Chapter 1: Teaser
Chapter Text
We hear ALISON DILAURENTIS' voice. It's the same thing she told the Liars after receiving the first ever A-signed text, in episode 2x13.
ALISON (V.O.)
It’s a secret.
INT. ROSEWOOD POLICE STATION - INTERROGATION ROOM - NIGHT
ARIA MONTGOMERY is sitting at the table. She looks awful, and her prom dress is all dirty and even torn in some places.
Lieutenant LINDA TANNER is on the chair opposite, staring at her intently.
ARIA
When we got to the entrance and saw that it was locked... Well, we didn't really know what to do, but I thought maybe it would open the same way our cages did. That's why --
TANNER
That's why you returned to that room with the bathtub, right?
But when the camera focuses on Aria again, it’s no longer her sitting there, but HANNA MARIN. And just like her friend, she also looks terrible, both physically and mentally speaking.
We realize now these are all separate interviews with each of the Liars.
HANNA
I knew it was a terrible idea. Even before stepping inside, a part of me was already sure of what we were going to find there. Or... what we weren't going to find, I guess.
TANNER
And when you realized what was going on, did you go and rejoin the others?
Now it's SPENCER HASTINGS' turn. In addition to her overall poor appearance, she also has a bloody lip.
SPENCER
It's a bit blurry, to be honest. I do remember heading back to the entrance, but after that it all happened so fast. I think... I think I saw the knife, and her running towards us. And then…
(a beat)
Then I heard myself speaking, and the gunshot rang out. I… I almost didn't even realize that I…
Tanner stares at her in silence for a moment.
TANNER
Listen, you've all been through an awful experience tonight. Far worse than anything from the last couple of years, which is saying a lot. So, if you want to go home and rest, we can wrap this up tomorrow, or any other day. There's no rush.
And finally, we get to see EMILY FIELDS. In some way, she seems almost the most affected of the four, and she’s trying her best to hold back her sobbing.
EMILY
No, I... I want to do it now. I'm going to tell you everything tonight, because I can't...
(a shaky exhalation)
I can't keep thinking about it any longer. I… I just need to get it out of my head.
She takes a few seconds to breathe in and out, trying to calm herself down. And then...
EMILY
It was all our fault.
Chapter 2: Act One
Chapter Text
INT. PROM - MIRROR MAZE - NIGHT
We’ve gone back in time. The Liars are searching for Alison all by themselves, shortly after finding her cell phone lying on the ground.
SUPER: Earlier That Night
ARIA
What did the message say again?
SPENCER
"Now it’s just you and me."
EMILY
God… Do you think Charles would hurt his own sister?
HANNA
Well, considering his track record, I seriously doubt he just wants to eat cookies with her.
ARIA
Okay, but we need to stay positive. At this point, Tanner will have already mobilized every single cop in Philly. It's only a matter of time before they find them.
HANNA
Unless they're already on a plane to Siberia.
SPENCER
And why the hell to Siberia?
HANNA
I don't know! It's the first far-away place that came to mind.
Just as Spencer is about to reply, Emily shushes them both.
EMILY
Guys, I think we’re not alone here.
And she is right: there are footsteps approaching.
After a few tension-filled seconds, someone appears from behind a corner, and the four sigh with relief when they see that it's MONA.
HANNA
Jesus, Mona! What are you doing here?
MONA
(sarcastic)
I'm glad to see you too.
SPENCER
Just answer the question.
MONA
Charles sent me a text an hour ago, asking me to come here.
(shrugs)
And I guess I got curious.
ARIA
Why would Charles want you --
Before she can finish the question, there are five simultaneous beeps, and the girls glance at each other before pulling out their cell phones to read the text.
SPENCER
"Game over, bitches. -A”
EMILY
(horrified)
Oh, no!
She’s seen the attached photo: it's Alison, lying on a bed with her eyes wide open.
A beat.
ARIA
You… You don’t think she’s --
MONA
I doubt it. Charles probably drugged her, just like he did to me when he took me to that bunker. I... I was aware of everything going on around me, but I couldn't even blink.
SPENCER
But where is she?
Another five beeps. The girls look back at their phones amidst several sighs of frustration.
HANNA
These are --
SPENCER
Coordinates. Now all we have to do is --
MONA
(typing furiously)
It’s the Kissing Rock.
The others stare at her in disbelief. Upon taking her eyes off the screen and seeing their reaction, Mona gives a smirk.
MONA
I'll take that as a compliment.
HANNA
The Kissing Rock? But --
EMILY
Wait, there's more.
(reading the rest of the text)
"What if you rat me out, I wonder?”
She can’t finish the threat, and Spencer ends up doing it for her.
SPENCER
“Then you’ll need another hole to put her under.”
A beat.
HANNA
(sighs)
Well, that was a crappy rhyme.
ARIA
Great, now what? I mean, this is obviously a trap.
EMILY
But we can't just abandon Ali!
HANNA
Of course not, Em. But you need to remember what happened the last time Charles got too close to us.
SPENCER
And besides, even if we wanted to obey him, we can't just walk out of here. Tanner and the others will come looking for us in less than five minutes.
MONA
Well, we can always use the back door. That's how I got in, and I’ve got my car nearby.
The Liars look at each other hesitantly.
INT. RADLEY - BATHTUB ROOM - NIGHT
We are in the same place where Hanna and Spencer found Charles' fake organ donor documents in episode 6x05. It is now almost completely empty, except for a single bathtub filled with water in the center.
And standing next to it is A, wearing their usual black hoodie and still hiding their face from us. They bend down to pick up a broken, rusty pipe from the floor and, after spinning it in their hands for a few seconds, turn around towards a corner of the room.
There we see JASON and KENNETH DILAURENTIS, sitting with their backs to the wall. Both are bound, gagged and unconscious. The hooded figure approaches and stares at them for a moment. Then they drop the pipe, walk to the door and, after one last look at the bathtub behind them, open it and leave.
INT. DILAURENTIS HOUSE - BASEMENT - NIGHT
The Liars' moms are still trapped down there.
PAM is pounding on the door and shouting for help, while ELLA has decided to sit on the stairs with a blank stare. For their part, both ASHLEY and VERONICA are at the bottom of the stairs, the former standing motionless and biting her nails, and the latter pacing restlessly.
PAM
Help! Please, we're down here! Somebody open the door!
After hitting the door a few more times, she gives up and also sits down on a step above Ella.
A beat.
PAM
Do you think it's possible that the girls are still safe and sound in the barn, celebrating their little prom?
ELLA
God, I'd love to believe that. I really would. But…
VERONICA
But we already know what that monster is capable of.
ASHLEY
Wait a minute, Ezra and Toby are also supposed to be there, right? I mean, Charles would have to get rid of them too, and I don't know how he could --
Her words are interrupted by the sound of footsteps upstairs. Pam and Ella immediately get up, and the former seems about to start screaming again.
ELLA
(whispering)
Wait, maybe it's him again!
PAM
(whispering)
So what? He knows exactly where we are.
But the closer the steps get to the basement, the less Pam wants to draw attention to herself. In the end, she decides to keep quiet and goes downstairs with Ella.
Once the four of them are together, they begin to walk very slowly away from the door, never taking their eyes off it.
Someone stops on the other side, opens it slowly and begins to descend the stairs, but neither we nor the moms see their face until they reach the bottom.
That's when we realize it's LORENZO, and the women let out a sigh of relief.
LORENZO
(somewhat confused)
Are you... are you all right?
INT. DILAURENTIS HOUSE - LIVING ROOM - NIGHT
There are several police officers searching the place. Meanwhile, Lorenzo and the mothers are speaking next to the couch, but they’re not alone: we also see Tanner, EZRA, CALEB and TOBY.
LORENZO
When Alison disappeared at prom, I came down here to talk to her father and brother. As soon as I arrived, I heard noises coming from the basement, so I...
(to Tanner)
Look, I know I'm suspended, but I couldn't just sit on my hands.
TANNER
We'll talk about that later. At least you found them.
TOBY
(to Veronica)
Did you see who locked you up?
VERONICA
Oh, we sure did: he was the spitting image of a long-lost DiLaurentis.
That statement catches Tanner and the boys by surprise.
EZRA
You’re saying... that you saw Charles?
ELLA
Well, he called himself Rhys Matthews.
ASHLEY
He said he worked for the Carissimi Group, and he was looking for Kenneth.
CALEB
The Carissimi Group? The same people who offered Hanna that scholarship?
Ashley nods slowly. Everyone is silent for a moment.
PAM
He's taken them again, hasn't he?
She gets no response, but, judging by their faces, it’s obvious they are all thinking the same thing.
INT. MONA'S CAR - NIGHT
The five girls are parked in the middle of the forest. All they can see out of the windows are trees and darkness.
Mona is in the driver's seat, and Emily is next to her. Hanna is in the back, sitting between Spencer and Aria.
HANNA
Are we sure this is the right spot?
MONA
According to the coordinates, yes. The Kissing Rock is five minutes away.
A beat.
ARIA
Do you think the boys are already looking for us?
SPENCER
Of course. I doubt they’ll think of coming here, though.
EMILY
At least Sara is safe with them and Tanner.
Mona's cell phone beeps and she immediately reads the text.
MONA
"Come out, come out, wherever you are. Alone."
EMILY
Oh, God...
HANNA
That bastard wants to take us one by one, huh?
SPENCER
Yeah. It would be much easier to just gas us all again, but I guess this is part of the game.
Mona grabs the door handle.
HANNA
Wait, is this for real? Are we seriously going to fall right into A's trap?
MONA
What other choice do we have, Hanna?
HANNA
I...
But then her anger gives way to despair, and a tear begins to slide down her cheek.
HANNA
I just want to go home.
Spencer squeezes her hand for comfort.
SPENCER
And we will, Han. I promise we'll all go home, okay?
Aria and Emily follow their friend's lead; the latter has to turn around a bit in her seat to grab Hanna’s hand.
ARIA
Yeah, we’ll find a way. Like we always do.
EMILY
Together.
After staring at them for a few seconds, Mona takes a deep breath and opens the door.
MONA
Well...
EXT. FOREST - MONA’S CAR - NIGHT
The girl gets out of the car.
MONA
See you soon.
She then closes the door and begins to walk into the blackness.
EXT. FOREST - THE KISSING ROCK - NIGHT
Mona has just arrived at the clearing where the Rock is. After a quick look around, she starts to approach it very slowly.
When she’s only taken about five or six steps, RED COAT emerges from the trees behind her and quietly sneaks up on her. She is holding a syringe in her hand.
INT. CALEB'S CAR - NIGHT
Caleb and Ezra are parked in front of the Carissimi Group, staring at the building in complete silence.
A beat.
EZRA
(sighing)
I don't think I've ever felt so useless in my entire life.
CALEB
That makes two of us, but right now this is our only lead. You heard what Ashley and the others said.
EZRA
(looking at Caleb)
What, that this Rhys guy is the mastermind behind all this? Please, he might as well have been wearing a neon sign that said "I am Charles DiLaurentis".
CALEB
Well, there’s no sign on him, but he does look rather suspicious.
He points Ezra to the front door of the building, through which RHYS MATTHEWS is now coming outside. The two exchange a look of approval and get out of the car.
EXT. CARISSIMI GROUP - NIGHT
Rhys walks looking back, as if he is afraid that someone might be following him. When he turns his head forward again, he almost collides with Caleb and Ezra and is forced to stop.
CALEB
Hey! Sorry to bother you, but we’re having some trouble with our car, and we --
RHYS
(very nervous)
Look, I'm... I'm sorry, but I'm in a big hurry. Can't you ask someone else? It's just... it's really late and --
EZRA
Yeah, it is late. I hope your boss pays you well for overtime.
At Ezra's accusatory tone, Rhys stares at them in turn. And then, without warning, he starts running at full speed, leaving them behind in a flash. Neither man tries to follow him, though.
And they don't have to: as soon as the fugitive turns the corner, he finds a patrol car cutting him off. Tanner and Toby are standing on either side of it, and the lieutenant takes a step towards Rhys.
TANNER
Good evening, Mr. Matthews. Would you mind accompanying us to the station? We’ve got a few questions for you.
He finally sighs in defeat.
INT. RADLEY - CHARLES' ROOM - NIGHT
Alison stifles a scream and sits up on the bed. She is finally able to move again and, after catching her breath a few times, begins looking around at where she is.
It looks like a typical Radley patient's room, except the walls are covered with a bunch of photographs of her, her family and her friends. To her left is a barred window and a table, on which she sees the picture of Freddie's birthday that A received in episode 6x07.
And to her right --
ALISON
Oh, my God!
Four large cages are perfectly lined up against the wall. Inside, the Liars are also recovering from the effects of Charles' drug, and Alison rushes over to them.
ALISON
Are you okay, guys?
HANNA
(sarcastic)
Sure, never better.
ARIA
Are these... animal cages?
EMILY
Yeah. Extra-large ones, apparently.
HANNA
Wait…
(to Spencer)
Do you think they’re the same as the ones in Lesli's car?
SPENCER
It sure looks like it.
HANNA
But then --
Hanna cannot finish her deductions, because at that exact moment the door to the room opens… and A enters.
The five stand still and completely stunned, but the hooded figure goes straight to the window and stays there, their back to them.
A long beat. Eventually, Alison decides to address them.
ALISON
(with trembling voice)
How could you do this to them?
The person in the hoodie doesn't even move, and Alison tries again.
ALISON
Get them out now!
Another drawn-out silence, until…
CHARLES
That's no way to talk to your big brother, Ali.
CHARLES DILAURENTIS turns around and the girls finally come face to face with their tormentor. They all gasp, except for Alison, who had already seen him a while ago.
For A is none other than WREN KINGSTON, now without his usual British accent and smiling from ear to ear.
Chapter 3: Act Two
Chapter Text
Charles starts narrating before fading in.
CHARLES (V.O.)
I’ve always loved dolls.
BEGIN FLASHBACK SEQUENCE:
INT. OLD DILAURENTIS HOUSE - LIVING ROOM - DAY
LITTLE CHARLIE is all alone here, sitting on the floor and playing with some dolls. Suddenly, a baby starts crying somewhere in the house, and the child raises his head.
CHARLES (V.O.)
And from the day Mom brought you home, I knew you’d be the most perfect of them all, Ali. There was just one tiny little problem: your crying.
INT. OLD DILAURENTIS HOUSE - BATHROOM - DAY
Charlie carries BABY ALI, who is now crying even louder, as he approaches the bathtub filled with hot water. Once he’s right in front of it, he drops his sister into it and stares at her impassively.
CHARLES (V.O.)
Because dolls don't cry, not unless you want them to. So I had to fix it.
The bathroom door bursts open and Kenneth steps inside. He pushes Charlie out of the way, pulls the baby out of the tub and takes a few steps away from his son, watching him with a mixture of anger and terror on his face.
CHARLES (V.O.)
And that's why I was sent here.
INT. RADLEY - CHARLES' ROOM - DAY
An OLDER CHARLIE, with the same physical appearance as "Cousin Freddie", is sitting on the bed next to JESSICA DILAURENTIS.
CHARLES (V.O.)
At first, they let me out on weekends, until one day I hurt your arm and was forbidden. I didn't get to see you again until Freddie's birthday, and then Mom gave me an incredible present.
The woman takes a photograph out of her pocket and hands it to her son. It shows a blonde girl who looks familiar to us.
INT. HOUSE OF THE TWINS - KITCHEN - DAY
Footage from episode 2x13: the story that Alison told Hanna on Halloween 2008. The girl in the photo, LITTLE BETHANY, is sitting at the table and fighting with her sister ALICE over a doll.
CHARLES (V.O.)
She told you that story, didn't she? Apparently, Bethany didn't get along too well with her sister, and things got out of hand.
When Alice takes the doll away from Bethany, the latter gets up from her chair and walks over to a drawer. Opening it, we see her face reflected in a knife.
INT. RADLEY - COMMON ROOM - DAY
There are quite a few patients here, most of them reading, drawing or talking to each other. A few are just staring into space.
Charles sits at the piano, looking the same as he does today, except for his blond hair and deep blue eyes.
CHARLES (V.O.)
Mom said that Bethany would be my new doll. That she would live here with me, and I could play with her whenever I wanted. But it wasn't that easy.
After playing a couple of notes, he turns his head to the side and, a few feet away, sees Jessica talking to BETHANY YOUNG, now also older. Her mother seems delighted as she strokes her cheek, but the girl is less than pleased.
CHARLES (V.O.)
At first, I thought the same as you: that Mom was spoiling her so much because of the affair with her father. But the truth is, she had become so obsessed with Bethany that she began seeing her as another daughter. Another you, Alison.
INT. RADLEY - BASEMENT CORRIDOR - NIGHT
Charles, who is walking down there all by himself, stops when he hears sobbing coming from a room to his left.
CHARLES (V.O.)
I didn't really care about any of that, though. I already had other... distractions.
INT. RADLEY - BATHTUB ROOM - NIGHT
The boy enters the same room in which he would later lock Jason and Kenneth up. At this point there are a few more tubs, and as he looks to the back of the room, he spots a BROWNED-HAIR GIRL sitting against the wall and decides to approach her.
CHARLES (V.O.)
Poor Spence... You said you’d hurt some girl called Kendra Santoni, and that your father had brought you here to "fix" you. God knows what you did to Kendra, but at least you didn't kill her. Peter paid a good deal of money to her family, and they left town soon after.
As Charles stands in front of the girl, he notices that she has a completely blank stare. She is also soaking wet and barefoot, so he takes off his own slippers and places them next to her. He then crouches down to stand at her level and runs a hand through her hair.
CHARLES (V.O.)
It was great meeting you so soon, you know? And then, when I found out we share a brother.... Well, we're practically family.
INT. CAROL'S HOUSE - LIVING ROOM - DAY
Charles is reading a book on the couch, with the TV in the background. Wheel of Fortune is on.
CHARLES (V.O.)
A few weeks later, Mom decided she couldn't allow my father to come visit me one day and find out about Bethany, so.... she killed me.
Jessica walks into the room in a black funeral dress, veil and all, and Charles frowns at the sight of her.
CHARLES (V.O.)
And she put on quite a show. In fact, you saw her yourself one of those nights, Ali, but she convinced you it was just a dream.
EXT. CAROL'S HOUSE - DAY
Mother and son descend the porch steps.
CHARLES (V.O.)
I wish I could have stayed there. Even before I was committed, Aunt Carol always used to bring me lots of candy, and she took me to some really fun places. She also taught me to love animals, something I will be forever grateful for.
As they walk away from the house, the boy turns his head to look at the upstairs windows.
CHARLES (V.O.)
And she didn't die years ago, by the way, but months. The poor thing had dementia, and Mom kept her locked in her own house so she wouldn't spill the beans to anyone.
INT. RADLEY - THE CHILDREN'S WARD - NIGHT
Charles and Jessica are standing in a room full of junk. Looking down at the floor, the young man sees a rather dusty toy horse.
CHARLES (V.O.)
Anyway, when it became clear that I wasn't going to live with her, there was only one option left: the same hell as before, only this time I would have an entire ward to myself.
His mother moves toward a half-hidden door in the opposite wall and takes a key out of her pocket.
INT. RADLEY - SECRET ROOM - NIGHT
They enter a place almost identical to the Dollhouse playroom, where Spencer saw Charles' spelling blocks in episode 5x25.
CHARLES (V.O.)
I don't know how she managed to pull that off without arousing suspicion, but she thought of everything.
EXT. RADLEY - ROOFTOP - NIGHT
Charles is standing very close to the edge, with a lit cigarette in his hand and EDDIE LAMB at his side. The two of them stare at the horizon in complete silence.
CHARLES (V.O.)
She even paid a nurse to keep an eye on me. It was a real shame, having to force Eddie to leave a few months ago, because we had some very good moments together.
Suddenly, the rooftop door opens, and Eddie and Charles, startled, run to hide behind some ventilators.
From there they see Bethany, who seems very upset and walks quickly to the edge.
CHARLES (V.O.)
And very revealing as well.
The door opens again and MARION CAVANAUGH appears. As soon as she spots Bethany, she approaches her briskly. It is immediately clear that she is trying to calm her down, but the girl becomes increasingly nervous.
Finally, Bethany lets out a scream and pushes Marion away, causing her to lose her balance and plunge into the void. Charles and Eddie have witnessed everything from their hiding place, and the nurse has a look of absolute horror on his face.
CHARLES (V.O.)
I guess Bethany couldn't stand having another woman attached to her hip, no matter how well-intentioned Marion was.
INT. RADLEY - SECRET ROOM - DAY
Charles looks up at the ceiling as he’s lying on the bed. At the same time, Eddie puts on his jacket a few feet away.
CHARLES (V.O.)
Mom bribed Wilden to make it look like a suicide, and she also forced Eddie to keep quiet.
Right after Eddie leaves the room, Charles jumps out of bed and paces around with a thoughtful look on his face. A few seconds later, he stops by the table and smiles when he sees what's on it: a wallet and a pair of car keys.
CHARLES (V.O.)
But my caregiver had been very affected by the whole thing, and even after a year had gone by, he was still a little distracted.
INT. ABANDONED HOUSE - UPSTAIRS ROOM - DAY
Through the window, Charles watches Alison and the Liars standing in the street. They look the exact same as they did in episode 2x13.
CHARLES (V.O.)
Remember Lesli Stone? Turns out she'd lived in that house, before her dad went crazy and tried to kill both her and her mom. It was kind of an urban legend here in Radley, so I knew it would be the ideal hideout for Halloween.
The young man goes to a small table in a corner, on which there are several small notes and a voodoo doll, and picks up one of the former, which reads, "Now it's my turn to torture you.”
CHARLES (V.O.)
I was thrilled to see my sister again, but I also had to punish you, Ali. For all those sleepless nights listening to your crying.
INT. COSTUME SHOP - DAY
Footage from episode 2x13. Alison turns around and bumps into Charles, who is wearing the zombie baby mask.
CHARLES (V.O.)
So, when I heard about that prank you had planned with Noel, I decided to buy myself a costume.
EXT. KAHN'S CABIN - NIGHT
It's Noel's Halloween party from episode 2x13, and everyone is dancing to the music.
CHARLES (V.O.)
But before I went to give you a good scare, I had a very interesting conversation at the party.
In the crowd we see Charles talking to Mona. He is wearing the full zombie baby costume, including the mask, and Mona is dressed as Catwoman.
CHARLES (V.O.)
Mona wanted to vent so badly that she told me all about you, and I just had to give her some advice. Like the fact that it would be better to send you a few anonymous texts than to stab you in the face.
Mona giggles and whispers something to Charles.
CHARLES (V.O.)
And she came up with the A thing. Taunting you with your own initial, sis. Oh, it was brilliant.
EXT. KAHN'S CABIN - LATER
Footage from episode 2x13. Alison has just received the first message signed by A: "Dying to know who I am? You'll find out."
CHARLES (V.O.)
So brilliant, in fact, that after our brief reunion in that house, I decided to put her idea into motion.
INT. LOST WOODS - MONA'S LAIR - DAY
Charles is taking a look around the room. There's no one else with him and, although Mona hasn't finished redecorating yet, there are already several pictures on the walls, a dollhouse on the table and a zombie baby costume in the corner.
The boy approaches the latter and watches it with a smile.
CHARLES (V.O.)
Of course, I managed to keep sneaking out of Radley, and was pleased to see just how much I had inspired Mona.
INT. RADLEY - SECRET ROOM - NIGHT
Charles sits at the table, reading a book while eating a rainbow ice-cream.
CHARLES (V.O.)
And for a while, everything was perfect.
The door opens and Eddie enters. The boy looks up and is surprised to see the nurse looking really pale and worried.
CHARLES (V.O.)
Until it wasn’t anymore.
EXT. DILAURENTIS HOUSE - NIGHT
Charles witnesses the argument between Alison and Jessica from episode 4x24 through the living room window. His sister is already wearing the yellow top.
CHARLES (V.O.)
Apparently, Bethany had run away from Radley to go after Mom. I wanted to stop her from doing something stupid, but... Well, I always lost track of time around you, Ali.
EXT. FOREST - THE KISSING ROCK - NIGHT
Alison, who has just been left alone, takes off Toby's sweater and leaves it on the Rock before leaving.
Once she is completely gone, Charles comes out of the trees, approaches the forgotten garment and, after staring at it for a few seconds, decides to put it on.
CHARLES (V.O.)
And I saw everything.
EXT. DILAURENTIS HOUSE - BACKYARD - NIGHT
Footage from episode 4x24. Spencer is chasing Alison with a shovel.
CHARLES (V.O.)
Like your fight with Spencer, which Ian recorded from your bedroom window. I eventually managed to get my hands on his camera, and imagine my surprise when I discovered several videos of Mom with Mr. Young. Very... educational ones.
LATER
Footage from episode 3x16. BYRON MONTGOMERY sees MELISSA HASTINGS walking out the back door and talking on the phone.
CHARLES (V.O.)
Melissa was also around, seeking comfort from her favorite detective. There were those who thought Wilden had come to see you that night, but neither CeCe nor you had a monopoly on Beach Hottie.
LATER
Footage from episode 3x19. Jason spots Melissa talking to CECE DRAKE a few feet away, although the blonde has her back to him.
CHARLES (V.O.)
And our drunk of a brother also made an appearance. Jenna had asked Garrett to slip a note in his pocket, but the good officer backed out at the last minute. So I decided to take care of it myself, without anybody noticing, of course. I just couldn’t let such a good prank to go to waste.
CeCe turns around and Jason closes his eyes for a second. Upon opening them again, the two girls have disappeared, and he collapses into a chair.
EXT. DILAURENTIS HOUSE - NIGHT
Footage from episode 4x24. Alison stops at the sight of her mother watching her through the window.
CHARLES (V.O.)
And then I followed you until you came home, sis.
Now we see Charles very slowly approaching his sister from behind, with a rock in his hand.
CHARLES (V.O.)
I don't really understand why, but in that moment, I felt like that was my last chance to set my doll right. To make you... perfect.
The boy hits Alison in the head and she immediately collapses to the ground. Charles drops the rock and sees his mother looking at him from the window, totally horrified.
EXT. DILAURENTIS HOUSE - BACKYARD - NIGHT
As Jessica buries her daughter, Charles watches her a few feet away, sitting against a tree.
CHARLES (V.O.)
Mom couldn't even look at me. She kept asking what I had done, and when she was finally done, she told me to go back to Radley.
EXT. DILAURENTIS HOUSE - NIGHT
Charles is walking away from the house when he suddenly hears a rustling of branches to his right and looks over.
CHARLES (V.O.)
But there were still things to see.
EXT. DILAURENTIS HOUSE - BACKYARD - NIGHT
Footage from episode 4x12. CARLA GRUNWALD pulls Alison out of the ground.
CHARLES (V.O.)
Thank God you met Grunwald, huh, Ali? I listened to some of your sessions, and they were very… intense.
LATER
Hiding in the trees, Charles sees Bethany standing in the backyard. She is dressed exactly like Alison, looking confused and frightened.
CHARLES (V.O.)
And that wasn't even the best part.
Mona comes out of the shadows with a shovel in her hand. She approaches Bethany from behind, and before the girl has a chance to turn around, she smashes the shovel into her head, knocking her to the ground.
Mona freezes for a moment, then lets out a blood-curling scream and runs away.
CHARLES (V.O.)
Mona thought it was you, Ali. After all, Bethany was wearing the last outfit Mom had given her, bracelet and all. Such a cruel irony.
LATER
Footage from episode 5x11. Melissa stands in front of Bethany's unconscious body. After a quick look in both directions, she pushes it into the freshly dug hole, grabs a shovel and begins to cover it with dirt.
CHARLES (V.O.)
Melissa arrived just as I had finished digging another grave. You should have seen the look on her face.
Meanwhile, Charles is still hidden in the trees, witnessing everything with a smile on his face.
CHARLES (V.O.)
Yes, it was really a night to remember.
Chapter 4: Act Three
Chapter Text
CONTINUE FLASHBACK SEQUENCE:
INT. RADLEY - SECRET ROOM - DAY
Charles and Jessica are having a discussion right next to the table. On it are several documents with the name "Carissimi Group" on them.
CHARLES (V.O.)
Mom came to see me the following day, offering me my freedom. As it turns out, she’d been pocketing money all that time through her so-called "charity events", and now it was all mine. Provided I agreed to go as far away as possible, of course.
INT. ENGLISH PUB - NIGHT
Charles, now with brown hair and eyes, is sitting at the bar and talking to another guy who has his back to us.
CHARLES (V.O.)
So that's just what I did. And once in London, I found a much more interesting identity than the one she’d given me.
The camera moves a little and we see the stranger's face: it’s Rhys Matthews. The two shake hands as if they have just closed a deal.
CHARLES (V.O.)
Wren Kingston had lost all his passion for medicine. His mother had recently died in a car accident, and his father had been in an asylum for years. The poor guy just wanted to stop being himself, so I made him an offer he couldn’t resist.
EXT. FOREST - THE KISSING ROCK - DAY
Charles is leaning against the Rock. From the way he looks out into the forest, he seems to be waiting for someone.
CHARLES (V.O.)
And then I returned to Rosewood with a plan. You see, I knew my sister was still alive, and I figured the best way to lure her out of hiding would be to put her four dearest friends in danger. But I needed help.
Red Coat emerges from the trees. She's wearing Alison's mask, but she takes it off as soon as she sees Charles grinning at her, and we discover that it's CeCe Drake.
CHARLES (V.O.)
Yeah, CeCe always enjoyed impersonating you, Ali. I actually met her when she came to Radley to play that prank on Mom, and even Bethany believed it was you.
INT. FRAT HOUSE - NIGHT
Footage from episode 1x18. The Liars stare at an unconscious DRUNK GIRL who has just fallen down the stairs.
CHARLES (V.O.)
She never forgave you for framing her after you pushed that girl. Didn't she make that crystal clear when she busted your lip?
INT. ROSEWOOD HIGH - ENGLISH CLASS - DAY
Footage from episode 1x01. Aria reads her first message from A: “Maybe he fools around with students all of the time. A lot of teachers do. Just ask your dad.”
CHARLES (V.O.)
I told CeCe to go see Mona wearing that mask, to convince her to start her game again. And it was Aria's return that set it all in motion once more: the secrets, the lies...and A.
INT. HASTINGS HOUSE - SPENCER'S BEDROOM - NIGHT
Footage from episode 1x01. Spencer looks out the window and sees a blonde girl in Maya’s bedroom.
CHARLES (V.O.)
Mona was really quick to get on with the messages, and CeCe was happy to follow her lead.
EXT. ROSEWOOD CHURCH - DAY
Footage from episode 1x01. The Liars receive their first group text: "I'm still here, bitches. And I know everything. – A”
CHARLES (V.O.)
But it was me who sent you the one at the funeral. The truth is... I loved having new dolls to play with.
EXT. HASTINGS HOUSE - BACKYARD - NIGHT
Footage from episode 1x04. Someone is filming Spencer and Charles as they chat in the kitchen.
CHARLES (V.O.)
At first, Mona kind of did her own thing. CeCe and I would give her a hand from time to time, although she never suspected me until it was too late. And neither did you, Ali. To you, I was just that good doctor who liked helping your friends, wasn't I?
INT. HOSPITAL - HANNA'S ROOM - DAY
Footage from episode 1x11. Alison is talking to Hanna after her hit-and-run.
CHARLES (V.O.)
Anyway, a few weeks after putting the plan into action, Mona lost her temper and proved my theory right: my sister showed up, full of riddles and half-truths, but not daring to tell what she knew about Hanna's friend. It was then that she began blackmailing Noel into helping her, as she was aware that both he and his brother were regular customers of the N.A.T. Club.
INT. RADLEY - MONA'S ROOM - DAY
Footage from episode 2x25. Red Coat pays a visit to Mona.
CHARLES (V.O.)
Oh, those first few months were so much fun... Eventually, though, CeCe had to force Mona to give up her identity, and when the game became truly ours, complications arose.
INT. LIGHTHOUSE CABIN - NIGHT
Footage from episode 3x12. Emily and LYNDON JAMES watch the video of MAYA ST. GERMAIN.
CHARLES (V.O.)
Some of them came from way before, like your bed-buddies. Take Maya, for example. I always thought she’d found out something about me, but all she knew was that her stalker was in town.
INT. ART GALLERY - NIGHT
Footage from episode 3x08. Aria stares at the image of the painting Isle of the Dead.
CHARLES (V.O.)
Ezra also gave us quite a few headaches. Your sweet boyfriend stole that painting, Aria, and replaced it with a cheap replica from Cyrus. All so he could afford his little Ravenswood lair.
INT. EZRA'S LAIR - NIGHT
Footage from episode 4x11. CeCe is leaving a voice message for someone.
CHARLES (V.O.)
It was a good thing that CeCe had him under control, because, as much as I liked dressing up as a soldier, that place gave me the creeps. Curses, teenagers being sacrificed for the sake of the town.... I wish Caleb had stayed there, honestly.
EXT. RADLEY - NIGHT
Footage from episode 3x12. Toby walks away from the building in a black hoodie.
CHARLES (V.O.)
As for Toby, he was actually quite useful. He’d already helped us with Dr. Sullivan before Mona officially recruited him, and all it took was a simple threat to his girlfriend. Although he did become a bit of a pain in the ass trying to find her.
INT. FIELDS HOUSE - EMILY'S BEDROOM - NIGHT
Footage from episode 1x22. The Liars watch the N.A.T. Club recordings on Emily's laptop.
CHARLES (V.O.)
But that was all trivial stuff, just like Meredith, Noel, Holbrook or Cyrus. No, the real problems began with a certain voyeuristic little group.
EXT. ROSEWOOD HIGH - COURTYARD - DAY
Footage from episode 1x18. Spencer and Emily see IAN THOMAS handing a bag to JENNA MARSHALL.
CHARLES (V.O.)
I always knew I would eventually have to take care of Ian. No matter how hard he tried to project an image of himself as a good, wholesome boy, like when he started giving Jenna gifts from his cop friend.
INT. ABANDONED FARM - NIGHT
Footage from episode 2x04. Charles, Melissa and the Liars have just discovered Ian's body.
CHARLES (V.O.)
After his little stunt at the church, he was planning on skipping town with his blackmail money, but I found him first. And we had a great time driving Melissa crazy with his cell phone.
INT. HALLOWEEN TRAIN – LOCKED BOX - NIGHT
Footage from episode 3x13. Aria is locked up next to the body of GARRETT REYNOLDS.
CHARLES (V.O.)
And then there was Garrett, claiming to know who had killed my sister. He was probably thinking of Wilden, Byron or Melissa, but we couldn't risk it, so Toby snuck the bullets and pills onto the train and I took the chance to have some fun with my dolls.
INT. HALLOWEEN TRAIN - NIGHT
Footage from episode 3x13. Hanna removes the Phantom of the Opera’s mask, but underneath, the person is wearing another mask of Alison’s face and a blonde wig.
CHARLES (V.O.)
Unfortunately, Melissa saw me with that mask on the train, so CeCe asked Mona to pretend to have worn it herself. And that’s how it’s been ever since.
EXT. ROSEWOOD STREET - DAY
Footage from episode 4x01. From Mona's car, Mona and the Liars see DARREN WILDEN's corpse on the road.
CHARLES (V.O.)
Soon after, CeCe took care of the N.A.T.’s most discreet member. Wilden appeared in several of Ian's camera videos, and we blackmailed him until we got bored. In fact, he was the one who killed Garrett on the train. At our request, of course.
EXT. DILAURENTIS HOUSE - NIGHT
Footage from episode 2x02. The Liars are talking to Jason, who has just recently returned to town.
CHARLES (V.O.)
But there was still the founding partner left. The whiskey had rendered him more formal, but that was over as soon as he got out of rehab.
INT. DARKROOM - NIGHT
Footage from episode 2x09. Spencer and Emily have just discovered the photos of Aria sleeping.
CHARLES (V.O.)
The poor guy was really pissed off when you came across those pictures. Were you looking for inspiration for Vivian Darkbloom, sis?
EXT. DILAURENTIS HOUSE – BACKYARD - DAY
Footage from episode 2x03. Spencer sees a shadow in one of the upstairs windows, and Jason approaches her from behind.
CHARLES (V.O.)
He had caught Peter lurking around soon before that, and he took out all his anger on his nose. I actually hid $15,000 at our grandmother's house myself, just to see if Jason would find it and they'd fight again.
EXT. DILAURENTIS HOUSE - NIGHT
Footage from episode 2x23. Hanna and Spencer get Jenna out of the house just before an explosion occurs.
CHARLES (V.O.)
And when Mona took revenge on Jenna for stealing Noel from her and framed Garrett in the process, my brother didn't come off too well.
INT. HALLOWEEN TRAIN - NIGHT
Footage from episode 3x13. Jason watches the funeral bag that has just fallen from the refreshment casket.
CHARLES (V.O.)
So I decided to make it up to him through our personal photographer and errand boy.
At that exact moment, LUCAS GOTTESMAN snaps a picture.
CHARLES (V.O.)
Looks like Lucas and Jenna have been getting pretty close lately, huh? I mean, she's always been quite fond of him, especially after she caught him near my sister's freshly desecrated grave, camera in hand.
EXT. DILAURENTIS HOUSE - NIGHT
Footage from episode 3x14. Mona treats Jason's abdomen wound on the porch.
CHARLES (V.O.)
Though, considering how he defended himself when Jason came demanding answers, maybe it’s not that surprising that she holds him in such high regard.
INT. ELEVATOR - NIGHT
Footage from episode 3x19. Jason is trapped inside as the elevator collapses.
CHARLES (V.O.)
And getting back to my brother, the truth is that, after one last tantrum on CeCe's behalf, we finally left him alone.
EXT. CAVANAUGH HOUSE - NIGHT
Footage from episode 3x24. Emily peers through the porch window and sees Jenna and Melissa talking to SHANA FRING.
CHARLES (V.O.)
At that point, we were more focused on a certain newcomer to town. Shana had told Jenna that Alison was still alive, and Melissa needed to verify this information to put a stop to A’s threats, the only person who knew about her penchant for burying people alive.
INT. THORNHILL CABIN - NIGHT
Footage from episode 3x24. Aria, Emily, Hanna and Mona are surrounded by smoke.
CHARLES (V.O.)
Your little pyromaniac friend ruined my first attempt to take you all to the Dollhouse, Ali. And she also tried to frame Wilden, whom she and Jenna had rescued from the road not even a week ago. Such great friends.
EXT. PAIGE'S AUNT'S CABIN - NIGHT
Footage from episode 4x09. Emily jumps into the lake and rescues who she thinks is Spencer, but it’s actually Jenna.
CHARLES (V.O.)
CeCe, being fed up with those two snooping around and following her lead, decided to send them a warning. She’d been wanting to do something like that to Jenna ever since she saw her at the cemetery the night we took Bethany's body.
INT. FITZGERALD THEATER - NIGHT
Footage from episode 5x01. Shana is pointing a gun at Alison while Aria approaches her from behind with the prop shotgun.
CHARLES (V.O.)
But Shana didn't give up. She went all the way to New York, dressed as the person my sister feared the most. I couldn't do anything: I was too busy going back and forth from London and taking care of some personal business. And as for CeCe.... Well, she wasn't really in the mood to help you anymore.
INT. HOTEL RECEPTION - NIGHT
Footage from episode 4x23. A is looking for CeCe's name in the guest register. When he finally finds it, he picks up the phone and calls the police.
CHARLES (V.O.)
She was getting increasingly jealous of the time I was spending with my dolls, especially Spencer and Hanna. And one fine day, I discovered that she’d known about Shana's plan at the Thornhill the whole time, so I had to cut ties with her.
EXT. FOREST - NIGHT
Footage from episode 4x23. Spencer sees Jessica handing an old suitcase to A.
CHARLES (V.O.)
But not before giving her a parting gift. The thing is, my mother had caught me riffling around the house several nights before. I lied and said that I had finally managed to locate Bethany, since she was officially still missing at that point, so Mom asked me to hand her some clothes. And CeCe took them all.
EXT. HASTINGS HOUSE - BACKYARD- NIGHT
Footage from episode 4x24. A is burying Jessica.
CHARLES (V.O.)
And while we're on the subject of my mother, I have no idea who killed her. I just found her lying on the porch and decided to liven up her neighbors' backyard. Maybe it was suicide, considering that email she never got to send me. But it was just as well, because she wasn't going to give up until she got Spencer. She had already tried to frame her once, as had CeCe, and Peter had to change my grandmother's will to dissuade her.
INT. NEW YORK AIRPORT - NIGHT
Footage from episode 5x01. CeCe is about to board the plane.
CHARLES (V.O.)
At least CeCe had the decency to leave for Paris after escaping the police, so the night was not a total disaster after all. The bad news is, she came back unexpectedly for Christmas, and I could no longer delay the inevitable.
INT. STOREROOM - DAY
Footage from episode 5x16. Caleb and Spencer have just found a barrel there.
CHARLES (V.O.)
It still amazes me to think that she managed to fit into such a small barrel.
INT. MONA'S RV - DAY
Footage from episode 4x01. The WOMAN IN BLACK is looking at herself in the mirror, wearing Alison's burnt mask.
CHARLES (V.O.)
But don't worry, I didn't run out of helpers. I am very farsighted.
A few seconds later, she takes off the mask, revealing herself as Melissa Hastings.
CHARLES (V.O.)
I gave Melissa that dress, inspired by the one my mother had worn to my funeral, as well as the mask CeCe burned at the Thornhill. That's when I revealed myself to her, and she found out about Bethany not long after.
INT. BEAUTY SALON - DAY
Footage from episode 5x03. Through the fogged window, we see Mona talking to an UNKNOWN GIRL.
CHARLES (V.O.)
She was mostly given simple, easy tasks, such as infiltrating Mona's little army and reporting on her meetings with Sydney Driscoll, for example.
INT. MONTGOMERY HOUSE - ARIA'S BEDROOM - DAY
Footage from episode 5x10. Aria and Spencer watch a recording of Melissa speaking to a GUY WEARING A CAP outside the Hastings' barn.
CHARLES (V.O.)
But poor Melissa had been really affected by the whole Bethany thing. She even began going to the same stables as her and all. And when I caught her trying to warn Andrew, my next distraction, I decided to let her escape to London. And this time for real, not like that charade she had put on with Shana's help a while before.
EXT. ROSEWOOD STREET - NIGHT
Footage from episode 3x20. Spencer sees Red Coat watching her from a distance and chases after her. However, by the time she turns the corner, she is gone.
CHARLES (V.O.)
And although it was a real shame to lose Melissa, I already had the best ally of all.
EXT. ALLEY - NIGHT
Red Coat is hiding there. After a few seconds, she removes her hood and reveals not CeCe, but SARA HARVEY.
CHARLES (V.O.)
My sister's disappearance had inspired her to run away from her horrible home, and I found her through the classifieds. At first, CeCe used her as a decoy when she got tired of her chores, but Sara has proven to be much more useful than CeCe ever was.
EXT. CHRISTMAS SHOP - NIGHT
Footage from episode 5x13. JAMES NEILAN is talking to the Liars.
CHARLES (V.O.)
She even found me a lawyer.
INT. MARIN HOUSE - KITCHEN - NIGHT
Footage from episode 6x05. The Liars look at the photo of the junkyard, which shows a GIRL IN A BLACK HOODIE.
CHARLES (V.O.)
And it was her idea to frame Lesli, who was just doing us a few favors in exchange for not revealing her past. The night my sister disappeared, she must have overheard Eddie talking to my mother on the phone, and that's why she thought Bethany had run away with me.
END FLASHBACK SEQUENCE.
INT. RADLEY - CHARLES' ROOM - NIGHT
Back in the present, the five girls stare at Charles with a mixture of horror, awe and disbelief. He is still grinning, clearly enjoying himself.
CHARLES
And these cages of hers have really come in handy, huh?
The young man takes off his contact lenses, revealing his blue eyes, and pulls a device from his pocket. At the push of a button, the cages burst open.
At first, the Liars don't quite know what to do, but eventually they slowly start to come out of their cages and stand next to Alison.
CHARLES
So, shall we go?
SPENCER
(defiantly)
Go where?
CHARLES
(in a mocking tone)
Wait for it, Spence.
Chapter 5: Act Four
Chapter Text
INT. ROSEWOOD POLICE STATION - NIGHT
Tanner is talking to Toby, Ezra, Caleb and Lorenzo by a two-way mirror. Through it we can see the interrogation room, and Rhys Matthews sitting alone at the table.
TOBY
(glancing at Rhys)
So… Wren Kingston, huh?
TANNER
So he says. Apparently, he swapped identities with his current employer a couple of years ago, in exchange for money and a position in his company.
EZRA
What about the girls, though? Did he say anything about them?
TANNER
He claims he doesn’t have a clue of their whereabouts, though he did confess to taking Miss Montgomery's photographs and locking her mother and the others in the basement.
CALEB
All orders from his boss, I suppose.
Tanner nods in agreement.
TANNER
They were supposed to meet at an abandoned factory a few days ago, but he never showed up. Perhaps it was due to the presence of Officer Wilkins, who had followed Mr. Kingston there after seeing him hanging around the art gallery, or perhaps he was simply being set up.
A beat while the boys consider these revelations.
TANNER
And there's something else: not long ago, this mysterious employer of his had a new security room built in the Carissimi Group. The whole process was carried out in great secrecy, and to this day no one really knows what's in there.
LORENZO
So what are we waiting for?
Before Tanner can even reply, the others are already on the move.
INT. RADLEY - BATHTUB ROOM - NIGHT
Charles and the girls step inside the room, the former closing the door behind.
The first thing Ali and the Liars notice is the bathtub full of water in front of them. And then, as they look to their left...
HANNA
Oh, my God!
They see Jason, Kenneth and Mona sitting against the wall, bound and gagged, but awake.
Charles approaches the three, bends down and removes the bandage from their mouths before getting back to his feet.
CHARLES
Well, now that we are all together, I think we can get started already.
MONA
(angry and defiant)
Get started with what, exactly?
CHARLES
Oh, Mona... Please, don't start playing dumb now. It really doesn't suit you at all.
(to Alison and the Liars)
By now, you should all have a good idea of how the night is going to unfold, right?
Ali and her friends glance at the bathtub and then at each other in horror. If they didn’t know before, they sure do now.
CHARLES
(disturbingly excited)
Perfect! Let's not waste any more time then.
With that said, the young man begins to walk toward Alison. He reaches out, clearly intending to grab her arm.
KENNETH
Charlie, wait!
Charles stops and looks at his father with an indecipherable expression.
KENNETH
Look, I… I know... I haven't been the best father in the world. I should have done so much more for you, instead of abandoning you in this place.
(he gulps)
So… go ahead and… punish me. I deserve it. But… please… Please, leave your sister alone, alright?
A long, drawn-out beat during which Charles just stares at his father. He then goes over to him and bends down again, this time to untie Ken’s hands and feet.
Much to everyone's surprise, Charles helps Kenneth up and carries him a few feet away from the rest. He carefully places him with his back to the wall, moves a little ways back and…
CHARLES
God, you’re such a bore.
He pulls a gun from his pocket, points it at his father's head and pulls the trigger.
After the gunshot it is as if all sound has left the room. We hear absolutely nothing else, not Alison's piercing shriek as she falls to her knees, nor the muffled screams of the others, nor Kenneth's lifeless body slumping to the floor.
Only after a few seconds have passed do we start to hear things again, mainly Ali's frantic sobs. Charles takes a deep breath and lowers the gun before turning back to the Liars, as impassive as ever.
CHARLES
So, is anyone else in the mood for more monologuing?
Obviously, there’s no response.
CHARLES
Yeah, I thought so.
Charles starts walking back toward Alison, who is still kneeling on the floor, crying with her hands over her face. And just as before, someone interrupts him as he is about to reach out and grab her.
SPENCER
Why did you do it, Charles?
He turns to Spencer with a sigh of exasperation.
CHARLES
Because he wouldn't shut his mouth. Is that reason enough for you?
SPENCER
Not really, no. Those were the first words your father had said to you in.... What, 20 years? And look how you reacted.
Spencer lowers her head in the direction of Kenneth’s corpse and, almost instinctively, Charles does the same thing. Spencer takes that opportunity to focus on Hanna, using her eyes to point at the gun in Charles' hand.
Charles looks at Spencer again.
CHARLES
Well, in case you haven't noticed yet, we're running a little short on time.
SPENCER
Yeah, I don't think that's it. What I really think... is that you didn't want him to keep talking and ruin your perfect fantasy. A fantasy in which we are all your dolls, and you are our owner.
Charles is so focused on Spencer now that he doesn't realize Hanna is slowly approaching him from behind.
SPENCER
Because, in the real world, you're just a poor, angry kid whose parents abandoned you in a mental institution.
CHARLES
Shut up.
For the first time all night, Charles looks agitated. His apparent impassivity is beginning to crack.
SPENCER
So, instead of facing that horrible, nasty world, you took refuge in your mission to make your sister the perfect doll. And when she failed you, you simply went and found yourself other dolls to play with.
CHARLES
I’m warning you...
Hanna continues her slow march toward him, eyes fixed on the revolver.
SPENCER
But, deep down, you wanted us to know your story, to understand you. That's why you left us all those clues about your name, isn't it?
CHARLES
Please...
The man’s whole body has begun to tremble. He squeezes his eyelids tightly, like a frightened child.
Meanwhile, Hanna is already inches away from being able to reach out and take the gun from him.
SPENCER
Charles, drowning your sister won't stop her crying.
CHARLES
(yelling)
I said shut up!
His sudden scream causes Hanna to stumble a little just as she was about to retrieve the gun.
Charles spins around and finds himself facing the girl, staring at her with his face contorted in rage and madness. She trips and falls to the ground.
Fearing what their torturer may do to their friend now, both Aria and Emily scream and throw themselves at him at the same time.
ARIA/EMILY
No!
They begin to wrestle with Charles. He is quick to knock them off him and throws them to the ground next to Hanna.
He then turns and strides toward Spencer. Once in front of her, Charles slowly raises his gun and... hits her in the face with the grip.
Spencer staggers from the impact but does not lose her balance. She immediately stands straight again, fixing defiant eyes on the man as a trickle of blood slips from her lip.
CHARLES
Very well, you’ll be the first to go.
Without further ado, he grabs Spencer by the arm with his left hand and starts dragging her towards the bathtub. She tries to break free, but Charles has too much strength. And just as they’re about to reach the tub...
Alison suddenly appears and hits Charles over the head with a rusty pipe. Her brother releases Spencer and falls to the ground, unconscious, with a loud thud. The others watch the scene with wide, shocked, terrified eyes.
INT. CARISSIMI GROUP - SECURITY ROOM - NIGHT
We are in the recently built room that Rhys mentioned to Tanner during his interrogation.
As it turns out, it's A's new lair. There’s an array of blueprints and maps on the walls, a table with several computer monitors, and a bunch of junk scattered everywhere.
Tanner is examining some documents along with Lorenzo and CLARK WILKINS, while other officers, including BARRY MAPLE, search the place from top to bottom.
Caleb, Ezra and Toby stand apart from the others, talking among themselves.
CALEB
(to Toby)
So… how did you manage to get the door open? Tanner tried a bunch of different combinations and none of them worked. What was the code?
TOBY
(in a flat, exhausted tone)
Spencer's birthday.
A beat. Caleb and Ezra share a look of utter disbelief.
TOBY
(an edge of fury in his voice)
Yeah, she must be pretty important to him, considering that was the key to his damn lair.
EZRA
That freaking psychopath…
LORENZO
(to all three)
Hey, come over here!
They quickly come to his call, and Clark hands them one of the documents they were reading.
CALEB
(quickly going through it)
This is...
CLARK
A contract of sale. Between the Carissimi Group...
EZRA
And Radley Sanitarium.
Judging by the expressions on all their faces, it’s clear they already know their next destination.
INT. RADLEY – RECEPTION AREA - NIGHT
Jason is trying to get the front door open while the girls watch him from behind. He's not having much success, though.
JASON
Damn it!
Frustrated, he kicks the door and lets out a long breath.
MONA
Charles might have altered all the exits so that they only open from the outside. He clearly wasn't going to let us out, and something tells me he wasn't planning to leave either.
ARIA
Wait a second...
(to the other Liars)
Remember that thing he used to unlock our cages? Maybe it will work on this door as well.
SPENCER
I mean… It doesn't hurt to try.
HANNA
Wait, you're not suggesting we go back to that room, are you?
EMILY
Do you have a better idea?
She does not.
Spencer approaches Jason.
SPENCER
You stay here with Alison and Mona. Keep trying to get the door open, okay?
JASON
Wait.
He hands her Charles' gun.
JASON
Just in case.
Spencer smiles weakly at him and turns to Aria, Hanna and Emily, nodding decisively.
INT. RADLEY - BASEMENT CORRIDOR - NIGHT
The four Liars move slowly down the dark corridor.
ARIA
Hey, what if… he's awake? I know we left him tied up, but...
HANNA
Then we hit him again with that pipe.
EMILY
I’ll go first.
SPENCER
No, we need to draw sticks or something.
They don’t take long to reach the door. The four girls look at each other, nervous but determined, and Spencer grabs the doorknob.
SPENCER
(sighing)
Well, here goes nothing.
INT. RADLEY - BATHTUB ROOM - NIGHT
As soon as they enter, their worst fears are realized: Charles is gone. The only things left in the room are the bathtub, Ken's corpse and a few cut ropes on the floor.
The Liars’ voices and breathing become frantic and shaky.
HANNA
Okay, this... this is not good.
SPENCER
We have to go back. We have to go back right now!
They begin retracing their steps as fast as they can.
INT. RADLEY - RECEPTION AREA - NIGHT
The Liars are only a few feet away from Jason, Ali and Mona, who are still standing by the door. Suddenly, a bloodcurdling scream erupts, and Charles appears down a corridor to their left. He has a knife in his hand and, as soon as he sees the four friends, prepares to jump on them.
ALISON
No!
Alison starts running in the direction of her brother, who forgets the other girls for a moment and turns to her with a deranged grin.
The two engage in a struggle that Charles soon puts an end to. He pushes Alison against the wall, then turns to the Liars.
However, his smile immediately vanishes when he sees that Spencer is pointing his own gun at him.
SPENCER
Game over, Charles.
She fires it and, after a short beat, Charles collapses to the ground a second time, now dead.
The four girls take a few seconds to breathe deeply. Spencer slowly lowers the gun, and then....
ALISON
Guys...
As they turn to look at her, they realize that she’s been fatally injured. It appears that Charles managed to stab her in the stomach while they were struggling.
Alison drops to the floor, her back against the wall.
EMILY
Oh, God… Ali!
The girls quickly crouch around her. Jason does the same, while Mona stands a few feet away, completely motionless.
HANNA
It's okay, Ali. We'll be out of here real soon.
(to Mona)
Find that device! Now!
Mona snaps out of her stupor, runs over to Charles' corpse, and bends down to start searching his pockets.
ALISON
(very weakly)
Jason...
Her brother and the Liars are already in tears.
JASON
(grabbing her hand)
I'm here, Ali. I’m here.
ALISON
(to the Liars)
I… I just…
SPENCER
No, don't even think about it, you hear me?
ARIA
Yeah, save it for when you’re feeling better.
Alison manages a tiny smile. It seems like just trying takes a lot of effort.
MONA
There’s nothing here!
Mona is desperate, her hands shaking as she keeps going through Charles' clothes. Just then, police sirens start blaring outside, so she jumps up, runs to the door and starts banging on it.
MONA
Help! Please, we are in here! We need an ambulance!
Behind her, Alison continues to smile and look at each of the Liars.
ALISON
I just... I just want to tell you...
She swallows as a tear slips down her cheek.
ALISON
I’m sorry... and thank you.
Then, just as Alison closes her eyes and Jason and the Liars cry inconsolably around her, a loud bang is heard on the other side of the hospital door. Mona steps aside just in time for several police officers to open it and rush into the building.
Chapter 6: Act Five
Chapter Text
INT. ROSEWOOD POLICE STATION - INTERROGATION ROOM - NIGHT
We're back to the first scene of the episode, with Tanner interrogating each of the Liars. The first one is Emily.
EMILY
It was all our fault.
(beat)
If we hadn't split up...
TANNER
Then things could’ve gone much worse. You are not responsible for what happened.
Next, we see Spencer.
SPENCER
I almost... I almost didn't even realize that I…
(sighs)
I had pulled the trigger. It was as if my hand moved by itself.
TANNER
Well, thanks to that, many lives were saved tonight.
Then, Hanna.
HANNA
Did you… Did you manage to find Mr. DiLaurentis? He was... He was inside the...
TANNER
Yes, we've already taken care of it. You don’t need to worry about any of that now, all right?
And finally, Aria.
ARIA
But… how could he untie his ropes? It doesn’t make any --
TANNER
Some officers found Sara Harvey hiding in a nearby hallway. She hasn't said much yet, but she did admit to setting Charles free and giving him the knife.
The Lieutenant rises from her chair and approaches Aria, who is nodding very slowly and ducking her head. She stares at the girl with empathy and concern.
TANNER
All right, that’s enough. You’re all going home right now. I don't care if you can't sleep; at least you’ll be with your loved ones. That’s all you need tonight.
Each Liar’s face is shown in a rather quick shot.
EXT. ROSEWOOD POLICE STATION - NIGHT
The camera focuses on the front of the building for several seconds.
EXT. ROSEWOOD HIGH - NIGHT
Then on their high school...
EXT. THE BREW - NIGHT
On the coffee shop they visit so often…
EXT. THE GRILL - NIGHT
And the restaurant.
EXT. ROSEWOOD CHURCH - NIGHT
Finally, we stop at the church. After a moment, we realize that dawn is breaking.
EXT. ROSEWOOD CHURCH - DAY
Now we see a lot of people around, all wearing black.
The Liars, dressed in funeral attires, approach the church. They’re accompanied by their entire families and, in Hanna's case, only by Ashley and Caleb. In addition to the mothers, Byron and MIKE MONTGOMERY, Melissa and PETER HASTINGS, and WAYNE FIELDS are also present.
Ezra, Toby, Lorenzo, and PAIGE MCCULLERS are already waiting for them on the steps of the building. The four friends greet them all briefly before entering.
INT. ROSEWOOD CHURCH - DAY
As they walk down the aisle, the Liars notice Mona and her mother, LEONA VANDERWAAL, who are about to sit down on a nearby pew. Mona gives them a sad smile, and they do the same.
Emily and Hanna look to their left and see Lucas sitting next to Jenna. He greets them as Mona did, and they return the gesture.
Aria, for her part, looks to the other side and recognizes NOEL KAHN in the crowd. He doesn't seem to notice her, and she doesn't bother getting his attention.
It doesn't take long for the girls to make their way to the altar, where Jason is greeting people next to a casket and a picture of Alison. They each give him a big hug and sit next to him in the front pew.
A few seconds later, pastor TED WILSON appears, stands at the altar, and begins the service.
TED
The Lord giveth… and the Lord taketh away.
EXT. ROSEWOOD CHURCH - DAY
After the funeral, we see Aria and Ezra talking in the street, away from the crowd of people leaving the church.
EZRA
I… I'm sorry I didn't call you. I figured you'd want to be alone with your family and friends these days, so…
ARIA
No, don't… don’t apologize. That was exactly what I needed, yes.
EZRA
Right, of course.
A slightly uncomfortable beat follows.
EZRA
Look, I've been thinking about it and... maybe I should stay here for a while. At least until things have...
ARIA
(firmly)
No, Ezra. Really, don't... don't delay your plans for me. Go to Thailand, help a lot of people and...
(sighs)
Get out of this town, okay?
Ezra stares at her for a few seconds, then pulls her in for a tight embrace. They stand there like that for a while, until Aria slowly pulls away, tears in her eyes.
ARIA
Goodbye, Ezra.
EZRA
Goodbye, Aria.
She catches her breath, gives him a small smile and goes to rejoin her family and friends, who are currently standing by the church steps.
Caleb and Toby have their arms around Hanna and Spencer, respectively. Emily is chatting with Paige, and Mona has come to see Mike. Ashley and Ted are also nearby, having a conversation while the pastor strokes her cheek.
After observing these interactions for a few moments, the camera begins to pull away from the church.
EXT. HASTINGS HOUSE – BACKYARD - NIGHT
We stand in front of Spencer's barn door. It is a beautiful, clear summer night in the future.
SUPER: Five Years Later
INT. HASTINGS’ BARN - NIGHT
The Liars are seated at a large dining table, accompanied by Toby and Caleb. They are all chatting animatedly as dinner is served.
CALEB
No, when I say she almost ripped her earring off, I mean it.
(to Hanna)
That poor woman must have thought you were having a psychotic break.
HANNA
Well, I'm very sorry, but I thought she was stealing them. And I don't want anyone repeating my old mistakes in my boutique.
CALEB
Wow, confessing your sins in front of a former cop? That's brave.
TOBY
And I emphasize "former.” As much as it pains me, I can no longer make you pay for your crimes, Ms. Marin.
EMILY
Well, maybe it’d be best if Spencer psychoanalyzed her. Get to the root of the problem.
SPENCER
Oh, I’m going to need many more years of training for such a serious case.
Everyone laughs, including Hanna.
ARIA
You know, Han? The other day, one of my students asked me if he could go to jail for stealing a cookie from his classmate. I’ve never felt closer to you.
Another round of laughter.
HANNA
Okay, this is the last time I’m coming all the way from New York to have dinner with you guys.
But judging by the look on her face, it's clear she's enjoying herself immensely.
As they all continue to eat and laugh, the camera slowly pulls away from the table and stops in front of a pair of couches facing the fireplace.
LATER
The Liars are now sitting on those couches.
ARIA
Oh, thank God the guys volunteered to do the dishes. I’m exhausted.
EMILY
By the way, Spence, how come Jason didn't come in the end?
SPENCER
Well, he was really looking forward to it, but something came up at Carissimi at the last minute. A scholarship that got lost along the way, I think.
HANNA
Yeah, Mona is also very busy in Seattle.
(to Aria, with an amused smile)
Just like your brother.
ARIA
Yup, that will never stop being weird to me.
Hanna giggles and looks at Emily.
HANNA
And what about you? Any interesting developments with --
EMILY
Paige and I are still just friends, just like the last ten times you asked.
She says all this with an amused expression.
EMILY
But really, she’s helped me a lot with the swimming coach position, and it’s really nice having someone I know in California.
ARIA
Speaking of people we know…
(somewhat uncomfortable)
I ran into Ezra outside the Brew on my way here.
SPENCER
Oh, Toby and I see him around Philly from time to time. Does he still live upstairs?
ARIA
Yeah, with Nicole. He seemed happy.
HANNA
Just like you.
EMILY
Just like all of us.
The four of them take a moment to smile at each other.
EMILY
You know what? I had a dream about Ali the other day.
HANNA
Really?
EMILY
Yes. We were all together, but I don't remember where. Maybe it was at the high school or the lake. Or maybe it was right here in the barn. And we were just… talking. About some teenage nonsense, I guess.
SPENCER
(nostalgic)
Sounds like a good dream.
After a few quiet seconds, they hear a sound like glass shattering and turn their heads back.
HANNA
What the hell are you doing?!
CALEB
(O.S.)
Nothing, we just dropped a glass!
TOBY
(O.S.)
Yeah, everything is under control!
HANNA
(to her friends)
They just can't be left alone, can they?
ARIA
Do you seriously have to ask?
SPENCER
I don't know what they would do without us.
EMILY
Better not to know.
The four of them laugh as they get up from the couches and head for the kitchen, but we don't follow them. Instead, we just stand in front of the fireplace and stare at a framed photo of Alison and the Liars on the wall, with Alison in the middle.
INT. UNKNOWN MOTEL ROOM - NIGHT
This place resembles the Lost Woods rooms, although it is cleaner and has more modern furnishings.
A BROWN-HAIRED WOMAN is looking out the window. Because she is facing away from the camera, we cannot see her face. The MOTEL OWNER is behind her, right next to the open door.
MOTEL OWNER
I hope you enjoy your stay, Ms. Lodge.
WOMAN
Please, just call me Jessica.
She turns around, and we discover that, except for her hair, she looks exactly like Jessica DiLaurentis.
MOTEL OWNER
(smiling politely)
All right, Jessica. What brings you to Oregon? Are you here to visit family?
JESSICA
Oh, no. I practically have no family left. In fact, my sister passed away not too long ago.
MOTEL OWNER
Oh, I… I’m sorry for your loss.
JESSICA
Don't be. Mary was a despicable human being.
That statement renders the man speechless.
JESSICA
We were twins, you know? I was born first... and she was born jealous. And one fine day, when we were still very young, she managed to make me disappear, stealing my identity in the process. But a few years ago, I finally made sure she got what she deserved.
Her interlocutor stares at her in complete bewilderment. After a few seconds, Jessica laughs.
JESSICA
Oh, dear! It was just a joke! If only you could see your face… No, Mary and I had our differences, but we loved each other very much. And not a day goes by that I don't miss her.
The owner, who looks visibly more relaxed now, exhales slowly and offers another polite, albeit slightly nervous, smile.
MOTEL OWNER
Of course, I… I can imagine. Well, if you don’t need anything else…
He’s about to leave the room as he says this, but --
JESSICA
By the way, do you know the best thing about a really good lie?
From the doorway, the man turns to look at Jessica again, frowning slightly.
JESSICA
(with an unnerving smile)
It will always leave you wondering.
After pronouncing these words, she puts a finger to her lips, making the iconic gesture of silence. And in her case, it’s also a secret that she’s taking to the grave.
Sup3rg1rl27 on Chapter 1 Thu 30 Oct 2025 06:04PM UTC
Comment Actions