FANDOM


Logotransparent
"I would write... Dear Diary"

This article has been identified as an article that needs help. The reason the article has been tagged as such is that it is lacking information about recent episodes and/or correct information. You may wish to edit it to improve the standard or quality of work present on this article.



Previously on The Originals

KLAUS: A thousand years ago, we three made an eternal vow. Always and forever. That vow now includes my daughter.
VINCENT: Hope's gone. She's the Hollow now.
KLAUS: You said there was a way to save her.
VINCENT: There is. When the Hollow was killed, they divided her remains. Four bones, four volunteers, four different locations. That's how we're going to beat the Hollow now.
FREYA: Transfer the Hollow's power into four immortal vampires.
VINCENT: And you have to go your separate ways, and you have to stay separate. Can never see each other again. Can never go near each other again. This is gonna be the end of always and forever.
KLAUS: Well, if it'll save my little girl, then we will make it so.
VINCENT: When this spell is over, you got to get away from each other, and you have to stay away.
REBEKAH: I can hear it whispering.
ALARIC: Caroline and I have built a school. It's a place for kids with supernatural leanings, just like Hope.
HAYLEY: I think this is what she's always wanted. Friends her own age. A normal life.
ELIJAH: My disease has always been blind devotion to my brother.
VINCENT: The Hollow's too powerful. It's gonna tempt him to try to get back with his siblings.
ELIJAH: Compel me.
VINCENT: We can wipe out centuries of family drama.
MARCEL: The promise of always and forever. Forget it. Your vow. Let it go.

France

KLAUS: In all my travels, France never disappoints. Now I find I'm physically drawn to the place, as if locked in an orbit I'm helpless to alter. I suppose we're all satellites orbiting those we love. Recently, though, I'm left to orbit from afar, and to pass the time by dropping in on old acquaintances. Entres nous, in , the Gatineaux family and I had a little falling out. I'd really like to put that to rest. So if you'll just... stand aside? You must've heard of me. Klaus le Fou? Klaus le Dement? Niklaus der Morder? No? Nothing? I myself prefer Klaus the Mad. Do spread the word.

TITLE CARD & CREDITS

Mystic Falls, Virginia (Salvatore Boarding School)

HOPE: Hey. You have the money? I'm not gonna ask where you got this. Remember, one now, one after. You sure about this, Henry?
HENRY: Yes.
HOPE: Do me a favor. Be discreet.
LISINA: It's me. Leave a message.
HENRY: Hey, Lisina. You're gonna get a call later. I just want you to know that there's nothing you could've done.
HOPE: Come in. Mr. Williams. What's up?
DORIAN: Mr. Saltzman wants to see you. It's about Henry Benoit.
HOPE: Is, um, Mr. Saltzman calling my mom?
DORIAN: That, and he thinks your dad should know what you've been up to.
HOPE: Yeah. Good luck finding him.
DORIAN: Pack your bags, Hope. You're going home.

Rousseau's

POPPY: Okay, guys. If these don't prep your liver for Mardi Gras, then nothing will.
JOSH: Eh, my liver was probably dead before I became a vampire, but thanks, Poppy.
VINCENT: Okay. So we should probably get back to Mardi Gras prep.
JOSH: Oh, come on, Vincent, we got this. All right? It's gone off without a hitch for, what, seven years now?
VINCENT: Josh, that's because we haven't taken it for granted in seven years. Let me remind you: moments of prosperity are invariably followed by times of great pain, unless we remain vigilant.
FREYA: Thank you, Mr. Buzzkill.
VINCENT: Okay, Freya, what you got, Mardi Gras prep?
FREYA: The witches will be working on their float in the City of the Dead.
HAYLEY: The werewolves in the Bayou.
VINCENT: Josh?
JOSH: Yeah?
VINCENT: Hmm? This is when you're supposed to say that the vampires are gonna steer clear of both. Yeah. Uh, actually, maybe we should offer them some sort of incentive.
HAYLEY: Seven years of peace and prosperity not enough? Well, it is, but we could always use more daylight rings.
VINCENT: Is this a negotiation, Josh? Marcel.
JOSH: You know what? First of all, reading that was very rude, and second...
VINCENT: Josh, I don't know how many times I have told you that what goes on in this city is no longer any of Marcel Gerard's business. Okay? A-And, guys, this is what I'm always talking about. Marcel means Rebekah. Rebekah means Kol and Elijah. And I don't even want to think about Klaus right now, 'cause apparently, he has lost his mind.
FREYA: Oh, come on, we don't know if those rumors are true.
VINCENT: I know that we need to make sure that they stay as far away from this city as possible. And Freya, I'll be Mr. Buzzkill if it means reminding everybody here that the magic that those four carry inside of them, if we just put two of them in the same place, it is a ticking bomb.
HAYLEY: Relax. Okay? Marcel's in New York. Elijah is...
JOSH: In Amnesia-land.
HAYLEY: Right, and Klaus is wherever Klaus is these days. We're fine.
POPPY: Declan sent these over to tide you over until your date tomorrow.
JOSH: Oh.Oh, my God, I swear, if you don't marry that guy, I will.
HAYLEY: Baby steps. He's human. Life's complicated enough. Oh. Hope's school. Like I said. Hello?

Mystic Falls, Virginia (Salvatore Boarding School)

WITCH: Faire à voir là ré...
ROMAN: Later, dude. You going somewhere?
HOPE: Home. I, uh, I got suspended.
ROMAN: Hope Marshall got suspended? Cool.
HENRY: Sorry I got you in trouble.
HOPE: I said "be discreet." What part of jumping out of a tower is discreet?
HENRY: I had to make sure it would work. If I only hurt myself, then I would've just healed.
HOPE: Right. 'Cause no one's ever died peacefully from sleeping pills.
HENRY: I'm not a person things go right for. You ever seen a werewolf with no pecs who quotes E. E. Cummings? I can already tell I'm getting stronger. You know how good it will be not to have to take crap from anybody?
HOPE: What-what makes you think that? You're a hybrid now. You may be able to defend yourself, but they'll only hate you for being different. I don't think that you thought this through, Henry.
HENRY: You would not understand.
HOPE: Oh, really? Me? I wouldn't understand?
HENRY: That's different. None of the students know you're Klaus Mikaelson's daughter.
HOPE: I don't know why Lisina told you. You and I aren't even friends.
HENRY: Your mom's our alpha. All the Crescent Wolves know.
HOPE: And so will everyone at school when they start asking how you survived a swan dive out of the memorial library.
HENRY: Your dad's not gonna kill me for getting you suspended, is he?
HOPE: I wouldn't know. He can't bother to be a dad.

Bekaa Valley, Lebanon

KEELIN: I've never felt this way. I mean don't get me wrong, there are so many bad stories. But, I mean, every once in a while, you can make a tiny difference to someone and... I guess that's why I became a doctor in the first place.
FREYA: I want to kiss you so bad.
KEELIN: Well, in five days, you can do... Crap. I lost you.
FREYA: Hang on. How's... that?
KEELIN: That's perfect. Listen, um... the program asked me to re-up for another cycle.
FREYA: Another six months?
KEELIN: Yeah. But I thought maybe you'd want to come back with me this time. You'd love the people here, and Lebanon is so beautiful.
FREYA: Yeah, but you know I can't leave until I figure out how to get my family back together.
KEELIN: And that is something that you have not been able to do in seven years.
FREYA: Because I can't even try to neutralize the dark magic that's inside of them unless they're in the same place. And if they're in the same place, that magic will find its way back into Hope, and will probably destroy her and them and the city, so, I don't know, you know, it's... kind of hard.
KEELIN: Yeah, but you don't have to be in New Orleans to figure it out, right?
FREYA: Uh...
KEELIN: I'll do you a deal. For every year that you have spent on this, you spend a month in Lebanon with me.

New York City, New York

REBEKAH: Marcel, enough with the suspense.
MARCEL: It'll be worth it. Trust me.
REBEKAH: What is this?
MARCEL: I call it "four objects and a question." First object.
REBEKAH: I remember that. And saying it was... hideous.
MARCEL: Yes, but your eyes said "buy me," so I went back later and did. Next.
REBEKAH: The house you designed.
MARCEL: For you. For us. Now we can build it anywhere you like. Might not be quite up to code, but...
REBEKAH: It is beautiful. My sword.
MARCEL: I told you when I was a child, I was gonna marry you one day. Right after our first duel, remember?
REBEKAH: And I said I would never marry a man who couldn't best me.
MARCEL: Now that's the thing. The last few years have taught me something. I don't want to best you. I don't want to be ahead of you or behind you. I want us side by side. And the moment that I realized that, I went in search of this. The fourth object. Which leads me to my question. Rebekah Mikaelson, delicate as lace, elegant as a fine home, tough as polished steel... and love of all my lives... will you marry me?
REBEKAH: Oh.
MARCEL: I figured you'd be a mess by now, so... so I made this part simple. If you say... or if you say... Should be a pretty easy call.
REBEKAH: It should be. Except...
MARCEL: Please don't say the family.

Manosque, France

ELIJAH: Thank you. Thank you.
KLAUS: An old favorite. Try as I might, I can't resist a familiar refrain. I'm a sucker for Weill. You play with such finesse.
ELIJAH: Yeah, it keeps me out of trouble.
KLAUS: Though Mahler's really more my style.
ELIJAH: Mahler? Guaranteed to clear any room.
KLAUS: Well, then he and I have something in common.
ELIJAH: And how is that?
KLAUS: I have a bit of a temper.
ELIJAH: Interesting. See, I wouldn't be able to tell by looking at you.
KLAUS: Wouldn't you?
ELIJAH: And most people wouldn't look so disappointed about that observation.
KLAUS: Well, truth be told, it's a balm to hear it. I've been feeling a bit one-note recently. All work, you know?
ELIJAH: Modern conundrum, my friend. You work just to take care of your family, then you don't have any time to spend with them.
KLAUS: My family is, uh... is geographically challenged. I've got a daughter I haven't seen in seven years, haven't spoken to in five. There were some issues.
ELIJAH: This all sounds like a recipe for regret.
KLAUS: And now you sound like my brother. He was my lodestar.
ELIJAH: You're talking about him in the past tense.
KLAUS: He's been... away. I've only just realized how far he's gone.

New York City, New York

MARCEL: You didn't say "yes."
REBEKAH: I didn't say "no."
MARCEL: I'm sorry, but I just knocked that out of the park. Are you waiting on a better offer?
REBEKAH: Please don't make this about you.
MARCEL: This is about me. About us. How long are we supposed to put our lives on hold for your family?
REBEKAH: Oh, look who's talking. You're the one with a secret mistress.
MARCEL: Excuse me?
REBEKAH: I see you texting your little minion, Josh. You've traveled for seven years and never left your precious New Orleans behind. Klaus is at it again.
MARCEL: Great, what's the point of having all these rules if Klaus doesn't follow them? Is that blood?
REBEKAH: Where's my phone?

Manosque, France and New York City, New York

KLAUS: Don't overreact.
REBEKAH: Nik, you have pushed it too far this time. I just had a bath with blood spewing from the faucet like a carotid.
KLAUS: Yes, it does appear to be escalating.
REBEKAH: It is bloody biblical, is what it is. You've stayed too long.
ELIJAH: Do I have any requests?
REBEKAH: How does he look? Happy.
KLAUS: He seems happy.
REBEKAH: You spoke to him?
KLAUS: I never dared before.
REBEKAH: I miss him, too, Nik. But you have got to leave. Now.

The Abattoir

HOPE: Can you just yell at me already? Seven hours of hostile silence is punishment enough.
HAYLEY: The whole point of sending you to that school and calling you Hope Marshall was so that you wouldn't draw attention to yourself, to keep you safe. Why? Why did you do it? What could you have possibly needed the money for?
HOPE: That's my business.
HAYLEY: And selling your blood is mine. You had no right.
HOPE: You're being a hypocrite. You're the one that taught me "my body, my choice." Well, my blood, my choice.
HAYLEY: You are not just anybody, Hope. Do you even understand what you have done?
HOPE: Henry came to me.
HAYLEY: And you should have said no. Hope, Henry was already a kid who was struggling to fit in, and now... he's gonna be only one of three hybrids in the world, and seen as a threat to everyone in the city. You have no idea what you've done. You cannot create something without taking responsibility for it.
HOPE: What are you gonna do? Ground me... a-and lock me up? I'll just whammy myself out, I am a witch.
HAYLEY: And I am your mother... Which means tomorrow I'm gonna have to clean up the mess you've made before it gets worse.

St. Louis Cathedral

VINCENT: Okay, so what did you say?
FREYA: Um...
VINCENT: Wait a minute, are you packing?
FREYA: I'm... organizing. I said I don't know. But Keelin, she stayed in the city for six years waiting for me... she deserves this. And I really want to go, but... now that Hope's gotten herself into trouble, I just...
VINCENT: Wait a minute, what kind of trouble?
FREYA: She was helping a Crescent pack boy at her school. Everybody picked on him, so... she gave him some of her blood, so he'd...
VINCENT: Become a hybrid?
FREYA: Vince, she knows it was wrong, okay?
VINCENT: No! No, no, no, no, no. No, ma'am, Miss Pam. Freya, you ain't going nowhere. You're gonna get on the phone with Keelin, and you're gonna tell her to bring her butt back here, okay? Because you can't go anywhere. You and me, we are a team, right?
FREYA: I know.
VINCENT: We're the glue that holds this city together, and you just can't go.
FREYA: Come on. Hope made a mistake. It will get sorted out. And besides, that's only two things. Everybody knows bad things come in threes, so...
VINCENT: So, is there anything else you feel like sharing?
FREYA: Hope is... coming to the Quarter.
VINCENT: Yeah?
FREYA: Just... till this all blows over. Look, it's nothing to worry about. Trust me.
VINCENT: Hope is coming home. She created a hybrid. One, two, three.
FREYA: Yeah.

Street

HAYLEY: Declan, I am so sorry. I didn't realize it was you.
DECLAN: So you stand me up and beat the crap out of me.
HAYLEY: And I forgot our date. I am so sorry. Something came up with Hope.
DECLAN: Is she okay?
HAYLEY: Yes, it's just complicated.
DECLAN: Look, I know how you feel about the dreaded "B" word. But as your boyfriend and a big fan of your daughter's, I'd really like to help.
HAYLEY: I so wish that you could, Declan. It's just, right now, I think Hope is gonna need all of my attention, which means maybe you and I should probably take it...
DECLAN: Right, don't finish that sentence. I deserve better than that. Come on, I'm a chef. You're a good eater.
HAYLEY: You can't break up with me.
DECLAN: Well, you can't break up with someone if you're not really a couple. Well, one half of this couple was deeply committed. I'm sorry. If you want to break up, you have to do it like a civilized person, at a bar with bourbon. Meet me later.

The Abattoir

[Hope is video calling Kol.]

KOL: How is my little ne'er-do-well?
HOPE: I've been better. How's Davina?
KOL: My darling wife is gorging on papaya right now. You know, Belize is beautiful this time of year. You should visit.
HOPE: I'd love to, but... I'm grounded.
KOL: Grounded? Can't ground a witch, let alone my favorite niece.
HOPE: That's what I said. Mom didn't think it was funny.
KOL: Well, I'm sure it will all blow over by Mardi Gras. I... I didn't think it was such a big deal at the time, but now that it's stirred up so much trouble I-I feel kind of bad.
KOL: Darling, you can't get your knickers in a knot every time you have a little kerfuffle. You'll never have a moment of pleasure. And I, for one, thought you showed some real entrepreneurial spirit.
HOPE: Yeah, that's me, your friendly, neighborhood blood dealer.
KOL: I'm sure you've noticed by now the best people are black sheep.
HOPE: Like my dad?
KOL: I was referring to me. Niklaus is in a league of his own.
HOPE: Seen him lately?
KOL: Well, thankfully for you, no. Don't worry. Sooner or later, something will blow up in New Orleans. Some crisis or other always brings us back.
HOPE: Okay.

Bayou

LISINA: Is Hope proud of herself? Henry is barely home and we're getting threats. The vampires will never trust him and how long before the pack turns on him?
HAYLEY: The pack will adjust. Henry doesn't need to be afraid of anything.
LISINA: Have you been at the top of the alpha heap so long that you don't get how this works? Your daughter put a target on his back.
HAYLEY: We can limit the damage if we just work together.
LISINA: For ten years I've been all the family this boy has. I'm not letting him down now by trusting the wrong person, alpha or no.
HAYLEY: You can trust me. I swear.
LISINA: Tell me one thing. Are you here as a Crescent or as a Mikaelson?
HAYLEY: I'm here as a mom. My kid screwed up. I can't change that. But I can try and make up for it.

New York City, New York

REBEKAH: If my bloody brother doesn't answer the bloody phone, I swear, I am going to rip his heart...
MARCEL: I don't want to hear it. Okay? I don't want to hear another thing until after you say, "I do," at city hall at 3:45 today. I have waited decades for things to be right with your family. No more. We are either all in... or we're done. The choice is yours.

[Rebekah picks up the letter, entitled "If you say yes."]

REBEKAH: "Knew you weren't just a pretty face. There's one more present docked in Monaco. Seemed like a nice place to honeymoon."

[Hayley texts Rebekah. The messages read: "My daughter is acting like a freaking alien. GET YOUR BROTHER TO CALL ME!!!]

REBEKAH: Damn it.

[Rebekah texts her back; "I know someone who can track him down.]

France

KLAUS: Bonjour, Monsieur Gatineaux. I should let you live to tell of this, but I seem to be on a bit of a roll. Oh.
CAROLINE: Why don't you pick on someone your own size?
KLAUS: Hello, luv. It's a pity. I thought there'd be more of them.
CAROLINE: Trying to break your own record?
KLAUS: At the moment, I'm trying not to flatter myself that you're here on a sudden whim to see me. Why are you here, Caroline? Surely, the Salvatore School for the Young and Gifted needs its headmistress across the pond.
CAROLINE: I got a phone call. Apparently, you don't pick up anymore.
KLAUS: So, you came all this way at Hayley's request?
CAROLINE: Rebekah called, actually. I was in France already.
KLAUS: Winter getaway?
CAROLINE: For work. I don't know what year you think it is, Klaus, but I'm the mother of twins, I was married and widowed on the same day, and I am responsible for an entire school full of kids, including yours. You know, the one that you haven't asked about. Why are you avoiding her? She's beautiful and smart. So smart. Maybe too smart for her own good...
KLAUS AND CAROLINE:... like her father.
CAROLINE: But Hope... she hears the same rumors we all have over the past five years, that you have gone completely bonkers.
KLAUS: As you see.
CAROLINE: Yet, standing here... you seem only normal crazy to me.
KLAUS: High praise, indeed.
CAROLINE: You know, two men from the family who own this building were killed at a nightclub yesterday by an alleged maniac. And here lie more bodies. Care to explain why you're methodically picking off all the members of one family?
KLAUS: Because I'm compulsive. Or perhaps it's just to while away the time. Or maybe... just maybe, Klaus Mikaelson has finally gone mad.
CAROLINE: Or maybe you just want people to think you have. This spree you're on, it isn't random. You have a list. Don't you?

Rousseau's

MAN: Over here!
WOMAN: Break it up. Come on! Hey.
FREYA: So, talked to Rebekah about the blood and Klaus got too close to Elijah.
VINCENT: And so he tempts fate while his daughter wakes sleeping dogs. That's great.
FREYA: Yeah.
VINCENT: Hey. You see this over here? What seems to be the problem here? This town is just going from zero to in no time flat. I'm not even surprised that nosey vampire, Greta Sienna, is all up in the mix. Freya, this town is just itching for some sort of fight and if we don't do something...
FREYA: Vincent. I know this is serious, believe me, but, um... man, I'm fighting for my life. I love Keelin. And if-if I don't go to see her now, I'm-I'm gonna lose her. Now, look, listen, I am terrified that if I walk out this door, everything is just gonna go to hell, but I... I know you can do this without me. Right now, I just need to hear that leaving isn't gonna make me a bad sister or a bad aunt or a bad friend and, I don't know, maybe I'll get the guts to pick myself for once.
POPPY: Hey, guys. I am not digging the vibe in here.
MAN: Control yourself, please.
POPPY: More of a live-and-let-live vampire, so I'm cutting out.
VINCENT: I hear you. Uh, Pops, what do we owe you for all of this?
POPPY: Oh, shut up. It's on me. Peace out.
GRETA: Why don't you just calm down and we can talk about this later?
VINCENT: Freya, I'm not not even sure that we can stop all this. I mean, we put it on pause for a few years, but how are you supposed to stop human nature? Or vampire, werewolf, witch nature.
FREYA: Right.
VINCENT: You should go. You should go because I have absolutely no idea how this is going to end up, and I think at least one of us should have a shot at happiness.

[As Poppy walks down the street, she's distracted and bumps into a boy wearing a grey jacket. He keeps on walking. Poppy stops to look both ways down the street, before crossing. As she steps out into the street, she's grabbed from behind.]

The Abattoir

HAYLEY: Going somewhere? Is that what you needed the money for?
HOPE: Now you're rummaging in my room?
HAYLEY: For laundry. Where were you going?
HOPE: I met a guy online. And he's in a band and he lives in London. He says he's , but he seems older.
HAYLEY: You wanted to see your dad.
HOPE: I know it's stupid. He obviously doesn't care, but I-I just thought, maybe if we were in the same place for even a little while...
HAYLEY: It's not stupid. He loves you. But he just knows that being near you puts you in danger.
HOPE: A phone call wouldn't.
HAYLEY: Look, I... I really... hope one day that you'll talk in person. I do. But until then, just... try not to judge him too harshly.
HOPE: So... I can't judge my deadbeat dad, but you can judge me?
HAYLEY: I don't judge you; I judge your actions. I'm your mom. I love you, and I would forgive you for anything. But that's not... that's not a blank check for bad behavior.
HOPE: I did one thing.
HENRY: Hope! Hope!

[Hope and Hayley rush to the Abattoir courtyard.]

HENRY: I... I made a mistake.

[Poppy lays dead in Henry's arms.]

GRETA: No one wants any trouble, Hayley. We just want the hybrid.
LISINA: You're not getting Henry!
HAYLEY: Let me handle this.
JOSH: Remember that that hybrid is just a kid. But Poppy was just trying to walk home from work, and she was our friend.
LISINA: He's not going anywhere.
JOSH: Hayley, you might not have a choice.
HENRY: I didn't even know that girl.
HOPE: I can't hear.
HENRY: She just bumped into me, and I-I just... I got so angry. They-they want... - they want to kill me, huh?
HOPE: Henry, relax, for God's sake. Just... feel better.
HENRY: Okay. That's-that's weird. You... you said "feel better," and I actually feel better.
HOPE: Because my blood made you a hybrid, so... you're sired to me.
HENRY: I have to do what you say?
HOPE: Pretty much, but don't worry, I... believe in personal autonomy. But for now, stay here.
HAYLEY: We need to be rational.
GRETA: Should they go back and tell Poppy's mother her daughter's killer's free, but at least we were rational?
HAYLEY: Peace is complicated. We haven't had it all this time because we've been perfect. We've had it because we haven't overreacted when we're not. Revenge isn't justice. Do we really want to sacrifice a... a kid to assuage our fear?
GRETA: He's not just a kid. He's a hybrid. With the power to kill any vampire he chooses.
HAYLEY: I'm a hybrid. I'm not a threat to anyone. And after I teach Henry self-control, he won't be, either. Look, every death is a tragedy. And I'm truly sorry for Poppy and her family. But we've evolved beyond an "eye for an eye" mentality. This is a test. Don't... throw away all we've accomplished.

France

CAROLINE: You can't be serious.
KLAUS: I've never been more serious. It's my experience that those who are wronged seek revenge. And since many have long memories, I am determined to systematically annihilate each and every one of our enemies. And the heirs of our enemies.
CAROLINE: But... that list is endless.
KLAUS: It's the only way to protect Elijah. In his current state, he wouldn't know an enemy if they sat down at his piano. And it... it passes the time. Though why we're bothering with all of this, I don't know.
CAROLINE: It's a historical building. Just take this. Start here. You may have started out playing crazy to make your enemies fear you, but now I'm not so sure that you're pretending. This isn't right, Klaus, even for you.
KLAUS: I find I'm not good without Elijah. I mean, we've been... parted before, but not like this. This is worse than if he were dead. I've lost my brother.
CAROLINE: But you still have a daughter.
KLAUS: She's better off without me. I know what it's like to be raised by a monster.
CAROLINE: Oh, my... Come on, that was, like, a thousand years ago. Really? "Mean dad"? Newsflash: The guy's dead. Get over it! Stop using Mikael as an excuse to be a bad father. I also know what it's like to be a kid missing her father. You may not be able to be in the same room with her, but there is this... this ancient gadget called a telephone. Use it before you lose your daughter and she loses you. Because... I happen to think that you're someone worth knowing. I'll see you at the next parent-teacher conference.

Street

HAYLEY: Hey, Declan. It's me. Um... don't kill me, but... something's come up. Wait there, have a drink, and... I'll just be there a little late. It's been a long day, and... I'd really like to see you.

[Hayley is attacked by an unknown assailant with magic. She's knocked unconscious.]

City Hall, New York City, New York

[A mail man approaches Marcel and hands him a letter. It's the same envelop, entitled "If you say no." that he gave to Rebekah.]

Manosque, France

[Rebekah visits Elijah in France.]

REBEKAH: I'm a coward. And a hypocrite. It's true I miss my family, but... I suppose I'm always running away.
ELIJAH: Well, sometimes it's good to make a fresh start.
REBEKAH: Is it odd having strangers confide in you?
ELIJAH: I guess I just have that kind of face.
REBEKAH: I think it's a nice face.

The Abattoir

FREYA: Hey, jailbird.
HOPE: Hey.
FREYA: I've got some news about me and Keelin. Where's your mom?
HOPE: I don't know. She said she'd only be gone a few minutes, but then she never came back.
FREYA: Where'd she go?
HOPE: Outside to make a call. Auntie Freya?

[The fountain in the courtyard turns to blood.]

Lafayette Cemetery

VINCENT (voiceover): The tricky thing about tipping points... is you can only define them in retrospect. Who can say which choice led to a car crash, or... which cigarette started the cancer?

City Hall, New York City, New York

[Marcel texts Josh; "Let my city know I'm coming home.]

Lafayette Cemetery

VINCENT (voiceover): And so we blindly stumble forward, never sure how close we are to the edge.

The Abattoir

[Hope stands looking at the blood fountain.]

FREYA: Someone found this in the street.

[Freya hands hope Hayley's phone, the screen cracked from where it was dropped.]

Lafayette Cemetery

VINCENT (voiceover): All I know for certain is if the four Mikaelsons come together, it will signal darkness like we've never known.

The Abattoir and France

[The phone beings to ring. It's Klaus. Hope answers the phone.]

HOPE: Dad?

[Klaus notices a small fountain's water turn to blood.]

KLAUS: I was looking for your mother.
HOPE: Yeah, so are we. Um... I don't know where she is. She's missing.
KLAUS: I'm on my way.

Lafayette Cemetery

VINCENT (voiceover): So many possible tipping points. But without the benefit of hindsight, how will we know if we're at the end of the beginning... or the beginning of the end?

[It begins to rain. However, the rain has turned to blood.]

END CREDITS

See More

The CW Logo 2016
This transcript outlines dialogue of a copyrighted television program. As such, falls under the same copyright laws as the program it is taken from. It is believed that the use of such copyrighted material, owned by the companies or corporations that produced it, The CW Television Network, will be used under fair use in the United States and fair dealing in the United Kingdom. It should therefore be considered the intellectual property of both corporations. Other third parties may hold intellectual rights over this image as well.
The Vampire Diaries, The Originals, The Originals: The Awakening and The Vampire Diaries: A Darker Truth are all © of The CW and it's parent companies, Warner Brothers and CBS.