Episode 32 Strictly - It Takes Two

From London, this is Strictly, It

Takes Two. Please welcome your host,

Zoe Ball.

Hello and welcome to It Takes Two!

We may be past the halfway point

of the competition, but that doesn't

mean we're showing any signs

of slowing down over here.

Oh, no.

Tonight, the It Takes Two jukebox

will be providing top quality Music.

Strictly's Director

of Choreography, Jason Gilkison,

will be teaching us

the perfect paso doble.

And here to provide some high

calibre conversation

are this beautiful lot.

Survivors of the most dramatic

Dance-Off of the series -

it's Mollie and AJ!

Like Craig, they make

us weak at the knees -

it's Debbie and Giovanni!

choreography police?

Because Strictly champ

Joanne Clifton is back

and taking no prisoners.

It's time for Choreography Corner.

Joanne Clifton, everybody!

Don't you look gorgeous in

pinstripes. Shall we continue what

we started on snond let's start with

Alexandra and Gorka's cha-cha-cha,

judges full of praise, Shirley

saying she looked like a

professional and Craig praising her

turnout. Did it turn out to be a

goody for you?

What I love to her,

she comes out and performs

everything. So much so that

sometimes the technique suffers. But

that wasn't the case. She has

actually worked on the technique,

finally got that turn you. Let's

talk about turnout. In ballet, it is

basically you turn out from the hip,

I'm not sure because I'm not a

ballet dancer. You turn your sides

out and knees out. They turn out.

Latin is different because you have

to keep your knees facing forward,

it is only the knees that have to

turn out. Demo time...

Exciting

stuff.

So ballet would be all out,

I'm not a ballet dancer, I'm sorry

about, that but if you did a rumba

walk or cha-cha walk, the knees

would go out. It would look like

that. We have to keep your knees

forward and feet turned out

slightly. About an eighth of a turn.

When we take a step, we run thighs,

knee, calf, ankle, heel and then

take the other step and our feet are

turned out. If you have fishnet

tights on...

As I sometimes do.

You

should be able to hear them, as your

legs pass. Also, the professional

dancers if you look at Latin shoes,

a lot have worn away this area here

of the heel from the amount of

rubbing they have done with the

heels, when they're turned out.

Now

Ruth and Anton and their

unforgettable paso doble. Craig

described this pair's routine as a

battle between entertainment and

technique. Ruth's technique, did it

win out in the end?

I mean, this

dance, it was amazing. I loved it. I

think the whole nation loved it. It

was a very different take on paso

doble. Anton choreographed it

purposefully, comedic, and it was

funny, it was in the right way.

Thing about Ruth, she was really in

it the whole time. The little looks

she gave and little shoulder

wiggles, all part of the

performance, it was amazing. Yes she

could've had more shaping, more body

shape, and body arch and stuff and

hips forward and things like that

but you know what, it worked. So,

the ending as well...

Everyone will

be doing that from now on. Jonnie

and Oti and Bruno was impressed with

Jonnie's be ability to pulse with

his upper body, did that impress

you, too?

I think Jonnie is coming

out of his shell quite a will the

now, as we are progressing down the

line of the show. He definitely did

move his upper body. He was moving

it to the beat of the music which

was great. He needs more in his hip.

He could do those exercises, like he

did yesterday for Gemma. I did it

with the upper body, he can do the

same keeping his upper body and

figure of eight. . What I'm

concerned is his hands. There's in

energy in the fingers, if you give a

hand gesture like point be, if you

are pointing at something oven

there, you can feel t you don't g

it's over there or a um this is up,

you don't go like, that you have

energy to the fingertips. To

practise, he could hold something

disgusting like a boiled sweet with

a hair on it, something like that.

So the other fingers stay away from

it and practise bits of the routine

with each finger doing that. So they

get used to having energy.

And the American smooth for Darvood.

That looked terrific, that lift

Yes

the amount of trust you have to have

and to make it look as graceful a

inseamless as it was, like one hand.

One hand

He must be so strong. This

was my favourite dance for them. I

think he is the celebrity that has

improved the most from last week to

this.

Good boy. Iain and I will try

to recreate that tomorrow night.

Just kidding. Susan and Kevin's

jive, Craig said the timing and

synchronicity between them was

amazing, how difficult is that to

pull off?

In a dance such as drive,

so fast and lots of kicks and flicks

and side by side, so it is obvious,

if you are doing things side by

side, if someone is tired or slow

you see it. But side by side they

were great. What I needed from Susan

- her personality was wonderful,

joyous to watch. She goes for it. I

would've liked to have seen her a

bit lighter, not so much in the

kicks and flicks but on the sashay

and the basics. Demo time. To make

it lighter, more of a retraction in

the knees. In the kicks and flicks,

she was quite good, lifting her

knees, but the sashay,

side-close-side, you can't do it on

every step. You have to imagine you

have a football and your knee in a

football. You have to go knee, side

close side, and one, da, da.

And

full speed now, Jo.

Oh, Jo, it is such a treat to have

you back, we love and adore you. Jo

Clifton.

My next guests made movie magic

with a foxtrot set in a film studio.

But despite finding love

on the Strictly dance floor,

they also found themselves

in the Dance-Off.

It's Mollie and AJ!

Oh my darling, you did so well.

There was an incident on a turn...

But it was also impressive you

picked it up again. Definitely going

in the right direction.

I thought it

was classy. I thought it was stylish

and I thought it was elegant, well

done.

Moly and AJ everybody. What, what a

weekend, I felt for you to be in the

dance-off and it was so emotional.

You were quite upset by it.

I was, I

was. It felt like a real lose, lose

situation because to be in the

dance-off with Aston, you know, he

shouldn't have been in the dance-off

and to be there, you know I've known

Aston for nearly 10 years, I

obviously didn't want to go home and

I also didn't want him to go home.

So it was a really emotional

weekend. So I think you have to, you

have to try and pick yourself up and

that's what AJ is amazing at. He is

like - come on, we have to keep

going and be positive and just keep

dancing, as they say.

Keep

dancing...

I know. We will discuss more about

the dance-off but your foxtrot was

worthy of an Oscar, you looked like

Grace Kellie out on the floor. You

looked so beautiful. Was it a fun

dance to do?

It was the best dance.

My most favourite dance we've done.

I felt like my grandparents out

there doing the foxtrot. It felt

really old school, romantic.

It was

a gorgeous dance

We loved every

minute out there. Even though I

tripped him up.

It was fantastic

before and after. It had a little

mistake. It happened to the best of

us. The main thing was, you picked

up and continued like it never

happened.

That's what the judges

praised you on, to recover from

something like that was brilliantly

done. There you go. A tiny little

trip. Back into position.

Back in

there.

Good work.

Oh dear.

You know

what do you do in a moment like

that? 'Twas a demonstration of rip

and grip there?

It just shows, we

train 12 hours a day we are always

doing it and when mistakes happen we

be it, we make sure we continue for

scenarios like this. You can't say

on a live show - stop the music,

we'll do it again. You were in a

good position for hold yourself

together. You had a strong core

which we have been working on.

We

have been working on the core.

She

showed it, the strong core meant she

could stay in position, keep smiling

and continue.

Always smiling. So

good. How does it feel to go into

the dance-off the second week in a

row? That's tough to take, isn't it?

It is heartbreaking, to be honest

because we are loving our journey

and I'm loving learning how to dance

and learning a new skill each week.

And when that red light goes on you,

you just think - right, this is the

end of our journey, you can't help

but think that. So, it's, yeah, you

are really sad. Just loving the

journey, I'm like - please, no, not

the red light.

Not this week. If you

are feeling disappointed, week 7 is

notorious for a shock dance-off. In

the last three weeks alone these

celebs have been in the position you

are now. Caroline Flack and Pasha,

week 7. Went on, though, to lift the

glitterball, let's remind ourselves.

Kellie Bright and Kevin week 7. Got

to the final. And received two

perfect scores. So another great

example and then Ore and Jo an, week

7 last year and they went on to win.

Wow. I hope that brings you some

comfort.

I love those facts. Sniek

use that positive energy all week.

Positivity, positivity. You were

saved by Craig and Shirley. I know

you are really grateful for that and

I guess you want to go on and show

them it was the right decision.

Totally. More than everything, we

want to go on and show how grateful

we are they put us through. We want

more than anything to get to

Blackpool. It's taken over our

lives. You can't switch off. Even if

I'm standing in the queue somewhere

I'm thinking - are my feet at ten to

two, how is my posture? We want to

stay in as long as we can.

Do you

know what, that never really leaves

you, I still do occasionally now

still break into a samba. It was

your birthday. Happy birthday to AJ.

Did you have a lovely time.

I ate

too much cake on Saturday. And more

cake on the Sunday. A relaxed day.

Cake, more cake, choreograph, and

get ready for my favourite dance,

the paso doble this week. I love it.

! And the paso doble to Derek and

the Dominos, people, come on!

Sounds

so good. What can you reveal about

this little cheeky number at this

stage

It is going to be a good one.

Black and gold we will be in. It is

going to be strong, authentic

colours. ! Yes. She's going to be

spotlighted.

I hope that doesn't

happen on the night.

A couple of

days franing and this is what

happens. I think I should get back

into the studio now.

You have to be

fierce, haven't you?

Ye, I think I

need to bring out, Tallulah Tango.

She needs to come back out and more.

Is she angrier.

This week we are

focussed. We know what we want to

do. Get to Blackpool. We are here,

we mean business and we're going to

show you.

Brilliant. I'm really

excited about this. And obviously

Ruth and Anton demonstrating how

pasos should be last weekend.

That's

a for sure.

The best dance

literally.

I don't know if we can

top that ending.

Can you give me

your best - ole.

Ole.

I love that.

Good.

AJ how old were you?

I'm 23

now.

I could be his grandmother!

Good luck. We adore the two of you.

Moly and AJ.

Up next, a dance master

class that you two might

want to pay close attention to.

You've seen Ruth and Anton's

interpretation at the weekend -

but what does the perfect paso

doble look like according

to Jason Gilkison?

The most dramatic of all the

ballroom and Latin American dances

has got to be the paso doble. It

takes place in the bullring. The man

plays the part of the matador and

the lady is his cape. Generally in

competition dancing the competitors

don't use a cape. On strictly we

have a physical cape which adds to

the atmosphere. Although the dance

has its origins in southern Spain,

the original couple dance came from

France. Once you have said the

character of this particular dance,

the first thing you will learn is

the Apel. This is a strong stamp and

indicates to the lady, this is where

I am going. Of the man and the woman

have to have a really strong posture

with the centre being right between

the rib cage. A truly important the

hips are moved forward Andy Legg

goes right up two underneath the

armpit. -- and the leg. You have to

imagine if the bull was charging

towards you, you would move your

hips out of the way to avoid getting

stabbed. One of the most popular

steps is a wheat, French for eight.

Eight steps to move the lady from

the right to the left. The man

stands on one particular Place,

brings his feet together and keeps

stabbing on the spot while he is

shaping his partner from left to

right. The female is actually

continuing her body in one direction

until the man changes to the other

direction. Another movement very

similar, but turning from left to

right, is a chassis cape. It starts

with one, two, three, chassis cape,

move the leg to the other side. Move

back in front of you. Something else

that is also very distinctive in the

paso doble is the use of arms and

legs. The arms are kept in place.

The arm stays in frame the whole

time. With circular actions on the

hand, it rotates left and right. In

this particular dance you don't want

to break your focus.

This is a dance to the death.

The guy has to say -- stay really

strong and controlled the whole

time, while the lady has just a

fluid and focused on the man so she

can depict the cape.

In the paso doble, you have an

actual narrative you have to thread

through the whole time while staying

focused, stained dramatic and

staying arrogant.

If the bull doesn't get you, Craig

well.

-- Craig will. That is how it is

done.

A big thanks to Jason,

Pasha and Chloe.

Next up, what do Barry Manilow,

Tina Turner and Sir Tom

Jones have in common?

They have all shot to fame

after being featured

on my next segment -

but who will get their

big break this week?

There's only one way to find out -

it's Tunes On Tuesday!

This weekend's playlist promises

to be full of some absolute tunes.

So shall we see what's up first?

Here goes.

It's 'Firework' by Katy Perry.

What a banger!

The music video famously

features fireworks shooting

out of Katy's bosom -

please don't try this at home.

But did you know the singer,

who once kissed a girl and quite

liked it, is actually the daughter

of two pastors?

Now you do.

So who will be hoping

for belated fireworks

at the weekend with this number?

Here we go.

It's Susan and Kevin -

they'll be dancing a tango.

Right, what's next

on the jukebox, baby?

This is 'You Don't Have

To Say You Love Me',

made famous by the legendary Dusty

Springfield.

But did you know it was

originally an Italian song

composed by Pino Donaggio?

What is that you are doing?!

While you're here, what was

the original called Giovanni?

Io che non vivo (senza te).

Which actually means?

I, who can't live without you.

Very sweet of you to say.

Anyway, Dusty made it her mission

to record an English version,

and it's since been covered

by everyone

from Elvis Presley to

Loose Woman Denise Welch.

We looked like Sisters!

I love it when you do that. I don't

know what it is.

But who will be hoping for

an international smash with this?

It's Gemma and Aljaz, and they'll be

dancing a Viennese waltz.

Absolute lunatic.

We've just got time

for one more song.

Yes, one of our couples will be

doing the Lambeth Walk

on Saturday night!

Oi!

This song is from the 1937 West End

musical, 'Me and My Girl'.

Based on a cockney strut,

it swept the nation,

with even King George VI

and Queen Elizabeth attending

a performance and joining

the audience in a singalong.

Is this the actual... ? I've no

idea.

But who will be taking

the Lambeth walk all the way

to the Strictly dance floor?

Let's find out...

It's Davood and Nadiya!

They'll be dancing

a Charleston to this.

Sounds like a right

East End knees up!

To find out the rest of the songs,

head to the Strictly website.

Time now for my final

guests of the night.

I have got a feeling they are going

to be in high spirits, it is Debbie

and Giovanni.

My darling, it was like watching a

tango masterclass. A flawless.

It

gave me tingles down my back. I

don't think I have ever seen a tango

like that from a celebrity.

CHEERING.

Come on! Where do we even start?

Very excited. Congratulations on the

first perfect score.

CHEERING.

It's absolutely amazing. What has

the response been?

Fantastic.

Everywhere we have gone, everybody

has been wonderful and excited for

us. We have been really excited as

well.

Giovanni knows all of the

judges' comments off by heart! It is

hard to get a nice word from Craig,

let alone for him to buy down. --

bow down. Were you worried when he

came out from behind the desk?

I

was, actually. Nothing happened. He

just went on his knees and it was

like wow!

I'm used to men being on

their knees!

Debbie McGee, you say

the funniest things! I am actually

speechless.

Not Craig!

Debbie, you

were rendered speechless yourself on

Saturday night. How was that

experience?

It was just surreal. It

is the best thing that can possibly

happen to you on Strictly. Craig

just doesn't do things that. I was

like Giovanni. I thought I wasn't

holding my posture and he was going

to come and show it. When the other

judges were saying such amazing

things, it is what everybody would

wish. I feel really lucky.

It was

hugely emotional. You are emotional,

Giovanni, as well. It is probably

the second time on Strictly you have

had a perfect score.

There was one

in the final with Georgia. To get a

40 on week seven is really nice. You

feel really good. I felt really

good. We worked really hard. When we

get to the end of the week, it is a

really nice feeling. There is always

a but. That was week seven. Now we

have to focus on the next week.

Debbie, you had sleepless nights

over the stance last week. What was

worrying you?

The whole dance, the

technique, could I acted properly?

It was worrying me. I was practising

and practising. I couldn't sleep.

Practice makes perfect. Look what

you did. It is incredible. I have a

bone to pick. Because of you, we now

have to rewrite our Strictly history

book. Not only was this the first

perfect 40 of the series, this is

the earliest there has ever been a

perfect score in the competition.

CHEERING.

Only three tangos have ever scored

maximum points. I present to you the

holy Trinity. Kim Billy Walsh and

Pasha in 2012 in the final. Kellie

Bright and Kevin, 2015. And there

you are, Debbie McGee and Giovanni.

Look at that look on Giovanni's

face. Well done. Incredible. Debbie,

you are the only person to have got

a 40 outside the final.

I can't

believe it. It just is fantastic. I

can't believe what is happening in

my life. I wish everybody could feel

like I feel at the moment.

I think

we are filling it with you. Also,

Giovanni, Darcey... Why not leave

her to do the choreography?

Exactly!

I'm going to have a day off. That is

the biggest compliment I could have

received from the judge. When my

celebrity dancers as a professional

dancer, it means I did a great job

and I did teach the correct moves. I

am really pleased.

Very chuffed

indeed. Top of the leaderboard for

three weeks. How do you maintain

that standard?

We are just doing

what we do every week. We forget

Saturday. We go in on Monday and

learned the next dance. That is like

starting on week one. Every dance is

so different. It is just focus,

let's had a good time and learn a

new dads.

Well said.

Salsa this

week. To a corking cheer, let's here

at!

-- tune.

That is proper disco, proper fast.

What can you tell us?

It is a fast

routine again. Completely different

to the tango. A lot of hip movement.

Sexiness. And lift.

I know what you

mean! Debbie, you have given us some

great lifts already. How do you

feel?

How do I feel?!

I won't be

eating too many chips this week. I

will have a go at anything and that

is what this programme is about. To

see what I can do. We will see what

happens. I am more worried about

letting go in the salsa. I am not a

disco queen.

You can bring it. And

you have got the best teacher.

Say

again.

You have got the best

teacher. Good luck.

CHEERING.

That's all we have time for tonight.

Join me tomorrow at 6.30, when I'll

be chatting to Alexandra and

Gorka, and Joe and Katya.

Plus, Ian Waite is here

for his first warm-up of the week.

And Shirley Ballas will be giving us

all a lesson in the cha-cha-cha.

I can't wait.

Goodnight.