Losing my Virginity, Autobiography - Richard Branson - 7-17 str.

Prologue
‘Screw it. Let’s do it.’
Tuesday 7 January 1997, Morocco
5.30a.m.
I WOKE BEFORE JOAN and sat up in bed. From across Marrakech I heard the wavering cry of the muezzins calling people to prayer over the loudspeakers. I still hadn’t written to Holly and Sam, so I tore a page out of my notebook and wrote them a letter in case I didn’t return.
Dear Holly and Sam,
Life can seem rather unreal at times. Alive and well and loving one day. No longer there the next.
As you both know I always had an urge to live life to its full. That meant I was lucky enough to live the life of many people during my 46 years. I loved every minute of it and I especially loved every second of my time with both of you and Mum.
I know that many people thought us foolish for embarking on this latest adventure. I was convinced they were wrong. I felt that everything we had learnt from our Atlantic and Pacific
adventures would mean that we’d have a safe flight. I thought that the risks were acceptable. Obviously I’ve been proved wrong.
However, I regret nothing about my life except not being with Joan to finally help you grow up. By the ages of twelve and fifteen your characters have already developed. We’re both so proud of you. Joan and I couldn’t have had two more delightful kids. You are both kind, considerate, full of life (even witty!). What more could we both want?
Be strong. I know it won’t be easy. But we’ve had a wonderful life together and you’ll never forget all the good times we’ve had.
Live life to its full yourselves. Enjoy every minute of it. Love and look after Mum as if she’s both of us.
I love you,
Dad
I folded the letter into a small square and put it in my pocket. Fully clothed and ready, I lay down beside Joan and hugged her. While I felt wide awake and nervous, she felt warm and sleepy in my arms. Holly and Sam came into our room and cuddled into bed between us. Then Sam slipped off with his cousins to go to the launch site and see the balloon in which I hoped shortly to fly round the world. Joan and Holly stayed with me while I spoke to Martin, the meteorologist. The flight, he said, was definitely on – we had the best weather conditions for five years. I then called Tim Evans, our doctor. He had just been with Rory McCarthy, our third pilot, and had bad news: Rory couldn’t fly. He had mild pneumonia, and if he was in a capsule for three weeks it could get much worse. I immediately called up Rory and commiserated with him.
‘See you in the dining room,’ I said. ‘Let’s have breakfast.’
6.20a.m.
By the time Rory and I met in the hotel dining room, it was deserted. The journalists who had been following the preparations for the launch over the previous 24 hours had already left for the launch site.
Rory and I met and hugged each other. We both cried. As well as becoming a close friend as our third pilot on the balloon flight, Rory and I had been joining forces recently on a number of business deals. Just before we had come out to Morocco, he had bought a share in our new record label, V2, and had invested in Virgin Clothes and Virgin Vie, our new cosmetics company.
‘I can’t believe I’m letting you down,’ Rory said. ‘I’m never ill – never, ever.’
‘Don’t worry,’ I assured him. ‘It happens. We’ve got Alex, who weighs half what you do. We’ll fly far further with him on board.’
‘Seriously, if you don’t come back,’ Rory said, ‘I’ll carry on where you left off.’
‘Well, thanks!’ I said, laughing nervously.
Alex Ritchie was already out at the launch site supervising the mad dash to get the capsule ready with Per Lindstrand, the veteran hot-air balloonist who had introduced me to the sport. Alex was the brilliant engineer who had designed the capsule. Until then, nobody had succeeded in building a system that sustained balloon flights at jet-stream levels. Although it was he who had built both our Atlantic and Pacific capsules, I didn’t know him well, and it was too late to find out much about him now. Despite having no flight training, Alex had bravely made the decision to come with us. If all went well with the flight, we’d have about three weeks to get to know each other. About as intimately as any of us would want.
Unlike my crossings with Per of the Pacific and Atlantic oceans by hot-air balloon, on this trip we would not heat air until we needed to: the balloon had an inner core of helium which would take us up. Per’s plan was to heat the air around that core during the night, which in turn would heat the helium, which would otherwise contract, grow heavy and sink.
Joan, Holly and I held hands and the three of us embraced. It was time to go.
8.30a.m.
We all saw it at the same time. As we drove along the dirt road out to the Moroccan air base, it looked as if a new mosque had sprouted overnight. Above the bending, dusty palm trees, a stunning white orb rose up like a mother-of-pearl dome. It was the balloon. Men on horseback galloped along the side of the road, guns slung over their shoulders, heading for the air base. Everyone was drawn to this huge, gleaming white balloon hanging in the air, tall and slender.
9.15a.m.
The balloon was cordoned off, and round the perimeter railing was an amazing collection of people. The entire complement of the air base stood off to one side in serried ranks, dressed in smart navy-blue uniforms. In front of them was the traditional Moroccan collection of dancing women in white shawls, hollering, wailing and whooping. Then a group of horsemen dressed in Berber costume and brandishing antique muskets galloped into view and lined up in front of the balloon. For an awful moment, I thought they would fire a celebratory salvo and puncture the balloon. Per, Alex and I gathered in the capsule and did a final check of all the systems. The sun was rising rapidly and the helium was beginning to expand.
10.15a.m.
We had done all the checks, and were ready to go. I hugged Joan, Holly and Sam one last time. I was amazed at Joan’s strength. Holly had been by my side for the last four days, and she too appeared to be totally in control of the situation. I thought that Sam was as well, but then he burst into tears and pulled me towards him, refusing to let go. I almost started crying with him. I will never forget the anguished strength of his hug. Then he kissed me, let go and hugged Joan. I ran across to kiss Mum and Dad goodbye. Mum pressed a letter into my hand. ‘Open it after six days,’ she said. I silently hoped we would last that long.
10.50a.m.
There was nothing left to do except climb up the steel steps into the capsule. For a second I hesitated and wondered when and where I would put my feet back on solid ground – or water. There was no time to think ahead. I stepped in through the hatch. Per was by the main controls; I sat by the camera equipment and Alex sat in the seat by the trap door.
11.19a.m.
Ten, nine, eight, seven, six, five … Per counted down and I concentrated on working the cameras. My hand kept darting down to check my parachute buckle. I tried not to think about the huge balloon above us, and the six vast fuel tanks strapped round our capsule. Four, three, two, one … and Per threw the lever which fired the bolts which severed the anchor cables and we lifted silently and swiftly into the sky. There was no roar of the burners: our ascent was like that of a child’s party balloon. We just rose up, up and away and then, as we caught the morning breeze, we headed over Marrakech.
The emergency door was still open as we soared up, and we waved down at the, by now, little people. Every detail of Marrakech, its square pink walls, the large town square, the green courtyards and fountains hidden behind high walls, was laid out below us. By 10,000 feet it became cold and the air grew thin. We shut the trap door. From now on we were on our own. We were pressurised, and the pressure would mount.
Our first fax came through the machine just after midday.
‘Oh God!’ Per handed it over. ‘Look at this.’
‘Please be aware that the connectors on the fuel tanks are locked on,’ I read.
This was our first mistake. The connectors should have been locked off so that, if we got into trouble and started falling, we could jettison a one-ton fuel tank by way of ballast.
‘If that’s our only mistake, we’re not doing badly,’ I said, in an attempt to cheer Per up.
‘We need to get down to 5,000 feet and then I’ll climb out and unlock them,’ Alex said. ‘It’s not a problem.’
It was impossible to lose height during the day because the sun was heating the helium. The only immediate solution was to release helium, which, once released, would be impossible to regain. We couldn’t afford to lose any helium. So we agreed to wait for nightfall to bring the balloon down. It was a nagging worry. We didn’t know how this balloon would fly at night, and with our fuel tanks locked on our ability to escape trouble was limited.
Although Alex and I tried to brush off the problem of the locked canisters, it sent Per into a fierce depression. He sat slumped by the controls in a furious silence, speaking only when we asked him a direct question.
We flew serenely for the rest of the day. The views over the Atlas Mountains were exhilarating, their jagged peaks capped with snow gleaming up at us in the glorious sunshine. The capsule was cramped, full of supplies to last us eighteen days. It emerged that failing to lock off the connectors was not the only thing we’d forgotten. We’d also neglected to pack any lavatory paper, so we had to wait
to receive faxes before we could go down the tiny spiral staircase to the loo. And my Moroccan stomach was in need of a lot of faxes. Per maintained his glowering silence, but Alex and I were just grateful that we knew about the canisters then rather than finding out the hard way.
As we approached the Algerian border we had a second shock when the Algerians informed us that we were heading straight for Béchar, their top military base. They told us that we could not fly over it: ‘You are not, repeat not, authorised to enter this area,’ said the fax.
We had no choice.
I spent about two hours on the satellite phone to Mike Kendrick, our flight controller, and tried various British ministers. Eventually André Azoulay, the Moroccan minister who had ironed out all our problems for the launch in Morocco, came to the rescue again. He explained to the Algerians that we could not change our direction and that we did not have powerful cameras on board. They accepted this, and relented.
As the good news came through, I scribbled down notes in my logbook. As I turned over another page, there was a handwritten note from Sam, in thick black ink and Sellotaped to the page: ‘To Dad, I hope you have a great time. Safe journey. Lots and lots of love, your son Sam.’ I recalled that he’d slipped into the capsule without me the previous night, and now I knew why.
By 5p.m. we were still flying at 30,000 feet. Per started firing the burners to heat the air inside the envelope. Although we burnt for an hour, just after 6p.m. the balloon started losing height steadily.
‘Something’s wrong with the theory here,’ Per said.
‘What’s the matter?’ I asked.
‘I don’t know.’
Per was firing the burners continuously, but the balloon was still heading down. We lost 1,000 feet, and then another 500 feet. It was getting colder all the time as the sun disappeared. It was clear that the helium was rapidly contracting, becoming a dead weight on top of us.
‘We’ve got to dump ballast,’ Per said. He was frightened. We all were.
We pulled levers to dump the lead weights which were on the bottom of the capsule. These were meant to be held in reserve for about two weeks. They fell away from the capsule and I saw them on my video screen dropping like bombs. I had a horrible feeling that this was just the start of a disaster. The capsule was bigger than the Atlantic and Pacific ones, but it was still a metal box hanging off a giant balloon, at the mercy of the winds and weather.
It was now getting dark. Without the lead weights, we steadied for a while, but then the balloon started falling once more. This time the fall was faster. We dropped 2,000 feet in one minute; 2,000 feet the next. My ears went numb and then popped, and I felt my stomach rising up, pressing against my ribcage. We were at only 15,000 feet. I tried to stay calm, focusing intently on the cameras and the altimeter, rapidly going through the options available. We needed to jettison the fuel tanks. But, as soon as we did so, the trip was over. I bit my lip. We were somewhere over the Atlas Mountains in
darkness, and we were heading for a horrible crash-landing. None of us spoke. I made some rapid calculations.
‘At this rate of fall we’ve got seven minutes,’ I said.
‘OK,’ Per said. ‘Open the hatch. Depressurise.’
We opened the trap door at 12,000 feet, dropping to 11,000 feet, and with a breathtaking rush of freezing air the capsule depressurised. Alex and I started throwing everything overboard: food, water, oil cans, anything that wasn’t built into the capsule. Everything. Even a wodge of dollars. For five minutes, this stalled our fall. There was no question of continuing. We just had to save our lives.
‘It’s not enough,’ I said, seeing the altimeter drop to 9,000 feet. ‘We’re still falling.’
‘OK, I’m going out on the roof,’ Alex said. ‘The fuel tanks have got to go.’
Since Alex practically built the capsule, he knew exactly how to undo the locks. In the panic I realised that, if Rory had been on board instead, we’d have been stuck. We would have had no choice but to parachute. Right now we’d be tumbling out into the night over the Atlas Mountains. The burners roared overhead, casting a fierce orange light over us.
‘Have you parachuted before?’ I shouted at Alex.
‘Never,’ he said.
‘That’s your ripcord,’ I said, pushing his hand to it.
‘It’s 7,000 feet and falling,’ Per called out. ‘6,600 feet now.’
Alex climbed through the hatch, on to the top of the capsule. It was difficult to feel how fast we were dropping. My ears had now blocked. If the locks were frozen and Alex wasn’t able to free the fuel cans, we’d have to jump. We had only a few minutes left. I looked up at the hatch and rehearsed what we would have to do: one hand to the rim, step out, and jump into the darkness. My hand instinctively felt for my parachute. I checked to see that Per was wearing his. Per was watching the altimeter. The numbers were falling fast.
We had only 6,000 feet to play with and it was dark – no, 5,500 feet. If Alex was up there for another minute, we’d have 3,500 feet. I stood with my head through the hatch, paying out the strap and watching Alex as he worked his way round the top of the capsule. It was pitch-dark below us and freezing cold. We couldn’t see the ground. The phone and fax were ringing incessantly. Ground control must have been wondering what the hell we were doing.
‘One’s off,’ Alex shouted through the hatch.
‘3,700 feet,’ Per said.
‘Another one,’ Alex said.
‘3,400 feet.’
‘Another one.’
‘2,900 feet, 2,400.’
It was too late to bale out. By the time we’d jumped, we’d be smashing into the mountains rushing up to meet us.
‘Get back in,’ Per yelled. ‘Now.’
Alex fell back through the hatch.
We braced ourselves. Per threw the lever to disconnect a fuel tank. If this bolt failed, we’d be dead in about sixty seconds. The tank dropped away and the balloon jerked to an abrupt halt. It felt like an elevator hitting the ground. We were flattened into our seats, my head crammed down into my shoulders. Then the balloon began to rise. We watched the altimeter: 2,600, 2,700, 2,800 feet. We were safe. In ten minutes we were up past 3,000 feet and the balloon was heading back into the night sky.
I knelt on the floor beside Alex and hugged him.
‘Thank God you’re with us,’ I said. ‘We’d be dead without you.’
They say that a dying man reviews his life in the final seconds before his death. In my case this was not true. As we hurtled down towards becoming a fireball on the Atlas Mountains and I thought that we were going to die, all I could think of was that, if I escaped with my life, I would never do this again. As we rose up towards safety, Alex told us a story of a rich man who set out to swim the Channel: he went down to the beach, set up his deck chair and a table laid with cucumber sandwiches and strawberries, and then announced that his man would now swim the Channel for him. At that moment, it didn’t sound like such a bad idea.
Throughout that first night, we fought to keep control of the balloon. At one point it started a continuous ascent, rising for no apparent reason. We finally realised that one of the remaining fuel tanks had sprung a leak: we had been unwittingly jettisoning fuel. As dawn approached, we made preparations to land. Below was the Algerian desert, an inhospitable place at the best of times, more so in a country in the middle of a civil war.
The desert was not the yellow sandy sweep of soft dunes which you expect from watching Lawrence of Arabia. The bare earth was red and rocky, as barren as the surface of Mars, the rocks standing upright like vast termites’ nests. Alex and I sat up on the roof of the capsule, marvelling at the dawn as it broke over the desert. We were aware this was a day that we might not have survived to see. The rising sun and the growing warmth of the day seemed infinitely precious. Watching the balloon’s shadow slip across the desert floor, it was hard to believe it was the same contraption that had plummeted towards the Atlas Mountains in the middle of the night.
The still-attached fuel tanks were blocking Per’s view, so Alex talked him in to land. As we neared the ground Alex shouted out:
‘Power line ahead!’
Per shouted back that we were in the middle of the Sahara and there couldn’t possibly be a power line. ‘You must be seeing a mirage,’ he bawled.
Alex insisted that he come up and see for himself: we had managed to find the only power line in the Sahara.
Despite the vast barren desert all around us, within minutes of our landing there were signs of life. A group of Berber tribesmen materialised from the rocks. At first they kept their distance. We were about to offer them some water and the few remaining supplies, when we heard the clattering roar of gunship helicopters. They must have tracked us on their radar. As quickly as they had appeared, the Berber vanished. Two helicopters landed close by, throwing up clouds of dust, and soon we were surrounded by impassive soldiers holding machine guns, apparently unsure where to point them.
‘Allah,’ I said, encouragingly.
For a moment they stood still, but their curiosity got the better of them and they came forward. We showed their officer around the capsule, and he marvelled at the remaining fuel tanks.
As we stood outside the capsule, I wondered what these Algerian soldiers thought of it. I looked back, and saw it for a moment through their eyes. The remaining fuel tanks were painted like vast cans of Virgin Cola and Virgin Energy in bright red and yellow. Among the many slogans on the side of the capsule were ones for Virgin Atlantic, Virgin Direct (now Virgin Money), Virgin Territory and Virgin Cola. It was probably lucky for us that the devoutly Muslim soldiers could not understand the writing round the top of the Virgin Energy can: DESPITE WHAT YOU MAY HAVE HEARD THERE IS ABSOLUTELY NO EVIDENCE THAT VIRGIN ENERGY IS AN APHRODISIAC.
* * *
As I looked at the capsule standing in the red sand, and relived the harrowing drop towards the Atlas Mountains, I renewed my vow that I would never attempt this again. In perfect contradiction to this, at the back of my mind I also knew that, as soon as I was home and had talked to the other balloonists who were trying to fly round the world, I would agree to have one last go. It’s an irresistible challenge and it’s now buried too deeply inside for me to give up.
The two questions I am most often asked are, Why do you risk your neck ballooning? and, Where is the Virgin Group going? In some ways the sight of the ballooning capsule standing in the middle of the Algerian desert, with its cluster of Virgin names plastered over it, summed up these prime questions.
I knew that I would attempt another balloon flight because it’s one of the few great challenges left. As soon as I’ve banished the terrors of each actual flight, I once again feel confident that we can learn from our mistakes and achieve the next one safely.
The wider question of where the Virgin Group will end up is impossible to answer. Rather than be too academic about it all, which is not the way I think, I have written this book to demonstrate how we made Virgin what it is today. If you read carefully between the lines you will, I hope, understand
what our vision for the Virgin Group is, and you will see where I am going. Some people say that my vision for Virgin breaks all the rules and is too wildly kaleidoscopic; others say that Virgin has become one of the leading brand names of the century; others analyse it down to the last degree and then write academic papers on it. As for me, I just pick up the phone and get on with it. Both the series of balloon flights and the numerous Virgin companies I have set up form a seamless series of challenges which I can date from my childhood.
When I was searching for titles, David Tait, who runs the American side of Virgin Atlantic, suggested that I call it Virgin: The Art of Business Strategy and Competitive Analysis.
‘Not bad,’ I told him, ‘but I’m not sure it’s catchy enough.’
‘Of course,’ he said, ‘the subtitle would be Oh Screw It, Let’s Do It.’
1 ‘A family that would have killed for each other.’
1950–1963
MY CHILDHOOD IS SOMETHING of a blur to me now, but there are several episodes that stand out. I do remember that my parents continually set us challenges. My mother was determined to make us independent. When I was four years old, she stopped the car a few miles from our house and made me find my own way home across the fields. I got hopelessly lost. My youngest sister Vanessa’s earliest memory is being woken up in the dark one January morning because Mum had decided I should cycle to Bournemouth that day. Mum packed some sandwiches and an apple and told me to find some water along the way.
Bournemouth was fifty miles away from our home in Shamley Green, Surrey. I was under twelve, but Mum thought that it would teach me the importance of stamina and a sense of direction. I remember setting off in the dark, and I have a vague recollection of staying the night with a relative. I have no idea how I found their house, or how I got back to Shamley Green the next day, but I do remember finally walking into the kitchen like a conquering hero, feeling tremendously proud of my marathon bike ride and expecting a huge welcome.
‘Well done, Ricky,’ Mum greeted me in the kitchen, where she was chopping onions. ‘Was that fun? Now, could you run along to the vicar’s? He’s got some logs he wants chopping and I told him that you’d be back any minute.’
Our challenges tended to be physical rather than academic, and soon we were setting them for ourselves. I have an early memory of learning how to swim. I was either four or five, and we had been on holiday in Devon with Dad’s sisters, Auntie Joyce and Aunt Wendy, and Wendy’s husband, Uncle Joe. I was particularly fond of Auntie Joyce, and at the beginning of the holiday she had bet me ten shillings that I couldn’t learn to swim by the end of the fortnight. I spent hours in the sea trying to swim against the freezing-cold waves, but by the last day I still couldn’t do it. I just splashed along with one foot hopping on the bottom. I’d lunge forward and crash beneath the waves before spluttering up to the surface trying not to swallow the seawater.
‘Never mind, Ricky,’ Auntie Joyce said. ‘There’s always next year.’
But I was determined not to wait that long. Auntie Joyce had made me a bet, and I doubted that she would remember it the next year. On our last day we got up early, packed the cars and set out on the twelve-hour journey home. The roads were narrow; the cars were slow; and it was a hot day. Everyone wanted to get home. As we drove along I saw a river.
‘Daddy, can you stop the car, please?’ I said.
This river was my last chance: I was sure that I could swim and win Auntie Joyce’s ten shillings.
‘Please stop!’ I shouted.
Dad looked in the rear-view mirror, slowed down and pulled up on the grass verge.
‘What’s the matter?’ Aunt Wendy asked as we all piled out of the car.
‘Ricky’s seen the river down there,’ Mum said. ‘He wants to have a final go at swimming.’
‘Don’t we want to get on and get home?’ Aunt Wendy complained. ‘It’s such a long drive.’
‘Come on, Wendy. Let’s give the lad a chance,’ Auntie Joyce said. ‘After all, it’s my ten shillings.’
I pulled off my clothes and ran down to the riverbank in my underpants. I didn’t dare stop in case anyone changed their mind. By the time I reached the water’s edge I was rather frightened. Out in the middle of the river, the water was flowing fast with a stream of bubbles dancing over the boulders. I found a part of the bank that had been trodden down by some cows, and waded out into the current. The mud squeezed up between my toes. I looked back. Uncle Joe and Aunt Wendy and Auntie Joyce, my parents and sister Lindi stood watching me, the ladies in floral dresses, the men in sports jackets and ties. Dad was lighting his pipe and looking utterly unconcerned; Mum was smiling her usual encouragement.
I braced myself and jumped forward against the current, but I immediately felt myself sinking, my legs slicing uselessly through the water. The current pushed me around, tore at my underpants and dragged me downstream. I couldn’t breathe and I swallowed water. I tried to reach up to the surface, but had nothing to push against. I kicked and writhed around but it was no help.
Then my foot found a stone and I pushed up hard. I came back above the surface and took a deep breath. The breath steadied me, and I relaxed. I had to win that ten shillings.
I kicked slowly, spread my arms, and found myself swimming across the surface. I was still bobbing up and down, but I suddenly felt released: I could swim. I didn’t care that the river was pulling me downstream. I swam triumphantly out into the middle of the current. Above the roar and bubble of the water I heard my family clapping and cheering. As I swam in a lopsided circle and came back to the riverbank some fifty yards below them, I saw Auntie Joyce fish in her huge black handbag for her purse. I crawled up out of the water, brushed through a patch of stinging nettles and ran up the bank. I may have been cold, muddy and stung by the nettles, but I could swim.
‘Here you are, Ricky,’ Auntie Joyce said. ‘Well done.’
I looked at the ten-shilling note in my hand. It was large, brown and crisp. I had never held that amount of money before: it seemed a fortune.
‘All right, everyone,’ Dad said. ‘On we go.’
It was then that I realised he too was dripping wet. He had lost his nerve and dived in after me. He gave me a massive hug.
I cannot remember a moment in my life when I have not felt the love of my family. We were a family that would have killed for each other – and we still are. My parents adored each other, and in my childhood there was barely a cross word between them. Eve, my mother, was always full of life and galvanised us. Ted, my father, was a rather quieter figure who smoked his pipe and enjoyed his

Justin Sklar was born in Owings Mills, MD which is a suburb of Baltimore, MD. After going to high school to pursue fine arts training, he moved to Florida to study computer animation at Ringling College of Art & Design.

Justin started his career in animation by applying to Walt Disney Animation Studios' internship program between his junior and senior years. After graduating from Ringling, he returned to Disney as a trainee. At the end of the six month program, he finally landed a position as an animating assistant on the movie "Wreck-it Ralph".

While at Disney, Justin learned and gained experience from mentors Brent Homman and Adam Green. Both pushed his work to a whole different level, creating better choices and put focus on animation techniques and the process involved.

Justin has been working on Walt Disney latest movie craze “Frozen”, and is finally moving on to work on Disney’s animated feature “Big Hero 6”.

Thank you very much Justin Sklar for this interview, we would like to start with you by telling us about yourself? And what do you love to do when you're not animating? Any hobbies? Extra passions?

Thanks for asking me to do this! I have to admit that I feel a bit out of place, as I've only been animating professionally for something like two years, but I'm happy to participate!

As for things I do when I'm not animating, I'm pretty boring. I cook a lot; I bake slightly less than that. I watch movies, then yell about them for many hours while my wife politely feigns interest.

I spend the majority of the rest of my time sleeping, trying to keep my cat out of cabinets, and thinking about how I should probably be working.

Growing up, did you draw a lot? What style of art did you like the most?

I used to think that I didn't draw that much growing up, but in retrospect I think I must have. I do remember pretty clearly that my parents' bed had a light in the headboard that basically functioned like a light box and I spent a long time as a kid tracing things out of video game magazines.

I eventually got placed into "gifted and talented" art classes in middle school and eventually ended up at Carver Center for Arts and Technology, a magnet arts high school. Carver takes art seriously and I was taking figure classes as a high school sophomore and doing massive, nearly twice life-size drawings by the time I graduated.

A short list of my high school art influences were people like Eric Fischl, Philip Pearlstein, andJohn Singer Sargent.

Did you have a favorite film or cartoon that influenced you in your teens that made you become aware of animation?

If I'm honest, I don't think so. I had probably seen most of the Disney catalogue and probably all of the Pixar catalogue before I went to school for animation, but I don't think I ever had that "Oh, I have to do this for a living" moment watching an animated film.

That's not to say I'm not inspired by animated films, but I think I initially came to animation as something that I didn't know much about that I thought would be challenging to learn.

Where did you go to learn the art of Animation? Which School was it? And when?

I went to Ringling College of Art and Design to study computer animation. I graduated in 2011.

When did you realize that you wanted to become an Animator?

This isn't going to be a very satisfying explanation, but I guess I decided I wanted to be an animator around the time that I was looking at colleges.

A lot of my friends were looking to go to fine arts schools and I just felt like committing to fine arts was such a crap shoot. It seemed like being successful as a fine artist had more to do with luck and connections than the work.

That's certainly not to diminish fine artists, but the systems in place for recognizing artists just appeared to be infinitely less egalitarian than in a more commercial field.

I didn't know very much about animation other than that it seemed pretty hard and like it would be something I could learn about for a long time. So I went to Ringling with that as my goal.

Did you have a natural talent or you did you have to develop the skills to draw and animate?

I think about this idea a lot and it's a frustrating topic for me. I think talent is a bit of a myth that comes from great work looking easy (if I were a real pedant, I would say something long-winded about the quality of the sublime and Kant or Schopenhauer here, instead I'll just name drop).

The short answer is that I think that I've worked hard to get my animation skills to where they are. I would say that a lot of skills come relatively quickly to me, but I suspect that has less to do with natural talent and more to do with an inclination to try to understand every aspect of how to do something. I also generally approach things with the attitude that if I'm going to commit to doing something, I'm going to try to be the best at that thing.

What was your first work you ever worked on? How did you get it at first? Do you remember the day you got employed?

The first thing I ever worked on professionally in animation was on Wreck-it Ralph. At the end of the trainee program, we started doing crowd cycles on the candy people in Sugar Rush.

Nowadays, when do you wake up and what do you on average every day in regarding to your job?

I usually get up at about 6:30. I don't live particularly close to the studio, so it takes me about an hour to get to work. Days change depending on where I am in the course of a shot.

I normally write a list of notes for myself when I leave for the day and when I get to work in the morning I'll re-watch the shot. Then, I'll decide when the next time I'm going to show is and make a new list of the things I need to do before then.

If my shot is in a place where I'm ready to show or I need to check on something, I'll show to the supervisors in rounds and then make a new list of things to do, incorporating those notes.

I'll show to the directors at certain points in the shot, get their notes and then I go back to making lists.

What part of your current job do you like best and why? What makes it so awesome in your eyes?

I'm obviously biased, but I honestly believe that, right now, Walt Disney is probably the best place to work and learn about animation at a high level.

I got into animation because I thought it would be something that would be difficult and rewarding to learn and that has definitely proven to be true. Working with people who are much more experienced than I am means that I'm constantly learning things. Other people are definitely an invaluable resource when you're working in something like CG animation, in which there are a million little tools or techniques that you have no reason to assume even exist.

What are some of your favorite projects you're proud to have been a part of in your career?

I've really only been involved in Wreck-it Ralph and Frozen and I'm super proud to have been a part of both.

How did you end up working for Walt Disney Animation Studios? What steps did you take to apply there?

One of the biggest benefits of going to a school like Ringling is that big studios often come and recruit there. I applied to be an intern at Walt Disney between my junior and senior years and (much to my surprise) ended up getting the internship.

Then, after I graduated, I re-applied as an animation trainee, moved out to California, and fortunately was accepted for that position.

The trainee program lasted for six months and at the end of it I got brought on to Wreck-it Ralph as an animating assistant in crowds.

What's your animation workflow looks like while animating? Do you still use Animation Disc to this day?

I shoot reference for everything I do, no matter how simple the shot is. I've never felt like my thumbnails are particularly descriptive or helpful in deciding what I'm going to do, so for me reference acts as thumbnails.

I generally have an idea as to what I want to do off the bat and then I'll shoot reference until I feel like I've gotten out of my head and am just performing naturally.

After I've gotten my reference figured out, I'll block important poses into my shot, focusing on important beats and changes in weight direction.

Then I'll show the shot to the supervisors and the director and see how they feel about it. Depending on the changes they ask for, I'll frequently do more reference, delete sections as necessary, re-block and show again.

Once I get a buy off on my blocking from the director, I'll break it down to 2s and 3s (sometimes 1s depending on what it is) before I switch into spline. I want to make all of my real choices in terms of posing, timing, and favors in blocking and then do as little touching as possible in spline so I don't mess up those choices. Once I'm in spline, I'll go through all of my controls and delete any keys that are redundant or just serve to complicate a curve.

When I start polishing, I'll generally hide the head and arms and just work with the torso and legs. Working out the hips and chest and getting the weight right first makes it much easier to keep the head and arm curves simple, because you're not compensating for weird things happening lower down the chain.

Once I have everything generally clean, I'll go through and say, either to myself or to other people, "What is most wrong with this shot?" Then, I just start solving problems. This generally means tracking arcs on as many things as possible - hips, chest, nose, elbows, wrists, fingers, knees, ankles, heels, toes. If it makes a visible arc on screen and I have any control over it, I'm probably tracking it.

Which cool methods and ‘tricks of the trade' do you use the most when animating?

I don't know that I have any real tricks. Touch as little as possible. Always plan - I don't like to start animating until I know what I'm actually going to do. Write lots of lists.

Every time I get notes from the supervisors, I write a list of what I'm going to do. Every night before I leave, I write a list of my last impressions of a shot and then first thing in the morning I watch my shot, see what I think of the list from the night before, decide if I still feel that way and then add any new concerns to the list.

Know how you work and build your workflow around that. I always try to keep real problem-solving for the morning because I know I tend to be more effective just after I get to work. I prefer to do relatively mindless things like deleting redundant keys and cleaning up curves in the afternoon.

I also know that I'm mostly motivated by guilt, so I give myself a lot of arbitrary deadlines so I feel bad and work faster if I don't hit them.

In retrospect, do you look for imperfections in your work or just go with the flow and trust the director and animation supervisor?

Both, I guess. We get issued a shot by the director(s) and that obviously gets factored into whatever my first pass is going to be.

I try to make a concerted effort to trust my instincts above everything else on the first pass of a shot - I would rather be completely behind an idea and then change course after showing the supervisors than cut my idea off at the knees by constantly trying to guess at what the supervisors/directors are going to say.

That said, while I will always at least explain my original idea, I'll always defer to the supervisors or the directors.

After I have a clear picture of what the supervisors and the directors want, I'm always looking for things to fix - ideally you want to show in rounds or dailies, have everyone love it and not get any notes. At the same time, it's important to know when other people just know more than you, so I show to the supervisors and other animators constantly.

Tell us a little about the tools that you are using? What are your preferences? Methods? Plugins?

We use Autodesk Maya. I don't use a ton of plugins or weird tools. Tweenmachine or variants thereon have been a mainstay in my workflow as long as I've been at Disney.

We also have a tool for tracking arcs but I use that just as frequently as throwing a locator on something and tracking it with a dry erase marker on my monitor.

What are your thoughts about the general ‘work instability' that a lot of animators and artists in the field seems to be talking about lately?

I'm not in a great position to talk about this. I've been lucky in terms of getting into Disney when I did and getting the opportunities that I've had.

The Animation and VFX industry is growing and changing quickly, so it's definitely volatile right now.

What is your favorite 2D and 3D animated film(s) and cartoon, of all time and why?

As you might imagine, I like a lot of animated films for different reasons. If you're going to make me pick, I'll say ‘101 Dalmatians' and ‘The Incredibles'.

‘101 Dalmatians' is mostly up there for style and design reasons. As designs go, I want every character in every movie to look like Roger.

There's also just a ton of virtuoso animation and interesting, weird choices in both performance and storytelling.

That movie is about a woman who wants to murder a bunch of puppies for the purposes of making a coat. That's the villain of a movie that people think is for kids! I can't imagine anyone even pitching that to another person now.

‘The Incredibles' is one of my favorites in large part because it manages to beat a lot of the curses of making animated films.

It's easy to make a CG animated film that is mostly flashy hand-waving to distract you from a story that feels like the vision of 30 different people, because CG is great at flashy and a ton of people were likely involved in making it.

‘The Incredibles', despite this, has the feeling of being a coherent, singular vision with characters that all manage to have their own disparate wants that interact in a way that feels organic.

Even more than that, it holds up amazingly well visually despite being made using 2004 technology. Plus, the animation is pretty great.

What are your thoughts about Japanese Animation? Are you a fan or prefer good old American Animation style?

I'm not super into Miyazaki movies which feels like something I shouldn't admit, but I just have a hard time getting into them.

There are a lot of things that anime does really well, though. As we start work on ‘Big Hero 6' I've been looking at a lot of anime to try and capture the crazy energy anime often has.

What is the most difficult part for you about being in the animation business, and how do you handle it?

I haven't been in the business that long, so most of my complaints are likely trivial whining.

I guess the biggest thing thus far has just been the difficulty of working through crunch on our movies.

Working long hours and weekends is hard on everyone and not particularly good for your relationships with other people. I try to maximize my time outside of work and not to bring work home with me.

Have you ever had a character/scene that was too difficult for you to animate and which project was that on? And how did you tackle that problem(s)?

I kind of love getting shots where I immediately think "Holy crap, why did anyone think I could do this?" Nothing is too hard.

The trick with shots that are technically tricky (this is also the trick for shots that are easy) is to plan first and to try to come up with a solution that gives you the best result with the least amount of constant babysitting and noodling.

It's worth mentioning, at the same time, that I try never to make decisions about acting choices based on how difficult they're going to be to execute. I would prefer to spend a few hours hacking together multiple rigs, throwing blend-shapes on something and tracking tiny arcs than doing less work for a lesser performance.

Who influenced you the most in the animation industry? Who is or was your ultimate Mentor during your early stages?

I've been lucky in that I've had a number of great mentors. When I was an intern, my mentor was Brent Homman. That experience had a huge impact on my animation in general.

My tendency is generally to make lots of little complicated choices and Brent pushed for simple, broader choices. I tried to work that line of thought into my thesis film and I have to imagine that the combination of that film and the work I did during the internship are the reason I got accepted into the trainee program.

As a trainee, I was mentored by Adam Green. It's funny trying to think about what the conversation was that lead to Adam being my mentor, but in my head it's something like "Justin is a neurotic, humorless individual, maybe putting him with Adam can fix that."

Adam definitely pushed my work to a different level. Like Brent, Adam pushed me to make simpler, more direct choices but also put a focus on mechanics and fun, broad in-betweens.

What are your thoughts about online animation schools like ‘AnimationMentor.com' or iAnimate.net? Would you teach there if you had a chance?

I haven't personally taken or even really approached taking a class from an online animation school, but I have no strong opinions one way or the other.

I can absolutely see how learning from active industry professionals would be incredibly helpful for a student, but my guess is that it requires you be much more self-motivated than going to a brick-and-mortar animation school requires.

I would be hesitant to teach an animation class currently just because I don't particularly feel like I have enough professional experience to justify taking anyone's money to talk about what I think. That said, it's something I would consider in the future if the opportunity presented itself.

Do you think such schools mass-produce animators to the already ‘low demand' from the studios themselves?

I'm not sure I can agree with that criticism. I feel like if your expectation is that a school will make you stand out as an individual in a crowded field full of talented people, you may be utilizing the school in a way that isn't as helpful as it could be.

For me, any type of class should be approached as simply an opportunity to gain access to information, insight, and criticism from both a teacher and other students.

Everything else is what you bring to the table. Your job is to utilize those resources to make yourself stand out from the crowd by working harder or thinking differently than anyone else.

No class is going to be able to teach you how to do those things.

2D Animation vs. 3D animation what are your thoughts on this endless battle?

As others have said, I don't think there's really a battle here. They're different media that do different things well.

Tell the audience and us a little bit about your latest projects, what are you working on as for 2014?

Right now I'm working on ‘Big Hero 6', which is a lot of fun. We started a little while ago and it's going to be a ton of work to get done, but I can promise it's going to look better than anything Disney has done in recent memory.

If you could choose to work with any artist(s) past or present from the animation business, who would he/they be and why? What makes them so awesome?

I'm terrible at questions like this; do they have to be from animation? I imagine it might be beneficial to get yelled at by Milt Kahl? I suspect the results of that would be pretty long lasting.

Outside of animation, I think the Coen brothers are great. They have very cartoonish sensibilities and very clear opinions about how to make movies (No Country for Old Men has a run of about three shots that is one of my favorite things in movies).

I'm also on a David O. Russell thing recently. I'm a big fan of the way he treats his characters and the way he approaches making movies. He's clearly having fun.

Do you find yourself checking out other animator's/artists' works? Comparing them to your own? Maybe learning new things from them?

Always. We have a system at Disney to look at new shots as they get submitted and I make a point of trying to look at everything. There's that saying "Good artists borrow, great artists steal."

I'm constantly looking for things people are doing in their work that I want to assimilate into my own work. Also, when you're working on a movie, it's useful to see what everyone else is doing so you know what flies with the directors and the supervisors.

Half of animation is reading the minds of the directors/supervisors, so the more you can learn from other people's trial and error, the better.

Lastly, is there any advice you can give to an aspiring animation student or artist trying to get into the animation or gaming business?

Like I said, I haven't been in animation for a terribly long time so I don't have any particularly sage advice, but I have a couple suggestions based on things I've seen and things that have helped me.

Don't go to art school to get away from anything. Don't go to art school (or online animation school) because you don't like math or writing or science. It's too expensive and too difficult to get a job making art to do it if you don't love doing it.

Say yes to everything. Getting a job in animation is generally based on skill and experience, but if we're honest there's still a fair amount of luck involved.

The only real thing you can do about that is to say yes to opportunities when they come to you and make sure you have the skills and the work ethic to exceed expectations once you have the opportunity (this advice does not extend to jobs where people don't want to pay you or otherwise want to take advantage of you - don't say yes to those).

Most importantly, don't accept "good enough" and don't wait to try and make your best work. It's important to understand who you're being compared to when you're applying to a big studio.

It's important to understand that the people who work in the industry now, whose blogs you look at and whose reels you watch - those people are the ones you need to be better than to get a job.

Don't ever say "Well, I went to X school/worked at X studio that should buy me something." See how your work stacks up to the people who have the jobs you want or whom you admire, figure out what your work needs to get there, do that, repeat ad infinitum.

Pretty Little Liars - Sezon 1 - Epizod 1 - Dialogi

Streszczenia:
http://pretty-little-liars.wikia.com/wiki/Season_1http://prettylittleliars.alloyentertainment.com/season-1-episode-1-recap/
http://www.tvfanatic.com/shows/pretty-little-liars/episodes/season-1/pilot/

1

00:00:02,085 --> 00:00:03,916

[3OH! 3'S "DON'T TRUST ME"

PLAYING OVER STEREO]

2

00:00:04,087 --> 00:00:05,577

[THUNDER CRASHING]

3

00:00:05,755 --> 00:00:07,586

[ALL LAUGHING]

4

00:00:09,159 --> 00:00:10,353

[MUSIC STOPS]

5

00:00:10,527 --> 00:00:12,688

EMILY: Whoa, what happened?

SPENCER: It must be the storm.

6

00:00:12,862 --> 00:00:14,659

[CREAKING]

7

00:00:14,831 --> 00:00:15,957

Something's out there.

8

00:00:18,068 --> 00:00:19,092

Guys?

9

00:00:26,242 --> 00:00:28,369

[GLASS SHATTERS

THEN GIRLS GASP]

10

00:00:33,983 --> 00:00:35,678

[LEAVES RUSTLING]

11

00:00:37,754 --> 00:00:39,381

- Gotcha.

ALL: Aah!

12

00:00:40,757 --> 00:00:42,554

SPENCER:

That's so not funny, Alison.

13

00:00:42,759 --> 00:00:45,455

I thought it was hilarious, girlfriend.

14

00:00:46,396 --> 00:00:49,126

- Ali, did you download the new Beyonce?

- Oh, not yet.

15

00:00:49,299 --> 00:00:52,496

EMILY: I'm loving her new video.

- Maybe a little too much, Em.

16

00:00:52,669 --> 00:00:54,193

[GIRLS LAUGH]

17

00:00:54,370 --> 00:00:56,964

- Your turn.

- All right.

18

00:00:57,207 --> 00:00:58,606

SPENCER:

Be careful, Ari.

19

00:00:58,808 --> 00:01:00,742

Take too much

and you'll tell us all your secrets.

20

00:01:00,910 --> 00:01:02,502

[GIRLS LAUGH]

21

00:01:02,679 --> 00:01:04,476

Friends share secrets.

22

00:01:04,647 --> 00:01:06,342

That's what keeps us close.

23

00:01:08,118 --> 00:01:09,142

Drink up.

24

00:01:09,319 --> 00:01:10,809

[GIRLS LAUGH]

25

00:01:10,987 --> 00:01:12,579

HANNA: Yeah.

GIRLS: Ha-ha-ha!

26

00:01:12,756 --> 00:01:14,849

[THUNDER CRASHES]

27

00:01:29,172 --> 00:01:30,696

Hey, Em.

28

00:01:31,775 --> 00:01:34,767

- Whoa.

- Where's Ali and Spencer?

29

00:01:35,812 --> 00:01:37,439

We don't know.

30

00:01:43,253 --> 00:01:45,380

- Ali?

- She's gone.

31

00:01:47,190 --> 00:01:50,284

- What do you mean she's gone?

- I've looked everywhere for her.

32

00:01:54,264 --> 00:01:55,788

Think I heard her scream.

33

00:01:59,135 --> 00:02:00,363

[THUNDER CRASHES]

34

00:02:21,925 --> 00:02:24,723

ELLA:

Aria, are you okay?

35

00:02:27,530 --> 00:02:29,589

It's weird to be home.

36

00:02:29,799 --> 00:02:31,323

We were gone a year.

37

00:02:31,534 --> 00:02:33,297

When you're 16, that's a long time.

38

00:02:33,803 --> 00:02:35,998

I still think about her every day.

39

00:02:36,206 --> 00:02:37,730

Why don't you call your friends.

40

00:02:37,907 --> 00:02:40,375

They don't know we're back

from Dad's sabbatical.

41

00:02:41,544 --> 00:02:47,039

On the news they're calling it the

anniversary of Alison's disappearance.

42

00:02:47,217 --> 00:02:49,583

Like it's a party or something.

43

00:02:50,753 --> 00:02:52,243

Why don't you give them a call.

44

00:02:53,723 --> 00:02:55,088

You five were inseparable.

45

00:02:55,525 --> 00:02:57,516

And those feelings

don't just go away.

46

00:02:57,694 --> 00:02:59,924

I need a ride to lacrosse.

47

00:03:00,096 --> 00:03:02,360

[LAUGHS]

48

00:03:02,532 --> 00:03:04,124

I'll take him.

49

00:03:05,335 --> 00:03:07,200

BYRON:

Got lacrosse today?

50

00:03:07,370 --> 00:03:10,362

It's first tryouts and all my stuff's

in about a hundred boxes.

51

00:03:10,540 --> 00:03:13,202

- A hundred?

- You know what I mean.

52

00:03:13,376 --> 00:03:15,606

Come on, let's go look in the garage.

53

00:03:15,778 --> 00:03:17,370

Come on.

54

00:03:20,884 --> 00:03:25,321

Listen, I know coming back here

brings up a lot of memories.

55

00:03:25,488 --> 00:03:29,151

- You okay?

- Dad, still keeping your secret, okay?

56

00:03:31,494 --> 00:03:34,793

I, uh, meant, are you okay with Alison?

57

00:03:43,406 --> 00:03:45,135

And they're running off to practice.

58

00:03:47,410 --> 00:03:50,072

We are officially home.

59

00:04:00,456 --> 00:04:01,684

Cool.

60

00:04:01,891 --> 00:04:03,586

Hey, what time am I picking you up?

61

00:04:03,760 --> 00:04:05,318

Uh, 6.

62

00:04:05,528 --> 00:04:07,519

- I'm gonna grab some food.

- All right.

63

00:04:27,183 --> 00:04:29,151

[BEN'S BROTHER'S "BEAUTY QUEEN"

PLAYING OVER SPEAKERS]

64

00:04:29,319 --> 00:04:31,446

And hurt eyes shouldn't have

Blurred my vision

65

00:04:31,621 --> 00:04:33,555

ARIA:

Can I get a cheeseburger, please?

66

00:04:33,723 --> 00:04:35,020

You got it.

67

00:04:35,191 --> 00:04:38,456

I know that she

68

00:04:40,363 --> 00:04:46,461

She was a beauty queen

69

00:04:48,805 --> 00:04:50,636

You all right down there?

70

00:04:50,807 --> 00:04:53,537

I'm a bit jet-lagged.

I just got back from Europe.

71

00:04:54,344 --> 00:04:55,743

Where in Europe?

72

00:04:56,546 --> 00:04:58,173

Iceland.

73

00:04:59,082 --> 00:05:03,416

I spent some time in Reykjavik

before I went to Amsterdam.

74

00:05:03,586 --> 00:05:05,144

It's a great city.

75

00:05:07,190 --> 00:05:08,657

So do you go to Hollis?

76

00:05:08,858 --> 00:05:10,883

Just graduated.

77

00:05:11,060 --> 00:05:13,392

I'm gonna start my first teaching job.

78

00:05:13,563 --> 00:05:15,588

Yeah, I think I'd like to teach.

79

00:05:15,765 --> 00:05:18,427

[THE FRAY'S "HAPPINESS"

PLAYING OVER SPEAKERS]

80

00:05:18,601 --> 00:05:20,728

Ah. I love this song.

81

00:05:22,538 --> 00:05:24,403

B26?

82

00:05:25,975 --> 00:05:28,569

Happiness is just outside my window

83

00:05:28,745 --> 00:05:30,007

What's your major?

84

00:05:32,648 --> 00:05:35,412

Uh, well, I'm leaning toward English.

85

00:05:35,585 --> 00:05:37,610

That's what I'm teaching.

86

00:05:37,787 --> 00:05:39,049

[CHUCKLES]

87

00:05:39,222 --> 00:05:44,182

Well, and I write too,

but so far it's mostly personal.

88

00:05:44,360 --> 00:05:45,384

Just for me.

89

00:05:45,928 --> 00:05:47,452

I'm impressed.

90

00:05:47,630 --> 00:05:48,688

Why?

91

00:05:49,198 --> 00:05:51,428

Well, I tried writing.

92

00:05:54,037 --> 00:05:57,939

I didn't get very far. You're lucky.

93

00:05:58,107 --> 00:06:01,304

If you're writing for yourself,

it's pure passion.

94

00:06:02,645 --> 00:06:05,079

Maybe you'd let me read

something of yours.

95

00:06:05,915 --> 00:06:08,543

- Yeah, you'd really want to?

- Yeah.

96

00:06:09,085 --> 00:06:12,054

You're smart. You've traveled.

97

00:06:12,221 --> 00:06:13,779

Great taste in music.

98

00:06:14,657 --> 00:06:16,921

Like to know more about you.

99

00:06:19,328 --> 00:06:23,526

Yeah.

I'd like to know more about you too.

100

00:07:23,126 --> 00:07:25,185

Can I see the Pradas in the front?

101

00:07:25,361 --> 00:07:27,226

I'll have to put some of these back.

102

00:07:27,663 --> 00:07:29,631

But they're all maybes.

103

00:07:32,602 --> 00:07:33,967

Hey, is this me?

104

00:07:34,170 --> 00:07:37,105

Or is it a little too much your mother?

105

00:07:45,314 --> 00:07:47,305

I am loving those glasses. How much?

106

00:07:47,517 --> 00:07:49,007

Three-fifty.

107

00:07:54,857 --> 00:07:56,688

I'll be right back.

108

00:08:04,834 --> 00:08:08,201

I cannot believe Spencer Hastings

actually has time to shop.

109

00:08:08,771 --> 00:08:13,231

You're interning for the mayor, taking

classes at Hollis and redoing the barn.

110

00:08:13,409 --> 00:08:15,741

In your leisure moments,

you Facebook and tweet.

111

00:08:15,912 --> 00:08:18,847

- You know me, I like to stay busy.

- It's called summer vacay.

112

00:08:19,015 --> 00:08:22,143

- You spent yours sunning and shopping.

- Tweet, tweet.

113

00:08:22,318 --> 00:08:23,785

[BOTH CHUCKLE]

114

00:08:23,953 --> 00:08:27,286

- Did you see the paper today?

- Yeah.

115

00:08:27,890 --> 00:08:29,517

She's gone, but she's everywhere.

116

00:08:31,160 --> 00:08:33,355

I can't believe it's been a year.

117

00:08:33,896 --> 00:08:37,593

You remember what Ali said that night?

About our secrets keeping us close?

118

00:08:38,100 --> 00:08:39,727

I think it was the opposite.

119

00:08:43,906 --> 00:08:47,034

- So, what's the occasion?

- Family dinner.

120

00:08:47,210 --> 00:08:49,110

We're meeting Melissa's fiance.

121

00:08:49,345 --> 00:08:51,609

Did Miss Perfect find a Mr. Perfect?

122

00:08:51,814 --> 00:08:54,612

He's a med student

so everyone's thrilled.

123

00:08:54,817 --> 00:08:58,218

Then that's not the right top.

You need to turn heads.

124

00:08:58,387 --> 00:09:00,116

Away from Melissa? Please.

125

00:09:01,123 --> 00:09:03,523

She doesn't always have to win.

126

00:09:06,596 --> 00:09:09,258

- See you on the playground.

- See you.

127

00:09:33,889 --> 00:09:35,789

GUARD:

Miss.

128

00:09:37,927 --> 00:09:39,121

You forgot your bag.

129

00:09:40,296 --> 00:09:42,059

Thank you.

130

00:09:45,434 --> 00:09:47,265

I so thought you were busted.

131

00:09:47,470 --> 00:09:50,633

- Nice scarf.

- Nice glasses.

132

00:09:59,081 --> 00:10:00,275

MIKE: Later.

BYRON: See you.

133

00:10:00,483 --> 00:10:02,007

Good luck.

134

00:10:03,753 --> 00:10:05,243

Hey.

135

00:10:06,122 --> 00:10:07,987

First day. I don't wanna be late.

136

00:10:08,190 --> 00:10:10,658

I love you, Aria. You know that, right?

137

00:10:11,494 --> 00:10:12,620

Yeah, I know.

138

00:10:12,828 --> 00:10:14,693

And you know that I love your mom.

139

00:10:16,165 --> 00:10:17,792

Do you?

140

00:10:17,967 --> 00:10:20,834

I made a mistake, okay?

141

00:10:21,003 --> 00:10:24,200

And I will be sorry about it

for the rest of my life.

142

00:10:25,007 --> 00:10:27,805

I just hope that someday

you'll be able to forgive me.

143

00:10:28,010 --> 00:10:30,137

I hope so too.

144

00:10:31,547 --> 00:10:33,071

[SIGHS]

145

00:10:42,458 --> 00:10:43,720

MONA:

Aria.

146

00:10:43,926 --> 00:10:45,223

Hey, guys.

147

00:10:45,428 --> 00:10:47,328

Alison.

148

00:10:47,496 --> 00:10:48,986

- Hey.

- Do you hear Mona?

149

00:10:49,198 --> 00:10:51,029

- Hey, Aria.

ARIA: Maybe we should wait.

150

00:10:51,200 --> 00:10:53,862

MONA: Hey, guys.

ALISON: Oh, is she ever gonna get a clue?

151

00:10:54,036 --> 00:10:55,731

What a loser. Come here.

152

00:11:03,412 --> 00:11:05,471

[BOTH GIGGLING]

153

00:11:06,749 --> 00:11:08,979

Hey, isn't that your dad's car?

154

00:11:23,966 --> 00:11:26,264

EMILY: Aria?

ARIA: Emily.

155

00:11:26,469 --> 00:11:30,906

- When did you get back?

- Hey, yesterday.

156

00:11:31,073 --> 00:11:32,836

I almost didn't recognize you.

157

00:11:33,008 --> 00:11:36,341

The last time we saw each other

you had a pink stripe in your hair.

158

00:11:36,512 --> 00:11:39,174

Yeah, well, when your parents

want you to be yourself...

159

00:11:39,348 --> 00:11:41,543

...and you don't know who you are...

160

00:11:41,717 --> 00:11:43,378

- You wore it well.

- Ha, ha.

161

00:11:43,552 --> 00:11:46,749

You should have called.

It's so weird just running into you here.

162

00:11:46,922 --> 00:11:48,116

Oh.

163

00:11:48,290 --> 00:11:51,691

Well, we kind of lost touch, Emily.

Remember?

164

00:11:51,861 --> 00:11:54,557

Maybe that's what we had to do.

165

00:11:55,931 --> 00:11:59,264

I saw a poster of Alison yesterday.

166

00:11:59,435 --> 00:12:04,099

It's awful.

I mean, we all know she's dead.

167

00:12:04,607 --> 00:12:05,835

Right?

168

00:12:06,008 --> 00:12:07,839

[SCHOOL BELL RINGS]

169

00:12:08,010 --> 00:12:10,604

I've just never heard anyone say it.

170

00:12:13,382 --> 00:12:16,510

So I hear the new teacher's really hot.

171

00:12:25,027 --> 00:12:26,722

Is that Hanna?

172

00:12:26,896 --> 00:12:28,761

She's the "it" girl now.

173

00:12:29,932 --> 00:12:32,901

And where there's Hanna,

there's Mona.

174

00:12:33,102 --> 00:12:35,127

ARIA: That's Mona?

- Can you believe it?

175

00:12:35,971 --> 00:12:39,134

Wow, talk about a makeover.

176

00:12:42,745 --> 00:12:45,339

What's up with her?

Are you two fighting?

177

00:12:45,548 --> 00:12:49,348

We didn't fall out of touch with you.

We all fell out of touch with each other.

178

00:12:52,822 --> 00:12:54,619

They're not so close anymore either.

179

00:12:55,157 --> 00:12:57,250

So they're friendly, but not friends.

180

00:12:57,426 --> 00:12:59,451

[SCHOOL BELL RINGS]

181

00:13:09,004 --> 00:13:10,266

[SIGHS]

182

00:13:12,141 --> 00:13:14,075

Holy crap.

183

00:13:22,218 --> 00:13:23,446

[CLEARS THROAT]

184

00:13:23,619 --> 00:13:25,382

[CELL PHONE RINGS]

185

00:13:32,094 --> 00:13:33,391

Sorry.

186

00:13:34,230 --> 00:13:37,825

Uh, I'm Mr. Fitz.

Your new English teacher.

187

00:13:52,114 --> 00:13:54,139

ARIA:

Alison?

188

00:14:05,261 --> 00:14:07,627

I can't believe they sold the house.

189

00:14:07,796 --> 00:14:10,264

Just too many memories

for the DiLaurentises.

190

00:14:10,432 --> 00:14:11,865

I can't even imagine.

191

00:14:12,101 --> 00:14:15,002

It's weird to think of other people

living in Alison's house.

192

00:14:15,170 --> 00:14:17,001

I know, honey.

193

00:14:17,239 --> 00:14:18,433

Aria's back.

194

00:14:18,641 --> 00:14:20,302

Does she still have that pink hair?

195

00:14:21,176 --> 00:14:23,007

No, Mom, she doesn't.

196

00:14:23,245 --> 00:14:25,679

You know something?

I never understood that family.

197

00:14:25,848 --> 00:14:28,180

Why would a mother

let her daughter do that?

198

00:14:28,350 --> 00:14:31,877

Because they believe their kids

are their equals, not their property.

199

00:14:32,988 --> 00:14:35,821

Honey, I don't think you're my property,

but I'm your mom.

200

00:14:36,025 --> 00:14:39,358

What kind of a mother would I be

if I let you run around like a goth?

201

00:14:39,528 --> 00:14:42,190

I mean, that kind of lifestyle

might fly in Europe...

202

00:14:42,398 --> 00:14:45,526

...but it's not gonna get you

very far here in Rosewood.

203

00:14:46,201 --> 00:14:48,726

Not everyone dreams of making it

in Rosewood, Mom.

204

00:14:48,904 --> 00:14:50,166

Oh?

205

00:14:51,774 --> 00:14:54,265

Some people dream of making it out.

206

00:15:15,931 --> 00:15:17,899

You want that?

207

00:15:18,067 --> 00:15:21,195

Maya St. Germain, a.k.a. New Girl.

208

00:15:22,171 --> 00:15:24,366

I'm Emily.

Welcome to the neighborhood.

209

00:15:24,573 --> 00:15:26,040

Thank you.

210

00:15:26,208 --> 00:15:30,008

Mm. Foie gras and cornichons.

My favorites.

211

00:15:30,913 --> 00:15:33,677

- It's from my mother.

- I figured. Ha, ha.

212

00:15:33,849 --> 00:15:37,945

Uh, that stuff was in my room.

You can have anything you want.

213

00:15:38,120 --> 00:15:41,055

- It all belonged to Alison.

- Is she a friend of yours?

214

00:15:41,223 --> 00:15:42,884

She was. A long time ago.

215

00:15:43,092 --> 00:15:44,423

That's all I get?

216

00:15:44,627 --> 00:15:46,458

No details?

217

00:15:46,629 --> 00:15:51,396

Uh, there were five of us who used

to hang out, but we don't anymore.

218

00:15:51,600 --> 00:15:55,866

Would it be outrageous of me to ask

if you'll help with our last few boxes?

219

00:15:56,405 --> 00:15:57,872

Yes.

220

00:15:59,074 --> 00:16:00,939

But I don't mind.

221

00:16:06,248 --> 00:16:09,775

So why aren't you still friends

with the girl who used to live here?

222

00:16:09,952 --> 00:16:11,283

You ask a lot of questions.

223

00:16:11,453 --> 00:16:13,717

How else am I supposed

to get to know you?

224

00:16:13,889 --> 00:16:15,550

There you go. Another question.

225

00:16:15,724 --> 00:16:17,248

Fine, your turn.

226

00:16:17,459 --> 00:16:19,484

Ask me anything.

227

00:16:21,997 --> 00:16:24,795

- Is this your boyfriend?

- His name's Justin.

228

00:16:25,467 --> 00:16:29,631

- He's cute.

- He's also 3000 miles away.

229

00:16:30,639 --> 00:16:32,072

My boyfriend's name is Ben.

230

00:16:32,274 --> 00:16:35,732

- What's he like?

- He's a swimmer, like me.

231

00:16:37,312 --> 00:16:40,247

I bet you're good.

You totally have the body.

232

00:16:40,416 --> 00:16:42,577

[TRUCK BEEPING REVERSE

OUTSIDE]

233

00:16:42,751 --> 00:16:46,243

MAYA: My mother's a cellist.

They're building a studio.

234

00:16:46,422 --> 00:16:50,188

- Do you play?

- Yeah, but not the cello.

235

00:16:51,460 --> 00:16:56,261

If you're a big jock, does that mean

you'd kill me if I smoked a little weed?

236

00:16:56,799 --> 00:16:59,165

- Now?

- I won't if you don't want me to.

237

00:17:00,936 --> 00:17:02,198

Where are your parents?

238

00:17:02,438 --> 00:17:05,202

Relax. They're out.

239

00:17:05,941 --> 00:17:07,806

Go ahead.

240

00:17:13,315 --> 00:17:15,283

You wanna join me?

241

00:17:16,618 --> 00:17:17,642

Okay.

242

00:17:21,190 --> 00:17:23,818

- First time?

- No.

243

00:17:28,163 --> 00:17:29,289

Yes.

244

00:17:29,998 --> 00:17:31,192

So I'm corrupting you.

245

00:17:33,068 --> 00:17:34,433

You okay with that?

246

00:17:35,971 --> 00:17:38,701

Yeah. I think I am.

247

00:17:40,142 --> 00:17:41,837

SPENCER:

Hey. What do you think?

248

00:17:42,010 --> 00:17:43,341

You have an eye for design.

249

00:17:43,512 --> 00:17:46,140

- I absolutely love it.

- Thank you.

250

00:17:46,348 --> 00:17:50,079

When Mom said you were converting

the barn to a loft, I couldn't see it.

251

00:17:50,252 --> 00:17:53,244

But it's beautiful. Job well done.

252

00:17:53,956 --> 00:17:54,980

I'm glad you like it.

253

00:17:55,157 --> 00:17:57,591

And I totally appreciate

your letting us move in.

254

00:17:58,660 --> 00:17:59,991

What?

255

00:18:00,162 --> 00:18:03,757

Wren and I are staying in the barn

while we redo my place in the city.

256

00:18:03,966 --> 00:18:05,900

I'm moving in for junior year, Melissa.

257

00:18:06,068 --> 00:18:07,695

That's the deal with Mom and Dad.

258

00:18:07,870 --> 00:18:09,735

I got the grades. I did the internship.

259

00:18:09,905 --> 00:18:11,896

I gave up my summer

because I wanted this.

260

00:18:12,107 --> 00:18:14,371

Well, you'll just have to wait.

261

00:18:14,977 --> 00:18:17,946

- Why can't you stay in my room?

- We're a couple, Spencer.

262

00:18:18,113 --> 00:18:20,877

We need our own space,

and Mom and Dad agree.

263

00:18:21,083 --> 00:18:22,209

But they promised me.

264

00:18:22,951 --> 00:18:25,749

- Heh.

- Is everything okay?

265

00:18:27,489 --> 00:18:29,047

I'm Wren.

266

00:18:29,691 --> 00:18:32,057

I was hoping you'd be happy for me.

267

00:18:33,595 --> 00:18:36,120

Well,

you know what they say about hope.

268

00:18:36,298 --> 00:18:38,528

Breeds eternal misery.

269

00:18:41,570 --> 00:18:44,061

Sounds like she was counting

on moving into the barn.

270

00:18:44,239 --> 00:18:47,231

Don't worry about Spencer.

She'll get over it.

271

00:18:55,784 --> 00:18:59,413

Shouldn't you know better?

I mean, you are a med student, right?

272

00:19:00,289 --> 00:19:03,747

- You're a bit of a smart ass.

- A bit?

273

00:19:05,561 --> 00:19:07,119

Does my sister know you smoke?

274

00:19:07,596 --> 00:19:09,655

Does she have to know everything?

275

00:19:12,601 --> 00:19:15,399

I'm sorry that we're moving

into your loft.

276

00:19:15,838 --> 00:19:19,604

- Lf you want me to say something...

- Oh, it wouldn't make a difference.

277

00:19:20,742 --> 00:19:22,175

But thank you for being sorry.

278

00:19:26,949 --> 00:19:29,179

You're not like Melissa's

usual boyfriends.

279

00:19:29,985 --> 00:19:31,282

How am I unusual?

280

00:19:32,588 --> 00:19:34,488

We're late for dinner.

281

00:19:39,127 --> 00:19:41,322

I actually like you.

282

00:19:41,496 --> 00:19:43,691

That's what's unusual.

283

00:20:12,461 --> 00:20:14,895

You told me you went to Hollis.

284

00:20:15,631 --> 00:20:16,655

No.

285

00:20:16,832 --> 00:20:19,995

No, I said I was thinking

about majoring in English.

286

00:20:20,168 --> 00:20:22,033

And that's true.

287

00:20:23,105 --> 00:20:26,666

Look, I think you're amazing, Aria.

288

00:20:27,109 --> 00:20:30,909

When I first met you I thought,

"Who is this girl?"

289

00:20:40,656 --> 00:20:42,624

I'm still that girl.

290

00:20:42,824 --> 00:20:43,984

Okay, nothing's changed.

291

00:20:44,192 --> 00:20:47,059

Yes, yes, it has. I'm your teacher.

292

00:20:47,663 --> 00:20:49,688

I know it's not just me.

293

00:20:49,865 --> 00:20:52,663

Hey,

you feel like this is right for us too.

294

00:20:52,868 --> 00:20:54,836

But it's not right.

295

00:20:57,172 --> 00:20:58,901

We just can't.

296

00:21:08,350 --> 00:21:09,578

[MAYA LAUGHS]

297

00:21:09,751 --> 00:21:11,582

Thanks for walking me home.

298

00:21:11,753 --> 00:21:14,620

It's no big deal.

Practice doesn't start until 4.

299

00:21:14,790 --> 00:21:17,452

Never had a jock friend before.

300

00:21:17,659 --> 00:21:20,025

I guess that makes you my first.

Ha, ha.

301

00:21:20,929 --> 00:21:22,396

[BOXES THUDDING]

302

00:21:28,870 --> 00:21:30,861

Are you okay?

303

00:21:31,807 --> 00:21:33,570

It's hard for me to talk about.

304

00:21:33,742 --> 00:21:36,643

I didn't tell you about the girl

who used to live here.

305

00:21:36,812 --> 00:21:38,211

Alison.

306

00:21:38,380 --> 00:21:41,144

She disappeared last summer.

She's still missing.

307

00:21:41,316 --> 00:21:44,080

That must have been awful for you.

308

00:21:44,252 --> 00:21:47,585

I used to think if I didn't talk about her

I wouldn't think about her.

309

00:21:47,756 --> 00:21:49,883

- But you still do.

- Yeah.

310

00:21:50,092 --> 00:21:51,821

I'm sorry.

311

00:21:57,733 --> 00:21:58,791

[CHUCKLES]

312

00:21:59,801 --> 00:22:00,995

[BOTH CHUCKLE]

313

00:22:01,903 --> 00:22:04,235

- See you tomorrow?

- Yeah.

314

00:22:04,406 --> 00:22:05,896

Bye.

315

00:22:22,524 --> 00:22:25,084

Hey, you been hanging with Aria?

316

00:22:25,427 --> 00:22:26,860

Not really.

317

00:22:39,641 --> 00:22:41,233

Emily?

318

00:22:42,177 --> 00:22:43,610

Is everything all right?

319

00:22:43,779 --> 00:22:45,474

Why wouldn't it be?

320

00:22:59,394 --> 00:23:00,725

Perfect time for a Jacuzzi.

321

00:23:00,962 --> 00:23:03,226

I thought you weren't moving in

until next week.

322

00:23:03,398 --> 00:23:06,595

Melissa wanted to get settled

before classes start.

323

00:23:08,236 --> 00:23:11,034

You wouldn't happen to have a towel,

would you?

324

00:23:21,416 --> 00:23:24,613

- Tough day at school?

- Tough field hockey practice.

325

00:23:25,187 --> 00:23:26,484

I rowed for Oxford.

326

00:23:27,022 --> 00:23:28,751

That looks good on a med school app.

327

00:23:29,858 --> 00:23:31,826

I did it because I loved it.

328

00:23:31,993 --> 00:23:33,392

Hmm.

329

00:23:35,030 --> 00:23:37,897

You probably have a fluid build up

in your bursa sac.

330

00:23:38,066 --> 00:23:40,296

Oh. I bet you say that to all the girls.

331

00:23:40,502 --> 00:23:41,628

I can help.

332

00:23:42,571 --> 00:23:46,007

Okay. Dr. Wren.

333

00:23:52,013 --> 00:23:54,038

Oh, that's awesome.

334

00:23:59,754 --> 00:24:00,914

Better, right?

335

00:24:02,457 --> 00:24:04,118

MELISSA:

Wren?

336

00:24:14,569 --> 00:24:16,503

- Hey.

- Who were you talking to?

337

00:24:16,671 --> 00:24:18,263

No one.

338

00:24:19,608 --> 00:24:21,041

Hey.

339

00:24:25,647 --> 00:24:27,581

Found them.

340

00:24:27,749 --> 00:24:30,274

[MICHAEL ROSSBACK'S "WHEN LOVE

GOES WELL" PLAYING OVER SPEAKERS]

341

00:24:34,789 --> 00:24:37,451

Well, look what else I found.

342

00:24:37,626 --> 00:24:41,255

Oh, she used to drag

that thing everywhere.

343

00:24:41,429 --> 00:24:42,589

[ELLA LAUGHS]

344

00:24:42,764 --> 00:24:44,322

I think you're happy to be back.

345

00:24:44,499 --> 00:24:46,262

- Aren't you?

- I don't know.

346

00:24:46,434 --> 00:24:47,992

I haven't decided yet.

347

00:24:48,170 --> 00:24:50,604

Oh. You and Aria, you're so much alike.

348

00:24:50,772 --> 00:24:53,206

I don't think she's happy

to be home either.

349

00:24:53,375 --> 00:24:56,310

I know it was like a vacation

from our real life...

350

00:24:56,478 --> 00:24:59,970

...but I felt like we really bonded

when we were away.

351

00:25:00,182 --> 00:25:02,878

Well, we had to connect.

We didn't know anybody else.

352

00:25:03,518 --> 00:25:04,678

I don't wanna lose that.

353

00:25:06,021 --> 00:25:08,785

Are you really worried that we will?

354

00:25:08,957 --> 00:25:11,221

It's just easy for stuff

to get in the way.

355

00:25:13,328 --> 00:25:14,989

What do you mean?

What kind of stuff?

356

00:25:15,163 --> 00:25:16,824

Oh...

357

00:25:17,999 --> 00:25:21,628

You know, I'm really surprised

that she brought that with us.

358

00:25:21,803 --> 00:25:24,237

Well, she loves it

because you gave it to her.

359

00:25:24,406 --> 00:25:26,237

What stuff

could get in the way of us?

360

00:25:26,474 --> 00:25:28,339

No, nothing.

Nothing, look, you know me.

361

00:25:28,510 --> 00:25:31,502

I just get a little overly obsessed

about work, that's all.

362

00:25:31,680 --> 00:25:33,272

Hmm.

363

00:25:33,882 --> 00:25:35,645

We're good, Ella.

364

00:25:36,117 --> 00:25:37,175

Now...

365

00:25:37,352 --> 00:25:39,980

Mm. It's all good.

366

00:25:40,155 --> 00:25:41,554

[BYRON SIGHS]

367

00:25:41,723 --> 00:25:46,023

Oh, I drove past Alison's house today.

Definitely something I haven't missed.

368

00:25:46,194 --> 00:25:48,719

Oh, God, a year later.

369

00:25:48,897 --> 00:25:51,263

Can you imagine what that family

is going through?

370

00:25:51,433 --> 00:25:53,196

I can't. I don't ever wanna imagine.

371

00:25:53,368 --> 00:25:56,701

- Lf anything ever happened to you or...

- Well, nothing is gonna happen.

372

00:25:56,871 --> 00:26:00,272

We are safe. We're together.

373

00:26:00,675 --> 00:26:02,666

And we're home.

374

00:26:02,844 --> 00:26:05,870

The best you've ever been

375

00:26:06,047 --> 00:26:10,313

Love goes well

It goes well

376

00:26:16,258 --> 00:26:18,658

[MELISSA LAUGHING OUTSIDE]

377

00:26:18,827 --> 00:26:21,057

[WREN & MELISSA

SPEAKING INDISTINCTLY OUTSIDE]

378

00:26:45,053 --> 00:26:46,384

[COMPUTER BEEPS]

379

00:27:18,620 --> 00:27:22,579

Are you really gonna eat that, sweetie?

I'm being a friend, Hanna.

380

00:27:23,091 --> 00:27:24,922

Aren't you supposed to be at Alison's?

381

00:27:25,093 --> 00:27:26,185

- Hi, girls.

- Hi, lan.

382

00:27:26,361 --> 00:27:28,420

Need help, Spence?

Got my stick in the car.

383

00:27:28,596 --> 00:27:31,963

Lan, what are you, her babysitter?

Ha, ha.

384

00:27:32,500 --> 00:27:33,933

You need to tell your sister.

385

00:27:34,135 --> 00:27:35,864

Tell me what?

386

00:27:39,040 --> 00:27:40,166

Nothing.

387

00:27:40,775 --> 00:27:42,299

Come on.

388

00:27:46,014 --> 00:27:47,743

Outside.

389

00:27:53,888 --> 00:27:56,379

- What the hell are you doing?

- She's gonna find out.

390

00:27:56,624 --> 00:27:57,648

No, she's not.

391

00:27:58,560 --> 00:27:59,822

I promise you, she is.

392

00:28:00,295 --> 00:28:02,957

Because if you don't tell her, I will.

393

00:28:03,565 --> 00:28:06,227

- I thought you were my friend.

- Don't you get it?

394

00:28:06,401 --> 00:28:09,768

- I'm trying to help you do the right thing.

- It was one kiss.

395

00:28:09,971 --> 00:28:12,303

- No, you listen to me, Alison...

- Or what?

396

00:28:13,541 --> 00:28:16,635

If you say one word to my sister

about lan...

397

00:28:16,845 --> 00:28:19,837

...I will tell everyone the truth

about the Jenna thing.

398

00:28:51,746 --> 00:28:53,407

Alison?

399

00:28:57,952 --> 00:28:59,920

I'm sorry for just stopping by.

400

00:29:00,088 --> 00:29:02,886

No. Anytime, Em.

401

00:29:03,057 --> 00:29:05,025

Come on, you know that.

402

00:29:06,060 --> 00:29:08,426

Somebody left a note in my locker.

403

00:29:09,864 --> 00:29:11,525

- From "A?"

- You too?

404

00:29:11,733 --> 00:29:14,395

Do you really think it's her?

Is it possible?

405

00:29:14,903 --> 00:29:16,427

Only Alison could've known...

406

00:29:16,671 --> 00:29:18,468

What? Known...? Known what?

407

00:29:20,742 --> 00:29:23,711

- It was...

- Personal?

408

00:29:24,813 --> 00:29:26,303

I really believed she was dead.

409

00:29:26,548 --> 00:29:28,914

Yeah. Yeah, we all did.

410

00:29:29,117 --> 00:29:31,210

Could she really be back?

411

00:29:31,386 --> 00:29:32,819

I think she's playing with us.

412

00:29:33,054 --> 00:29:34,385

Why would she do that?

413

00:29:34,589 --> 00:29:38,719

It's Alison that we're talking about here.

I mean, wasn't that her favorite sport?

414

00:29:39,794 --> 00:29:41,091

Should we tell someone?

415

00:29:43,498 --> 00:29:44,556

I mean, I don't...

416

00:29:44,732 --> 00:29:48,725

I don't know about you, but I can't.

417

00:29:49,704 --> 00:29:51,331

[EMILY CHUCKLES]

418

00:29:53,308 --> 00:29:54,605

I'm glad you're back.

419

00:29:56,811 --> 00:29:58,745

It's funny.

420

00:29:58,913 --> 00:30:04,749

I mean, even though I grew up here,

I feel like a total outsider.

421

00:30:06,354 --> 00:30:08,083

Me too.

422

00:30:16,097 --> 00:30:19,965

I ran into Ella Montgomery today.

423

00:30:20,502 --> 00:30:22,299

Why didn't you tell me Aria was back?

424

00:30:22,470 --> 00:30:24,665

It's not like we're still friends.

425

00:30:25,173 --> 00:30:27,471

She didn't know your father left.

426

00:30:28,476 --> 00:30:30,706

I hate telling that story.

427

00:30:30,879 --> 00:30:33,006

- So change the story.

- I did.

428

00:30:34,549 --> 00:30:36,608

You grew up. You grew apart.

429

00:30:36,784 --> 00:30:37,808

It was mutual.

430

00:30:37,986 --> 00:30:40,386

And honestly,

we are much happier without him.

431

00:30:40,889 --> 00:30:41,947

Hanna.

432

00:30:42,156 --> 00:30:45,250

Say it enough

and you'll actually start to believe it.

433

00:30:46,294 --> 00:30:49,127

I have to admit,

it does sound a lot better than the truth.

434

00:30:49,330 --> 00:30:51,491

Nobody needs to know

that we got dumped.

435

00:30:52,767 --> 00:30:55,395

We didn't get dumped. I did.

436

00:30:55,637 --> 00:30:56,865

He left both of us.

437

00:30:57,038 --> 00:30:58,528

[CELL PHONE RINGS]

438

00:30:59,908 --> 00:31:02,308

If that's Mona,

I'm staging an intervention.

439

00:31:04,812 --> 00:31:07,246

Hanna, it's dinnertime.

440

00:31:08,116 --> 00:31:09,674

[CELL PHONE RINGS]

441

00:31:11,152 --> 00:31:12,176

It's Ashley.

442

00:31:14,022 --> 00:31:15,956

[DOORBELL RINGS]

443

00:31:17,725 --> 00:31:20,023

Yes, I left it on your desk. Mm-hm.

444

00:31:26,334 --> 00:31:28,529

- Hanna Marin?

- Yeah, why?

445

00:31:29,103 --> 00:31:30,661

Is your mother home?

446

00:31:32,307 --> 00:31:34,104

Let me call you back.

447

00:31:34,309 --> 00:31:35,333

What's this about?

448

00:31:35,543 --> 00:31:38,512

We received a call

from the Rosewood Mall security.

449

00:31:38,680 --> 00:31:41,877

They have your daughter on tape

shoplifting a pair of sunglasses.

450

00:31:44,586 --> 00:31:46,747

I'm sure there's been a mistake.

451

00:31:48,056 --> 00:31:50,251

I don't think so.

Could you turn around?

452

00:31:54,829 --> 00:31:56,296

Mom.

453

00:31:56,464 --> 00:31:57,897

[HANDCUFFS CLICK]

454

00:32:09,677 --> 00:32:11,440

[INAUDIBLE DIALOGUE]

455

00:32:25,159 --> 00:32:27,150

[CELL PHONE RINGS]

456

00:32:44,712 --> 00:32:46,543

[WOMAN SPEAKING INDISTINCTLY

OVER PA]

457

00:32:54,956 --> 00:32:57,117

- What's going on?

- Let's go.

458

00:32:57,291 --> 00:32:58,849

Really?

459

00:33:00,161 --> 00:33:01,958

[SIRENS WAILING]

460

00:33:13,941 --> 00:33:17,308

In a small town like this,

what people think about you matters.

461

00:33:18,079 --> 00:33:19,239

I know.

462

00:33:19,414 --> 00:33:22,906

Then why would you risk it all

to steal a pair of sunglasses?

463

00:33:23,084 --> 00:33:25,382

I buy you everything you need

to be popular.

464

00:33:25,586 --> 00:33:27,850

- That's not why I do it.

- Then why do you...?

465

00:33:28,022 --> 00:33:30,183

This is something you do?

466

00:33:30,525 --> 00:33:32,459

- A few times.

- Oh.

467

00:33:34,462 --> 00:33:37,295

This is about your father, isn't it?

468

00:33:39,033 --> 00:33:41,968

You think

this is gonna get his attention.

469

00:33:43,805 --> 00:33:45,329

I made a mistake.

470

00:33:45,540 --> 00:33:48,998

In Rosewood,

you don't have room to make a mistake.

471

00:33:49,811 --> 00:33:52,837

- And neither do I.

- I'm sorry.

472

00:33:53,214 --> 00:33:55,614

I'll fix it somehow.

473

00:33:55,817 --> 00:33:57,842

You will deny you did anything wrong.

474

00:33:59,554 --> 00:34:01,852

- It was a misunderstanding.

- But...

475

00:34:02,023 --> 00:34:03,615

I'm taking care of it.

476

00:34:06,961 --> 00:34:08,394

[ENGINE STARTS]

477

00:34:15,303 --> 00:34:17,533

[SIREN WAILING]

478

00:34:39,994 --> 00:34:42,554

- Maya.

MAYA: Emily.

 479

00:34:43,364 --> 00:34:45,832

- Thought something happened.

- I tried to call you.

480

00:34:46,033 --> 00:34:47,864

What's going on?

481

00:34:48,069 --> 00:34:49,195

They found your friend.

482

00:34:49,403 --> 00:34:51,064

I knew she was back. Is she inside?

483

00:34:51,239 --> 00:34:52,729

Emily.

484

00:34:53,407 --> 00:34:55,272

I'm sorry.

485

00:34:55,476 --> 00:34:57,535

They found Alison's body.

486

00:35:58,639 --> 00:36:01,972

Heard the cops took Hanna

to the police station today.

487

00:36:02,176 --> 00:36:05,839

- You don't think she'd ever talk about...?

- The Jenna thing?

488

00:36:07,615 --> 00:36:09,606

We made a promise.

489

00:36:15,156 --> 00:36:18,785

REPORTER [ON TV]: Owners were in

the process of demolishing the structure...

490

00:36:18,960 --> 00:36:21,155

...to make room

for a renovation project...

491

00:36:21,329 --> 00:36:23,422

...when workers

made the gruesome discovery.

492

00:36:23,598 --> 00:36:26,192

Parents of the deceased

were unavailable for comment...

493

00:36:26,367 --> 00:36:28,528

...but a family spokesperson

has confirmed...

494

00:36:28,703 --> 00:36:31,695

...the gazebo was under construction

the summer 15-year-old...

495

00:36:31,873 --> 00:36:34,205

...Alison DiLaurentis disappeared.

496

00:36:34,442 --> 00:36:36,205

The family is asking for privacy...

497

00:36:36,377 --> 00:36:39,710

...as they come to terms with

the sad ending to a year-long mystery.

498

00:36:39,947 --> 00:36:42,006

And local authorities

are coming to terms...

499

00:36:42,183 --> 00:36:45,152

...with the fact

a killer is at large in Rosewood.

500

00:36:45,319 --> 00:36:46,877

ANCHOR:

Thank you so much.

501

00:36:47,054 --> 00:36:48,612

[BANGING ON DOOR]

502

00:36:48,789 --> 00:36:50,848

[TV SHUTS OFF]

503

00:37:27,828 --> 00:37:30,092

The discovery of her body

rocked this community.

504

00:37:30,264 --> 00:37:33,495

And today, hundreds of mourners

gathered to say goodbye...

505

00:37:33,668 --> 00:37:36,136

...to Alison DiLaurentis.

506

00:37:36,871 --> 00:37:38,839

[INAUDIBLE DIALOGUE]

507

00:37:52,420 --> 00:37:54,411

[BELL TOLLING]

508

00:38:01,162 --> 00:38:03,255

Was she a friend of yours?

509

00:38:03,931 --> 00:38:05,159

Do you care?

510

00:38:06,667 --> 00:38:08,862

I don't know what I feel worse about.

511

00:38:09,036 --> 00:38:12,028

Having to stay away from you

or being a jerk about it.

512

00:38:16,243 --> 00:38:18,177

Yeah, she was one of my best friends.

513

00:38:18,913 --> 00:38:19,937

I'm sorry.

514

00:38:20,982 --> 00:38:23,280

For Alison or for being a jerk?

515

00:38:23,484 --> 00:38:24,678

Both.

516

00:38:27,588 --> 00:38:28,953

Thank you.

517

00:38:32,893 --> 00:38:36,886

I would never wanna do anything

that would get you in trouble.

518

00:38:46,774 --> 00:38:48,571

Goodbye, Ezra.

519

00:39:23,310 --> 00:39:25,301

[ALL CHATTERING]

520

00:39:34,488 --> 00:39:36,319

Mrs. DiLaurentis?

521

00:39:36,490 --> 00:39:37,548

Aria.

522

00:39:37,758 --> 00:39:39,623

I'm so glad you came.

523

00:39:41,962 --> 00:39:44,522

I asked the other girls

to sit together up front.

524

00:39:44,698 --> 00:39:48,065

- It's what Alison would've wanted.

- Of course.

525

00:39:50,171 --> 00:39:51,695

[MOUTHS]

Hi.

526

00:40:18,833 --> 00:40:20,858

Poor Ali.

527

00:40:21,035 --> 00:40:23,503

Can you believe what a scene this is?

528

00:40:23,671 --> 00:40:25,730

Alison would have loved it.

529

00:40:25,906 --> 00:40:29,000

Popular in life and death.

530

00:40:38,919 --> 00:40:42,047

- No, thanks. I don't...

- Today, I think you do.

531

00:40:43,657 --> 00:40:45,648

[CELL PHONE RINGS]

532

00:40:53,601 --> 00:40:55,193

Anyone we know?

533

00:40:55,369 --> 00:40:57,337

No, it's just my mom

sending me a text.

534

00:41:01,976 --> 00:41:05,742

Emily and I aren't the only ones

who got messages from A, are we?

535

00:41:05,913 --> 00:41:08,905

[CROWD CHATTERING]

536

00:41:09,083 --> 00:41:10,482

Oh, my God.

537

00:41:12,620 --> 00:41:14,349

It's Jenna.

538

00:41:37,278 --> 00:41:39,246

Did you see that Jenna Marshall

was here?

539

00:41:39,413 --> 00:41:41,506

I didn't realize

she and Ali were friends.

540

00:41:41,682 --> 00:41:43,274

They weren't.

541

00:41:46,453 --> 00:41:50,822

The Lord giveth

and the Lord taketh away.

542

00:42:02,703 --> 00:42:05,001

Emily, Spencer...

543

00:42:05,706 --> 00:42:07,503

...Aria and Hanna.

544

00:42:08,409 --> 00:42:11,503

- Do we know you?

- I'm Detective Wilden.

545

00:42:11,679 --> 00:42:14,546

Understand you were all good friends

with the victim.

546

00:42:14,715 --> 00:42:17,047

- We were.

- Gonna need to talk to each one of you.

547

00:42:17,284 --> 00:42:19,309

We talked to police

when Ali went missing.

548

00:42:19,520 --> 00:42:21,351

I intend to go over your statements.

549

00:42:21,555 --> 00:42:24,524

As this is no longer

a missing persons investigation.

550

00:42:24,692 --> 00:42:26,182

It's a murder.

551

00:42:28,495 --> 00:42:31,953

And rest assured, I will find out

what happened that summer.

552

00:42:42,676 --> 00:42:44,667

[INAUDIBLE DIALOGUE]

553

00:42:58,392 --> 00:43:01,759

- Do you think he knows about...?

- No, how could he?

554

00:43:02,162 --> 00:43:05,063

[MULTIPLE CELL PHONES RING]

555

00:43:10,271 --> 00:43:12,000

Oh, my God.

556

00:43:12,172 --> 00:43:14,003

- It's from...

- I got one too.

557

00:43:14,174 --> 00:43:16,074

"I'm still here, bitches."

558

00:43:16,277 --> 00:43:19,246

ALL:

"And I know everything. A."

559

00:44:33,654 --> 00:44:35,645

[ENGLISH - US - SDH]