So...remember when I said I'd be going back to regular updates on my two in-progress stories? Well, that obviously didn't happen, and I apologize for that. All of my writing time lately has instead gone into this project. This is my own version of PLL, starting in season 6. Everything is canon to the show up through 5x25, but every chapter of this story consists of an individual episode of my own design. I have ten planned for now, but we'll see where it goes beyond that.

This first episode takes elements from the real 6x01 and mixes them with my own version, but after this, the story is going to change completely. Please drop me a review and let me know what you think. Your feedback is especially valuable for a project like this! As I'm currently about halfway through the season now, I'm also always up for hearing ideas about what you guys would like to see in future episodes.

Season 6, Episode 1 Summary: "Their escape attempt having failed, Spencer, Hanna, Emily, Aria, and Mona find themselves subjected to A's newest wave of games, which forces them to relive the past. Back in Rosewood, Alison, Caleb, and Ezra's attempt to save the girls takes a dark turn."

SEASON 6, EPISODE 1: "PROUD BROKEN SELVES"

TEASER

FADE IN:

EXT. THE DOLLHOUSE - NIGHT

Thick trees surround the high fence, stretching on for miles on end. SPENCER, ARIA, HANNA, EMILY, and MONA stand back to back in a tight circle. The shock and dismay is still fresh on their faces as they survey their newest predicament.

DISSOLVE TO:

EXT. THE DOLLHOUSE - THE FOLLOWING NIGHT

The girls lay sprawled across the ground. Their spirits have sunk even lower. Hanna finally heaves herself into a sitting position.

HANNA

How long are we going to take this?

SPENCER

If you see another option, I'd love to hear it.

HANNA

I meant literally. How long can we actually take this?

MONA

It takes about three days without water for your body to start shutting down.

EMILY

It's been less than twenty four hours, hasn't it?

ARIA

I'm so hungry, I can't even tell anymore.

Hanna gets to her feet with some effort.

HANNA

Well, I'm sick of sitting around. Doing nothing isn't going to get us out of here.

ARIA

Han, I don't think you're going to find a hidden escape hatch.

HANNA

What if we try to climb it? Who knows, it might not even really be electric!

MONA

We should probably test it before you end up deep frying yourself.

She glances around, then grabs the metal crown that she'd been wearing off of the ground and tosses it at the fence. Sparks explode instantly, and it falls to the ground, charred and black.

EMILY

Yeah, I'm thinking it's really electric.

HANNA

We can dig a hole, then. Underneath it.

SPENCER

What is this, an old-timey prison movie? Anyway, the ground's too hard. We'd barely be able to make a dent with just our hands.

Hanna's had enough. She throws out her arms.

HANNA

So what? We're just supposed to sit here like lame geese until Charles decides to play a different game?

SPENCER

Ducks. The phrase is still ducks.

HANNA

Whatever!

She whips around and glares up at the camera that's perched high above their heads.

HANNA (CONT'D)

You know, we should have tackled your ass when we had the chance!

ARIA

Hanna, maybe you shouldn't...

HANNA

Why not? It's not like this can get any worse!

As if on cue, the floodlights snap off. The girls are bathed in darkness.

SPENCER

Never say never.

DISSOLVE TO:

EXT. THE DOLLHOUSE - DAY

The girls huddle together in the center of the clearing. They are filthy and weak with hunger. Dark circles stand out under their eyes.

EMILY

If you guys could have anything in the world to eat right now, what would it be?

She's trying to lighten the mood, but no one bites.

HANNA

God, Emily, can we not talk about food right now?

EMILY

No, it actually helps. I used to do this to tide myself over before swim meets.

SPENCER

I'd have a steak from the Grille. The biggest, juiciest one I could get.

MONA

I'm never getting a salad without dressing again.

HANNA

Okay, Em, you were right. It's like I can taste it.

The girls all chuckle - minus Aria. She pulls her knees tighter to her chest. Panic is clear on her face. Spencer takes notice.

SPENCER

Aria? You okay?

ARIA

No. I don't think I can take this anymore.

Mona shifts closer and puts her hand on Aria's shoulder.

MONA

Aria. Look at me. Yes, you can. We all can. And we have to.

Her words are so sincere that Aria can't help but nod, although uncertainly.

SPENCER

Remember what I said in the prison van: We have each other, no matter what.

EMILY

As long as we stick together, everything will be okay.

The words do little to comfort anyone. This goes way beyond a few threatening text messages, and that distinction hangs uncomfortably in the air.

With a loud CREAK, the door to the bunker swings back open. The girls stare, frozen in place.

HANNA

Do we...go back in?

SPENCER

Unless we want to starve out here, I don't think we have much of a choice.

ARIA

Honestly, at this point, that kind of sounds more appealing.

HANNA

What do you think, Mona?

MONA

I don't know. It's never left me outside like this before.

The girls slowly get to their feet and huddle together in front of the gaping black hole that leads back into their own version of hell. No one is sure what move to make.

Footsteps begin to echo up the narrow staircase. Everyone stiffens.

EMILY

Someone's coming.

SPENCER

Get back, get back.

She moves backward, pulling the others along with her. Slowly, CHARLES emerges from the bunker, completely concealed by the usual hoodie and mask. He holds a smoke gun in his hand.

The girls grab at each other, screaming as, without a word, Charles lifts the gun and fires. Smoke fills the clearing, and the PLLs' shrieks are the last things we hear as we -

FADE TO BLACK

End of Teaser.

ACT ONE

A title card displays ONE WEEK LATER.

EXT. DILAURENTIS HOUSE - DAY

A dark car pulls into the driveway. ALISON and KENNETH emerge. Kenneth looks back and forth anxiously as he heads for the house. Alison follows without a word. Her face is free of makeup and her hair is tied back in a messy ponytail, but her normal clothes give her a first taste of freedom.

Alison and Kenneth walk onto the FRONT PORCH to find CALEB, EZRA, and TOBY waiting by the door. Their arms are crossed and their faces are grim.

KENNETH

What's going on here?

EZRA

We just thought we'd stop by and welcome Alison home. Hope that's okay.

TOBY

I told them she was being released today.

Kenneth puts his arm around Alison's shoulders protectively.

KENNETH

What Alison needs is to get some rest.

He attempts to guide her toward the door. She pulls away.

ALISON

Dad, it's okay. Just give us a minute.

He hesitates, obviously reluctant, but relents and goes inside. The boys turn back to Alison.

CALEB

How's it feel to be a free woman?

ALISON

I fantasized about getting out of that cell since the day of the verdict. I just never thought it would happen like this.

Caleb, Toby, and Ezra exchange worried glances.

ALISON (CONT'D)

So, any news?

CALEB

No. Nothing.

EZRA

Three weeks and no leads after they cleared that stupid apple farm.

CALEB

The police are looking for Andrew, but he's gone completely off the grid.

ALISON

So it really is Andrew?

TOBY

His family owns the farm where Tanner found the surveillance footage of the girls.

Alison looks unconvinced, but Caleb plows ahead.

CALEB

We're not going to sit around and do nothing until they find him.

EZRA

Right. Every second that passes, Aria and the others could be in even more danger.

Alison moves toward the door and checks to make sure her father isn't lurking nearby. She looks intrigued.

ALISON

Let me guess. You have a plan?

CALEB

Yeah. But we need your help.

TOBY

It'll mean taking a big risk. But it might be the only way to lure Andrew to us.

He, Caleb, and Ezra stare at Alison, waiting for an answer. Alison glances between them. Whatever this plan is, she knows that it's almost certainly going to be dangerous. She takes a deep breath. Her expression hardens with resolve.

ALISON

Let's hear it.

INT. THE DOLLHOUSE - ARIA'S ROOM - EVENING

In the pitch blackness, a mechanical voice booms out.

AUTOMATED VOICE

Please follow the lighted pathway.

Aria's eyes snap open. The replica of her bedroom blurs before slowly coming into view. She sits up in the bed. The prom dress has been replaced by a leather jacket, black and red shirt, and skinny jeans. There are chunky pink streaks highlighting her hair.

Aria is disoriented. She heaves herself out of bed just as the intercom crackles to life again -

AUTOMATED VOICE

Please follow the lighted pathway.

With a click, her door unlocks for the first time in a week. Aria is unsure, but is so desperate to finally get out of her room that she exits quickly.

INT. THE DOLLHOUSE - HALLWAY - EVENING

Aria exits her room to find Spencer, Hanna, and Emily huddled together. Aria is shocked by the sight of them.

Spencer is dressed in a sweater vest and khakis, Hanna in a plain shirt multiple sizes too large for her, and Emily in a tracksuit with the "Rosewood Sharks" insignia on the front.

ARIA

Hey.

EMILY

Aria. Your hair, too?

What about her hair? Aria reaches for it.

ARIA

My hair?

She pulls a clump in front of her face and gasps at the sight of the bright pink streaks.

ARIA (CONT'D)

Oh my God. "A" must have dyed my hair when I was knocked out.

HANNA

Yeah, and he changed all of our clothes, too.

EMILY

What do you think this means?

SPENCER

We look just like we did the summer Alison went missing.

Hanna pulls disgustedly at her baggy t-shirt.

HANNA

Ugh. That is a time I did not want to revisit.

AUTOMATED VOICE

Please follow the lighted pathway.

ARIA

What now?

She starts to move down the hallway. Spencer stops her.

SPENCER

Wait. Have you guys been unconscious since "A" gassed us outside?

An uncomfortable silence passes between the girls. Everyone averts their eyes. The question is answered, but no one is willing to say more.

HANNA

I'm not talking about this right now.

EMILY

Yeah, or ever.

SPENCER

(quietly)

We're going to have to talk about it sometime.

Another long moment of tense silence leaves us wondering what possibly could have been so bad.

ARIA

Come on, let's just get this over with.

The girls walk cautiously to the door at the very end of the hallway and pull it open.

INT. THE DOLLHOUSE - GREAT ROOM - EVENING

The room that had previously been decorated as Alison's living room has undergone a transformation. It now resembles Spencer's barn down to a T. The girls enter.

SPENCER

What is this?

HANNA

Okay. "A" might be a dude, but I still swear they have super powers.

EMILY

Our clothes, the barn...

ARIA

Hm, I'm thinking there's a theme here.

With a sudden CRACK, the lights cut out. The PLLs gasp and grab at each other as the lights flicker feebly on, then off again.

HANNA

What is that?

SPENCER

Maybe the electricity down here's shorting out.

The door begins to CREAK open.

ARIA

Or not. Holy crap.

The lights suddenly snap back on to reveal Mona standing in the doorway.

MONA

Gotcha.

She's dressed once again in the infamous yellow shirt, and wears a nervous smile. The girls fall backward.

HANNA

Jesus, Mona.

MONA

How many times do I have to tell you not to call me that, Hanna? Is your head as thick as the rest of you?

Hanna's mouth falls open. Mona walks over to them, shooting her a blink-and-you-miss-it apologetic look.

MONA (CONT'D)

Sorry I'm late. But I had the perfect idea for what we can do tonight.

The PLLs watch as she walks around the room, lighting candles on the floor and table. Then she switches off the overhead light.

SPENCER

What are you doing?

MONA

All of you sit down. I'm going to hypnotize you.

EMILY

Wait. Didn't Ali say something about wanting to try hypnosis the night of the...

ALL FOUR GIRLS

Sleepover.

ARIA

Charles is recreating the night Alison went missing.

MONA

What are you waiting for? Sit.

They don't have a choice. They slowly sink down onto the cement floor - the only feature in the room that doesn't replicate the barn. Emily leans over to whisper to Spencer -

EMILY

Ali didn't hypnotize us that night, though, remember? We all fell asleep before she could.

SPENCER

Right, because she drugged us.

They exchange a look - is that part of the night going to be replicated as well?

MONA

Close your eyes while I count down from one hundred. When I'm finished, you'll all be under my spell.

The girls obey with obvious reluctance. Aria reaches to grasp Hanna's hand as Mona walks in a slow circle around them, chanting numbers slowly down from one hundred.

End of Act One.

ACT TWO

INT. THE DOLLHOUSE - GREAT ROOM - EVENING

The room is silent. The PLLs sit with their eyes closed. Spencer begins to shift, then opens her eyes and looks around. Mona is gone.

SPENCER

You guys.

Aria, Hanna, and Emily open their eyes as well.

HANNA

Did anything happen? I don't feel hypnotized.

SPENCER

Mona's gone.

The girls gaze around the otherwise unoccupied room. She's right - Mona is nowhere to be found. The girls are stunned.

ARIA

How is that possible? Didn't she just stop counting, like, thirty seconds ago?

HANNA

Did everyone still have their eyes closed?

EMILY

I was too afraid to open them before she told us to.

ARIA

Where did she go?

SPENCER

I have to say, I'm still not totally sure she's not in on this whole thing.

The girls go silent, considering this, until -

FOUR CHIMES sound.

EMILY

Four chimes. What does four chimes mean?

SPENCER

It's game time.

They slowly rise and proceed toward the door, almost mechanically. By this point, they know it's not a suggestion.

INT. THE DOLLHOUSE - GAME ROOM - EVENING

The PLLs file into the room with caution. They look around, but the room appears to be unchanged since the last time they were there.

Hanna, Aria, and Emily stare around in obvious confusion, but Spencer's eyes have locked onto something. She slowly crosses the room to the large table. The others notice.

ARIA

What is it?

SPENCER

Look.

She reaches out and picks up a crochet doll that is sitting alone in the center of the table. We ZOOM IN to see that it has scruffy brown hair and is wearing jeans and a black leather jacket.

EMILY

Is that supposed to be...

SPENCER

Toby.

She's so horrified she can't even express herself. Hanna does so for her.

HANNA

Does this mean Charles is going to bring Toby down here next?

SPENCER

No. No, I won't let that happen.

ARIA

Spence, I'm not sure it's up to you.

Emily gently takes the doll from Spencer. She weighs it in her hands.

EMILY

Why is it so heavy?

She turns it over in her hands and gasps. The girls crowd closer. The back of the doll's head has been replaced by a tiny metal box. A pull cord dangles from it. Emily pulls it.

TOBY DOLL

Go to the place where I was caught, for a crime I did not commit. On the night where all the world, inside and out, was lit.

ARIA

What is this, some kind of riddle?

SPENCER

More like a clue. We have to figure out what place they're talking about and go there.

Hanna gestures to the space around them.

HANNA

It's not like we have many options. We could just tear this whole place apart!

EMILY

I don't know if that's such a good idea.

Her eyes are on the security camera, its red light blinking down at them like an eye. The other girls follow her gaze.

SPENCER

Okay. A crime, at night, when the world was lit up. It's talking about something specific.

ARIA

Lit up, like a fire? The fire at Thornhill?

HANNA

Yeah, didn't "A" try and frame Toby for that?

Spencer looks dubious. There's a glint in her eye that hasn't been seen since before the kidnapping. She's in her element now.

SPENCER

Key word there is "try." He didn't actually get caught.

EMILY

But the riddle talked about the whole world being lit up. That has to be referring to fire, right?

Spencer's staring straight ahead, lost in thought.

SPENCER

There's more than one kind of fire.

She snaps out of it and looks around at her friends. We can tell even before she speaks that she's cracked it.

SPENCER (CONT'D)

The night of The Jenna Thing. The garage was on fire, but it was also the Fourth of July. The sky was lit up...with fireworks.

ARIA

Oh my god, Em, it must be your room. That's where Ali said she saw Toby spying on us.

The girls drop the Toby doll and run out of the room -

INT. THE DOLLHOUSE - EMILY'S BEDROOM - EVENING

The PLLs rush into the room. They begin looking around.

HANNA

What are we looking for?

SPENCER

Wait a minute.

She crosses the room to the window and pushes aside a few empty picture frames. Another doll sits behind them, leaning against the window.

EMILY

Another doll?

ARIA

What is this, some kind of twisted scavenger hunt?

SPENCER

Yeah, I think it is.

HANNA

Don't scavenger hunts have a prize at the end? What do we get if we win?

They exchange unsettled looks. Spencer's face darkens with realization.

SPENCER

We get Mona back.

INT. DILAURENTIS HOUSE - LIVING ROOM - NIGHT

Kenneth pulls aside the curtain and peeks out the front window. A police cruiser sits at the curb, but he doesn't look satisfied.

Alison ENTERS, and notices him. She sighs.

ALISON

Dad, stop worrying. Tanner said the police will be out there all night.

KENNETH

There's just one cruiser. I'm not sure if that's enough.

ALISON

You're being paranoid. I'm fine.

KENNETH

I saw the things that Campbell boy wrote about you in his journal. As long as he's still out there, you're not safe.

(getting emotional)

If something happens to you...

ALISON

Please, I can't have this conversation again. I was just coming to ask you if you wanted tea. I just made some.

Kenneth looks toward the window again.

KENNETH

(distracted)

Sure.

Alison EXITS into the KITCHEN. She pours hot water from a pot into two mugs and adds a tea bag to each. Then she glances furtively over her shoulder.

When she's sure her father isn't coming, she swiftly reaches into her pocket and pulls out two small, white pills. She deftly crushes them under her heel, sprinkles them into one of the mugs, and stirs with a spoon until the liquid is clear again.

Alison wipes her hands together to remove the remainders of the pills. She smiles and picks up the two mugs.

INT./EXT. HASTINGS HOUSE - EZRA'S CAR - NIGHT

Caleb and Ezra sit side by side. Their faces are tight with tension.

CALEB

Are you sure that cop can't see us from here?

EZRA

We should be just out of view. I mean, if we can't see him, he shouldn't be able to see us.

Caleb isn't convinced, but suddenly spots something out the side window.

CALEB

Here comes Alison.

A moment later, the back door of the car opens and Alison slides inside. She is slightly out of breath.

EZRA

Good. You made it.

ALISON

My dad's out cold, and I cut through the Hastings' backyard. There's no way anyone saw me.

Her face is determined, but the waver in her voice gives away her nerves. Ezra eases the car into drive and slowly pulls away from the curb.

CALEB

Look, Ali, you don't have to do this. We can think of something else -

ALISON

No. It's like you said before. This is the only shot we have at luring out Andrew.

CALEB

You're taking a big risk.

ALISON

(firmly)

I owe this to them.

EZRA

We have Toby on stand-by in case anything goes wrong.

CALEB

And you won't really be alone. I brought you this. It'll let us keep track of your every move. We'll never be far behind.

He produces a small tracking chip from his pocket and hands it back to her. She palms it with intrigue.

ALISON

Wow, high tech. Where's the best place to put it?

CALEB

Somewhere it can't be easily removed.

Alison ponders this for a moment, then slips the chip under her shirt and hooks it to the strap of her bra. Seeing this, Caleb awkwardly twists back around to face front.

Ezra pulls the car to the side of the road. We see THICK WOODS outside.

EZRA

The Kissing Rock shouldn't be far from here.

CALEB

You ready?

Alison takes a deep, steadying breath. She's ready. She has to be. She pulls out her phone and finds the most recent text she's received from "A." With shaking hands, she composes a response.

CLOSE UP on text: "I know I'm the one you really want. Please don't hurt my friends. You can have me. I'll be at the Kissing Rock. Alone."

INT. THE DOLLHOUSE - MONA'S/ALISON'S ROOM - NIGHT

The PLLs barge into the room as one. They instantly spread apart, searching, as Spencer repeats the next clue. In her hand is a crochet doll that resembles Melissa:

SPENCER

"Filled with fury that night, to this room I would go, asked if I wanted her dead, my answer wouldn't have been no." Melissa barged in on Ian, Jenna, and Garrett in Ali's room. It has to be here.

EMILY

How much time do you think we have left?

HANNA

Wait, this is timed?

EMILY

It's "A." Why wouldn't it be?

ARIA

Where did Ian have that video camera hidden?

Spencer rushes across the room to a mostly empty bookshelf along the far wall.

SPENCER

It was right here, hidden with a bunch of trinkets.

HANNA

Well, I don't see anything.

Aria bends down and slides her hand against the floor, in the several inches of space underneath the shelf. She stands, holding another doll in her hand. This one resembles Ezra. Aria pulls the string.

EZRA DOLL

This book gave a big clue to our torrid affair. Better find it soon, before she runs out of air.

The girls are horrified.

HANNA

"Runs out of air?"

INT. THE DOLLHOUSE - HOLE - NIGHT

It is a small, dark room. An emcompassing feeling of dread fills the air as we PAN OVER to a large hole in the dirt floor. It is rectangular - grave-shaped, about fifteen feet deep.

We look inside to see Mona standing alone. She is dirty and terrified, arms wrapped around herself.

MONA

Charles? Charles, please. Please, let me out. I'll do better. I promise. Just please don't leave me here!

In her desperation to reach Charles, she does not notice the dirt that has started to spill into the hole from a small tube that is attached to one of the hole's walls.

She does not notice that she is about to be buried alive.

End of Act Two.

ACT THREE

EXT. ROSEWOOD FOREST - KISSING ROCK - NIGHT

Alison approaches the rock slowly. It is nearly pitch black in the thick woods. This is scarier than she was expecting.

The infamous yellow shirt has been spread out on the top of the rock. A note beside it reads, "Put this on and start walking." Alison hesitates, then follows the instructions. As she pulls her shirt over her head, the tracking chip dislodges from her bra and falls into a clump of leaves. Alison doesn't notice. She slips on the yellow shirt and begins walking cautiously deeper into the forest.

INT./EXT. EZRA'S CAR - NIGHT

Caleb is watching a map on his phone as Ezra drives. A blinking red light indicates Alison's tracking chip.

CALEB

She stopped. Looks like she made it to the rock.

EZRA

Great. So we go in after her?

CALEB

No, let's give her some time. If "A" sees us it could ruin everything.

Ezra isn't so sure about this. He glances uneasily toward the woods.

EZRA

Well, you know what else could ruin everything? If Ali gets snatched before we even get close enough to see who it is.

CALEB

As long as she's not moving, we don't have anything to worry about. The second the map shows movement, we'll head in.

They both nod in agreement, unaware that the tracking chip has been abandoned by the Kissing Rock.

EXT. ROSEWOOD FOREST - NIGHT

Alison walks slowly through the forest, stepping carefully over leaves and around trees. Her anxiety is visibly increasing by the second as she moves further away from town - from safety.

As she walks, we PAN UP to a small security camera perched in a tree. It swivels to follow her movements as she passes it.

INT. THE DOLLHOUSE - ARIA'S ROOM - NIGHT

The PLLs are in the process of tearing the room apart. Spencer and Emily have stripped the bed. Aria and Hanna are digging through the fake books on the shelf.

HANNA

Are you sure you know which book we're supposed to be looking for? It sounds more like the name of a town to me.

ARIA

"Winesburg, Ohio." It's a book of short stories. Ezra gave it to me right after we started dating.

EMILY

Aria, I don't think any of the books in here are actually real.

SPENCER

Think harder. Is there anything else the riddle could be referring to?

ARIA

A big clue to our affair? He wrote an inscription to me, that has to be it.

(suddenly realizing)

Unless - no, it can't be -

HANNA

What?

ARIA

(to herself)

It was from so long ago.

SPENCER

Aria, we don't exactly have a lot of time here.

EMILY

Anyway, I don't think anything goes too far back for "A."

ARIA

"B-26." The poem Ezra wrote about our first meeting, it was published in a book. And I kept it...

She crosses the room and grabs a decorative plastic tray from the dresser. A slim poetry book sits underneath.

ARIA (CONT'D)'

Got it.

The girls crowd around her.

SPENCER

Find the page with Ezra's poem on it.

Aria flips through the book, until she arrives at "B-26." There is a sticky note attached to it which reads, "When the original comes, the fake has to go. But are you too late? Take three lefts and you'll know. -A"

EMILY

The original?

SPENCER

Alison. Charles must be getting ready to bring the real Ali here.

HANNA

And Mona's the fake one.

ARIA

Three lefts. Come on.

They abandon the book and run for the door, yelling Mona's name as they EXIT.

EXT. ROSEWOOD FOREST - NIGHT

Alison continues walking cautiously. She's been walking for a long time now and is worried, glancing around furtively, wondering if she's going the right way. She feels utterly alone.

There is a dark mound partially covered by leaves ahead of her. Her foot connects with it. Alarmed, she leans down to get a better look - and SCREAMS! It pierces the air.

INT./EXT. EZRA'S CAR - NIGHT

Caleb and Ezra are getting nervous. Ezra checks the time.

EZRA

It's been over twenty minutes.

CALEB

I haven't taken my eyes off of the map. She hasn't moved.

EZRA

What if Andrew didn't get her text?

CALEB

"A" sees everything. And there's no way he doesn't want to get his hands on Ali.

Ezra is getting increasingly fidgety.

EZRA

I have a bad feeling about this. I say we go in after her.

CALEB

I don't know. What if Andrew's just about to make a move? If he sees us, it could blow everything.

EZRA

Or what if something's gone wrong and Ali's already in danger?

Caleb is obviously torn. He wants to save Hanna more than anything, but his conscience finally gets the best of him.

CALEB

We'll head to the Kissing Rock. As quietly as we can.

With new resolve, they get out of the car and shut the doors almost silently behind them.

INT. THE DOLLHOUSE - HOLE - NIGHT

The PLLs shouts and footsteps echo into the room. Dirt is pouring steadily into the hole. Mona is nearly unconscious and almost completely submerged. She can barely raise her eyes to look toward the voices.

The girls burst into the room.

EMILY

Here, over here!

They race to the edge of the hole and peer down. They are horrified.

HANNA

Oh my God, Mona!

SPENCER

Charles is trying to bury her alive.

ARIA

Hurry, where's something we can use to pull her up?

They scour the area and come up empty. Panic is quickly setting in.

EMILY

We have to do something!

Mona stirs and is able to push herself a few inches out of the dirt. She is weak with fatigue.

MONA

Help me, please...

HANNA

What are we gonna do?!

SPENCER

Hang on, we'll get you out, we -

(a sudden idea)

I know. I'll be right back.

She bolts from the room. The other PLLs stare after her, shocked.

ARIA

Spencer!

EXT. ROSEWOOD FOREST - KISSING ROCK - NIGHT

Caleb and Ezra peer through the bushes just several feet away from the rock. Though they think they're being quiet, their breathing is labored and anxious.

EZRA

Do you see her?

CALEB

No.

With no sight of Alison, he bursts through the bush and into the clearing that surrounds the rock. Alison is nowhere to be seen.

CALEB (CONT'D)

No, according to the tracker we should be right on top of her.

EZRA

It must have stopped working.

Caleb is unsettled. He attempts to fiddle with the map on his phone, to no avail.

CALEB

I tested it a million times. But you're right, it must have malfunctioned.

EZRA

Or maybe not.

He's staring intently at something nestled in the leaves beneath them. He reaches out and picks up the tracking device. He and Caleb exchange a look of shock.

CALEB

Why would she leave it here?

EZRA

I'm willing to bet it wasn't her choice.

CALEB

She could be anywhere by now.

They're at a total loss as the gravity of the situation begins to sink in. All hope seems lost until Caleb happens to catch sight of some trampled-down leaves leading deeper into the forest.

EZRA

I say we call Toby. Get the police involved.

CALEB

Not yet.

He walks over and leans down to examine the squashed leaves.

CALEB (CONT'D)

Wait, look at this.

Ezra joins him.

EZRA

What?

CALEB

The leaves are all trampled down here, like -

EZRA

Footsteps. She must have gone this way.

CALEB

We have to go after her.

They exchange one last look of trepidation, then plunge into the woods after Alison.

INT. THE DOLLHOUSE - HOLE - NIGHT

Aria, Hanna, and Emily are crowded around the hole. They are growing more panicky by the second and trying hard not to show it.

HANNA

Mona, hold on, okay, we're gonna get you out.

Mona is in tears. She's trying desperately to push the dirt off of herself, but it's filling the hole too quickly.

MONA

Oh my God, please help me - please -

Spencer ENTERS frantically. She's dragging one of the long, thin curtains from the replica of her bedroom.

EMILY

What's that for?

SPENCER

We'll lower it down, use it as a rope to pull her up. Come on, help me.

ARIA

Spence, that's genius.

The girls gather around and begin lowering the curtain into the hole, yelling out encouragement as they do so.

EXT. ROSEWOOD FOREST - NIGHT

Alison is full-on panicking. She is near hyperventilation as she paces back and forth between two trees.

ALISON

Oh my God, oh my God.

A loud rustle in the nearby brush catches her attention. She freezes. Terror crosses her face. She'd completely forgotten about the reason she came in here in the first place.

ALISON (CONT'D)

Hello?

The bushes rustle again, and then Caleb and Ezra emerge, out of breath. Their faces relax with relief when they spot Alison.

ALISON (CONT'D)

You guys.

EZRA

Oh, thank God. We thought you'd been taken by "A."

Caleb notices the stricken expression on her face.

CALEB

Ali, what's wrong?

ALISON

You guys need to see something.

She takes a deep breath and leads them over to the mound several feet away. In the darkness, it is just barely visible.

EZRA

What is that?

ALISON

It's...

She can't continue. She's about to be sick. Ezra and Caleb instantly know that something is very wrong. They move slowly toward the shape. Caleb pulls a flashlight out of his pocket and shines it directly on -

The cold body of ANDREW CAMPBELL. His face is drained of color, his eyes vacant. The front of his shirt is drenched with blood. He's clearly been here for a few hours, but the death appears recent.

CALEB

Oh, God!

He and Ezra recoil in horror.

EZRA

What the hell?

They turn back to Alison, as if for answers. She has none, aside from the obvious.

ALISON

Someone killed Andrew.

EZRA

What does this mean?

ALISON

(with confidence)

It means he can't be "A."

End of Act Three.

ACT FOUR

INT. THE DOLLHOUSE - HOLE - NIGHT

The PLLs have just finished pulling Mona out of the hole. Still shaking, she can barely stand, so they hold her up as they help brush dirt off of her.

HANNA

Okay, that was way too close.

ARIA

Are you okay?

MONA

No.

(with more confidence)

But I will be.

EMILY

Now how are we going to -

Before she can finish, the dim lights in the room cut out with a SNAP. The girls jump. They're horrified, sure that Charles is about to swoop in, until -

MONA

It's the nightly power outage. This is the first time I haven't been in my room when it happens.

SPENCER

I'm surprised Charles would let this happen.

Mona seems to gain some of her strength back as she looks toward the entrance to the room.

MONA

So am I. Because you know what's right next to this room?

She doesn't wait for an answer.

MONA (CONT'D)

The vault.

HANNA

It's unlocked?

MONA

All of the doors down here unlock during these three minutes. We don't have enough time to get to the exit. But we can make it into the vault.

SPENCER

The rest of you haven't seen the video of Charles. Come on.

She and Hanna move to either side of Mona to help her, and they move as quickly as they can toward the exit.

INT. THE DOLLHOUSE - CHARLES' VAULT - NIGHT

The girls rush into the room. Spencer pulls the door shut behind them. Emily, Aria, and Hanna gaze around at the baby photos and memorabilia with wide-eyed, stunned expressions.

HANNA

What is all this stuff?

Emily picks up a photograph of a blond-haired boy. She studies it intently.

EMILY

Is this Charles?

SPENCER

Watch.

She starts the same video that we saw in the previous episode. The girls gather around, watching, mesmerized, as the film plays.

JESSICA

You want to say good-night to your sister? Give her a little kiss? What a good boy you are. Oh, good boys, good boys.

The PLLs are shaken by what they're seeing as Jessica beams into the camera, cradling what must be baby Alison.

ARIA

Charles is a DiLaurentis.

MONA

More than that. It looks like he could be Jason's twin.

Everyone looks at Spencer. The unspoken words hang uncomfortably in the air. If Charles is Jason's twin brother, that means he's Spencer's half-sibling, too.

SPENCER

You guys see what this is. A shrine. For Charles.

HANNA

Yeah, and it's creepy.

ARIA

Agreed. Being in here is making my skin crawl.

With a WHIR of electricity, the generator comes back on. The three minutes is over.

MONA

We're not in our rooms, but the siren isn't going off.

Emily looks toward the surveillance camera near the ceiling.

EMILY

Do you think he knows we're in here? He could be watching us right now.

SPENCER

I hope he is.

Suddenly, she snatches the film strip and holds it in front of the projector. The bulb instantly causes the strip to catch fire. The image of Jessica and the children melts before their eyes as the strip sparks with flames.

HANNA

Spencer, what the hell?

ARIA

What are you doing?

They're horrified, but Spencer walks purposefully toward the camera. She holds the flaming film strip above her head.

SPENCER

Say goodbye to your precious memories.

With a spiteful look at the camera, she flings the film into a wooden crib near the wall. It immediately bursts into flames. The other girls scream.

MONA

Are you insane?! The generator's back on! We're locked in here!

SPENCER

Maybe not.

She points upward. A tiny sprinkler is attached to the ceiling.

SPENCER (CONT'D)

See that? There's a sprinkler system down here. All Charles has to do is set it off, and I'm betting it unlocks all the doors, too.

ARIA

That seems like a risky bet.

SPENCER

Come on. The more we burn, the harder it'll be for him to resist stopping us.

The girls quickly shake off the rest of their reservations and begin grabbing photographs, toys, and other personal items from the room and hurling them senselessly into the fire, which grows larger by the second.

INT. THE DOLLHOUSE - CONTROL ROOM - NIGHT

"A" sits in front of a wall of monitors. Their face is concealed by a mask and their hands are covered by black gloves. They turn to watch the PLLs destroy the vault on one screen. Then they swivel to watch as, on another, Alison, Ezra, and Caleb crowd around Andrew's body, "A's" latest victim.

They click the mouse, zooming in and out of both screens. Their head swivels back and forth between the monitors. The screens blur. They're growing frantic, panicked. It is the most genuine display of emotion that "A" has ever shown.

INT. THE DOLLHOUSE - CHARLES' VAULT - NIGHT

The room is rapidly filling with smoke. The fire has started to climb one of the walls. The PLLs continue to throw the room's artifacts into the blaze. Their movements are rushed and almost frenzied.

ARIA

It's not working! He must not be watching!

SPENCER

Keep going!

MONA

It's spreading too fast!

HANNA

God, I can't breathe.

EMILY

You guys, what are we gonna do if this doesn't work?

That stops everyone in their tracks. Even Spencer hadn't let herself consider that. They back away from the fire, huddling against the far wall.

ARIA

No offense, Spence, but this was a really, really bad idea.

SPENCER

No.

Through the fear, her face hardens with resolve.

SPENCER (CONT'D)

We can't give up now. We're going to force Charles to let us go, or we're going to die trying.

End of Act Four.

ACT FIVE

INT. ROSEWOOD POLICE STATION - NIGHT

Toby is huddled over his desk, flipping through a notebook labeled by evidence as Andrew Campbell's diary. He's so engrossed in what he's reading that he's oblivious to his phone lighting up with a text from Caleb.

CLOSE UP on text: "You need to meet us. NOW."

LIEUTENANT TANNER ENTERS without knocking.

TANNER

Cavanaugh.

Toby doesn't even look up from the journal.

TOBY

Have you read this? He's more twisted than we thought.

TANNER

I have. But you need to put that down.

TOBY

Why?

TANNER

A call just came in from someone who lives on the outskirts of the woods. They woke up to what they thought was the smell of smoke.

Toby drops the journal and straightens. He tries to hide a fresh jolt of fear as he remembers just who is currently wandering in Rosewood's forest.

TOBY

The woods?

TANNER

More likely than not, just some campers. We're sending a few officers to investigate before we call for the fire department. I want you to check out the southwest quadrant.

TOBY

Yes, ma'am.

Fear flickers across his face, undisguised this time. He glances toward his cell phone, but Tanner clears her throat sharply.

TANNER

Now, Officer Cavanaugh.

He gives her a thin smile and a nod, but as soon as he steps around her toward the door, the smile fades into a look of deep concern.

INT. THE DOLLHOUSE - CONTROL ROOM - NIGHT

"A" watches with increasing desperation as their prized possessions go up in flames on one screen, and as Alison, Ezra, and Caleb continue to fret over Andrew's body on the other. Their sense of panic grows. After a moment of indecisiveness, they slam their hands furiously on the desk and stand.

INT. THE DOLLHOUSE - CHARLES' VAULT - NIGHT

As the girls continue hurling items into the inferno, which now has them backed against the door, the sprinklers suddenly click on. The fire alarm blares, and water rains over them. It's the closest thing to miracle that has happened down here.

HANNA

Holy crap, it worked!

ARIA

Let's get the hell out of here.

As the fire slowly begins to extinguish, the girls flee from the room.

EXT. ROSEWOOD FOREST - NIGHT

Toby walks cautiously through the woods, his flashlight illuminating the ground in front of him. He stops and sniffs, then wrinkles his nose. The scent of smoke is still in the air, but he smells something more than that - something putrid.

Through the low-hanging branches ahead of him, he begins to make out several shapes shifting. Human shapes. Toby braces himself and breaks through the leaves.

TOBY

Freeze!

Alison, Caleb, and Ezra whip around, their hands in the air. At the sight of each other, everyone visibly relaxes.

CALEB

Good, you got my text.

Toby notices the waver in his voice, and the pale looks on all of their faces. Something is obviously wrong.

TOBY

What are you talking about?

CALEB

You mean you didn't?

TOBY

No, Tanner sent me out here to investigate some kind of fire. I've been looking into Andrew all night. You guys haven't seen him yet?

Alison looks like she's about to pass out.

ALISON

Oh, we have.

TOBY

What? What happened?

EZRA

I think you'd better take a look.

The three of them step aside, and Toby's flashlight lands directly on Andrew's body. He reels back, his nose scrunching again as the overpowering smell hits him once more. The smoky smell in the air is forgotten by everyone.

TOBY

No. There's no way.

ALISON

Someone killed him, Toby. We think he was set up. For everything.

TOBY

(struggling to understand)

But that journal -

EZRA

Must have been planted by the real "A."

CALEB

We have to get the body out of here.

Toby's officer side comes to life again, taking over. He kneels down and studies the body with a surprising amount of composure.

TOBY

No. We can't get involved with this. You guys need to get out of here.

EZRA

What?

ALISON

You're serious.

TOBY

Andrew's the number one suspect in the girls' disappearance. If Tanner finds out that the three of you were anywhere near his body tonight, she'll twist it to mean that you killed him to save them.

ALISON

And that would be a bad thing?

TOBY

Tanner won't see it that way. We all know she fits everything into her own narrative. You guys leave. I'm supposed to be here anyway, I'll call this in.

EZRA

Toby, we can't just leave.

Alison moves toward him, imploringly.

ALISON

Spencer and the others are still out there, in danger. We're their only hope.

Toby comes dangerously close to cracking. But the logical side of him takes over just in time.

TOBY

I know. And I want Spencer back with me more than anything. But you won't be able to help at all if you're back in jail.

A beat passes as everyone considers this. He's right - this scene is sketchy at best.

CALEB

You're right. We'll head back.

He and Ezra reluctantly start walking, but Alison hesitates, glancing deeper into the woods. The faint smell of smoke still hangs in the air.

INT. THE DOLLHOUSE - HALLWAY - NIGHT

The PLLs race down the hallway, still helping Mona along. The fire alarm blares at an almost unbearable volume. The floor has been soaked by the sprinklers.

EMILY

Come on, come on.

She reaches the ladder first and begins climbing, with Aria on her heels. Spencer, Hanna, and Mona stand at the bottom, looking after them, both petrified and hopeful.

And then it happens. With a BANG, the doors burst open. The dim light of the moon feels like the blindingly bright sun.

EXT. THE DOLLHOUSE - NIGHT

Emily and Aria dive into the open air. Emily stumbles, and Aria is moving so quickly in her haste to escape that she lands on her hands and knees in the grass. Spencer, Mona, and Hanna aren't far behind.

There is gasping for breath and a bit of hysterical laughter as the girls collapse outside the doors. They are free, and for just one wonderful moment, there is no danger, no torture, no "A."

ARIA

We're out. We're really out.

MONA

I can't believe that worked.

Spencer is the first to her feet. Her eyes are on the wide-open doors to the bunker.

SPENCER

We're not out of the woods yet. Literally. He could be right behind us, we have to move.

HANNA

Move? Spencer, we have no idea where the hell we are. We might not even be in Rosewood.

EMILY

No, Spencer's right. The longer we stay here the bigger the chance Charles can just grab us or gas us again.

Mona gazes around at their surroundings.

MONA

These trees look like mostly hardwoods. I bet we're not far from Rosewood.

ARIA

Okay, so we're lost in the woods maybe near town but maybe not. We have no food, and we could be kidnapped again any minute. What do we do now?

Spencer straightens with resolve. She reaches for Aria's hand on one side and Emily's on the other.

SPENCER

Now we find our way home. Together.

Slowly, the girls begin to share her determination. Emily reaches for Hanna's hand and Aria for Mona's. The five of them squeeze hands briefly, an inspiring moment of solidarity and newfound hope, as we -

FADE TO BLACK.

End of Act Five.

Next On Pretty Little Liars: "On the run from Charles, the PLLs struggle to find their way home. A recently uncovered memory gives Alison new questions about her past. The girls' families grow desperate for answers as time passes."