:13:39. > :13:43.he mastered the top line. The lovely chassis and driving across that
:13:44. > :13:47.dance floor. Totally exposed to the judges. Beautiful top line
:13:48. > :13:51.maintained. Head held high. Big smile. You can see his character. I
:13:52. > :13:55.absolutely loved it. Well done, Ashley. He will be pleased that you
:13:56. > :14:02.are pleased. Susanna and Kevin and the waltz. You tweeted that you
:14:03. > :14:06.smelt a 10 and she got 9. Was she robbed and if so why? There are
:14:07. > :14:11.clearly no secrets in this world, that's all I can say. I had a little
:14:12. > :14:18.moment. I have listed exactly why this was worthy of a 10. There are
:14:19. > :14:21.eight reasons. First of all, difficult choreography. The
:14:22. > :14:27.fantastic chemistry between the two of them. The content had many
:14:28. > :14:32.difficult challenges from step to step. She's hugely improved her top
:14:33. > :14:35.line. She was wilting at the beginning. She moved well across the
:14:36. > :14:41.dance floor. Fantastic footwork. Are you still with me? Still with you.
:14:42. > :14:47.Excellent body contact. And the greatest thing of all, fast pivots
:14:48. > :14:52.that shot across the dance floor. If that's not enough, do I have to give
:14:53. > :14:58.you more reasons to give it a 10? It's a memory here, Mark and I
:14:59. > :15:07.didn't get 10s for a very long time. Could be a sign. You heard it here
:15:08. > :15:11.first. Fiona and Anton and the paso doble. Did you like it? It was
:15:12. > :15:16.interesting when she came out on to the dance floor and they finished I
:15:17. > :15:25.went, oh, this is fantastic. I loved it. We had the flap flamenco
:15:26. > :15:30.section. One thing missed out, the strength was not there because in
:15:31. > :15:36.the Latin dances we have to dance everything with our toes. Except in
:15:37. > :15:41.the paso doble. We use heel leads in the paso doble. If we use heel leads
:15:42. > :15:45.it gives a stronger more powerful image of movement across the dance
:15:46. > :15:50.floor. If you look back over how she danced everything was on toes. Even
:15:51. > :15:53.though it was animated and strong if she had put heel leads in she would
:15:54. > :15:58.have been that little bit stronger. Actually, I really loved it. Well
:15:59. > :16:02.done. Let's talk about Ben and Kristina and the jive. He is a big
:16:03. > :16:05.lad, did this go against him in this dance where you have to be light on
:16:06. > :16:12.your feet with a dance like this and could he have been lighter? As a
:16:13. > :16:16.judge and as a coach you have got to be doing trick work and looking at
:16:17. > :16:22.what's going on underneath. When I looked at this performance his feet
:16:23. > :16:25.were light and quick. He is a rugby player. They've got to be fast. I
:16:26. > :16:32.noticed the stiffness of the upper body and the arms were stuck with
:16:33. > :16:40.his legs. Dare I say, it's demo time. Thank goodness! We are taking
:16:41. > :16:47.to the dance floor. Lovely frock by the way. I have my mother's tea cosy
:16:48. > :16:49.on! Movements like the jive, when we learn first of all the arms are
:16:50. > :16:55.stiff and with the kick. What you have to do is learn to separate so
:16:56. > :17:02.we need the camera higher, there we go. Not my legs, up you go, camera.
:17:03. > :17:07.She's bossy! We need the hands moving. Light and free. You don't
:17:08. > :17:17.want everything going together. If he had done that, brilliant. He will
:17:18. > :17:21.take that on board. Sophie and Brendan and the Argentine tango, the
:17:22. > :17:25.first of the series, did it have everything you would expect? We have
:17:26. > :17:28.to look at this clip here. It's an amazing shot we have here. The use
:17:29. > :17:34.of the feet, the speed, and the height changes from down to up and
:17:35. > :17:38.into this incredible liftwork. The choreography of this was
:17:39. > :17:42.sensational. It really gave us a chance to help Sophie improve that
:17:43. > :17:47.characterisation that we are after from her. There you go. Thank you
:17:48. > :17:50.very much. Why didn't she score as highly do you think as her
:17:51. > :17:56.Charleston with this? Each dance has a different characterisation. I
:17:57. > :18:01.think that care-free cool image of the Charleston, the Flapper girl was
:18:02. > :18:06.more her style. The Argentine tango, I don't see Sophie as the lady of
:18:07. > :18:12.the night. She's too cool and calm. It's getting into character, as
:18:13. > :18:16.well, for her. But the dancing all-round, way up from last week.
:18:17. > :18:20.Mark and Iveta's rumba. Darcey said she wanted him to stroke the floor
:18:21. > :18:26.more with his foot. What does she mean? As I say to my students please
:18:27. > :18:30.clean my floor. The reason is not that I can't afford the cleaner,
:18:31. > :18:35.it's essential they learn to brush their feet on the floor across the
:18:36. > :18:39.floor without gapping, so the dust doesn't go underneath. This creates
:18:40. > :18:46.a fuller and beautiful movement on the dance floor. Shall I? You
:18:47. > :18:49.should. Let's go on to the dance floor. Right, we are going to use
:18:50. > :18:56.the steps Mark used which was the sliding door. What we need to see is
:18:57. > :19:04.that the feet stay on the floor at all times. They brush, use your
:19:05. > :19:10.knees. Clean that floor! It does need a clean actually. Even in high
:19:11. > :19:17.heeled suede boots! That's a floor well swept. Thank you very much.
:19:18. > :19:22.Abbey and Aljaz and the Charleston. Bruno said it was Bob Fosse
:19:23. > :19:27.influences, explain more. Brilliant. The classics moves from Fosse are si
:19:28. > :19:35.shuffles, rolling of the shoulders and those quirky bent in knee
:19:36. > :19:39.action. She had it all. One of the most classical things of all is you
:19:40. > :19:45.have to look sexy. She pulled the whole lot off. With the hair and the
:19:46. > :19:50.dress, the moves, I just love the entire performance. What a team.
:19:51. > :19:55.What a fightback. She was in the bottom two. Could have destroyed the
:19:56. > :20:00.two of them, but no. Came back fighting. How well did she handle
:20:01. > :20:07.the hat? I am glad you brought that up. With a prop, it's like a third
:20:08. > :20:11.partner. It did accidently fall off in the end, but I loved the use of
:20:12. > :20:16.it, the changing, the timings, it was on, it was off. Most
:20:17. > :20:19.performances start with the hat on and then throw it off to the
:20:20. > :20:23.audience. What was beautiful she danced with the hat and didn't look
:20:24. > :20:29.stressed at all. It was sensational. Well done that girl. Patrick and
:20:30. > :20:33.Anya and the American smooth. Would it have been 10 from you if it
:20:34. > :20:42.hadn't been for the incident at the end? Drum roll! It would have been a
:20:43. > :20:48.9.5. Controversy! I like that. I tell you why, just a little bit too
:20:49. > :20:53.gimmicky for me. Let me reword that, it was a sensational dance. It was
:20:54. > :20:59.incredible. But if I was going to give it a 10 I would want more
:21:00. > :21:04.dancing. That said, I have to say I love that bit of choreography on the
:21:05. > :21:08.stairs. How brilliant was that? The relationship between the two of
:21:09. > :21:14.them, the timings, the speed, the characters, the entire dance was
:21:15. > :21:30.fantastic. I loved it. As always, an absolute dream, give it up for Karen
:21:31. > :21:37.Hardy! On Saturday night Patrick and Anya took a gamble with their
:21:38. > :21:41.Vegas-themed American smooth and it paid off. Let's look at their
:21:42. > :21:50.performance. You are my movie star. Perfection. At the end you messed
:21:51. > :21:56.up! Take him to the Tower, that's the Tower Ballroom, Blackpool. You
:21:57. > :22:04.are the best male celebrity in this competition.
:22:05. > :22:13.I have no words! I quote Craig, best male... I don't think you knew how
:22:14. > :22:18.to take that. Thank you very much. It's his opinion, then I will take
:22:19. > :22:22.it. They may have been last out but they
:22:23. > :22:27.stole the show. Please welcome Patrick and Anya. Congratulations.
:22:28. > :22:32.Standout performance for you, Patrick, birthday boy. How does it
:22:33. > :22:36.feel to be top of the leader board? Incredible. Unbelievable. I could
:22:37. > :22:41.keep going. Amazing. Wonderful. Smashing. Super. You still have the
:22:42. > :22:46.sparkle in your eyes from Saturday night. Anya, you pulled out all the
:22:47. > :22:50.stops. You meant business, didn't you? I meant business. I was saying
:22:51. > :22:54.to Patrick, I am not going to hold anything back. We are going for it.
:22:55. > :23:02.We have the most amazing song. This is a - this is probably closest we
:23:03. > :23:07.can get to Gene Kelly and Fred Astaire. It was fantastic. I loved
:23:08. > :23:11.dancing to that track and doing all that smooth stuff. It's one of those
:23:12. > :23:14.moments sometimes on the show it comes together and you get that
:23:15. > :23:21.music and that outfit. Boom, off you go. Fantastic. Your face before you
:23:22. > :23:26.started dancing was incredible. You were totally zen. Were you getting
:23:27. > :23:30.into the zone? Yeah, I mean, I was in the character of, I want to dance
:23:31. > :23:34.with this woman here. She's stood there and I am going to grab her. It
:23:35. > :23:39.was all him. I did not teach him that. He can do that naturally. You
:23:40. > :23:43.are a lucky girl! Now, the judges obviously were gutted when you had
:23:44. > :23:48.the little fluff at the end. If you look at their faces here, so you are
:23:49. > :23:56.doing the dance. Oh, no! Look at Len! He is
:23:57. > :24:05.devastated. He doesn't actually move for about 20 minutes. He still
:24:06. > :24:09.hasn't moved. He is still there. This is how I felt. Is that how you
:24:10. > :24:13.were feeling a little bit? It was hard to understand what was
:24:14. > :24:18.happening. I knew that I got caught on the skirt. He was a true
:24:19. > :24:23.gentleman to be honest, he was there - I couldn't get up. At that point
:24:24. > :24:29.it's just, I don't know how I got there but you were holding me tight
:24:30. > :24:36.and I made it. It was a little flourish to finish with and I didn't
:24:37. > :24:39.know what was happening. Apart from Anya couldn't get up. I thought,
:24:40. > :24:44.well, don't worry, you are safe, it's fine. Goodness me. What means
:24:45. > :24:51.more to you after that, Craig saying you are the top male dancer or
:24:52. > :24:57.Darcey giving you a 10? Well, I can't really split them. Basically,
:24:58. > :25:01.the 10 is quite fantastic. When we think about the dance, the dance was
:25:02. > :25:07.- I loved it. I didn't think about anything. I just danced it. And
:25:08. > :25:12.loved every moment. Obviously, that little malfunction with the dress
:25:13. > :25:19.and skirt, well, we did our best. That's why Darcey gave you a 10, she
:25:20. > :25:21.thought you deserved it and dealt with that. If you make it to the
:25:22. > :25:26.finals is that a dance you would like to do again? If we make it... I
:25:27. > :25:32.would do that again, I would do it right now, I loved it! Now obviously
:25:33. > :25:36.in the studio on a Saturday night there you are, you are Fred Astaire.
:25:37. > :25:41.In the training room it's a different dance icon that you tend
:25:42. > :25:44.to... Have a look. I am such a big fan of Michael Jackson. I used to be
:25:45. > :25:53.able to do all that. # Beat it, beat it
:25:54. > :26:31.# No one wants to be defeated Fantastic. Get you and the moonwalk.
:26:32. > :26:35.This weekend you are going to the Tower Ballroom and you will be doing
:26:36. > :26:43.a samba. How is it going so far? Great, I think. Really? I think it's
:26:44. > :26:53.going great. It's like, yeah, you know, getting there. Great, I like
:26:54. > :27:00.that! He has got it. You are on the up and up. There's no stopping you.
:27:01. > :27:04.I quite like the track, it's Barry Manilow. Doing the samba? Yes.
:27:05. > :27:11.Extraordinary. It's going to be incredible. Exactly. Anything about
:27:12. > :27:16.the samba that worries you at all? Speed. That it's not as slow as I
:27:17. > :27:19.think. OK. All right. There's so many different rhythms with the
:27:20. > :27:26.samba. I am going to keep it traditional. I want to do basic. I
:27:27. > :27:30.want the judges to see the progress. That's what they seem to be liking.
:27:31. > :27:38.We are going to keep it very traditional. But fun. Also it's a
:27:39. > :27:42.vast floor at the Tower Ballroom, how are you going to cover all that,
:27:43. > :27:46.do you have to choreograph differently? Definitely using more
:27:47. > :27:50.space. We don't have restrictions. Samba, you can really travel a lot.
:27:51. > :27:54.But we travel as much as we can. It's all about rhythm in samba. I am
:27:55. > :27:59.going to worry about the rhythm He has that in leaps and bounds. You
:28:00. > :28:04.will be fine. You are looking so fit. On Saturday my friends were
:28:05. > :28:08.watching, and like, he is never 50. Look, it's shining through. Good
:28:09. > :28:16.luck this weekend. I think it will be glorious and well done on
:28:17. > :28:19.Saturday. Thank you. That's it for today. A big thank you to all my
:28:20. > :28:26.guests. Tomorrow I will be chatting Charleston with Abbey and Aljaz, and
:28:27. > :28:32.Ben and Kristina stop by for jive talking and Ian Waite stops by. Good
:28:33. > :28:34.night.