Hello! What's on the
floor over there? How does all that stuff
fit in your bag? Tha-That's
a big Prada bag. MELISSA:
Do you need some help, Abb? Yeah, I-I'm looking
for silver earrings that I threw in here. I'm looking for earrings. I know, I'm looking. I need earrings. So, we're having rehearsal or is she cleaning
out her purse? Oh, there's a cookie! That's a new cookie. I just bought that.
You can eat that. Oh, look, I found
your medicine! That's a Good & Plenty. Oh, look, I found
your fingernail! Here's her fingernail! Ah, wait,
here's another one! ABBY LEE:
Wait, there might be
things in there that children shouldn't see. Is there anything we can do
to maybe help speed it up? 'Cause I know time is limited. Well, you, maybe...
I like your earrings. What kind are, what are they--
are they charcoal? It's not important for you
to have earrings for pyramid. <i> You are not going
to a lunch date.</i> <i> This is pyramid.</i> Gosh, it's like we're wasting so much time here. As much as Abby wants
to be in L.A., <i> L.A. does not bring out</i> the best in Abby. <i> It just brings out the crazy.</i> Dawn's daughter was called
into my class for a routine that she was picked special for. And she had socks
and a T-shirt on. I don't care if you're taping. I'm going to kill her. ABBY LEE MILLER: They were
to wear tights and a leotard. I made two other children
change their clothes because it's accurate. We're doing a lot on our knees. And they have to be
in their bare feet. May I speak to you a minute? I want to speak to you. You don't throw my
kid out of class. I paid for class. I'm looking at every
single kid out here, Abby. They all look like children! Isn't that crazy, that
children look like children? She's dressed appropriately. Yes, I am a minister! Let's play the Bible game, Abby. When Jesus saw things that
were wrong, he went after it! And I'll tell you what, You're
not going to do this to my kid! Out of the room.
Out. Out.
Regan? Goodbye. Out.
Out. You're not throwing her out. Hell, yes, I am.
And you with her. Go.
- No, you're not! Yes. Every week we put the trash out. Go. Then take yourself out
because you're the biggest piece of trash there is! You cannot take
acrobatic class in socks. I told you the clothes to take
are your two-piece costume. There's a big difference. How can you remember that,
and you can't remember to turn your feet out, huh? That's pathetic. Go somewhere else. Take your money, take
your kid, take your socks. Find another school. Does it not hit in your
head that maybe you're wrong. No. Do you not get it? I don't get it. I know I'm right. Why are you right? It's my building. My name is on the front of it. So what! You keep telling her
how stupid she is. She's not stupid. She just can't read. You know-- The apple doesn't
fall far from the tree. Oh! So you're saying I'm stupid? Well, are you? [screams] [inaudible] I've got more education
than you will ever have. Than you will ever have
because I went to school. Unfortunately, you didn't. May I have your phone? Call the police! Go for it! I'm sorry, girls. Go for it! There's a psycho
in every batch. A psycho. Yes, her name's Abigail Miller. Hi, I need an-- a
police at 7123 Saltsburg. Are you OK, Dawn? No, no, no. Are you OK? No, I'm not! Ssh. I don't know if
she went outside. I walked into a room. My senior company is
warming up in another room and I went into there. (WHISPERS) Turn that foot out. ABBY LEE MILLER: Bye, Regan. Bye. ABBY LEE MILLER:
See you [inaudible] Let's go, guys. Let's get in the other room. Thank you. I'm sorry you had to see that. [police sirens wailing] We just want you to
leave the property. DAWN: [inaudible] All right, you got to go. Take your daughter
somewhere else then, if you don't like the
dance company here. [music playing] A little shaky. I have to get myself together. Get back into rehearsal and
worry about the competition this weekend. That is the ugliest board. Why would you bring
the board and have it be a distraction to the kids
again in the dressing room? When will you ever learn? Leave the dancing and
the teaching up to me, and I'll leave the bitching
and complaining up to you guys. These ticks aren't
about corrections. It's not about corrections. It's about-- My teaching style. No, it's about-- JILL VERTES: No, no. It's not even that. --humiliating them. JILL VERTES: It's not that. To the point of improvement. CHRISTI LUKASIAK: No. But that's not right. When you looked at
Maddie and said, oh, your posture is getting
bad because you're hanging out with Kendall, like
her over there. Like it's Kendall's fault
that Maddie's posture was bad. ABBY LEE MILLER: But wouldn't
that make Kendall go like this? HOLLY FRAZIER: No.
JILL VERTES: No. CHRISTI LUKASIAK: No. She just laid there
and looked at me. JILL VERTES: Abby. HOLLY FRAZIER: It has
nothing to do with Kendall. Do-- do you see why
I didn't bring that up? Yeah. HOLLY FRAZIER: That's what
those ticks represent, how many times you
said things that we found disrespectful or
humiliating to the kids. I had this wonderful
plan for Nia next week. She was going to do
a Maya Angelou piece. And now, it's like,
you know what, Holly? If that's your retaliation,
you know what, Abby? Go worry about those big,
flat feet somewhere else. I could care less. What kind of
40-something-year-old woman has to retaliate-- Me. Me Me, HOLLY FRAZIER: You
act like a baby. All me. That is a baby right there. You want me to make
your child better. But yet, you want to hold me
accountable for my teaching methods. HOLLY FRAZIER: When
they cross the line-- Nobody would know Nia's
name, if it wasn't for me. Do you think people would
grab their program and say, ooh, Nia Frazier's on next? Woo-hoo! You know, what's
so sad about this is that you're a grown woman
taking out on a little kid. I'm not taking anything
out on a little kid. And Nia is 12. She can have kids. She can get married
in some countries. I'm bored of the
conversation and you're ugly. What do you say is
absolutely ugly. ABBY LEE MILLER:
That's the truth. And you're a nasty woman. And you're a nasty woman. Get real. Your kid's growing up. HOLLY FRAZIER: You
have crossed the line. CHRISTI LUKASIAK: Abby is
so totally out of line. I will not sit here and pretend
that I support that woman. I'm going to get up and I'm
going to walk down the hall, because that's the
woman I support. JILL VERTES: We stand
behind you 110%. No, that was wrong. MELISSA GISONI: I don't know
why she would have said that. JILL VERTES: She just go-- but it's-- it's that
and it's everything. No. I-- no. It's how she is. I'm not talking about anything
unless those cameras are out of my face. JILL VERTES: Abby can't
have a conversation. She can't do it. She gets all ugly. She can't handle the truth. She diverts the conversation. It's ridiculous. I feel really badly,
like, for Holly. I-- I could hardly sit
there and listen to that. [music playing] Because I feel her pain. But it's everything that built
up to-- it's not just that. That was the straw that
broke the camel's back. HOLLY FRAZIER: I
think we have to go. I think we have to
go get the girls and then go back into the room
and get them ready for group dance. JILL VERTES: We're
sorry it got to that. MELISSA GISONI: We are sorry. JILL VERTES: I
mean, I could hardly stand there and watch that. It's vile. Yeah, it's vile. Was she did was vile. JILL VERTES: But good for you. And you know what? She can't fight you, Holly. So what does she do? She hits below the belt. The girls have to get
ready for the group dance. I am not going to
stoop to Abby's level and get sidetracked. JILL VERTES: I'm
nervous for these kids. They're taking the stage. Things aren't right with Abby. They're going up against
the Candy Apples. I just have to hope that
their head's in the game and they focus on their
dancing, nothing else. COMPETITION EMCEE: Ladies and
gentlemen, the group number, "Playing With Matches,"
has them withdrawn. I repeat the group number,
"Playing With Matches--" Isn't that yours? COMPETITION EMCEE: --has been
withdrawn and will not dance. [music playing] What happened? That's yours. What? GIANNA MARTELLO: Girls,
girls, come here. The reason the group
dance was pulled has nothing to do with you. It's how your mother's treated
Abby in that dressing room. I don't know what it was. And you guys don't know what it
was, but that was the reason. OK? Because of your
mothers' behavior. You know how it is. When one gets punished,
everybody gets punished. And I have to put my foot down. OK? All right. Go back. After the moms little
scene in the dressing room, I decided to pull the number. The kids worked
hard, but they're not going to get a prize. They're not going to get the
glory, because their mothers took that away from them. Abby, why did you
pull the number? See what I mean? You get the back of the head. You get the back of the head. Hey, um, where are the moms? They're not here? I should be in there
doing the pyramid. I don't know where everybody is. The moms are still missing. It's getting late. Nobody's heard a word from them. We just wasted an entire
day when we could have been rehearsing for the competition. There's people standing
in the parking lot. Is that-- someone's sitting
on the ground like a dog. Melissa. ABBY LEE MILLER: Really? I am tired of this. The moms are outside
in my parking lot. I've had it. I'm going to go out there
and find out what's going on. Ladies, what's going on? I'm waiting to do the pyramid. I've been waiting and
waiting and waiting. Ladies, what's going on? Holly, something
has to be going on or you would never be so
rude to me personally. You guys are having a-- what
is it called-- a sit-in. Ladies, are we this upset
over one new student? Are you that jealous? If you're doing this for
Kelly, you're a fool. This is completely
unprofessional. Do you think that
your kids are going to go on and work professionally
after this behavior? That's ridiculous. Melissa, I tried to tell you. Your kid's working her butt
off doing a solo every week. And the other kids are broken,
lying on the floor whining. When Abby comes out, it's like
the scene from "Jurassic Park." We're all sitting in our
cars and, like, here comes the Tyrannosaurus Rex. Holly's not moving. And I'm thinking, thank god,
Holly, because they can sense movement. ABBY LEE MILLER:
You're replaced. That's it.
Finished. Done. See what happens to people? You do all this
crap for their kid, you get them to win a national
championship, and then they [bleep] all over you. They start when
they're 3 years old. They don't know their
right foot from their left. Their kid becomes a star. They're winning titles. And the parents suddenly think
they know something more. Let's go. Let's get on the phone. We have to replace
all these kids. We have one great
soloist, right? All right. Thank you. PHONE OPERATOR: (ON PHONE)
Allegheny County, 911, what's your emergency?
ABBY LEE MILLER: Hi. I have a trespassing issue. PHONE OPERATOR: (ON
PHONE) Your name? Abby Miller. There's just four cars of
people in my parking lot that will not move. I just want the
police to tell them they need to move their cars. They need to be off my lot. PHONE OPERATOR: (ON
PHONE) All right. ABBY LEE MILLER: Bye bye. [sighs] I have tons of kids
dying to be on this competition team. So I want to go back to the
files from the competition and call people that can
get in their cars right now and drive to Pittsburgh and be
here for rehearsal tomorrow. Times, they are a changin'. Yes, hi. This is Abby Lee Miller. Is there a Kaeli there that
attended an open call audition for me? WOMAN: (ON PHONE) Yeah. Yes. I need you to find a way
to get her here tomorrow. I understand that you have
a very talented little girl. I've been hearing from everybody
that she is 10 times better than Maddie. How can we get you
on a plane tomorrow? Come to Pittsburgh to the
Abby Lee Dance Company and compete with my team. [police siren] Bella's in. She's there and she'll be there
with her at 1 o'clock tomorrow. CHRISTI: And he's
pulling behind us. ABBY LEE MILLER: I don't
even know what we're doing, but we're the Abby
Lee Dance Company. We're national champions. And we'll come up
with something. The show must go on. WOMAN: (ON PHONE) OK,
we'll make it happen. ABBY LEE MILLER: All right.
Thank you. WOMAN: (ON PHONE) You as well.
ABBY LEE MILLER: Thank you. Bye. WOMAN: (ON PHONE)
All right, bye bye. We're [inaudible] we got a
way better group than we started with. Hello? YVETTE: (ON PHONE)
Abby, this is Yvette. How are you? Good.
How are you? YVETTE: (ON PHONE):
I'm fantastic. Thank you. I hear you're going
to be competing in Indiana this weekend. I am. I would love to see you. Are you going to be around? Yes, we're going to be there. ABBY LEE MILLER:
(ON PHONE) Oh, god. It should be exciting. Is-- YVETTE: (ON PHONE) Hadley Is she competing? She's actually
competing in a solo, and we're bringing a
group number as well. ABBY LEE MILLER: (ON
PHONE) All right, super. Well then we're going
to see you there? You're going to see me. Absolutely. OK, super. My name is Yvette. My daughter and I were
on "Abby's Ultimate Dance Competition." It was an amazing experience,
but along with that came many ups and downs. Hadley, are you
excited for the season? I guess. Kind of. I've been really worried
about you since "Abby's Ultimate Dance Competition." I've been worried about the
things that Abby said to you. Made you question if you want
to continue to dance or not. I feel when Abby found out that
I was a dance teacher myself, I think things turned. I think Abby tried to
get to me through Hadley. She tried to break you. Shame on her. It's just different
going to dance every day, because I still have
those words in my head. Which words keep
popping into your head when you go in the dance room? PA: Abby, I'm reading
your facial expression and you don't seem that happy. Should I say roadkill? You're not roadkill. Just hearing her say
that, I've never had someone say that to me before,
like, call me that. Don't let "roadkill"
come back into play at all. I say all the time,
you get what you give. Abby Lee Miller will
get it back someday. ABBY LEE MILLER: All
right, moms, this is it. We're crunch time here. I was just informed that
one of the kids I judged over the break is coming
to the competition. And the mother called me. Her name is Yvette. Her daughter's name is Hadley. Oh, OK. I'm warning you. She does not like me because
I told her that her daughter looked like roadkill. Oh, my god. And they have a group
against our group. Hadley is doing a
solo in 9 to 11. So I called your
daughter roadkill. Get over it, lady. Let it go. This competition is huge. We're going to walk
into that theater, and people are going to expect
to see Brooke, and Chloe, Nia, Maddie. And they're going to see
Ali, Bella, Kaeli, Sophia. This can make you or break you. You step out on that
stage and you guys win the overall high
score, suddenly, they could be household names. Do you understand
what I'm saying? I've got huge expectations for
the competition this weekend. And if these new
girls don't meet them, I'll make a few
more phone calls. Do you know any of these kids? Because those are
none of our kids. YVETTE: I mean, I knew she
had auditions two weeks ago. Right. ABBY LEE MILLER: How are you? ABBY LEE MILLER: Good. No hug, no kiss? HADLEY: Nice to see you again. Good to see you, sweetie. You've been working
on those feet? Yes. Good, good, good.
How are you? I'm good.
How are you? ABBY LEE MILLER: Good. Take care. You have a new team? Yeah, you know,
every once in a while, you have to put the trash out. PA: Junior Solo Division,
here is Hadley with "More." [MUSIC - CLOONEY, "MORE, MORE,
MORE"] (SINGING) Word up. The boys arrived. And my lips start moving
when you walk in the room. So come and give me. Your eyes, your
style, your smile. Got a sky high, supersize
jonesin' for you. So come and give me
animal, chemical. All you got, I'm so deep in it. I can't get enough. Yeah, I like it. I love it. It's true. So come and give me. So what you got to do
is give me all you got. I'm so deep in it. I can't get enough. Yeah, I like it. I love it. It's true. So come and give me. So what you got to
do is give me more. [applause] PA: That was entry number
10, Hadley with "More." I get so nervous
before I go on stage. I always have to
shake out my nerves. I'm a little bit of
headcase sometimes. PA: This is entry
number 27, Sophia! [applause] [MUSIC - ANALOGUE REVOLUTION,
"NEW REALITY"] (SINGING) Is this a dream? Is this a dream? I've followed you for so long. I wonder, is there
something wrong with me? Is this a dream? Is this a dream, or could
it be a new reality? Is this a dream? Is this a dream, or could
it be a new reality? Just you and me. New reality. [applause] ABBY LEE MILLER: Sophia came out
on that stage like a tornado, and she ripped
through that audience like there was no tomorrow. She truly dances like it's
the last time she's ever going to dance. In second place, with a
total of 276.3 points-- There's no question in my
mind we're going to be Abby. PA: --entry number 10, More. YVETTE: I'll take that. We will take that. We'll take that. PA: And in first place in
your Junior Solo Division, number 27, New Reality. Woo! Good job, [inaudible]. Woo! Hadley wasn't exactly roadkill. She was just the road, and
Sophia drove right over her. Good job, girls! jealousy and success
go hand in hand. Maddie needs to get
used to it because she's going to be successful. I need the girls to come in. I need everybody to come in. But I need you to
get your crowns and get them on that table. I even had her
bring her crowns in. Because I want her
to realize that this is something
to be proud of. it's a huge accomplishment. And Starpower is proud of her. She is a little star right now. She's the winner. Own it. Be proud. Rub it in their
faces if you have to. This is a piece of metal and
two combs and some rhinestones. This does not make you a winner. CHRISTI: What, was she saying
how many crowns have you won? - Oh.
- Right. This is the best-- Let me bring these and
rub them in your face. Exactly. ABBY: These are recent. This is Petite Miss Dance? That was a toughie. KELLY: But, once again,
you can't win a crown if you're never sent to go. Starbound. Ooh, that's pretty. Energy. CHRISTI: And Maddie still wins,
just because she has better choreography. And Abby makes sure
of that every week. She makes sure that Maddie
has the best choreography out of this group. And you can sit here and get mad
at me, but you know it's true. HOLLY: There's no question. ABBY: DEA. Oh, running out of room. MADDIE: I didn't wanted to show
all the crowns to the girls, but I followed the
rules and I did it. But then the moms
kind of got mad, and I didn't like that at all. But, Melissa, why
would you bring them? MELISSA: She told me to. And they called
me this morning-- HOLLY: Don't listen! KELLY: But when she tells
you to bring them, say no, my daughter's uncomfortable-- MELISSA: She is uncomfortable. --doing this in
front of her friends. HOLLY: Your kid
is uncomfortable. KELLY: But you're getting
them out now, Melissa. They already did it. I'm not getting them out. CHRISTI: Are you
going to tattle on us? Yeah.
I'm going to go tattle on you. HOLLY: I wouldn't be surprised. ABBY: You need to get these set
up so that you put a sticker on the back of these. Girls, I just
want to tell you, I don't want you to think that
Maddie's doing this to make you feel bad. Maddie was instructed
to do this. And I see your faces,
and I feel really bad. ABBY: I'm sick of hearing it. And you are taking her successes
and you're squashing them down. She has a right to jump up and
scream and yell and be excited. It's ridiculous. If you want a
crown, work for it. [music playing]
HOLLY: What happened, Melissa? What did she say to you? We-- she never gets excited. I'm-- you know, we squash every
victory because, you know, we don't want people
to hate her and this-- people to hate me. I would tell
Abby, kiss my ass. I'm not bringing them in. It's rude. We deal with it every week. We realize that. It is. Our kids aren't stupid. They realize it. ABBY: All right. Are we ready? We're going to run it
with everybody together. And on top of the
pyramid this week-- [LAUGHS] MOM: Oh my god. How funny. ABBY LEE MILLER: Well, it's
the only time she's ever going to get anywhere. [LAUGHTER] MOM: Christi doesn't
find it funny. Come on. We have work to do. World-Class Talent--
we loved it so much, we're going back again. [CHEERING AND APPLAUSE] This time, we're going to-- Canton, Ohio. GIRL: Oh! We are going to
the apple orchard. We've won 11 times in a row,
and we're going for number 12. I am so confident in my
junior league competition team that I'm going to go
head to head with Cathy in her own hometown. We have a group routine. Right now everybody is in it. The routine we are
doing is "Frost." And each and every one
of you took a costume from another
competition that we did, and you took them home with you. And they're white,
and they're beautiful. And you are in trouble if
you don't bring them tomorrow to rehearsal. When I hear a piece of music,
I envision the choreography and immediately think
about the costume. I have the most
lavish white costumes. They even have
marabou fur on them. I mean, they are perfect. What about the ones that
don't have that costume? Oh, wait a minute. Christi, Kelly has two
sets of the costume. Call her attorney. I'm not getting involved. No, you need to
go get it from her. She's your buddy. Christi, come on. She's your friend. Wait, seriously, Abby? You want me to call
Kelly, who you're out insulting at every turn
and ask her for costumes back? Oh, let me get
right on that, sure. ABBY LEE MILLER:
This week, we're doing a routine called "Frost." You think it's
sweet, and beautiful, and this stunning lyrical
piece, but underlying there's this nuance of something
frightening, something eerie. And that's what I
love about the music. You've got to push for that. There should be three
beautiful turns there. The Abby Lee Dance Company has
won 11 competitions in a row. Cathy, don't even think about
ruining this winning streak. So we need something to happen
that's like, oh, they did that. That was good.
Oh, they did that. That was good.
Oh, they did that. That was better. Oh my god, now
they just did that. We can't beat them. Right now we have seven
dancers on the floor. I'm telling you, not everybody's
doing this number because we don't have enough costumes. So who's going to
get the costumes? Like, I've texted and
left messages for Kelly, and she's never responded. They don't get costumes,
that means two girls are cut from this number.
- I'm surprised-- Friendship. --because she will never
put those on her kids' bodies. It's not really
about the costume. The costume's just a
symbol of a larger issue. You're not getting the costume
back, not without a fight. Even though Nia has a
costume with her name on it, it's clear, just
knowing Abby, if there's someone who's a disposable
member on this team who may not make the cut, it might be Nia. So you take this music,
you go home, and you know it. You can move the furniture out
of the way in the living room, and you do it over, and over,
and over until it's perfection, understood? ALL: Yes. ABBY LEE MILLER: Because I
want a 12th up on my shelf. All right, see you later. [DANCE MUSIC] LESLIE ACKERMAN: Hi. We're here, here
with the blizzard. I'm trying to get the
costume because you know me. I'm always worried, you know. Payton's costume is-- We know. We know. It's stressful on her. She wants to know-- You work her up about it. --what is plan B? You know what? I don't have time
to do all that crap. Kelly knows she's in the wrong. She can't produce a
receipt for those. Point blank, that's it. She has the costumes. You give them back. I know why, but-- Oh, let me see that. HOLLY FRAZIER: Hello. ABBY LEE MILLER: I forgot
what it looks like. Ooh, thank you. How is it? Those are the headpieces. LESLIE ACKERMAN:
I already can feel that Payton is going to be
the one that is left out of this dance. So I'm going to
take it upon myself, and I'm going to get these
costumes back or at least everything I can to get
these costumes back. Hi, Kelly. It's Leslie again. It's the third attempt
that we've been trying to get a hold of you. We really need those costumes. Abby says they're hers
and they belong to her. And we need them. And you know what? If we don't get them,
Payton might not be able to participate
in this group. ABBY LEE MILLER: The costume
plays a huge role in what I think about the routine. And if I don't have
them, then it's like right back to square
one, starting all over. Why should we even do this
dance if we're not going to have the right costume on? These are beautiful. This is the only
option we have. No, it's not the
only option we have. It's what I want. I think we can make that one
costume kind of look like this. But Leslie, you
don't even sew. You have zero talent. I know-- [INTERPOSING VOICES] I'm just saying-- All I'm saying is Kelly
was vital to the team. She was the team player. [INTERPOSING VOICES] But Abby, we are here. Where's her costume? You don't do that to
your team members. Hey. I want you to call Kelly again. Call her right now.
- Yeah. And I guess what? You'll be getting a
call from my attorney. You don't need to know
my [BLEEP] attorney's name. Uh-- [BLEEP] ABBY LEE MILLER:
You want to talk like that in front of your
kid, that's your business. But you don't talk like that in
front of everyone else's kid. That's what you and your
husband do in your house. Oh. That's not what happens here. You don't know what
goes on in my house because you're not invited
over, because we don't let trash through the door. This is completely
getting out of hand. Keep talking, Christi.
Keep it up. OK, yeah, so you can
turn it around and cry? It's a pity party for you. Let's just go. (SINGING) The thing that
haunts me like a ghost. ABBY LEE MILLER: Payton, stop! Kendall, was that a plié? Was that really a grand plié? Do it again. Start over. [DRAMATIC MUSIC] You can all thank
Christi for my mood. She stood at my front desk and
yelled the F-word 17 times. That's sickening. Oh, Jill. I'm sorry. ABBY LEE MILLER: Chloe,
has nothing to do with you. You are a wonderful little
girl, and everybody likes you. I feel rotten that I
have to send Chloe in there on the heels of this big
argument that I had with Abby. We're going up against
Cathy and her Candy Apples, and Cathy brings out
the worst in Abby. Abby should walk in
there and leave everything that happened outside of
the classroom outside. Absolutely. LESLIE ACKERMAN: Kira, you
don't seem to be concerned. We all know that's
how Abby is and that's what she's going to do, so. Well, it's that old
saying around here. It's because you're still
on your honeymoon with her. Just give it time. I think Leslie will fight
with anyone that gives her the opportunity to
argue or fight with. And maybe that's because
she doesn't have confidence in her daughter's dancing. ABBY LEE MILLER: Listen up. I don't come into your
house and scream at you or your parents like that. You made a choice to come here. Nobody is going to talk
to me that way, no one. Next person, your parents
say the F-word, you are out. Let me have that. You don't let us get a
word in edgewise, Leslie. Oh, dear god. Please tell me Christi's
not coming today. I see her in the parking lot. MOM: She's there. There she is. ABBY LEE MILLER:
Chloe, good morning. How's it going? HOLLY FRAZIER: The tension
between Christi and Abby is still sky high. When Abby's not
happy, nobody's happy. [MUSIC PLAYING] (SINGING) The line
reserved for angels. Once you cross that
line, then you-- (SINGING) So let's think twice. [DRAMATIC MUSIC] [APPLAUSE] OK, that's it. We have three
costumes out of four. That's what should
dance, and you guys know that's what should dance. It is my professional
recommendation that these three do it as a trio. That's what should happen. Abby's having a
little temper tantrum that we can't get the
costumes back from Kelly. So now we're going to turn
it into a trio, really? But we have four costumes. I don't know where the
three is coming up. Abby's making this
group number into a trio because she's afraid of Cathy. LESLIE ACKERMAN: She has
no faith in this team. She's a coward. [DRAMATIC MUSIC] HOLLY FRAZIER:
There is no way I'm going to let this group dance
go to a trio without a fight. We're still short several
costumes for this group number, so plan B, we bring
in previous costumes that we can share and
sort amongst each other and figure out
costumes for our girls. We want the group to
dance together as a group, and all we've heard is that
the costumes is the main issue. So that's why we came
up with a plan B. Let me see what dishwater
gray crap you have there. Well, yeah, these are--
because they've been worn. I can put it in Woolite though. But none of this
would fit Payton. No. But Abby, you asked her
to travel with this team this week.
- Do you want me to unask her? I can make that happen. They group together or not
invited Kalani, understand? Not invited Kalani? She's a permanent member. You're a guest. No, I'm not a guest. Get that through your head. I'm not a guest. My daughter belongs
to the studio. Not this team. And she should be
in Kalani's spot. ABBY LEE MILLER: You don't
even need to be here. You can go back upstairs.
Go ahead. Payton is cut from
the group dance. I'm dismissing you.
It's fine. You see?
I get kicked out always. Leslie, you should be
grateful to Miss Abby because now Payton has more
time to work on her solo. I want to see what size this is. Try this bottom on. Kalani, put this on. Those aren't going to fit Chloe. Now the shorts. All right, girls, turn
around, and face front. HOLLY FRAZIER: So
Abby, is everyone now, except for Payton,
in the group dance now that we're
outfitted with costumes? [MUSIC PLAYING] Fifth position. I'm watching you. All right. We're good. We're all good. Listen. Sometimes people
don't play fair. And that's why I'm tough on
you, and that's why I train you. 12 victories in a
row or you get beat. It's a long ride
home when you don't have the trophy on your bus. But wait. I don't even know why
she's going to do her hair, because the costume that you
gave her doesn't fit her. It's a medium adult. We
have bigger ones, honey. Why didn't you say something? You didn't give her the time. You took all your
time out on Kalani. If Abby really cared, she would
worry about what Payton looks like on stage in her costume
like she does with Maddie and now Kalani. You just need a large
adult. So you obviously can't wear this.
So you don't want to dance? That's fine.
- No, no. Find her a costume. Find her something to wear. We want to dance. In that particular brand,
you need a large adult. She's a hard to fit upper body. You would've known this if
you would have done your work in the studio. Where's her custom costume
like everybody else gets in this room? Has she ever had a beautiful
custom costume when she traveled with the team? No, because I
don't care anymore. Why? It's not worth the
aggravation, for you to talk to me this way. Me? You bring it upon yourself
by treating us this way, by bringing Kalani in. She's not your student. She's going to use
your name and leave. Oh, whoa, whoa, whoa. Like that. Do not tell me
what I am doing. OK. You will use her name,
and you will leave. KIRA GIRARD: Listen, lady.
[INTERPOSING VOICES] KIRA GIRARD: Deal
with your own problem. I don't have to tell you
what you're going to do. We all know it. - Really, they all know it?
- Yeah, I know it. They're all fine
with me being here. When a kid interferes with how
my daughter should be treated, then guess what? I have a problem with that. You choose to treat-- That is a classic
example of what we don't want to sound like. This is just terrific. We're about to go
out for Nick's solo, and Abby's dressing room
sounds like a rowdy bar fight. ALDC is falling
apart at the seams. Nick's got this in the bag. You give, you give,
you give, you give, and you get nothing in return. You're an embarrassment
to this team. Acknowledging my daughter. She should have called me-- Abby, you are-- ABBY LEE MILLER: --last night. --[BLEEP] perfect, aren't you? What did you just say? You're [BLEEP]
perfect, aren't you? Leslie, didn't Abby just say
two days before that if a mom uses that F-word she's
kicking them out? People that represent the
Abby Lee Dance Company can't use the F-word. So you're done. You're not going to let
Payton do her solo today? No. Get out. LESLIE ACKERMAN: Don't
ask me back ever. ABBY LEE MILLER: Because of
Leslie's despicable behavior, Payton is not
performing that solo. ANNOUNCER: Up next
is act number 109. Please welcome to the stage
Maddie, Chloe, Nia, Kendall, Mackenzie, and Kalani. [CHEERING AND APPLAUSE] I think the girls
can't hear the music. The crowd is screaming, and I
don't think that they can hear the beginning of their song. They couldn't hear the music. They didn't hear it. [MUSIC PLAYING] (SINGING) The thing that
burns me up the most is how I tried to
do the right thing. Cross that line, a line
reserved for angels. Once you cross that
line, then you are lost. So best think twice before
you break commandments. 'Cause forgiveness comes
at the highest cost. Forgiveness comes at
the highest cost-- frost. [CHEERING AND APPLAUSE] Missed the beginning. We couldn't hear the music. Nobody could hear the music. It was so early. I missed my turn. We're going to get killed. I think they didn't hear
their music, but it's OK. I feel like we're being
set up this whole day. It's fine.
- [SCOFFS] Don't say that. You shouldn't really wear
a dance studio jacket when other people are here paying. I have paying customers here. We could do it
over if you like. No, no, no, no, no, no, no. We got off on a
terribly rocky start. The girls couldn't
hear the music. I don't know if this is
going to be good enough to beat the Candy Apples. Stop. Don't cry. [INTERPOSING VOICES] We were good. We can't-- we have to act-- We were too worried. We have to act
that we are perfect. We are perfect, guys. [CHEERING AND APPLAUSE] Second overall-- [DRAMATIC MUSIC] --goes to act 108,
"The Last Dance." And our first overall
goes to act 109, "Frost." [BRIGHT MUSIC] [CHEERING AND APPLAUSE] ABBY LEE MILLER:
Cathy, we did it again. The Abby Lee Dance Company
beat you at your own game in your own town. You even tried to
bribe the judges. It doesn't matter what
you do, when, how, why. The Abby Lee Dance Company
is going to beat you.
