"I would write... Dear Diary"

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Previously on The Originals

VINCENT: When the spell is over, you got to get away from each other, and you have to stay away from Hope.
KLAUS: So the evil is separated for all time.
IVY: A powerful seer prophesied destruction. "And thou shall know the signs of blood from water, vipers from the rivers."
KLAUS: "Fire across the water, monsoons from the sea. The death of all Firstborns."
IVY: Freya, me.
KLAUS: Hope. This is the last time we can do this.
HOPE: I'm gonna fix this for us. We have to save always and forever. I'd really like your help.
FREYA: Anything you need.
KLAUS: He let Hayley die! She thought Elijah was there for her, but he wasn't.
ELIJAH: This is revenge.
KLAUS: I'm taking great pleasure knowing she'll suffer.
MARCEL: For a cure for Klaus's bite, he wants to make a deal. Are you ready? Open the red door. Remember your family. Remember Hayley!
ANTOINETTE: Why isn't he waking up? What the hell just happened?
MARCEL: You better hope that he wakes up in time to get you this.
ELIJAH: There's no way out. We're trapped here.

Chambre de Chasse

[Lafayette Cemetery]

KLAUS: (voiceover) In New Orleans, bodies cannot be buried. Instead, in boxes above the ground,the dead cluster together. When a man passes on,his family tomb is cracked open. Old bones are shoved aside to make room for fresh remains. Bloodlines rot, entangled.

[The Abattoir]

KLAUS: (voiceover) The houses are that way, too. Layer upon layer of peeling paint, hiding little tragedies. Scorch marks from the fires. Waterlines on wallpaper. These are the tombs of the living, where we rot alongside memories of our dead. Crowded with people we have failed and those who have failed us, we are forced to struggle with those we love.

Chambre de Chasse (The Abattoir)

ELIJAH: Every last exit is sealed. If you're thinking about jumping, don't. I already tried it. I landed in the world's most pretentious wine cellar.
KLAUS: You sorted it by vintage. You don't remember, do you? I thought Marcel was intent on retrieving your memories.
ELIJAH: He was. He failed. I still remember absolutely nothing, and Antoinette is dying.
KLAUS: Is she? Right. Yes. I'd forgotten.
ELIJAH: What the hell are we doing here? What is this place? This is dangerous, you and I here together.
KLAUS: We're not actually here together, are we? Not physically, at least. It's called a Chambre de Chasse. It's a magical mental prison designed to resemble our home. But don't worry. There's always a way out... A game or a riddle.
ELIJAH: How do we solve this riddle?
KLAUS: We don't do anything. We're square, you and I. You got Hayley killed, and Antoinette will die because of me. I would hate to upset that delicate balance. So I'm gonna find my way out, and you're on your own.


Chambre de Chasse (The Abattoir Interior)

KLAUS: Who's there? Show yourself!
REBEKAH: Oh, Nik. Always so dramatic.
KLAUS: Rebekah.
KOL: Bloody hell. My least favorite recurring nightmare.
REBEKAH: I was in Corsica, drowning my sorrows about Hayley, and I suddenly dropped. What I wouldn't give to spend just a decade without being dragged into a godforsaken Chambre de Chasse.
KLAUS: Suppose you were in a board meeting.
KOL: I was waiting for my wife to come home from work. Once again, ripped from complete contentment for... this. Suppose I'll ask the obvious: piss off any witches lately?
KLAUS: Actually, my current enemies are a group of hatemongers who see myself and my daughter as abominations to the vampire race.
REBEKAH: The bigoted undead. That's new. They must have a witch-for-hire.
KOL: A witch that's spent enough time here to replicate every detail. This is Elijah's prized Cheval Blanc.
FREYA: The culprit may be closer to home. A witch who knows the compound well and who doesn't trust you to stay away from Elijah. Someone who would risk everything to save New Orleans from plagues.
KLAUS: Vincent.
FREYA: On the bright side, he'd never harm Hope. You, on the other hand, I expect he'll be shipping your bodies to the four corners of the world.
REBEKAH: All of our bodies? He isn't here, is he?
ELIJAH: He is. I think I might have just found a way out of here.

Chambre de Chasse (The Abattoir Courtyard)

ELIJAH: This wasn't here before. What is it?
KOL: It's representational magic. I expect there are keys, one for each of us, hidden somewhere meaningful. Somewhere connected to who we are.
ELIJAH: And for those of us who don't remember who we are?
KLAUS: I'll give Antoinette your regards.
FREYA: Door won't open unless all five locks are released. The only way out is together.
KOL: Elijah, if we're to get through this without bloodshed, I recommend that you go to the corner of the house furthest from Nik. Come on. Follow me.
KLAUS: Split up. We need to turn this place upside down. I only just promised my grieving daughter I wouldn't abandon her again. I can't be stuck here.

Chambre de Chasse (The Abattoir Interior)

ELIJAH: Ominous weather.
KOL: That's an indication of what's actually happening in New Orleans. Hope and Klaus are in the same city. The resulting consequence is leaking into this reality. Here, this might jog your memory. This is all the junk you deemed as worthy of preserving. Ring any bells?
ELIJAH: You know, Klaus came to visit me at my bar in France. Rebekah, too. You didn't.
KOL: You and I have never really had much in common besides our dashing good looks. And you and Freya more or less murdered my wife, so...
ELIJAH: I'm...
KOL: The journals. They may contain information about what represents you, somewhere amongst the martyrdom and self-righteousness.
ELIJAH: Wait. Did I ever apologize to you for what I did?
KOL: In your peculiar way, I suppose. Look, what matters is that I got her back. Not everybody is so lucky.

The Abattoir


HAYLEY: This is your family's house? What the hell happened here?
KLAUS: A battle, obviously. They lost, I won. The world is right again. Why don't you find a bedroom. Preferably one that hasn't been contaminated by Marcel's miscreant pests.
HAYLEY: I'm not staying here. This isn't a home. This-this is a war zone.
KLAUS: You see that crest? My heir belongs here. What you want is of no consequence.
HAYLEY: Klaus, I can be your hostage, or we can try and be better than that. For our child. We can try and make her feel safe.
KLAUS: I'll have someone clean this up. Why don't you take Kol's room. It has a fireplace.
HAYLEY: Klaus. I want to believe that this baby means something to you. I want to believe in you. Don't let us down.

Chambre de Chasse (The Abattoir Courtyard)

REBEKAH: Nik, it's done.
FREYA: I think we've established that there's no key in the crest.
KLAUS: The thing was a relic anyway.
REBEKAH: Marcel.
MARCEL: Damn it! I got to go now.
KLAUS: Hey! What game is Vincent playing?
MARCEL: Oh, this has nothing to do with Vincent. We got to get out of here. The city is about to wash away. She's out of her damn mind.
KLAUS: Who, Marcel?! Who put you here?!
MARCEL: It was Hope. Hope is responsible for all of this. Ivy was telling Vincent and me all about the latest prophecy when a hurricane showed up off the coast out of nowhere.
FREYA: A monsoon from the water is the final curse before the firstborns die.
MARCEL: I went to go find you guys. Hope was at St. Anne's. She had Klaus and Elijah's bodies laid out on the floor. She's gathering up all of you to take back the power that's been split up inside of you.
KLAUS: She can't do that. It'll destroy her. That was the whole point.
MARCEL: She threw me in here when I tried to stop her. I can't leave until you guys find your keys.
REBEKAH: Well, she can't find my body. It's halfway across the world.
KLAUS: She has help. I created hybrids with her blood, they're sired to her. They'll do anything she asks. She'll take the power back. She'll end the curses, she'll keep the firstborns safe, and then my daughter as we know her will be forever lost to darkness.

Chambre de Chasse (The Abattoir Interior)

ELIJAH: What was my relationship like with your daughter?
KLAUS: The irony of you expressing interest in family...
ELIJAH: Listen, I got nothing to go on here. You help me, we all get out of here.
KLAUS: The day she was born, you gave her this.


KLAUS: She needs a name, Hayley.
HAYLEY: Zoe? Caitlin? Katherine?
KLAUS: God, no.
HAYLEY: I never knew I could love something so much. It honestly feels... awful. Like it might kill me.
KLAUS: It nearly did. I'm sorry the beginning of her life was so violent.
HAYLEY: It's not your fault, Klaus. I know that you fought for us.
KLAUS: You know, when Elijah thought you were dead, he said we'd lost our family's only hope.
HAYLEY: "Hope." Hope Mikaelson.
KLAUS: Hope Andrea Mikaelson.

[End Flashback]

KLAUS: You gave her her name.

Chambre de Chasse (The Abattoir Music Room)

MARCEL: You got something against literature?
KOL: Well, these are the collective works of William Shakespeare. Love, power, betrayal. How to thrive in the Mikaelson clan 101. Davina and I sent these to Hope on her ninth birthday.
MARCEL: How is Davina? You know, she doesn't call much these days.
KOL: Well, that's how normal families work. You learn what you can, and then you grow up. Join a cult, start a rock band, find love, make your own family.
MARCEL: Hmm. Doesn't that fly in the face of "always and forever"?
KOL: You know, to think I spent a thousand years dying to be a part of that vow.
MARCEL: What changed?
KOL: I met a girl. Voilà. Four more keys to go.
MARCEL: Why would your book of plays be in the music room?
KOL: Kids are messy?
MARCEL: Yeah, but this room doesn't even exist anymore. There was a storm. Everything was damaged. That was at least a century ago. Hope's never even seen this room.

Chambre de Chasse (The Abattoir Bedroom)

FREYA: It doesn't feel real yet.
REBEKAH: I guess I've always been jealous of her. I was jealous when I saw her with Hope. I was jealous when she got married. I guess I'm even jealous that she's dead.
KOL: Wow, that's morbid. Freya, I'm trying to sort out a puzzle. A Chambre de Chasse of this size would be constructed from the depth of memory, right? But there's a room here that hasn't existed for a century. And Hope would've never seen it.
FREYA: Oh, that's impossible.
KOL: Wiped out by a storm. The music room. Oh, I brought you there during the Christmas party, where we drank, Marcel played "Carol of the Bells," Niklaus stabbed me in the heart. You remember.
KLAUS: Freya, what have you done?

Chambre de Chasse (The Abattoir Courtyard)

FREYA: Hope asked for my help.
KLAUS: So you decided to lend a hand in her destruction?
FREYA: The plagues are nearing their end. All it would take is one more meeting between you to end it all, something needed to be done.
KLAUS: I was leaving New Orleans when you struck me down.
FREYA: Who's to say you wouldn't be weak again? Test the limits to lay your eyes on Hope, as you did with Elijah?
KLAUS: Don't put this on me! I was trying to protect her. Perhaps I was wrong to have faith in you. Maybe your obligations to family were infringed upon by other plans. Keelin's back, isn't she?
FREYA: Stop it, Klaus. I have sacrificed everything for you, for Hope. I understand that you were trying to protect her, but that is not what she needs right now.
KLAUS: I'm her father. I decide what she needs and what she doesn't.
FREYA: Do you? Because while you were gone, I was here, with Hayley. Hope did everything we ever asked of her. The one time she acted out, it was because she missed her dad. You want to see what she does with a lifetime of missing both her parents? We have to let her make her own choices.
KLAUS: She's a child.
FREYA: Her childhood ended three days ago, when she lost her mother. And as long as that magic is inside of you, Klaus, she's as good as orphaned. Look, we've all done dangerous things for family, and we've seen each other through it. Now it's her turn.
KLAUS: Freya. You have to stop her.

Chambre de Chasse (The Abattoir Interior)

REBEKAH: I was avoiding you.
MARCEL: Look, I got to ask. How come your pain-in-the-ass brother Kol can be happy with someone he loves, but you can't?
REBEKAH: Can this conversation please wait?
MARCEL: Till when? I mean, tomorrow you'll be gone or the world will be on fire.
REBEKAH: The world is on fire, Marcel. Right now, I just... I need to find this key.
MARCEL: Uh, Hope's a teenager with secrets. She knows all the good hiding places. You remember when this room used to be yours? And I was a lovestruck idiot, writing you letters?
REBEKAH: You hid them where Klaus wouldn't find them, but I would. Thank God.
MARCEL: You know, I used to think I could choose when to love you. You'd leave, and then I'd fall back into the arms of this city. Every time. But that's not working anymore. I love you, Rebekah. I always have and I always will. The least you could do is tell me why you left me standing alone at city hall.
REBEKAH: Why would you want to be loved by me, Marcel? My family is cursed.
MARCEL: Oh, bull. Look, I'm not Hayley and I'm not Cami, all right? I'm not gonna die on you.
REBEKAH: I'm not worried I'm gonna kill you. There are far worse ways that I could destroy you.
MARCEL: Oh, I know. You're doing a pretty good job of it right now.

The Abattoir


HAYLEY: Who knew that an 11-year-old's birthday party would be so exhausting? Oh, she, uh, she really liked the bike you got her.
KLAUS: Well, she doesn't need to know where it's from.
HAYLEY: Look, I can't fix this if I don't know why you two aren't speaking.
KLAUS: Well, that's actually why I'm calling. We no longer need to continue having these little chats. You've done a fine job with her. And I trust you'll continue to do as such.
HAYLEY: Since when do Mikaelsons bail on each other?
KLAUS: You're not a Mikaelson. You've escaped us, Hayley. For God's sake, take the win.
HAYLEY: I'm not giving up on you, Klaus.

Chambre de Chasse (The Abattoir Interior)

MARCEL: Kol and I already searched this room, unless you're just here for the trip down memory lane.
ELIJAH: There is no memory lane.
MARCEL: That's what I'm told. Though I find it very hard to believe, considering Vincent finished the spell.
ELIJAH: Maybe Vincent should find himself a new hobby, 'cause clearly this witchcraft thing isn't working out for him. Either that, or whatever meddling you did fried my brain.
MARCEL: You don't remember teaching me how to play the piano in this room? Or welcoming me home from the war, in the courtyard? How about exiling me from the city that I built? Or ripping my heart out, before dropping my body off a bridge?
MARCEL: Well, I guess if I were you, I wouldn't want to remember either.
ELIJAH: What are you suggesting here, Marcellus?
MARCEL: "Marcellus." I guess something in your memory is working after all.

[In another room...]

MARCEL: What are you burning?
KLAUS: Ancient history.
MARCEL: You know, you're all the same. You setting fire to your guilt, Rebekah pretending she doesn't love me, and Elijah, lying about his memories.
KLAUS: What do you mean?
MARCEL: He just called me "Marcellus." Things are creeping in, only nothing of substance, nothing that hurts. If Elijah doesn't know who he is, it's not because of magic. It's because he doesn't want to remember.
KLAUS: Well, now he's gonna have to, if he wants to save his girlfriend's life.
MARCEL: All right, Hope, where did you put his key?

Chambre de Chasse (The Abattoir Interior)

KLAUS: You've been lying to us all day. You remember everything.
ELIJAH: I remember nothing. For all I know, I was born at a bus stop seven years ago.
ELIJAH: Why would I lie? I want out of here as bad as you.
REBEKAH: What's going on?
KLAUS: Our brother has been deliberately repressing his memories to keep us trapped here.
ELIJAH: I am not your brother! And I didn't ask for any of this.
REBEKAH: You most certainly did. It's not like you held a family vote before you decided to erase all of us.
ELIJAH: You ever consider the possibility that perhaps you don't even want me back? I mean, it seems to me that I make you all incredibly miserable.
KOL: We all make each other miserable.
REBEKAH: But through it all, we are family, and we made a vow. Always and forever.
ELIJAH: I made another vow! And the woman that I pledged my life to is out there, and she is dying. So, if you believe in any way that-that I am your family, then I'm begging you... I'm begging you... help me.
KLAUS: When Vincent and Marcel were recovering your memories, what did you see?
ELIJAH: A white corridor. A long white corridor with a red door.
KOL: That's where you hide the things you don't want to remember. You've been doing it for a thousand years.
KLAUS: Then what happened?
ELIJAH: I tried to open the door. The handle was on fire. It was a searing heat. I mean, I've been in broad daylight without my ring, and I've never, ever experienced any heat like it.
KLAUS: So you know how it feels to have your flesh melt from your bones, have your insides turned to lava. Because that pain is the last thing Hayley knew. No swift and painless death for her. Just raw fire! It's true. And that is what's behind your door: the truth about what you did to the woman you love.
ELIJAH: The woman I love is Antoinette.
REBEKAH: How can Antoinette possibly hold a candle to Hayley, to the way that you felt about her? You loved her.
ELIJAH: I mean, did I? Did I really? Are you sure that my feelings weren't simply the product of my ridiculous crusade to try and save you? Any excuse whatsoever just to maintain that pathetic entanglement... of always and forever.
REBEKAH: The storm's escalating. We're running out of time.
KLAUS: We're wasting it rehashing ten centuries of separation anxiety, and none of this has anything to do with our vow.
REBEKAH: It has everything to do with our vow. Why do you think we never tore Elijah and Hayley apart? You knew that Hayley would stay close because of Hope, and as long as Elijah was in love with Hayley, he would never leave you, either.
KLAUS: But he did leave! Elijah was always there for me. Swooping in when my rage got the better of me, setting me on a path to redemption. For a thousand years, he made me need him. My brother was my greatest ally. He was the only one who could give me a chance of being worthy of Hope. And he was my best friend. You killed him. And I hate you for that.
KOL: Hope's taking the power from us. There's no stopping it.
REBEKAH: It's too late.

Chambre de Chasse (The Abattoir Underground and Courtyard)

MARCEL: Oh... Great.

[In the Courtyard]

MARCEL: Rebekah. Elijah's key, I got it.
REBEKAH: How did you find it?
MARCEL: Well... Kol's key was in As You Like It. Act one, scene three. "Now go we in content to liberty, not banishment." Hope knows you can't stay. She's setting you free. Rebekah, she put yours on the necklace that you gave her, hidden somewhere safe and secret.
REBEKAH: Just like I hid her when she was a baby.
MARCEL: Klaus found his in letters Hayley wrote to him about Hope.
KLAUS: Get on with it.
MARCEL: Elijah has been a lot of things to me over the years. After you ripped my heart out, all you represent to me is death. After what happened to Hayley, Hope sees you the same way. Your key was in a coffin, in the dungeon.
KLAUS: Come on. Let's be done with my daughter's maze of metaphors.

Elijah's Subconscious

KOL: Oh, bloody hell. Now we're in Elijah's mental maze. Of all the hells I've had to endure...
ELIJAH: The door. What is this, Hope's revenge? Imprison me till I reclaim all of my memories, forcing me to accept accountability for all of this?
KOL: Well, as much as I love a cherry on top of a scheme... I have somewhere else to be.

[Kol and Marcel awaken from the Chambre de Chasse.]

REBEKAH: Nik, we can't just leave him here.
KLAUS: He can find his own way out.
REBEKAH: We made a vow.
KLAUS: I made a vow to my brother. That's just the man who got Hope's mother killed.
REBEKAH: I thought the same thing about you once. Do you remember our mother? Before all of the turmoil? Because I do. I remember when she would put flowers in my braid, and I remember when she would sing to us in the morning. And then you killed her.
KLAUS: Why are you bringing this up now?
REBEKAH: Because we are capable of doing terrible things, but we are also capable of forgiveness.
KLAUS: It's just a door, Elijah! Open it! Go on, Rebekah. We'll be right behind you, both of us.

[Rebekah wakes from the Chambre de Chasse.]

KLAUS You killed my brother when you let Hayley die. Because despite what you might think, you did love her. Not 'cause of some family obsession, because of her. Because she believed in something better for all of us. And because she fought for it when we couldn't. Come on. I don't know who you'll be on the other side of that door, but I know that you can't open it alone. You need me. Elijah.

St. Anne's Church

[Elijah and Klaus go through the red door, together and Elijah regains his memories. He's overcome with the pain of Hayley's death. Rebekah, Kol, Klaus, and Marcel watch on, as Elijah cries out in pain and guilt.]

KLAUS: There's enough here to cure Antoinette. If what you desire is to let go of your past and build a future with her, then you should go to her.
ELIJAH: Niklaus.

The Abattoir (Balcony)

REBEKAH: You've watched the French Quarter triumph over far worse than this.
MARCEL: There's always a new storm coming.
REBEKAH: I want that. A life with context. I want to have children and grow old. I want to... die a brittle lady with spots on my hands and clouds in my eyes. But I'll never have that.
MARCEL: You get to have so much more than that. We get to bear witness, to watch history unfold, to see barriers fall, to see the oppressed rise. We get to watch it all. Together. Isn't that worth it?
REBEKAH: That's why you're so great at being a vampire, Marcel. You chose this. I didn't have a choice. I'm cursed and... I'm angry. I don't want you to promise to be by my side while I fester. 'Cause I love you, Marcel. That's why I won't let my sadness destroy you.


ANTOINETTE: It used to be noise. Now it's music.
ELIJAH: Antoinette.
ELIJAH: Shh, shh, shh. Shh, shh. I'm here. Drink.
ANTOINETTE: Thought I'd lost you. Elijah.
ELIJAH: Forgive me.

The Abattoir

KLAUS: I need the room.
FREYA: Hope is fine. No fevers, no magical outbursts.
KLAUS: Yeah, I just looked in on her. She's practically comatose.
FREYA: She's asleep. She deserves the rest. You should be proud of her. Your 15-year-old just saved an entire city, and no one will know to thank her for it.
KLAUS: I said I need the room.

[Klaus goes through some letters that Hayley sent him years ago, letters about Hope. Elijah dresses in his suit and heads to the Bayou to Hayley's memorial. One letter that Klaus opens contains a photo of a younger Hope; it brings a smile to his face. Klaus reads a letter from Hayley; it reads: Dear Klaus, You'd have been proud of Hope today. She's back home for summer break. I brought her out to the bayou for the crawfish boil, hoping she'd play with the other Crescent kids, but when I turned around, she was gone. I found her inside at Mary's bedside, telling her stories and singing to her. Sometimes I think about all the unlikely things that led to her existence -- you and I born a thousand years apart and all of the petty crap that brought us to that one night in Mystic Falls. It's been hard ... but the truth is, I watch her curled up next to that dying woman and I knew I wouldn't change a thing. In all my life, I've never felt lucky before her. Anyway. We miss you. Hayley.]


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