4.24 - A is for Answers

4.24 - A is for Answers (Script).pdf


Ep.

424 Production Draft – 1st Revision (BLUE) October 22th, 2013

Confidentiality Memo Please do not copy, scan, or distribute any documents relating to Pretty Little Liars Ep. 424 Finale Episode. Dispose of all related materials responsibly. No one wants to get “A” angry… Best, Writers Office PRETTY LITTLE LIARS

“A is for Answers”
Episode #424

Written By

I. Marlene King
Directed By

I. Marlene King

Production Draft - 1st Revision (BLUE) October 22, 2013

All rights reserved. © 2013 Warner Horizon Television Inc. This script is the property of Horizon Scripted Television Inc. No portion of this script may be performed, reproduced or used by any means, or disclosed to, quoted or published in any medium without the prior written consent of Warner Bros. Entertainment Inc.

Pretty Little Liars
“A is for Answers”
Episode #424 Character List Aria Montgomery Emily Fields Hanna Marin Spencer Hastings Alison DiLaurentis Ezra Fitz Mona Vanderwaal CeCe Drake Gabe Holbrook Jessica DiLaurentis Melissa Hastings Veronica Hastings Peter Hastings Noel Kahn Ian Thomas Officer Barry Maple Cop

Pretty Little Liars
“A is for Answers” Episode #424 Set List INTERIORS
Rosewood Police Station Lobby Interrogation Room #1 Interrogation Room #2 Interrogation Room #3 Interrogation Room #4 Observation Room #1 Observation Room #2 Observation Room #3 Observation Room #4 Hilton Head Hotel Suite Outer Suite Blind School Jenna’s Room Hallway Spencer’s House Great Room Barn DiLaurentis House Alison’s Bedroom Living Room Ezra’s Car Coffee House/Jazz Club Loft Apartment Hollis Pizza Pub Lost Woods Resort Hotel Room Hotel Room #2 Bell Tower Philadelphia Commercial Space Ali’s Car

EXTERIORS
DiLaurentis House Backyard Front Yard Kissing Rock Loft Building Lost Woods Resort Philadelphia Street Spencer’s Front Gate Yard Road Rooftop

Pretty Little Liars
“A is for Answers” Episode #424 Script Days Night One Flashback: Scenes: 1-4, 8, 10-12, 14, 17, 20-25, 27, 30, 32-34, 36, 38, 40, 42, 45, 51-55, 57-65 Scenes: 5-7, 9, 13, 15-16, 18-19, 26, 28-29, 31, 35, 37, 39, 41, 43-44, 46-50, 56

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Ep. 424 "A is for Answers" TEASER

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1.

FADE IN: 1 INT. LOFT APARTMENT - NIGHT (N1) 1

Clack. Clack. Clack. What is that sound? This space is modern. Stark. Exposed bricks and beams. It’s sleek and cold. Clack. Clack. Clack. CLOSE ON HANNA, looking up at an overhead ceiling fan. Watching its steel blades go round and round. ARIA stares at an abstract painting. It resembles Picasso’s The Dream and it’s signed by “A.” Clack. Clack. Clack. SPENCER watches as the shiny balls of a Newton’s Cradle swing back and forth. She reaches out and stops it. Silence. Then she starts it again. Spencer! What? ARIA SPENCER

Aria tosses her a look. EMILY glances across the room, where a guy peers out the window. He’s keeping watch. A blue moon casts a halo of light around him, but this isn't heaven and that's no angel. It's NOEL KAHN. Outside we see a metropolitan view and hear the hum of an urban city. His phone rings. All the PLLs look to him as he answers the call. NOEL (into phone) Yeah. He listens. PLLs. After a moment he hangs up. NOEL (CONT’D) He turns to the

Stay here.

He heads across the room. NOEL (CONT’D) I’ll be right back. WTF's going on here? Noel disappears out the door.

ARIA I can’t believe we let Noel bring us here. HANNA Do we even think she’s gonna show?

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SPENCER When we saw him instead of Ali, I thought for sure this was a trap. HANNA Maybe it is and we’re just sitting here like geese. Ducks. What? SPENCER HANNA

SPENCER It’s lame ducks, Hanna. Not lame geese. HANNA They both quack so SPENCER Actually, a goose honks. EMILY Why would Ali trust Noel Kahn? ALISON (O.S.) Because he has secrets, too. A shiver runs up their spines as they turn to see -ALISON, in the flesh, standing in the doorway. She’s moved as she takes in the sight of them. And the PLLs are rendered speechless at the sight of her. It’s a weird, tense moment. Hanna finally breaks the silence. HANNA I want to hug you and slap you at the same time. Alison lets her guard down. ALISON I could use a hug. She seems so vulnerable in the moment. Hanna is the first to stand. She and Alison embrace. Tears well up in Hanna’s eyes. She’s overcome with a swell of emotion. When Ali and Hanna break apart, Aria takes Hanna’s place. It’s both warm and surreal. When they separate, Alison reaches for Emily’s hand and she’s not going to let go.

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3.

Ali turns to Spencer who’s standing now but keeping herself removed from the reunion. ALISON (CONT’D) I’m glad you’re here, Spencer. SPENCER Why? I’m the one you can’t trust. Right? ALISON I need your help. Now that the cops know it’s not me they buried, they’ll start looking again. And until I know who “A” is, I can’t come home. HANNA We think your mom’s the one who stole the game from Mona. We think she’s “A.” Ali takes in their theory. EMILY You don’t seem surprised. ALISON It’s complicated. She wells up with tears. ALISON (CONT’D) I’ve never figured out the right way to say what you need to know. I’ve never been able to say the words out loud. SPENCER Why don’t you start at the beginning? To all of them. ALISON I’m ready to tell you everything. But if we can’t figure it out tonight, I’ll have to disappear again. And this time it will be for good. Off of their looks -BLACKOUT.

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Ep. 424 "A is for Answers" ACT ONE

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FADE IN: 2 INT. ROSEWOOD POLICE STATION - NIGHT (N1) 2

We see HOLBROOK’S reflection in a two-way mirror. Rack focus to the suspect who sits alone in the interrogation room. It’S CECE DRAKE. She stares ahead, a determined look on her face. She knows she’s in trouble, but she’s not breaking down. Observant viewers will recognize the top she wears as a new blouse purchased in the last episode by Mrs. DiLaurentis. Holbrook exits the frame. We stay on CeCe as she holds her stare. A beat later, Holbrook enters the interrogation room. 3 INT. INTERROGATION ROOM #1 - CONTINUOUS(N1) 3

A video camera records the interview as Holbrook sits across from CeCe. He slides a paper cup across the table. HOLBROOK Want some coffee? CeCe looks past him at the two-way mirror. CECE Did you just get lucky or did somebody turn me in? HOLBROOK Who would have done that? She doesn’t answer him. HOLBROOK (CONT’D) We know Wilden was a jerk. On the take and willing to rough people up to get what he wanted. She continues looking past him at her reflection. hands cuffed, she fixes her hair. HOLBROOK (CONT’D) Did he take you out to that lake to scare you? Maybe things got out of hand and you did what you needed to do to stop him. She finally turns to him. With her

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Ep. 424 "A is for Answers" CECE You’re right. (moment) Wilden was a jerk.

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5.

HOLBROOK I thought you might want to help yourself out here. But we can play it your way. He stands. HOLBROOK (CONT’D) An eyewitness saw you at the scene. We’re just waiting for him to come in and I.D. you. We stay on CeCe, weighing her options, as Holbrook heads for the door. CECE If I did do it, then maybe there was a reason for it. I’m gonna need more than coffee if you want to know what happened. He turns back to her. HOLBROOK You’re on the hook for a murder charge. If you’re looking for a deal I’m not sure what you have to bargain with. CECE I know who killed that girl. one they thought was Alison DiLaurentis. The

HOLBROOK What’s that have to do with Wilden? CECE Maybe nothing. Maybe everything. You’re the cop. That’s for you to figure out. Holbrook sits back down across from CeCe. HOLBROOK So who killed her?

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6.

CECE The same person who’s still trying to hurt my friend. HOLBROOK Which friend is that? Alison. CECE She’s alive.

HOLBROOK You’ve seen her? CECE More than once. it. And I can prove

Off of Holbrook’s intrigued look -4 INT. LOFT APARTMENT - NIGHT (N1) Ali sits across from the PLLs. (Observant fans will note that they are in similar positions to the barn in 101.) SPENCER So if you want me here to help you figure out who “A” is, you must not think I‘m the one who hurt you. ALISON Let’s not get ahead of ourselves, Spencer. It was a crazy night and it all starts in Hilton Head. (moment) “A” had been threatening me since Halloween. I thought a weekend away with Ian would give me a reprieve... 5 INT. HOTEL SUITE - HILTON HEAD - DAY (FLASHBACK) CHYRON: Labor Day Weekend Two Years Ago. Ali, wearing the outfit we saw her return from Hilton Head in, listens at the door. IAN (O.S.) Did you follow me here? Ali cracks open the suite door and peeks out to see IAN and MELISSA talking in hushed tones. MELISSA I know who you’re with. 5 4

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IAN She doesn’t mean anything to me. Alison closes the door and turns back to the room. We see Ian's video camera set up on a tripod, pointed toward the unmade bed. Ali erases everything he recorded, then her eyes land on his laptop. She turns it on and clicks onto his videos. Her hand hovers over the “delete” button, but she stops short of pressing it when she sees a clip labeled “Jenna and Toby.” Alison presses play. She’s immediately sucked into the peeper video of Jenna seducing and threatening her step-brother. 6 INT. OUTER SUITE - HILTON HEAD - CONTINUOUS (FLASHBACK) Ian pleads with Melissa. IAN Let me take care of this so we don’t make a scene. MELISSA You can never see Alison again. I won’t. IAN 6

MELISSA I don’t trust her. IAN Melissa, you were the one who wanted to take a break. I’ve just been killing time. Waiting for you to come back. She’s overwhelmed with emotion. MELISSA I don’t ever want to lose you again. You won’t. IAN

He leans in and kisses her. 7 INT. HOTEL SUITE - HILTON HEAD - CONTINUOUS (FLASHBACK) Ian walks back into the room. Fake smile on his face, he's ready to give Ali some bullshit story, but she's not there. He clocks the sliding glass door that opens to the golf course. Curtains blow in the wind. Ali's gone. 7

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INT. LOFT APARTMENT - NIGHT (N1) The PLLS are settled in and riveted to Alison’s story. ALISON I went there to get away from “A” but when I left, I had what I needed to shut “A” down. Jenna was at the top of my list. She had every reason to hate me. And her little dog Garrett was around to do her dirty work.

9

INT. JENNA’S ROOM/HALLWAY - BLIND SCHOOL - DAY (FLASHBACK) 9 ALISON I thought you’d see it my way. Alison removes the flash-drive from the laptop. leave, but stops and delivers her final blow -ALISON (CONT’D) Oh and Jenna, if I get one more threat, or you ever come back to Rosewood, I’ll bury you. Feeling empowered and victorious, Ali exits Jenna's room. She heads down the hall, toward the billowing white sheers. The smug smile on her face drops when her phone chimes. She looks down at it. TEXT: “Bitch can't see you, but I do. Tonight's the night I kill you. - A.” Off of Ali's frightened reaction -ALISON (PRE-LAP) (CONT’D) Bitch can’t see you, but I do. She turns to

10

INT. LOFT APARTMENT - NIGHT (N1) ALISON Tonight’s the night I kill you. The PLLs react to “A’s” threat. ALISON (CONT’D) Knowing what I had on her, there’s no way Jenna would have sent that. I was wrong. She wasn’t “A”.

10

11

INT. SPENCER'S GREAT ROOM - NIGHT (N1)

11

Several uniformed Police Officers bag evidence, including Spencer's laptop. VERONICA is on the telephone. We hear her side of a conversation with Ella Montgomery.

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VERONICA The police are here too, Ella. With a search warrant. The phone BEEPS and Veronica looks at the caller I.D.. VERONICA (CONT’D) That’s Ashley Marin. If she knows anything I’ll call you back. (takes the call) Did you find Hanna? The answer is “no.” VERONICA (CONT’D) I spoke with Pam. No one’s seen the girls since the fundraiser. Across the room, Holbrook walks down the stairs and checks in with another Detective. Veronica meets his gaze. VERONICA (CONT’D) (into phone) Peter’s on his way back from New York. Let’s regroup when he gets here. Veronica hangs up the phone and approaches Holbrook. VERONICA (CONT’D) If you tell me what you’re looking for maybe I can help you find it. HOLBROOK We appreciate your cooperation. VERONICA I want to know where my daughter is. So do I. HOLBROOK

VERONICA What is it you think the girls are guilty of? HOLBROOK I’m not sure they’re guilty of anything, but we have probable cause to believe they know the whereabouts of a missing person.

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Veronica knows they just exhumed Ali’s grave again. But the thought of what she’s about to say still seems unfathomable. VERONICA Are you talking about Alison DiLaurentis? HOLBROOK This was taken a few weeks ago. He pulls a PHOTO from a file and hands it to her. It’s of the PLLs (dressed in period costumes) standing in front of Ali, who’s wearing her red coat, near their barn. It’s time stamped and dated. A speechless Veronica looks up from the photograph. Is Alison really alive? We hear the FRONT DOOR OPEN AND CLOSE. Veronica calls out -Spencer? VERONICA But it's not

After a moment her daughter enters the room. Spencer. Surprise! MELISSA

As MELISSA takes in the scene and her mother’s stunned look -BLACKOUT. END OF ACT ONE

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Ep. 424 "A is for Answers" ACT TWO

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11.

FADE IN: 12 INT. LOFT APARTMENT - NIGHT (N1) The PLLs are completely drawn into Alison’s story. HANNA So when you got that text, you crossed Jenna off your list. ALISON And when I got home, “A” made it clear that if she wanted to kill me, she could. 13 INT. ALISON'S BEDROOM - DAY (FLASHBACK) 13 12

Alison reads a note: “Great color for you. -Mom.” Ali opens the shopping bag Jessica left on her bed. She pulls out the now-famous yellow top. She slips into it and spins to see her reflection in the mirror. Her heart skips a beat when she sees, written in red lipstick on the glass: “I'm everywhere. And soon you'll be nowhere. - A” Alison looks around her room. 14 OMG! “A” was in her house. 14

INT. LOFT APARTMENT - NIGHT (N1) ALISON I wasn’t safe anywhere. But I finally had a weapon to fight back. I realized that everyone I suspected... even the four of you... were in some way compromised on those videos.

15

INT. LIVING ROOM - DILAURENTIS HOUSE - NIGHT (FLASHBACK) Alison, still dressed in the yellow top, heads toward the front door. She hears her mother on the phone. She registers JESSICA's distressed tone. JESSICA (into phone) How could this happen? Jessica sees Ali, heading for the door. JESSICA (CONT’D) I don’t want you going out tonight.

15

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ALISON It’s the last weekend of summer. JESSICA It’s not a negotiation. ALISON We made this plan ages ago. you said it was okay. JESSICA Ali, this is not the time -Frustrated, Jessica doesn’t take her eyes off of Ali as she ends her call. JESSICA (CONT’D) (into phone) You have to send somebody. Immediately. She abruptly hangs up. ALISON Is this about you thinking Spencer’s the bully? Because, I’ve got that under control now. JESSICA I know things about that family that you don’t. Jessica’s tone lands with Alison. Like what? ALISON She’s listening. And

JESSICA I’ve seen what they’re capable of. And you need to remember. You can never turn your back on a Hastings. The phone rings again. JESSICA (CONT’D) For once in your life please don’t push me on this. Call it a night and go up to your room. Ali starts back toward her bedroom and Jessica answers the phone. The second her mother’s back is turned, Ali opens Jessica’s purse. She pulls out a bottle of PRESCRIPTION SEDATIVES and dumps a few out into her hand. She sneaks out of the house.

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INT. SPENCER'S BARN - NIGHT (FLASHBACK)

Alison walks into the barn after scaring the girls. She looks down at her phone. We see the caller I.D. It's Toby calling. As the PLLs settle in -HANNA Ali, did you download the new Beyonce? Not yet. ALISON

EMILY I’m loving her new video. ALISON Maybe a little too much, Em. The PLLs clock the odd exchange and don’t notice as Ali drops a couple of pills into the communal red cup. Ali doesn't take a sip and passes the cup to Aria. Your turn. ALISON (CONT’D)

SPENCER Careful, Aria. Take too much and you’ll tell us all your secrets. ALISON Friends share secrets. keeps us close. (moment) Drink up. That’s what

A crash of THUNDER as WE DISSOLVE TO: The PLLs are in a drug-induced sleep. barn door to meet ALISON (CONT’D) What do you want, Toby? As she leaves the barn -ALISON (CONT’D) Damn, it’s cold out here. Alison pushes open the

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INT. COFFEE HOUSE/JAZZ CLUB - NIGHT (N1)

Alison leads the PLLs down the stairs from the loft apartment above. It’s after hours. The shop is closed. ARIA I can’t believe you drugged us. ALISON If I got another “A” threat while you guys were asleep, then I could cross you all off the list. EMILY I can’t believe we were suspects. ALISON Lets face it, I wasn’t always the best friend to you guys. SPENCER But your plan didn’t work. I didn’t sleep through the night. ALISON Wait for it, Spencer. there. We’ll get

Ali turns on the light to reveal they are now in a jazz club/coffee house. HANNA So you work here? ALISON The owner travels a lot. I watch his place upstairs when he’s gone. As Alison turns on the espresso machine, Spencer sits at the piano. She plays a few notes. EMILY Toby told me he wanted you to know you did him a favor. ALISON He told me he was “free at last.” Spencer stops playing. ALISON (CONT’D) I know what you see in him, Spencer. When he tells you the truth, you believe him. (MORE)

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ALISON (CONT’D) He said his time in juvie got him away from Jenna. And he was actually grateful to me. That’s when I knew he wasn’t “A”. And it was the last time I saw him. As steam blows out of the espresso machine. 18 EXT. SPENCER'S FRONT GATE - NIGHT (FLASHBACK) 18

Now wearing Toby's gray sweater, Alison sends Ian a text: “Meet me at the Kissing Rock.” She starts walking away from the Hastings' property and is surprised to see a car pull up in front of her house. 19 INT. CAR - CONTINUOUS (FLASHBACK) 19

Alison climbs into the front passenger seat and turns to the driver. ALISON Did we have a date that I forgot? GUY (O.S.) You lied to me. ALISON I’ve got somewhere to be. She reaches for the door handle and he GRABS her arm. realize the guy is EZRA. And he’s pissed. EZRA You’re not going anywhere. Off of the angry look in his eyes -FADE OUT. END OF ACT TWO We

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Ep. 424 "A is for Answers" ACT THREE

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FADE IN: 20 INT. INTERROGATION ROOM #2 - POLICE STATION - NIGHT (N1) Veronica sips a coffee as she sits across from Holbrook. HOLBROOK You said Spencer was away for a few days last week. Was she visiting family? Or a friend? VERONICA Are you questioning all the girls’ parents? HOLBROOK We’re doing everything we can to find your daughters. You’re free to go whenever you like. (moment) But you should know there are a sea of reporters out there. You’re probably better off waiting in here until we can clear a path for you. VERONICA Fine, but I’d like to call my husband. I’m not sure what’s taking him so long. HOLBROOK I’ll give you some privacy. Holbrook leaves the room as she pulls her phone from her bag. She sees that there is no signal. 21 INT. LOBBY - POLICE STATION - NIGHT (N1) 21 20

Holbrook walks across the lobby, which is practically empty. There are no reporters in sight. He just lied to Veronica. OFFICER MAPLE approaches him. OFFICER MAPLE I got the warrant to track the GPS on the girls’ phones and Spencer’s car. We’ll have their location within the hour.

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INT. INTERROGATION/OBSERVATION ROOM #3 - CONTINUOUS (N1)

Holbrook joins another Detective in the observation room. They look through the two-way mirror as Melissa talks to the Cop across from her. MELISSA I’ve always looked out for my sister. So when I ran into her boyfriend in London, and he said she missed me, I decided to come home. The Cop gestures to the camcorder set up on a tripod next to them. COP (O.S.) Do you mind if I record this? Seemingly innocent and without skipping a beat -MELISSA I should probably ask my mom about that. On Holbrook, who takes a hard look at Melissa. 23 INT. INTERROGATION ROOM #4 - NIGHT (N1) 23

Holbrook enters and we are surprised to see PETER HASTINGS sitting at the table. Holbrook lied to Veronica about a lot more than reporters. HOLBROOK Your wife is on her way. PETER She knows I’m here, right? She’s got enough to worry about with Spencer missing. HOLBROOK Do you have any idea where your daughter is? PETER If I knew, would I be sitting here talking to you? HOLBROOK Is that something they teach you in law school?

*

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Peter gives him a curious look. HOLBROOK (CONT’D) To answer questions with questions? PETER I’m only talking to you because my daughter’s missing. And I do whatever it takes to keep her safe. Off of Holbrook’s look 24 INT. OBSERVATION ROOM #4 - CONTINUOUS (N1) 24 * * * * *

Through the two-way glass - a Woman watches as Holbrook questions Peter. We pull back to reveal that it’s Jessica. And she looks incredibly determined to bring the Hastings to their knees. 25 INT. COFFEE HOUSE/JAZZ CLUB - NIGHT (N1) 25 * * * * * * * * * * * * * * * * * *

Aria and Spencer sit on a worn velvet sofa. The PLLs clock Alison and Noel finalizing plans across the room. He hands her an envelope. NOEL You’ve got cash, a passport and a plane ticket. We need to leave for the airport in an hour. On Hanna and Emily HANNA We can’t let her leave, again. SPENCER Then we have to put the pieces together. Tonight. EMILY

Noel leaves and Alison returns to them. ARIA I know we’re here to figure out who “A” is, but I need to know if Ezra told me the truth. He said you lied to him about your age. ALISON Ezra seemed to get that everything I said was made-up stuff.

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18A.

Aria looks away from Alison and pulls her knees up to her chest. ALISON (CONT’D) But he believed me when I told him CeCe and I were roommates at UPenn. 26 INT. HOLLIS PIZZA PUB - NIGHT (FLASHBACK) 26

The place is crowded with college kids. CeCe plays darts with a cute Frat Boy. He helps her aim. She kisses him. PAN OVER to see Ali watching her, bored. She looks around the pub. It’s all couples and girls. Ali spots one lone guy sitting by himself at the counter. He reads a book while he drinks a beer. Ali grabs a book from the “community library shelf” and takes the seat across from him. The WAITRESS approaches. ALISON I’ll have a gin and tonic. I.D. WAITRESS (O.S.)

Ali whips out her fake I.D. and hands it to the server. Satisfied, she leaves to get the drink. Alison looks at the jacket of the boy’s book: Tender Is the Night by F. Scott Fitzgerald.

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She quickly web searches the title on her smart phone and keys into a few catch phrases in its summary: Tragic romance. French Riviera. ALISON It’s tragic. The boy looks up. Sorry? We realize that it’s Ezra. EZRA

ALISON The book. It’s one of my favorites. EZRA I read it every summer. ALISON I just finished it for the third time. I thought what’s better to read than Tender Is the Night while sunning in the French Riviera? He knows she’s full of it. EZRA Do people still do that? Do what? ALISON

EZRA Go sunning in the French Riviera? ALISON I don’t know. I made it up. EZRA So, you’re a fabulist. ALISON What’s that? EZRA A teller of tales. ALISON Sometimes lies are more interesting than the truth. He smiles at that thought.

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INT. COFFEE HOUSE/JAZZ CLUB - NIGHT (N1)

Hanna nibbles on a cookie as Emily makes a cappuccino at the espresso bar. Aria still has her knees tucked up tight on the sofa. She can’t bare to look up at Alison. ALISON He said I reminded him of Holly Golightly in Breakfast at Tiffany’s. And he wanted to write a story about me. Emily clocks Aria’s somber look. EMILY Do we need to hear the rest of this? Alison presses on -ALISON I thought it was a compliment because Audrey Hepburn played her in the movie. Turns out she was a big phony who couldn’t even name her cat. ARIA She didn’t name her cat because she didn’t think she deserved to be loved. (quoting the book) “They were just a couple of poor noname slobs.” Aria’s insight into how Ezra thought of Alison is a conversation stopper. Eventually... ALISON I’m sorry, Aria. For what? ARIA

ALISON Everything. 28 INT. EZRA’S CAR/EXT. DILAURENTIS HOUSE - NIGHT (FLASHBACK) 28 Ezra’s calmed down. He’s more concerned now than angry.

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EZRA It’s one thing to make up stories about where you spent your summer, but to tell a guy you’re twenty-one when you’re still in high school... ALISON It’s no big deal. did anything. It’s not like we

Ali fiddles with her bracelet and it falls off. EZRA That’s not the point. She puts her bracelet back onto the other wrist. ALISON Then what are you so freaked out about? EZRA God help me, but I actually like you, Alison. I don’t want to see you get hurt. Alison believes him. She gives Ezra a peck on the cheek.

ALISON You’re an alright guy. She reaches for the door handle. ALISON (CONT’D) See you around. EZRA (with no malice) No. You won’t. She understands this is goodbye. ALISON If you ever get that story published, you better spell my name right. She gets out of the car and watches him drive away. As she heads toward the woods. ALISON (V.O.) I walked to the Kissing Rock to see Ian.

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EXT. KISSING ROCK - NIGHT (FLASHBACK) Post make-out session, Alison films Ian walk toward the woods. ALISON Thanks for meeting me. She calls after him. ALISON (CONT’D) That was some goodbye kiss. He turns back toward her and smiles. IAN No hard feelings, right? ALISON This was just me killing time, while I’m waiting for somebody better to come along. He senses that this break-up is turning ugly. IAN Let’s end this on a positive note. ALISON You and Melissa deserve each other. She’s such a bitch -IAN Watch your mouth. ALISON -- and you’re going to jail. IAN We never had sex, Alison. do anything wrong. ALISON I saw your home movies. She’s got his attention. ALISON (CONT’D) What does N.A.T. stand for anyway? Need A Therapist? He grabs his camera from her and shuts it off. I didn’t

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IAN You’re not going to blackmail me into staying with you. ALISON You’re hilarious, Ian. This isn’t about you. Someone’s been threatening me. And if it’s you, or that crazy girlfriend of yours, it stops tonight. I made a copy of every video on your laptop. If I get one more text or stupid doll, you’ll be buying your soap on a rope. IAN You have no idea how much trouble you’re going to be in if you show those videos to anybody. There’s stuff on there that could bring everybody down. Including your family. Alison smiles. ALISON Then you better go back and tell your posse of pervs to leave me alone. 30 INT. COFFEE HOUSE/JAZZ CLUB - NIGHT (N1) It’s so quiet in here, you could hear a pin drop. ALISON Ian was more freaked out than I thought he was going to be. He ran out of there like a plucked peacock. They hear a loud CRASH! The PLLS practically jump out of their skin. Then they see Hanna fumble to pick up the symbol she just bumped into. EMILY Geez, Hanna. Sorry. HANNA 30

Emily helps her set the instrument back upright. SPENCER You okay, Aria?

PRETTY LITTLE LIARS Aria nods.

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Alison takes in Aria’s anguish. ALISON Ezra’s still looking for me. But it’s not about the book now, it’s about you. ARIA What would you know about that? ALISON He tracked down Shana in Georgia. He knows she’s been in touch with me and he offered to help. He thinks if he saves me, he’ll win you back. ARIA Do you want to be saved? ALISON I know how I used to treat people. I deserved a lot of what I got. But I think I’ve earned a second chance. SPENCER What happened after Ian left?

Alison does seem different now. emotional wounds.

Sincerity seeps from her

ALISON I went back to the barn. 31 INT. SPENCER’S BARN - NIGHT (FLASHBACK) 31

The candles are still burning as Alison enters the barn. She closes the door and doesn't see the shadow behind her grow larger as someone approaches. An unsuspecting Ali turns and finds herself face-to-face with a pissed off Spencer. SPENCER I've been waiting for you. BLACKOUT. END OF ACT THREE

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FADE IN: 32 INT. INTERROGATION ROOM #4 - NIGHT (N1) Peter looks at his watch. PETER Can you see if my wife’s here? HOLBROOK Absolutely. Just one more thing, though. Why did you hire a private investigator the summer Alison went missing? PETER It was business related. HOLBROOK Are you sure it wasn’t Spencer related? Because her name’s all over this file he gave you. Holbrook pulls a P.I. file from under his pad of paper and slides it toward Peter. Peter recognizes it immediately. He doesn’t need to open it. PETER I thought these questions were about finding Spencer, not accusing her. HOLBROOK In hindsight you knew it was the drugs, but that must have been a rough summer. (he reviews his notes) With Spencer’s “erratic behavior” and her “violent outbursts.” Peter maintains his poker face. PETER I’m calling my attorney. HOLBROOK (to Peter) Cell reception’s better in the lobby. 32

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INT. LOBBY - POLICE STATION - NIGHT (N1)

CeCe, handcuffed, is led across the lobby. She locks eyes with Jessica who is talking to Holbrook. Jessica nods and we understand they have some kind of agreement. Officer Maple approaches Holbrook. OFFICER MAPLE We got a lock on Spencer’s GPS. The girls are in Philadelphia. HOLBROOK Get Philly police on the phone. Holbrook and Maple walk off. ANGLE ON Peter who pulls out his cellphone, but he stops middial when he sees Jessica. PETER The police are asking pointed questions about Spencer. Do we still have an understanding? JESSICA I just found out that my daughter’s still alive. That’s all I’m thinking about right now. OFFICER MAPLE Mrs. DiLaurentis, can we talk to you? Unnerved, Peter watches her walk away. Dad? MELISSA (O.S.)

Peter turns and is stunned to see his daughter. Melissa? PETER What are you doing here?

MELISSA Toby came to London. He told me about Spencer’s relapse. Dad, what’s going on? PETER Where’s your mother? MELISSA We’ve been here for an hour. They asked to talk to us separately.

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Peter realizes that Holbrook is a step ahead of him. PETER (fearing the worst) They know. The weight of the world is falling on Peter’s shoulders. He has to sit down. PETER (CONT’D) (defeated) I must have missed something. A frightened Melissa sits on the bench next to him. was alone he would allow himself to cry. PETER (CONT’D) (to himself) I did everything I could to protect her. Melissa can’t believe what she’s hearing. Oh my god. MELISSA You think she did it. If Peter

He doesn’t answer her. MELISSA (CONT’D) You think Spencer killed that girl. Melissa can’t hold back her tears. 34 INT. COFFEE HOUSE/JAZZ CLUB - NIGHT (N1) All the PLLs are on the couch. Flanking Spencer for moral support. She waited for it. Now it’s her turn. SPENCER I remember bits and pieces. But I don’t know what’s real and what I’ve made up. ALISON I was pushing all summer for you to tell your sister about Ian because I wanted to break them up. I actually thought he liked me and Melissa was in the way. SPENCER We fought in the kitchen. ugly. It got 34

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ALISON It was like you bottled up every fight we ever had and popped your top that night. SPENCER In my mind you were still threatening me. I told you I’d tell Melissa the truth. ALISON And I said I didn’t care anymore but you were holding onto the argument like a dog with a bone. 35 EXT. DILAURENTIS BACKYARD - NIGHT (FLASHBACK) 35

(Flashback from Ep. 421) Alison marches past the hedges on her property that separates her yard from the Hastings'. A few seconds later: SPENCER (O.S.) Our conversation isn't over. Alison turns to see Spencer. ALISON It's over. And so are we. Alison turns away, steps in the direction of a wheelbarrow filled with tools near the staked-off section where the gazebo will be installed. Spencer catches up to her. SPENCER Don't walk away from me. But Alison continues walking, infuriating Spencer even more. Seething, Spencer picks up a shovel. SPENCER (CONT’D) Damn it, Alison. I said, stop! Alison turns back, sees Spencer holding the shovel. ALISON You’re way out of your league, Spencer. SPENCER You sure about that? ALISON Put that thing down before you hurt yourself.

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Despite her words, a look of fear crosses Alison’s face as Spencer takes a step toward her.... Spencer stumbles and almost falls. Alison rushes to grab her before Spencer face plants into the wheel barrel. A prescription bottle falls from Spencer’s pocket. Alison picks it up. ALISON (CONT’D) Are you speeding? 36 INT. COFFEE HOUSE/JAZZ CLUB - NIGHT (N1) ALISON (to Spencer) When I saw the pills, I put it together. You weren’t asleep because you were wired. 37 EXT. DILAURENTIS FRONT YARD - NIGHT (FLASHBACK) Spencer, still gripping the shovel, walks away from the DiLaurentis house. Ali calls after her. ALISON Spencer, wait! Spencer stops and Ali catches up to her. sees that Spencer is sobbing. This is when she 37 36

SPENCER (desperate) Please don’t tell anyone. I’ll get down on my knees and beg if you want me to. As much as Ali would like to see that -ALISON Don’t take any more of these tonight, okay? She puts the pills back in Spencer’s pocket. ALISON (CONT’D) And you should never take them with alcohol. SPENCER If my parents find out -ALISON They won’t. This can be our secret.

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This is how Ali sucked them in. Everything’s shifted and suddenly, Spencer is grateful to her. Thank you. SPENCER

ALISON That’s what friends are for. go home and sleep it off.

Now

Ali watches Spencer walk away, dragging the shovel alongside of her. 38 INT. COFFEE HOUSE/JAZZ CLUB - NIGHT (N1) ALISON After that I confronted everyone else who had a reason to hate me. ALISON (V.O.) I thought I heard animal noises! FLASH We see Alison grab at Jenna’s glasses. ALISON (V.O.) You made your bed, Mr. Montgomery. FLASH Byron walks away from Ali. ALISON (V.O.) This is my backyard! FLASH Garrett takes a swing at Ali. ALISON (V.O.) Last chance to save yourself! A dozen quick flashes of all the fights Ali had that night race, out of chronological order, through her mind. FLASH Alison watches the girls who are ALL now sleeping in the barn. 38

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ALISON (V.O.) Then I came back to the barn and waited for another text. But nothing came. 39 EXT. DILAURENTIS FRONT YARD - NIGHT (FLASHBACK) Suddenly a deafening silence fills the air. ALISON (V.O.) I went home thinking I won. silenced “A.” I 39

Alison walks up to her house. She sees her mother in the window, looking out at her. Suddenly, a shocked look overcomes Jessica. Then WHAM! We hear the sound of a ROCK smack into Ali's head. Ali sees the rock hit the ground. Her blood drips alongside of it. Everything goes dark. 40 INT. COFFEE HOUSE/JAZZ CLUB - NIGHT (N1) ALISON It wasn’t you, Spencer. You were sound asleep when I left the barn. SPENCER That doesn’t mean I didn’t hurt the other girl. ARIA You’re not listening, Spence. went back to sleep. You 40

Overcome with relief, Spencer breaks down. Alison looks on as the PLLs comfort her. SPENCER I didn’t do it. It’s an emotional moment for all of them. realizes -EMILY But your mom saw who did. They process the gravity of Alison’s revelation. HANNA Why didn't she tell the police? Off of Ali’s devastated look -Then Emily

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EXT. DILAURENTIS BACKYARD - NIGHT (FLASHBACK)

A lifeless Alison lies in a shallow grave. Her face is starting to disappear under the dirt that is being shoveled on top of her. She groans quietly. Her eyes flicker open for just an instant. ALISON'S POV: The person who's burying her is her mother! BLACKOUT. END OF ACT FOUR

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FADE IN: 42

INT. COFFEE HOUSE/JAZZ CLUB - NIGHT (N1) Tears roll down Alison's face and there are no words to describe the look of shock on the PLLs' faces. ALISON (crying) I could hear her talking to someone. She thought I was dead. I tried to tell her I was alive. I was screaming. “Can’t you see me breathing? Look at me!” (moment) But the words didn’t come out. I couldn’t move.

42

Holy shit. The PLLs exchange looks. Aria reaches for Alison’s hand. She pulls her in close and holds her sobbing friend. ARIA We’re here, Ali. for you. They’re all crying now. EMILY And we always have been. You could have told us. You didn’t have to keep this a secret. HANNA I can’t believe your mom buried you alive. ARIA You’re sure she thought you were dead? ALISON She was hysterical. Saying the same things over and over again. “What have you done? What have you done?” EMILY Who was she talking to? Spencer’s putting it together. We’re all here

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SPENCER The person she’s still protecting. They look to her. SPENCER (CONT’D) Your mom’s been pointing the finger at me because she’s covering for someone. HANNA Yea, but who? They all look to each other. No one knows the answer. EMILY Was Grunwald telling us the truth when she said she pulled you out of there? Alison pulls herself together. ALISON She took me to the hospital. But I was still scared. So I ran. I didn’t know where I was going. I just knew I had to go. 43 EXT. ROAD - NIGHT (FLASHBACK) Alison, dazed and bleeding, wanders along the side of the road. A car pulls over next to her. Alison? GIRL (O.S.) 43

Ali looks over to see MONA in the driver's seat. MONA Are you okay? 44 INT. HOTEL ROOM - LOST WOODS RESORT - NIGHT (FLASHBACK) Ali, still disoriented, sits on the bed. head wound with a wet washcloth. MONA I still can’t believe somebody tried to kill you. ALISON (frightened) Nobody followed us, right? can’t know we’re here. 44

Mona dabs at Ali’s

They

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Mona goes to the window and looks outside to make sure they are safe. MONA I used the name you told me to register with. Vivian Darkbloom. Mona turns back to Alison. MONA (CONT’D) I’m scared for you, Alison. ALISON I’m scared for me, too. MONA If this “A” person who’s after you was willing to bash your head in, what’s stopping them from trying again? ALISON (defeated) Nothing. Mona approaches Alison. We see a glimpse of the calculating Mona we all know and love to hate now. MONA Maybe you should die. ALISON (unnerved) What? MONA Let “A” think you’re dead. ALISON How do I do that? MONA You disappear. Intrigued but spent, Alison looks up at her. successfully planted the seed. MONA (CONT’D) You should rest. Alison eases back onto the bed. pillow and releases a soft cry. She lowers her head onto the Mona has

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Shhhh. Ali closes her eyes.

MONA (CONT’D) Everything’s going to work out exactly how it’s supposed to. You’ll see. Mona brushes Ali’s blond locks from her face. MONA (CONT’D) I’ll take care of you. Creepy. 45 INT. COFFEE SHOP/JAZZ CLUB - NIGHT (N1) Spencer is putting it together. SPENCER Ali, we found that motel room. Mona’s lair was right next to it. 46 INT. HOTEL ROOM - LOST WOODS RESORT - NIGHT (FLASHBACK) We hear Mona humming softly as Alison sleeps soundly. ACROSS THE WALL TO REVEAL NEXT DOOR 47 PAN 46 45

INT. HOTEL ROOM #2 - LOST WOODS RESORT - NIGHT (FLASHBACK) 47 We see Mona humming the lullaby as she sits in her rocking chair combing her first Ali doll’s hair. We realize this is her ORIGINAL LAIR. DISSOLVE TO:

48

EXT. LOST WOODS RESORT - DAY (FLASHBACK) Establishing shot.

48

49

INT. HOTEL ROOM - LOST WOODS RESORT - DAY (FLASHBACK)

49

Mona sits on the bed, talking to Alison, who is in the bathroom. Cash, clothes and a suitcase are on the bed next to her. MONA Did I get everything you need? Alison, in Vivian Darkbloom mode, walks into the room.

PRETTY LITTLE LIARS

Ep. 424 "A is for Answers" ALISON You saved my life, Mona.

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Mona smiles, like an obedient puppy. ALISON (CONT’D) I don’t know how to thank you. MONA Thank me by staying gone. staying safe. Alison really looks at Mona. ALISON Come over here. Ali leads Mona to the mirror. ALISON (CONT’D) Look at yourself. Mona stands next to Ali and looks at her reflection. ALISON (CONT’D) Ditch the glasses and the barrettes. Have Kim at The Salon do your hair and ask for Cindy at the make-up counter. Buy everything she tells you to and never go to school without your face on. Then burn those knee socks and tell Mandi at The Boutique that Vivian sent you. (moment) You don’t have to be a loser, Mona. MONA Thanks, Ali. 50 EXT. LOST WOODS RESORT/INT. CAR - DAY (FLASHBACK) Mona looks on as Alison climbs into an old car. Inside the car: Alison clocks Mona in her rear view mirror. Mona waves. Ali starts the car and drives away. On Mona, who watches Alison drive out of sight. smile comes across her face. A devious 50 And

She owes her big time.

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INT. COFFEE HOUSE/JAZZ CLUB - NIGHT (N1) HANNA So all this time, Mona knew you were alive. ALISON She played me like a fool. And she got exactly what she wanted.

52

INT. POLICE STATION - NIGHT (N1) Peter sits in silence. Melissa approaches. She

52

MELISSA Mom’s talking to Mina Lefeve. said she’s the best criminal defense lawyer in the state. Peter stares off.

Melissa can’t hold it in any longer.

MELISSA (CONT’D) Dad, Spencer didn’t kill that girl. She leans in and whispers something to him. There is no mistaking the OMG look that comes across his face. He slowly turns to Melissa. WHAT THE FUCK? BLACKOUT. END OF ACT FIVE

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FADE IN: 53 INT. POLICE STATION - NIGHT (N1) 53

Veronica talks on the phone, but she looks up when Holbrook approaches. HOLBROOK We just heard from the Philadelphia police. They’re only a few minutes away. Off of Veronica’s look -54 EXT. PHILADELPHIA STREET - NIGHT (N1) 54

Cherry lights flashing, two cop cars speed down the street. 55 INT. COFFEE HOUSE/JAZZ CLUB - NIGHT (N1) The PLLs have moved to the coffee bar. SPENCER (to Alison) I don’t think we’re going to figure this out tonight. And you shouldn’t leave again, Ali. EMILY We know everything now. protect you. We can 55

ALISON We know everything except who “A” is. ARIA If the five of us stick together ALISON I can’t go back until I find out why my mom was willing to do that to me. HANNA You can’t leave us, Ali. (moment) Don’t you want to come home? ALISON It was surprisingly easy for me to stay gone. (MORE)

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ALISON (CONT'D) Until you got hurt, Hanna. I was so scared you were going to die. It was worth it to take the risk. And when I saw you in the hospital. When I saw what Mona did to you... Ali becomes emotional. strength. But she shifts to a place of inner

*

ALISON (CONT’D) That’s when I decided to stop running. I tried to stay one step ahead of “A,” and I did everything I could to keep you safe. 56 INT. BELL TOWER - NIGHT (FLASHBACK) Ian and Spencer struggle. Spencer crashes through the side rail. SPENCER Please. If you love my sister you won’t do this. IAN I’m doing it because I love her. Ian pushes Spencer but she grabs onto him. IAN (CONT’D) Let go of me. She's barely holding on as Ian tries to send her plummeting to her death. From out of the shadows, a Black Hoodie approaches. Ian looks up IAN (CONT’D) What are you doing here? We see that it's ALISON under that black hoodie. She shoves him, hard. Off balance, he falls. As the church bells ring-57 INT. COFFEE HOUSE/JAZZ CLUB - NIGHT (N1) The PLLs weren’t expecting that. And there’s more... 57 56

ALISON Ian wasn’t dead. I was hiding in the back and I saw him. I’m sure he had one hell of a stiff neck but he walked out of that church. SPENCER Then who killed him?

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ALISON He was willing to get rid of you for that video, Spencer. Maybe somebody was willing to get rid of him for screwing it up. The PLLs exchange looks. HANNA Were you at the Lodge the night of the fire? ALISON I helped you, Hanna. But by the time I got there, the rest of you were already safe. ARIA Did you see who pulled us out? ALISON It was the same person who landed that plane. SPENCER That wasn’t you? Emily notices a shadow move outside of the storefront window. EMILY I think there’s somebody out there. 58 EXT. PHILADELPHIA STREET - NIGHT (N1) 58

The cops shine their flashlights into Spencer’s parked car. With guns drawn, they slowly approach the storefront. 59 INT. COFFEE HOUSE/JAZZ CLUB - NIGHT (N1) The PLLs look toward the window as Alison cuts the lights. ARIA Is it Noel? Suddenly, the plate glass window shatters. We finally see who's behind it. “A”, face hidden under a mask, stands frozen like a statue. HANNA (scared) Mrs. D? “A” slowly raises shim’s hand and we see light reflect off the barrel of the gun shim is aiming at Alison. 59

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Ep. 424 "A is for Answers" EMILY

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Ali, run!

BANG! A shot rings out as the PLLs follow Ali up the spiral staircase. 60 INT. PHILADELPHIA COMMERCIAL SPACE - NIGHT (N1) 60

The cops look around the space where the PLLs met Noel Kahn in Ep. 423. COP We have an 11-57 on the Hasting vehicle but the suspects are not at the scene. I repeat, the suspects are not at the scene. 61 INT. LOFT APARTMENT - NIGHT (N1) The PLLs hurry into the apartment. Oh my god. HANNA 61

SPENCER Lock the door. ALISON Somebody call 911. ARIA Noel took our phones! A beat later, BANG. Light streams into the room from the bullet hole “A” shot through the door. Then another. The PLLs scream. 62 EXT. LOFT BUILDING - NIGHT (N1) The PLLs rush out of the apartment window and race up the fire escape. “A” on their tail. They climb back into the building through a top-story window. 63 EXT. ROOFTOP - NIGHT (N1) 63 62

The PLLs bust out of the fire exit door and race across the rooftop. Panicked, they look down over the side of the building. It’s a long way down. ALISON We have to get out of here. Emily eyes the rooftop of the building next to them. close to ten feet away. It’s

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Ep. 424 "A is for Answers" EMILY Can we make that?

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They all take it in -No! ALL OF THEM

The fire exit door slowly opens but “A” doesn’t walk out onto the roof. The PLLs hold each other and their breath. Aria? EZRA (O.S.) He steps out of the doorway and

OMG, it’s Ezra Fucking Fitz! into the light. Ezra? ARIA

Across the rooftop another fire exit door opens and “A” stands in the doorway. EZRA I know who you are. are on their way. And the police

BANG! “A” fires at Ezra. He rushes “A”. There's a struggle in the shadows. We hear another gunshot! Ezra! Ezra back same aims ARIA

kicks “A’s” ass. He punches “A” in the face. “A” reels and drops the gun. Hanna and “A” reach for it at the time. Hanna picks it up. Her hand is shaking as she the gun at “A.” It’s finally over.

Surrendering, “A” raises shim’s hand. SPENCER Take off that mask.

Black Hoodie is trapped with nowhere to run. distance, grow louder. Now! EMILY

Sirens, in the

“A” reaches to remove the ski-mask, but then surprises us all! “A” jumps off the side of the building. No! ALL OF THEM

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“A” misses the next rooftop but grabs hold of the Spencer, Hanna, Emily and Alison can't believe it. HANNA (to Ali) There’s no way that’s your mom.

“A” pulls shimself to safety. ANGLE ON Aria as she approaches Ezra who stands with his back to her, looking out at the lights of the city. Ezra? ARIA

ANGLE ON - “A” looks back at the other PLLs then runs off into the night. ANGLE ON - Ezra who’s still looking out at the night. EZRA It’s so beautiful. He turns to her and we see the blood drain from Aria’s face. She screams! The PLLs race over to find -Aria kneeling down next to Ezra who has been shot in the stomach and lays bleeding on the ground. I’m sorry. She’s sobbing. Shhh. ARIA Don’t. EZRA (CONT’D)

His eyes flutter as he loses consciousness. ARIA (CONT’D) You stay awake, do you hear me? Don’t you dare close your eyes! As he looks up at her a slight smile crosses his lips then his eyes close. No please. ARIA (CONT’D) Ezra!

Cries and screams for help as we pull back from the PLLs. Further and further. Realizing this rooftop is not in Philadelphia. It's in Manhattan. FADE TO BLACK…

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EXT. YARD - NIGHT (N1)

AND FADE IN ON: A body being dragged across the yard. We finally see the person’s face. It’s JESSICA DILAURENTIS and SHE'S DEAD. BLACKOUT. END OF ACT SIX

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FADE IN: 65 EXT. YARD - NIGHT (N1) 65

END CREDITS over the dirt, shovel-full by shovel-full, until Mrs. DiLaurentis's face is covered. FADE TO BLACK. END OF EPISODE