Episode Report Card Jacob Clifton: A+ | 95 USERS: A YOU GRADE IT Neither Tarnished, Nor Afraid
By Jacob Clifton | Season 4 | Episode 19 | Aired on 02.11.2014
Emily: "But why give it back, after he came at us so hard to get it?"
Spencer: "Because it's a Trojan Horse. Here we have 'I can't stop thinking of Ambrose Pierson,' okay, but in the scanned page it says 'I can't stop thinking of Ambrose Pavilion.'"
Hanna: "What is either of those things?"
Spencer: "Doesn't matter. It's enough of a clue that he needed to change it. All of them are just little things: January becomes March, a cute girl becomes a cute guy..."
Emily: "And he thinks we won't notice, because we're so proud of getting it back. That high-stakes heist where we walked into his class and took it."
Hanna: "So we have our edge back, but on the down that means Ezra left it there for us, so he definitely knows we know."
Spencer: "Yeah, it confirms my theory I formulated based on him threatening my life in every dimension of the universe."
There's a cute moment as they rush out the door where Hanna mentions Aria's lie about visiting Byron in Albany, and Spencer just offhandedly corrects her that it's Syracuse. This was hilarious because of the way she said it and the way it was edited, but I realize I can't explain in print. Just trust me, it was a riot.
MONTGOMERY
Emily: "Wait. Let me try calling her one more time before we wake up the whole house."
Spencer: "First of all, she is the only person that lives here. Think about it."
Hanna: "Yeah, but she's not alone. I used this special spy technique I know about called looking in the window, and she is in there kissing Ezra. And he's wearing a hoodie."
Spencer: "Aw, fuck. I guess we don't have to tell her right now, then. Oh darn."
A-TAG
Back in the noir universe (unoirverse), the camera says goodbye to Ali's dressing room, the lighted mirror, the jagged shards of glass everywhere, and lights upon a telegram from A, stuck in the mirror frame like it's a precious memento.
Break a leg. Stop. Kisses, A.
The picture closes down in an old-school iris wipe, and the film burns off the projector altogether.
THE SIMPLE ART OF MURDER
That was fun, right? Framing from the inside can do such radical things to a text, and the fact that it was so tied up with Spencer's own internal stuff just made it all the more poignant. But so before I go, here's Raymond Chandler on the bizarre nature of the hard-boiled narrative. Or, why it's fine that Alison DiLaurentis can often be found flying a plane with a mask of her own face over her face, despite being a deceased individual:
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