Ezra: "Uh, this is why I keep estranging you. Shit like this."
Diane: "Pish. Maybe it was just past her bedtime. And anyway, we were having a lovely chat. Perhaps she just felt... Out of place."
Ezra: "You can endow all the museums you want, but you're not fooling anybody. There's not a generous bone in your body."
Hanna is dressed like a schoolmarm in a spaghetti western, of course, but her lavender notecards are all in order, and the medical board is listening attentively to her, because this is a real thing that would ever happen.
"I believe it would be very therapeutic for Mona to stay at Radley. She needs the 'continuity' of 'clinical environment' so important to fully 'integrate' the socially challenged teen back into the 'peer community'..."
It's painful. She's acting so well, as usual, and so it's clear that Hanna understands the concepts behind the words but not enough to follow their syntax exactly, and she's nervous and stuttery and desperate and beautiful, and it's like... A lot of the time this show depends on putting you in their place or rooting for them in a seriously emotional, invested way, and you're just like... It's just so awkward. It's great.
Wren gives Hanna and encouraging nod, and she tries to go back to the cards, but she realizes how weird it's getting in the room, so she just pulls a Hanna (the good kind) and looks 'em right in the eye. This is verbatim, because Hanna is wonderful:
"Look. Mona did some terrible things. She did some of them to me, and I'm her best friend. I don't know how she could, but I think I understand how angry she was."
(...Which is when you realize it's going to work. Because anger is one thing Hanna, of all of them, has always understood the most. It's also where her compassion -- for Mona, for Lucas, for Jenna at the window -- comes directly from. I don't know how to explain that, except to say that the thing that makes you awesome is the thing that makes you suck, always, and that Hanna's always been my favorite because it's easy to have compassion for her anger, for me personally. There are many things to love about Hanna Marin, but her anger is the only thing that demands it.)
"Mona and I are very, very close. I mean, we're like the same person, we started out at the same place. And we were so close to ... becoming those girls who would sit at a table and guard purses while the hot girls were on the floor dancing. But Mona made sure we didn't disappear. And I owe her for that.