I love the music that accompanies the trip to the cemetery, with Alison and Donny and Charla and Mirna in the lead taxis. Alison and Donny arrive at the cemetery and ask for directions to the grave. They take off at a run. An overhead shot of the sprawling Recoleta cemetery tells you how challenging finding a particular gravesite could really be. Charla and Mirna and the Bowling Moms are the next to arrive. Mirna catches up with a guy in a cart, saying to him, "Senor, pequeno bella," which the captioning rather generously translates as "small lady." She goes on all, "Small lady, not possible," as she indicates the approaching Charla. They hop on the back of his vehicle and take off. Linda and Karen are close behind. Linda and Karen try to stop the cart also, but Mirna gets him to leave without them. In an interview, the moms note that Charla and Mirna, "at a great disadvantage," are nonetheless "kicking [their] butts." And then they laugh good-naturedly. Honestly, Charla and Mirna are not at that much of a disadvantage except during footraces, and footraces are really a relatively small part of racing in the early stages. No one, at this point, is ahead because they run fast.
In Jim and Marsha's cab, she asks whether the driver would have taken American money, and he says he would have. Frustrated, she notes this to her dad, and he says that people are apparently out to pick off the weak "sheep." I'm not sure it's that, and it's hard to know whether they were misled on purpose or accidentally. "We got screwed, and we'll deal with it," he says simply.
At Chacarita cemetery, Colin and Christie get out of their cab, ask for Evita Peron's grave, and soon learn that they're in the wrong place entirely. [Fucking-Up Music.] Bob and Joyce are similarly directed to Recoleta, followed by Chip and Kim. [More Fucking-Up Music.] Bob speculates in the Bob cab on the way to Recoleta that they might have really blown it with that little screw-up.
Meanwhile, at Recoleta, Charla and Mirna arrive at Eva Peron's grave. They're the first to pull the next clue, which is a Detour. The Detour choices this week are Perro and Tango. Phil explains that in Perro, one person takes a group of eight dogs, and the team navigates along a one-mile course with a map, hitting three checkpoints. You can start that task immediately, because the dogs are right outside the cemetery. In Tango, you take a cab to a theater a mile and a half across town, where a bunch of similarly-dressed couples are dancing in a low-light setting. You get a picture of a guy, and you look for that one guy, and if you find him, he gives you your clue. It's somewhat similar to the mask task from Venice last year, except that the people aren't moving around quite so much, and there isn't an upstairs to confuse you. It's similar, though, in that it's very hard to tell how difficult it's going to be, and you have to stop and concentrate in order to do it well. Charla and Mirna choose the tango, even as Charla protests, "I can't do the tango with a gentleman!" Well, you don't have to, you goofball, which means Charla is showing signs, among other things, of failure to read the damn clue. What kind of a weird-ass comment is that, anyway? She's the one who said she can do anything. I find it hard to believe that what's going to stop her in her tracks is the dance of love, you know? As they leave the task, Mirna thanks Eva Peron. Interestingly, I can't decide whether God or Eva Peron is less likely to give a flop who wins. God's got hunger and suffering to deal with, Eva's got the revolution...tough call.