:00:07. > :00:13.Tonight, I'll reveal some of the tunes our couples will be dancing to
:00:14. > :00:19.this weekend. Let's make sure the Duke box is working. Peter Andre's
:00:20. > :00:26.Mysterious Girl. I don't remember that being on the list. Let me try
:00:27. > :00:32.again. One sec. Insane ya by Peter Andre. Don't remember that being
:00:33. > :01:22.mentioned. They must have made some last minute replacements. How odd!
:01:23. > :01:30.From London, this is Strictly It Takes Two. Please welcome your host,
:01:31. > :01:36.Zoe Ball. CHEERING AND
:01:37. > :01:41.APPLAUSE Hello. Welcome to It Takes Two two. Tunes on Tuesday, ask the
:01:42. > :01:47.pros and our couples coming your way. We have a packed show tonight.
:01:48. > :01:52.They escaped elimination by knocking the glitterball out of the park
:01:53. > :02:03.during their dance-off. It's Jamelia and Tristan.
:02:04. > :02:12.CHEERING. Welcome Jamelia and Tristan. Pretty
:02:13. > :02:17.in ping. You poor darlings, you're true survivors. Third time in the
:02:18. > :02:23.dance-off. First, your jive was superenergetic. Great fun. You
:02:24. > :02:26.looked so brilliant. Loved your trousers, Tristan. How much fun did
:02:27. > :02:32.you have performing this cheeky number? I really enjoyed it. Things
:02:33. > :02:36.felt very different this week. It just felt about enjoyment and
:02:37. > :02:44.enjoying the moment. Why are you looking at me like that? I was
:02:45. > :02:50.looking at the screen. Tristan, how hard was it to choreograph a routine
:02:51. > :02:57.to a song that has a dance attached to if it? I was very aware it was
:02:58. > :03:02.one done on the show before as well. I tried to make it as different as
:03:03. > :03:05.possible to the film. But then to the one Brendan and Michelle done
:03:06. > :03:09.before as well. It was quite difficult. But you have to take
:03:10. > :03:14.yourself out of that and just put a dance together for us. You fight
:03:15. > :03:24.your own fight, as they say. Yes, I like that. I'll remember that.
:03:25. > :03:32.Bottom two three times. Are you laughing about it? Devastated? We're
:03:33. > :03:38.the best at being the worst! Do you want that on a medal. Yes,
:03:39. > :03:43.officially the best at being the worst. It's becoming funny now. The
:03:44. > :03:51.two of us, when the light went red, the two of us burst out laughing.
:03:52. > :03:56.Again! Not in a bad way, though. We have to prepare ourselves for it.
:03:57. > :04:02.It's funny to us. Not funny that we don't think we should be there. It
:04:03. > :04:07.is like, here we go again. Let's do another one. It's because everyone
:04:08. > :04:17.loves seeing your dancing so many times. You Are Not Alone... Stop! If
:04:18. > :04:23.we look back through the Strictly history books you will see this has
:04:24. > :04:27.happened to people before. Lisa Snowdon and Brendan Cole, in series
:04:28. > :04:32.six, three times they were in the bottom two. Dance-off. What happened
:04:33. > :04:46.to them? They got to the final. Did they? Yes. Mark and Iveta... What
:04:47. > :04:53.that her name? They were in series 11. They got to week 10, bottom
:04:54. > :04:56.three. Dance-off three times. Simon Webbe and Christina Rihanoff, bottom
:04:57. > :05:04.three in the dance-off. Three times. Got to the final. Just remember
:05:05. > :05:10.that. Come on week eight! Yeah, come on. How do you prepare when you have
:05:11. > :05:15.to do the dance-off again? Can you make minor adjustments or go out and
:05:16. > :05:22.give it some welly? I think it is a great opportunity to take on board
:05:23. > :05:30.the comments that the judges have made immediately. I heard what you
:05:31. > :05:34.said and I'll do it. A point they were Mensing my feet and my kicks. I
:05:35. > :05:39.looked straight at them, I'm doing the kicks! Len Goodman, look what
:05:40. > :05:43.I'm doing. They talked about sickle foot. They've talked about dancers
:05:44. > :05:49.whose feet go in a little bit. Is there anything you can do? Chop 'em
:05:50. > :05:55.off! That seems harsh! Sickle feet. It does happen to a lot of people.
:05:56. > :06:02.Sick of the foot, that's what it is. It is French. Malade of foot. Sick
:06:03. > :06:09.feet. The front of your feet are turned in, a bit dodgy. Is it the
:06:10. > :06:14.same as being pigeon-towed? Essentially. Is it easier to turn
:06:15. > :06:19.them out if you're naturally like that? It's different for different
:06:20. > :06:28.people. You put your heels together and hips out. Open those hips up. I
:06:29. > :06:32.don't... Was I really? Put your legs on back to front! I don't think I've
:06:33. > :06:38.naturally feet going like that. Maybe I have. Lime' looking at my
:06:39. > :06:47.feet now! It's getting used to those shoes. You're up higher than you're
:06:48. > :06:52.usually are. They are not comfortable, those shoes. I hate
:06:53. > :07:00.them. Something we did notice, Jamil a ya, you said, gave us an idea. How
:07:01. > :07:06.much does he make you feel better? He's like a cheerleader by my side
:07:07. > :07:12.all the time. We thought, Tristan, you deserved a little present. Feel
:07:13. > :07:25.free to take to the floor and give us a little routine. What do you
:07:26. > :07:33.want me to do? Suitable music! # Hey, Mickey, you're so fine...
:07:34. > :07:38.# And here's a fireman's outfit... No, I'm only joking. Tristan, you
:07:39. > :07:43.are amazing. Thanks for being such a good sport. This week, it is the
:07:44. > :07:50.Viennese waltz. The things we do to people. This week for you, is this a
:07:51. > :07:55.dance you're thinking, I'm going to enjoy this one? Again, it's a great
:07:56. > :08:00.opportunity for me to sink my teeth into a ballroom number. I haven't
:08:01. > :08:04.been very positive or confident about ballroom. I think now I have
:08:05. > :08:09.the opportunity to get it right. I'm going to work hard and do a really
:08:10. > :08:14.good ballroom number. We love you Jamelia. It is tough to do dance-off
:08:15. > :08:23.three times. There is a lot of love for you and you, you're all right,
:08:24. > :08:26.Tristan. Jamelia and Tristan. Karen Hardy's residency in one of
:08:27. > :08:33.Benidorm's finest hotels is nearly at an end. We made that bit up. But,
:08:34. > :08:42.as they say here, the show must go on. Sharing her expertise with us
:08:43. > :08:48.today, Joanne Clifton. Welcome back. Thank you. You were so brilliant
:08:49. > :08:56.last week. Come can back for a second helping. What did you make of
:08:57. > :09:01.the Halloween show? The dances, costumes and hair and make-up you
:09:02. > :09:06.were amazing. Well done to everyone involved. Peter Janette and their
:09:07. > :09:12.incredible foxtrot. So good. All the judges gave them the same score. The
:09:13. > :09:16.only thing they commented on were his shoulders coming up a little
:09:17. > :09:21.bit. What advice would you give him on that. It is something he's
:09:22. > :09:27.sorting out. It is not a problem for him. Every time he's done ballroom,
:09:28. > :09:31.he's improved them. I would like him to concentrate on how to lift his
:09:32. > :09:36.arms up. I get the feeling he lifts them up from the top of the arm.
:09:37. > :09:42.That causes the shoulders to come up like Darcey said. He should imagine
:09:43. > :09:48.his arms are two shelves on each side of a wall. Put your armpits on
:09:49. > :09:54.a wall, you feel two parts of must he is, one at the front and one at
:09:55. > :10:01.the back. They act as the brackets, the supports on a shelf, to hold
:10:02. > :10:07.underneath than from the top. Pull up from the brackets. That works.
:10:08. > :10:11.Look at that! The second thing is to be careful of positioning. When he's
:10:12. > :10:15.changing position with Janette, when they both move in the same
:10:16. > :10:22.direction, it is very easy to turn the whole body. It creates this
:10:23. > :10:27.shoulder coming up. He should imagine wringing water out of a
:10:28. > :10:30.towel so the top half of his body has to stay with Janette and he
:10:31. > :10:35.really has to twist his hips and head in order to keep that shoulder
:10:36. > :10:41.line perfect. Thank you so brilliantly explained. Anita and
:10:42. > :10:45.Gleb. 29 points for their waltz. A lot of people tweeted saying she was
:10:46. > :10:50.undermarked. Craig said it needed to be a little more lyrical for it to
:10:51. > :10:53.work. What do you think? Lyrical means feeling the music flowing
:10:54. > :10:56.through your Booed Iy. One movement flowing into the next. It is
:10:57. > :11:00.something I didn't really pick up on. I thought she did that really
:11:01. > :11:05.well. I thought she pulled out another great performance. I would
:11:06. > :11:10.say, as you can see in the picture here, especially on lines and spins
:11:11. > :11:16.and turns, she has to keep her shoulder line parallel to Gleb's.
:11:17. > :11:22.Offset but parallel so he can lead her round the floor smoothly. Guider
:11:23. > :11:26.round. Otherwise it is for him like pushing a shopping trolly with a
:11:27. > :11:32.wonky wheel. Just that, really. When that happens to me, I just drag it.
:11:33. > :11:36.You can't Donna in dancing. Jay and Aliona and their American smooth, 34
:11:37. > :11:42.points. Craig and Darcey picked up on his characterisation. They want
:11:43. > :11:48.even more. Yeah, I mean, I think the choreography, the style of the dance
:11:49. > :11:52.and song leant itself more to a cool wolf rather than a mean wolf. I
:11:53. > :11:59.think he did. I don't know what he meant. He gets bit too cool that
:12:00. > :12:04.it's cold when he's concentrating. I think he did well. He swings well.
:12:05. > :12:08.You'll have heard that from Craig. The swing really is like a free
:12:09. > :12:11.movement from a fixed point which accelerates and decelerates. It
:12:12. > :12:17.causes this kind of movement. Like a church bell. Attached at the top. It
:12:18. > :12:23.swings like that. Demo. Demo-time. Look at you in your fancy wellies. I
:12:24. > :12:27.love those. We can't do that. If we had a fixed point here, we would be
:12:28. > :12:31.dancing round like that in order to swing. We have to imagine there's a
:12:32. > :12:37.pen on the side of our forehead here. An imaginary piece of paper.
:12:38. > :12:43.Draw the design of that swing using your feet and ankles and going
:12:44. > :12:50.through the knees. It will become slow, quick, quick, slow. Quick,
:12:51. > :12:55.quick, slow. Beautiful. And again, now we understand. Carol and Pasha
:12:56. > :12:59.and their rumba. They finished bottom of the leaderboard. Only got
:13:00. > :13:05.13 points which was quite harsh. They are saying she needs to step
:13:06. > :13:12.forward but not on her heel? Ballroom heel leads but rumba, no?
:13:13. > :13:18.Not in the Latin. Only a few steps if in paso and samba. Stepping on
:13:19. > :13:22.your heel hinders other technical elements like the straightening of
:13:23. > :13:26.the leg. She needs to straighten it and pull it back. Also the hips.
:13:27. > :13:31.Let's talk about her hips. Demo. Another. She tends to use her hips
:13:32. > :13:36.in this direction which is fine. That's how we use it in the jive.
:13:37. > :13:40.But something like a rumba, she has to be more circular. I don't know if
:13:41. > :13:46.you can see this. I can. In your lovely skirt. She has to practise it
:13:47. > :13:50.by holding the top of her body still and making an 8 shape with her hips.
:13:51. > :13:55.Front to the back. Front to the back. She can practice that doing it
:13:56. > :14:00.the reverse way. Back to the front and so on. She can create more
:14:01. > :14:07.circular movements rather than side to side. That's what a rumba should
:14:08. > :14:13.look like. Kate and Anton and their paso doble. 21 points. Katie was
:14:14. > :14:18.suitably upset after the judges really gave her a hard time. Craig
:14:19. > :14:24.said he wants her to power through the floor more. I want to say the
:14:25. > :14:26.judges were extremely harsh on her. I don't think she deserved that at
:14:27. > :14:31.all. She was giving some great lines. Her focus was brilliant.
:14:32. > :14:35.Maybe she should imagine Craig in front of her saying those nasty
:14:36. > :14:39.things and just attack him. Maybe he'll be happier. She has to have a
:14:40. > :14:43.little more tension in her whole Booedy. It's as if there's
:14:44. > :14:49.electricity running through her whole body. It's switched on all the
:14:50. > :14:54.time. No empty movements or movements. Big bowl of custard.
:14:55. > :14:59.Trying to move your arms through the custard rather than just... So much
:15:00. > :15:01.custard. Thank you, been amazing as always. Joe Clifton.
:15:02. > :15:12.CHEERING AND APPLAUSE. This Sunday is Remembrance Day and
:15:13. > :15:21.our pro dancers have been creating an extra special routine.
:15:22. > :15:31.The dance is set in the 1940s, a jive with elements of a jitterbug,
:15:32. > :15:37.tap dancing. This dance is full on. The dance today, a military theme,
:15:38. > :15:42.the GIs are in the camp. Boys!
:15:43. > :15:48.The girls have come in to build up morale.
:15:49. > :15:53.I have two dogs with Kevin Clifton which is not so easy because when he
:15:54. > :16:00.goes, he goes. The biggest thing is to keep up with him. And have fun.
:16:01. > :16:09.Anton is the general in this dance. It comes with being here so long.
:16:10. > :16:15.They are coming on, we are whipping them into shape. The great thing is
:16:16. > :16:20.they start in the corner for the first bit which is very complicated.
:16:21. > :16:26.This dance is really fast, there are a lot of kicks, a lot to remember.
:16:27. > :16:32.I love it, my favourite sort of number.
:16:33. > :16:36.Next up, there's ghostly foxtrot left their audience screaming for
:16:37. > :16:58.more, Peter and Janette! CHEERING You wonderful clever ones,
:16:59. > :17:03.your foxtrot was so dramatic. Were you feeling confident before
:17:04. > :17:09.you went out, Peter? I will be honest, I got really
:17:10. > :17:11.nervous minutes before I went on. I started panicking.
:17:12. > :17:17.Jeannette looked at me, what's happened? I said, I am a ghost, I
:17:18. > :17:19.should not have any feelings. She said, there is a glaze in your
:17:20. > :17:28.eyes. I froze. Did you lose him? I did, I
:17:29. > :17:33.thought he had turned into a ghost. Into character. Was it different to
:17:34. > :17:36.other weeks, have you felt like that before?
:17:37. > :17:40.It was really important for me to remember the footwork, one of the
:17:41. > :17:45.things picked up every week. I was too focused on it that I
:17:46. > :17:49.forgot other things. I was concentrating on making sure the
:17:50. > :17:52.feet did not leave the floor, one thing I learned about the rise and
:17:53. > :17:57.fall. It was great.
:17:58. > :18:02.We got comments that we actually got the footwork pretty much right.
:18:03. > :18:06.I let myself down on shoulders but I loved it.
:18:07. > :18:09.Good, I am so pleased. Eventually all those things will
:18:10. > :18:14.come. You have different things to worry
:18:15. > :18:19.about. Was there an extra buzz in the studio because it was Halloween?
:18:20. > :18:26.You looked incredible. It was, everyone was super excited.
:18:27. > :18:30.Dressed as a witch, ghost. What was Pasha? If he doesn't
:18:31. > :18:36.improve, he's getting it in the neck!
:18:37. > :18:42.What was the story behind your dance, your choreography, Jeannette?
:18:43. > :18:48.I was a strange forest creature with bushy eyebrows.
:18:49. > :18:53.Trees in my hair. The concept was I could not get rid of his ghost. The
:18:54. > :18:59.song is about something you want to get rid off and you cannot. That is
:19:00. > :19:04.why in the middle section it was very dramatic, we were pushing and
:19:05. > :19:08.pulling. You saw the story so well, I loved it, the story came across, I
:19:09. > :19:14.am happy. You will need that later on. The
:19:15. > :19:19.judges all in agreement together. What stops you getting a higher
:19:20. > :19:25.mark? We had a lot of trouble with
:19:26. > :19:30.rehearsal time, we lost all of Monday which is four hours extra.
:19:31. > :19:34.Hopefully once we get back into everyday training, regular long
:19:35. > :19:39.hours, we will feel that confidence of the routine.
:19:40. > :19:43.That is what is missing, feeling confident.
:19:44. > :19:47.I think he is fantastic. I love watching him rehearse. Watching him
:19:48. > :19:50.perform. I want him to start believing in that.
:19:51. > :19:57.I hope now we are on a regular schedule that will kick in.
:19:58. > :20:02.You have your other job! And family. Joanne was giving if you
:20:03. > :20:04.tips, did you listen? She was brilliant.
:20:05. > :20:08.Even though she wasn't talking about me when talking the rumba, she did
:20:09. > :20:14.it really well. When you watch her, it makes sense.
:20:15. > :20:19.She is right. That is good advice. You have been
:20:20. > :20:21.telling me for weeks to get my shoulders right.
:20:22. > :20:27.All these little things people say are starting to sit, and I am hoping
:20:28. > :20:32.it is not too late for me to put together.
:20:33. > :20:36.It is never too late, we're not even half way. Still building. Bruno
:20:37. > :20:44.mentioned characterisation. This week you have the charleston.
:20:45. > :20:49.You said it is lots of fun. Anyone who is called Charles should watch
:20:50. > :20:54.out because we are going to rock this.
:20:55. > :21:00.I know! Work on that one!
:21:01. > :21:04.I am so excited. The minute you put the music on, I could not stop
:21:05. > :21:13.smiling. This is one of those songs where you can smile and smile.
:21:14. > :21:19.I can't wait. It is high energy. You will find at the gym later.
:21:20. > :21:22.Whatever the judges say, we do know Peter has fans everywhere. But there
:21:23. > :21:29.is a secret fan admiring you that you did not know about.
:21:30. > :21:35.I love Peter Andre come here is my biggest fan. All right, Pete? I am
:21:36. > :21:39.at every training session that fell watching. But he never seems to
:21:40. > :21:50.notice me. Peter! Peter! Don't block me out.
:21:51. > :21:55.Do you like my new top, Pete? Do you know what, Pete?
:21:56. > :22:00.I give up. Hey, make, it has been a while.
:22:01. > :22:04.Can I get your autograph? Can you look at me when I am talking
:22:05. > :22:11.to you, it is so rude! No!
:22:12. > :22:19.What is his name? Bob. He is Bob. I love Bob.
:22:20. > :22:24.I think Bob loves you. This is where everyone starts going slightly mad.
:22:25. > :22:28.Jeannette, you will be answering questions with Joanne later.
:22:29. > :22:36.Give it up for Peter and Janette! CHEERING Hang on, can you hear that
:22:37. > :22:49.music? It can only mean one thing.
:22:50. > :22:57.Yes! It is time for me to shake my maracas as we revealed some of the
:22:58. > :23:01.songs are couples will be dancing to mount the weekend.
:23:02. > :23:14.Shall we hear our first song? Here we go.
:23:15. > :23:19.Yes. It is Volare, by the Gypsy Kings.
:23:20. > :23:29.This was the Italian entry to the Eurovision Song contest in 1958. I
:23:30. > :23:34.did. It had another name. Which literally means Stott in the blue
:23:35. > :23:38.painting... Just because you're maracas are
:23:39. > :23:46.bigger than mine. Who is dancing to it, let us find out.
:23:47. > :23:52.It is Georgia and Giovanni. Very excited about that one. Right, next
:23:53. > :24:04.up, here we go. Yes.
:24:05. > :24:16.You may know the Pet Shop Boys version. This is the original song
:24:17. > :24:23.by Village People. Who is dancing to this? What is he
:24:24. > :24:29.doing? Here we go. Jeremy and Karen will be doing a
:24:30. > :24:37.tango to that. Let us move on to our last song.
:24:38. > :24:42.Here we go. Yes, this song has become the
:24:43. > :24:48.biggest selling number one single in three years which means one of our
:24:49. > :24:54.couples will be dancing to it. I am just making this up! Let us find
:24:55. > :24:59.out, it is hard to concentrate with this going on behind me.
:25:00. > :25:04.Who is dancing to this? Helen and Aljaz are doing a rumba.
:25:05. > :25:11.There may be even more amazing songs coming up this week, there are, in
:25:12. > :25:18.fact. Go The Strictly, the details are on screen now.
:25:19. > :25:30.Thank, Peter Andre. I love you, Peter Andre. I love you.
:25:31. > :25:38.Back with us are Jeannette, Tristan and Joanna.
:25:39. > :25:45.Answering questions from our wonderful viewers. Jeannette, who
:25:46. > :25:49.chooses the music for your dancers? OK, this is a very collaborative
:25:50. > :25:55.thing, the professionals have ideas, production have ideas and the
:25:56. > :26:01.director of choreography. It really is collaborative. Lots of things are
:26:02. > :26:05.taken into account, what style of dance. What other songs are being
:26:06. > :26:11.played. The number one thing we are doing is put on a great TV show. We
:26:12. > :26:15.want to appeal to all the different audiences which is why it is a mix
:26:16. > :26:19.of modern and classical music. It creates the magic of the show on
:26:20. > :26:25.Saturday. Forever magical wants to know, if
:26:26. > :26:28.you could add a new dance to the Strictly line-up, what would it be,
:26:29. > :26:34.Tristan? I don't think I would add anymore,
:26:35. > :26:37.it is pretty heavy the way it is, ballroom and Latin.
:26:38. > :26:45.No hip-hop, street funk, tap dancing?
:26:46. > :26:50.Interpretive dance. Perhaps a solo week for the celebs, do what you
:26:51. > :26:55.have learned. Put it together in one routine, that
:26:56. > :26:59.may well happen. Lucy wants to know how to you achieve the perfect
:27:00. > :27:05.charleston swivel. I like to think of...
:27:06. > :27:11.Demo time! I like to think of Dorothy from the
:27:12. > :27:16.Wizard of Oz when she says, there is no place like home, and you put it
:27:17. > :27:24.to the step, tap. There is no place like home.
:27:25. > :27:31.And in wellingtons as well. Try getting hammered and then balk!
:27:32. > :27:34.Natalie says you smiled throughout the whole show, can you show us your
:27:35. > :27:48.grumpy face? We have seen it! Monday morning.
:27:49. > :27:51.That is close. Joanne, Hannah wants to know what
:27:52. > :27:57.was it like to win the World Championships?
:27:58. > :28:03.That was a weird experience, so many emotions. Obviously I was happy.
:28:04. > :28:08.Relieved, after 27 years of training I had finally got it. Upset because
:28:09. > :28:11.I was retiring that night, my last competition.
:28:12. > :28:17.Emotional because I was doing my dad. They had never got to first
:28:18. > :28:21.place in the World Championships. I wanted to do it for them.
:28:22. > :28:28.A brilliant answer. Thanks you very much to our prose.
:28:29. > :28:33.That is it for tonight, a big thank you to all of our guests. Tune in
:28:34. > :28:37.tomorrow when I will be joined by Helen and Aljaz, and Jay and an
:28:38. > :28:43.owner. Ian Waite will be giving the first slice of his warm up. Goodbye.