Inside the script:

Dragonfly in Amber

See what the crew says about your favorite scenes.

EPISODE 213
Dragonfly in Amber

WRITTEN BY

Toni Graphia
&
Matthew B. Roberts

BASED ON THE NOVEL BY
DIANA GABALDON

FINAL PRODUCTION DRAFT
14th April 2016

OUTLANDER
EPISODE 213 "Dragonfly in Amber"

PREVIOUS REVISIONS

White Production Draft – 4th January 2016
Full Blue Draft – 13th January 2016
Full Pink Draft – 22nd January 2016
Yellow Pages – 25th January 2016
Green Pages – 27th January 2016
Goldenrod Pages – 4th April 2016


EPISODE 213 "Dragonfly in Amber"

CAST LIST — FINAL PRODUCTION DRAFT — 14th April 2016

CLAIRE BEAUCHAMP RANDALL
JAMIE MACKENZIE FRASER
DOUGAL MACKENZIE
MURTAGH FITZGIBBONS FRASER
PRINCE CHARLES STUART
RUPERT MACKENZIE
FERGUS
ROGER WAKEFIELD
BRIANNA RANDALL
GILLIAN EDGARS
GENERAL GEORGE MURRAY
QUARTERMASTER JOHN WILLIAM O’SULLIVAN
ROSS
ANDREW MACDONALD

DONALD CAMERON OF LOCHIEL
MR. BERROW
MRS. BERROW
FIONA GRAHAM
CLERK
TOURIST
WIFE
HUSBAND
WOMAN
GREG EDGARS


EPISODE 213 "Dragonfly in Amber"

SET LIST — FINAL PRODUCTION DRAFT — 14th April 2016

INTERIORS

  • Wakefield House (1968)
    • Parlor
    • Claire’s Bedroom
    • Reverend’s Library
    • Storage Room
  • Claire’s Car (1968)
    • Scottish Highlands
  • Roger’s Car (1968)
  • Town Hall – Inverness (1968)
    • Records Room
  • Inverness College (1968)
    • History Building
      • Main Assembly Area
  • Culloden Visitor Center &
    Museum (1968)
  • The Finch (1968)
  • Gillian Edgars’ House (1968)
  • Culloden House (1746)
    • Entryway
    • HQ Room
    • Vestibule
  • Jamie & Claire’s Room (1746)

EXTERIORS

  • Wakefield House (1968)
  • Lallybroch (1968)
  • Highland Road (1968)
  • Fort William (1968)
    • Courtyard
  • Lochside
  • Town Hall – Inverness (1968)
  • Inverness College (1968)
  • Culloden Moor (1968)
  • Gillian Edgars’ House (1968)
  • Craigh na Dun (1746 / 1968)
  • On the Road by the Car (1968)
  •                          —
  • Main Jacobite Camp (1746)
    • Culloden House
  • Highlander Camp (1746)
  • Stand of Trees (1746)

OUTLANDER

“Dragonfly in Amber”

FADE IN:

OPEN ON a scene from “THE AVENGERS,” the popular 1960’s
British spy series. As John Steed and Emma Peel engage in
witty banter during an impromptu fencing match in the episode
“The Town of No Return,” pull back to REVEAL --

Toni Graphia

Matt Roberts came up with the idea for the Avengers as the title card. It’s the first episode where Emma Peel played by Diana Rigg appears and it’s aptly titledThe Town of No Return!” We loved the image of Roger escaping the grief of his father’s wake to watch TV with the children.

1INT. WAKEFIELD HOUSE - DAY (968)1

A group of children gathered around watching an old BLACK AND
WHITE TELEVISION SET, where “The Avengers” plays onscreen.

ROGER WAKEFIELD, handsome, late 20s, dressed in a dark suit,
is in a trance, watching along with the children. After a
beat, the housekeeper, FIONA GRAHAM (19), gives Roger a
gentle nudge, breaking his stupor.

FIONA
You really should get back to your
guests. They keep asking for you.

Roger nods, accepts his fate and heads back into --

2INT. WAKEFIELD HOUSE - PARLOR - DAY (1968)2

The room is crowded with GUESTS. There are REFRESHMENTS and
FOOD. Roger is in the center of the room now, talking with
MR. & MRS. BERROW (60’s). Mrs. Berrow takes Roger’s hand.

MRS. BERROW
Your father was such a delightful
man. I’ll always remember his sense
of humor.

ROGER
Thank you.

MR. BERROW
The Reverend helped so many people.
He’ll be sorely missed.

Roger nods, heartbroken over the death of his father, The
Reverend Reginald Wakefield, who was buried earlier today.

The VOICES OVERLAP NOW, washing over Roger like waves: I’m so
sorry for your loss. It must have been a great shock. At
least he lived a long life. He’s in a better place now.

Roger suddenly feels like he’s drowning.

He looks over and catches a GLIMPSE of a tall, striking YOUNG
WOMAN with thick RED HAIR worn loose over her shoulders,
standing on the other side of the room, watching him
intently. But his view is obscured by the other mourners and
he can’t really get a good look at her.

ROGER
(to the Berrows)

Will you excuse me for a moment?

Slowly, he makes his way toward the woman, whose shimmering
red hair stands out in the sea of dark clothing. He
exchanges condolences with other well-wishers along the way.

ROGER (cont’d)
(to other mourners)Thank you... thank you... excuse
me... let’s talk later... excuse me,
please... (etc.)

He looks up and now finds that he’s lost sight of his quarry.
Where did she go? He turns around --

-- finds himself looking into the face of BRIANNA RANDALL,
who might well be the most beautiful woman he’s ever seen.
Her luminous eyes focus steadily and deeply into his own, and
for a moment he’s a deer caught in the headlights.

BRIANNA
Are you Roger Wakefield?

ROGER
Yes. Definitely. That’s me. Yes.
Uh, I’m afraid I haven’t had the
pleasure...?

Before she can answer, ANOTHER WOMAN’S VOICE rings out --

WOMAN’S VOICE
... Roger?

He turns around to see -- CLAIRE RANDALL, now in her late
40s
. Still beautiful, with her high cheekbones, a wealth of
curly brown hair, with a touch of grey around the edges, and
those extraordinary BLUE EYES.

CLAIRE
Is that you?

He doesn’t recognize her --

BRIANNA
It’s him.

CLAIRE
I can’t believe it... after all
these years.

Claire smiles at seeing the boy now a man.

ROGER
I’m sorry, but do I know you?

CLAIRE
You wouldn’t remember me, the last
time I saw you, you must have
been... seven or eight years old.
I’m Claire Randall -- I was an old
friend of your father’s. I was
devastated to hear of his passing,
I’m so sorry.

ROGER
Thank you.

CLAIRE
I see you’ve met my daughter.

We realize now that the young woman is Claire’s daughter --
Claire and Jamie’s daughter -- Brianna Randall, 20.

ROGER
Actually no, we haven’t been
formally introduced.

BRIANNA
Brianna. The daughter.

She offers a hand and Roger takes it.

ROGER
A pleasure... Miss Randall.

CLAIRE
We were in London visiting relatives
when we heard. His heart, I
understand?

ROGER
... Yes. Very sudden.

(a little emotional)
I’d just seen him at Christmas and
he was in high spirits.

CLAIRE
I hadn’t seen The Reverend for many
years. I was very fond of him.

BRIANNA
So was Daddy.

There’s the slightest emphasis on “Daddy,” which then prompts
a silent look between Claire and Brianna, something just
beneath the surface crackling between mother and daughter.

Toni Graphia

We decided to back things up a bit and start with the Reverend’s wake, instead of showing Claire and Brianna arriving at the door. The wake provided more immediate and visceral emotion than coming in as Roger was packing things up. Also, in our version, Claire has not already made up her mind to tell Brianna about Jamie and time travel. So she hasn’t come here with a purpose. We felt we wanted to see her making that decisionso now she comes for the wake and while there, the ghosts start chasing her and she’s pulled back into the world she’s buried for so long, and it’s Brianna that ultimately confronts her about her secrets.

CLAIRE
Yes. My late husband -- Frank --
they were very close.

ROGER
(putting it together)
Randall. Frank Randall. Of course.

Roger stops... remembering.

ROGER (cont’d)
I remember you now -- Claire. Yes,
you’re... a nurse as I recall.

CLAIRE
(modestly)
Yes, I was... I’m a doctor now.

BRIANNA
A surgeon.

Bree’s not boasting, there’s another slight dig in her tone.

CLAIRE
Bree and I are over from the States.

ROGER
(re: Brianna)

I thought I detected an American
accent.

BRIANNA
Boston to be exact.

CLAIRE
She’s a history major at Harvard.

ROGER
Really? I’m on leave from the
History Department at Oxford.

BRIANNA
That’s nice.

CLAIRE
Is Mrs. Graham still in The
Reverend’s employ? I haven’t seen
her yet.

ROGER
Sadly, we lost her a few years ago.
But her granddaughter Fiona is here
somewhere.

CLAIRE
So much is the same, but so much has
changed. Would you mind if I look
around the house? There’s a lot of
memories here.

With that, Claire is gone. Roger finds himself lost in
Brianna’s eyes again. He rallies after a beat, tries to
engage her somehow.

ROGER
First time in Scotland then?

BRIANNA
Uh-huh.

ROGER
Will you have time to take in the
sights while you’re here?

BRIANNA
We only came up for the day so my
mother could pay her respects. We’re
meant to be heading back to London
this evening.

ROGER
Oh. That’s a shame. Beautiful,
wild country...

Brianna looks out the window --

BRIANNA
‘Course, plans can change... I was
always curious about Scotland. It
was a... special place to my
parents... both my parents.

Roger’s hopes rise once more, but then Fiona comes to him
again. She’s pretty, with kind eyes like her grandmother
Mrs. Graham, and it’s clear she adores Roger.

FIONA
I beg your pardon, but it’s time.

ROGER
Yes, of course. Thank you, Fiona.

(to Brianna)
You’ll excuse me for a moment?

Brianna nods as Roger walks away and there’s a quick look
between her and Fiona, as the two women size one another up.

ANGLE ON CLAIRE

As she wanders through the room, connecting with the objects
there, as she remembers them. She runs her hand along the
dark wood mantle... the back of the chair she once sat in and
read books while Frank and The Reverend talked of Jacobites.

She gazes over the fireplace, at a portrait of a LONE STAG
against the wild Scottish mountains. And a FRAMED SCOTTISH
FLAG engraved with the words: Nemo me impune lacessit -- “No
one attacks me with impunity.”
The Latin motto of the Royal
Stuart Dynasty.

CLAIRE (V.O.)
Mrs. Graham had warned me not to
spend my days chasing a ghost. And
so I hadn’t. But now that I was
here, the ghosts were starting to
chase me.

CLING CLING CLING, someone taps a fork on a glass and the
room QUIETS. Roger addresses the guests.

ROGER
Thank you all for coming. It
would’ve meant a great deal to my
father. And if you knew him, you
know he was not one to leave
anything to chance, including the
toast for his own wake.

He raises his glass, the guests follow suit.

ROGER (cont’d)
“To Death! The jolly old bouncer
now. Our glasses, let’s be
clinking;

If he hadn’t put other out, I trow,
To-night we’d not be drinking.”

A chorus of LAUGHTER at The Reverend’s sense of humor.
Claire smiles, but she’s lost in thought. HOLD ON BRIANNA
watching her mother’s face.

3INT. WAKEFIELD HOUSE - PARLOR - LATE AFTERNOON (1968)3

Things are winding down, guests are leaving. Roger’s at the
door, seeing everyone out. Claire and Brianna approach him.

CLAIRE
We should be going.

ROGER
(glancing at his watch)
Not all the way back to London? At
this hour?

CLAIRE
We were going to drive as far as we
could and stay at a pub for the night.

Roger glances at Brianna. There’s something about this girl,
he’s only just met her, but he doesn’t want her to leave.

ROGER
There’s plenty of room here if you’d
like to stay.

CLAIRE
We couldn’t possibly impose...

ROGER
You wouldn’t be. In fact, I’d
welcome the company. It’s a big
house.

BRIANNA
Sounds better than jolting down the
wrong side of the road in the dark.
Besides, give me a chance to take in
the sights -- it’s supposed to be a
beautiful, wild country.

Roger clocks her use of the exact phrase he used, but keeps
it to himself. Claire is a little surprised that Brianna is
open to staying, but the truth is she wants to stay too.

CLAIRE
All right. As long as we’re no
bother...

ROGER
I’ll fetch your bags from the car.
The guest room’s just up --

CLAIRE
-- at the top of the stairs on the
left. I remember.

Claire smiles as she heads toward the stairs, Brianna
trailing behind her. She passes Fiona on the way and flashes
her a smile. Fiona is unamused.

4OMITTED 4

A5EXT. WAKEFIELD HOUSE - NIGHTA5

Establishing.

5INT. WAKEFIELD HOUSE - REVEREND’S LIBRARY - MIDNIGHT (1968)5

It’s the middle of the night. Roger enters, surprised to
find someone there. The soft light from a lamp illuminates
Claire, sitting in a chair, a GLASS OF WHISKY in her hand.

CLAIRE
Couldn’t sleep, so I helped myself
to a dram. Hope you don’t mind.

ROGER
No bother. I’ll have one with you.

Claire’s not the only one not sleeping. Roger pours himself
a whisky, then tops her off. Dressed casually now, he takes
a seat on the sofa, unwinds. Downs his drink.

ROGER (cont’d)
Ah, yes. That’s better.

(then)
I pestered him for years to throw
things away and clean up the
clutter. Now I can’t bear to part
with any of it.

Claire looks around the room, overflowing with BOOKS,
NEWSPAPERS, DOCUMENTS and MAPS.

Sheet after sheet of aging yellow paper cover every
horizontal surface. Every corner CRAMMED past bursting point
with belongings. With history.

CLAIRE
Lot of history here.

ROGER
Not just the family’s either, but
Scotland’s as well.

Claire notes some nearby boxes labeled “HIGHLAND CLEARANCES
1746-1748.” Scribbled on the sides in magic marker are lists
of clans: Chisholm, MacLaren, MacDonald of GlenGarry,
Drummond, Livingstone, MacKenzie.

ROGER (cont’d)
The college here in Inverness has
asked me to donate his library to
their archives.

He pulls a couple of BOOKS off the shelf.

ROGER (cont’d)
Not sure I’ll donate everything. He
was quite fond of several rare
editions on Prince Charles Stuart
and the Battle of Culloden.

The word cuts like a knife in Claire’s heart.

CLAIRE
Culloden.

Toni Graphia

This is a nice quiet scene between two people who have each lost the person they love the most. Roger mentions Culloden, which of course we cut to shortly in the script… we loved the way Claire solemnly repeats the word Culloden… it’s so loaded. Also, when Claire says she knew a few MacKenzies, once upon a time. We worked at crafting these small moments where the hair goes up on the back of your neck because you know how much emotion is contained here in these simple responses and the stories that lurk behind what seems like a passing reference.

He mistakenly reads that as a question.

ROGER
Final battle of The ‘45. My
ancestors fought and died there,
actually.

CLAIRE
(interest piqued)
Really?

ROGER
Yes, my true name’s Roger MacKenzie.
My parents were Jerry and Marjorie
MacKenzie. The Reverend adopted me
after they were killed in WWII.

Claire drifts away for a moment.

CLAIRE
MacKenzie... I knew some
MacKenzies... once upon a time...

Each of them is lost in their own memories for a moment.

ROGER
It’s a common name here. May I...
ask you something personal?

(off her nod)
How did you do it? Finally say
goodbye... to that one person you
loved most in all the world?

Roger’s talking about Frank. But Claire thinks of Jamie.

CLAIRE
I wish I knew. The truth is, I’ve
never been good at saying goodbye.
But, that’s the hell of it, isn’t
it? Whether you want to say goodbye
or not, they’re gone and you have to
go on living without them.

(almost an aside)
Because that’s what they’d want.

She raises her glass with a sad and bitter smile. Roger
studies her, sensing the deep well of pain within. Claire
downs her drink.

CLAIRE (cont’d)
Thank you for the whisky. Goodnight.

Roger nods and she EXITS...

6INT. WAKEFIELD HOUSE - CLAIRE’S BEDROOM - LATE NIGHT (198)6

Brianna’s asleep now, but Claire stands at the window looking
out at the moon.

Claire walks over to where Bree is sleeping, her lips curled
in a slight smile. Claire studies the girl, her red hair,
high cheekbones, full mouth, slightly slanted Fraser eyes.

CLAIRE
(whispers to Bree)

God, you are so like him.

Claire smooths a lock of red hair from Bree’s forehead, takes
a beat, then goes. STAY ON BRIANNA as her eyes flutter open
and she stares into the dark wondering just what that meant.

PUSH IN ON BRIANNA’S FACE and --

MATCH CUT TO:

7 JAMIE FRASER’S FACE 7

The hair, cheekbones, the eyes -- cut from the same cloth.
Father and daughter, no doubt. REVEAL we are in --

Toni Graphia

Ron wanted the two stories1968 and Cullodento be juxtaposed. Culloden would play out fast and furious in the matter of only several hours (thus the time clock) and 1968 would roll out more languorously over the course of a few days. This is the moment we chose for the first intercutgoing from Brianna sleeping to her father at war, from Claire remembering Jamie while watching her daughter sleep in the serenity of the Wakefield house to the urgency of the Jacobite camp as the battle looms.

EXT. MAIN JACOBITE CAMP - CULLODEN HOUSE - DAY (1746)

TITLE CARD: April 16, 1746. 6:00 a.m.

In the field in front of the house, JAMIE FRASER makes his
way through a chaotic mess. HUNDREDS of troops in disarray,
suffering exhaustion, hunger and loss of morale after the
failed march on Nairn the night before [Episode 212].

Next to him is PRINCE CHARLES STUART, looking worse for the
wear. They talk urgently as they walk. Jamie’s upset about
the aborted march.

JAMIE
I tell you the army is not ready for
battle this day. We must retreat to
safer ground before the British
realize their advantage and destroy
us all.

As they arrive at the front entrance of --

8INT. CULLODEN HOUSE - ENTRYWAY - DAY - CONTINUOUS (1746)8

The Prince stares at Jamie as if considering his words, then
smiles as if coming to some important realization.

PRINCE CHARLES
You are my Thomas.

(off Jamie’s look)
It was the Apostle Thomas who
doubted that The Lord had risen from
the dead. Not until he felt the
wounds, pressed his fingers where
the nails had been... that The Lord
said to him -- “Because you’ve seen,
you believe; but blessed are those
who have not seen and yet believe.”

Jamie swallows the urge to grab The Prince and shake him.

PRINCE CHARLES (cont’d)
Today is the day, James. And mark
me, before this day is over, I will
make a believer of you.

The Prince turns and heads through an interior doorway, a
worried Jamie has no choice but to follow --

9INT. CULLODEN HOUSE - HQ ROOM - DAY (1746)9

Jamie and Prince Charles enter where a group of men are
already arguing. The high command of the Jacobite army,
GENERAL GEORGE MURRAY, QUARTERMASTER COLONEL JOHN O’SULLIVAN
plus the Clan Chieftains, including ANDREW MACDONALD and
DONALD CAMERON, voices raised like panicked animals knowing
they’re about to be butchered, because they are.

PRINCE CHARLES
(an announcement)
We shall stand against the British
today on this moor, and we shall win.

Toni Graphia

This scene was filmed but deleted in the final edit, as we realized we had several similar scenes in previous episodes of the military commanders plotting and planning. We wanted to concentrate on the emotions now that the battle was near and not the machinations. The “You are my Thomas” in the scene before is really all you need as a set up here. Everyone knows what’s about to happen…

The Generals trade looks, they knew it was coming.

MURRAY
Your Royal Highness, they are nine
thousand strong. We are less than
five!

O’Sullivan jumps to Charles’ defense as usual.

O’SULLIVAN
The secret sympathizers in
Cumberland’s army will assist us.

PRINCE CHARLES
Precisely!

MURRAY
But Sire --

PRINCE CHARLES
I have made my decision! The time
for discussion is over!

That’s it. The die is cast.

CAMERON
As you order, sir. “For King and
Country!”

MACDONALD
My men will march from the right!
Let the Camerons go left!

CAMERON
I’ll not have a damn MacDonald tell
me what to do!

As the two clan chiefs lock in fierce debate, along with the
Generals, Jamie can feel things spiraling out of control.
Jamie turns to Charles --

JAMIE
As I told ye in France, the clans
cannot agree on the color of the
sky. Well, Sire, I dinna ken what
color it is now... but all involved
will not contest -- Culloden moor
will be flowing red with our blood
by end of day.

Jamie takes one last look at the bickering, feuding high
command of the doomed army, then plunges out the door --

10EXT. CULLODEN HOUSE - DAY - A MOMENT LATER (1746)10

Jamie exits and goes to find Claire, who’s boiling herbs in
the tent.

JAMIE
(in Gaelic)

Good God!
(then)

It’s a blessing Colum didn’t
live to see this dark day.

JAMIE
(in Gaelic)

Good God!
(then)

JAMIE
(in Gaelic)

Gu sealladh orm!
(then)

JAMIE

It’s a blessing Colum didn’t
live to see this dark day.

CLAIRE
The Prince...?

JAMIE
The battle of Culloden will happen
today... just as history foretold.

Just then, MURTAGH races up with news for Jamie.

MURTAGH
Sentries have spotted the advance
guard four miles out. Cumberland
has broken camp and his army is
marching along the south side of
Kildrummie Moss.

The British are here. The zero hour has come.

JAMIE
(to Murtagh)

Go inside and inform Lord George.

Murtagh leaves. Claire grabs Jamie’s arm, frantic --

CLAIRE
There’s only one thing left. One
possibility.

JAMIE
What’s that?

Claire looks around, desperate. Soldiers rush around them,
confused and terrified.

CLAIRE
Not here.

Claire takes off back toward their room, Jamie with her --

SMASH CUT TO:

11INT. WAKEFIELD HOUSE - PARLOR - MORNING (1968)11

Roger, Claire and Bree having tea. Roger glances at Brianna
-- still wanting to spend more time with her.

ROGER
I’d be happy to take you around --
show you the sights if you’d like.

BRIANNA
I’m sure you have better things to
do than play tour guide.

ROGER
No, just spending the day with
mothballs and cobwebs. Bit of fresh
air would do me good.

CLAIRE
I suppose it couldn’t hurt to stay
an extra day... or two.

Brianna shoots Claire a look -- that wasn’t the plan.

ROGER
Splendid. Shall we start with a
trip to Loch Ness?

BRIANNA
So we can stand around with the rest
of the tourists waiting for a
glimpse of seaweed we can call a
monster? Thank you, no.

ROGER
No seaweed in the lochs, but I take
your point.

(thinks fast)
Okay. Well. You study history, I
teach it -- shall we all go find
some history?

He’s charming, but Brianna’s indifferent to his charms.

BRIANNA
Sure.

CLAIRE
You two go. I’d like to just poke
about in the village, visit some old
places that were important to me
and... Brianna’s father.

Little do they know, the father Claire speaks of isn’t Frank.

15OMITTED12-14

15INT. CLAIRE’S CAR - SCOTTISH HIGHLANDS - ROAD - DAY (1968)15

Claire’s driving, gazing over the Scottish countryside.

CLAIRE (V.O.)
I had struggled with whether to come
near it... but in the end, it wasn’t
a decision... it was like a magnet,
drawing me home... the first real
home I’d ever had...

16EXT. LALLYBROCH - DAY (1968)16

CLAIRE’S CAR glides up the back road, past the lumberyard to
LALLYBROCH. She gazes out the window at the grand stone
building. From the distance, it doesn’t look that different.
But as she pulls over, parks and gets out, she’s shocked at
the condition it’s in.

FOLLOW CLAIRE as she walks through the DOORYARD and to the
FRONT STEPS.

As she does, she hears a FLURRY OF VOICES in her head: Jenny
laughing, kids playing, dogs barking, goats bleating, Ian
yelling, Mrs. Crook calling everyone in for dinner, Rabbie
excited about potatoes...
A SOUND COLLAGE of LIFE AT
LALLYBROCH [taken from various episodes].

A faded REAL ESTATE SIGN tacked up near the front door.
Windows BOARDED UP. A KEEP OUT SIGN near the DOOR. Claire
would go inside but a large beam and debris block any access.

So she sits down on the front steps... closes her eyes...

CLAIRE (V.O.)
I remember Jamie reading a poem to
me one night in bed. “Come and let
us live my Dear, Let us love and
never fear, What the sowrest Fathers
say, brightest Sol that dyes today.”

A sound, the CRUNCH of footsteps approaching on the road.
Claire opens her eyes and gazes out. Something catches her
eye... a TALL FIGURE, silhouetted under THE ARCH.

CLAIRE (V.O.)
“Lives again as blithe tomorrow, But
if we dark sons of sorrow, Set then
how long a Night, shuts the eyes of
our short light!”

JAMIE’S VOICE takes over the next verse:

JAMIE (V.O.)
“Then let amorous kisses dwell, on
our lips, begin and tell, a Thousand
and a Hundred score, a Hundred and a
Thousand more...”

Toni Graphia

This is one of our favorite scenes in the script. In the first draft, we had a dog walker pass by and tell Claire about the history of Lallybroch and how the house was set to be demolished. But later, we realized that all we wanted was Caitriona Balfe. Her face when she looks up through the car window is one of the best shots in the show (this scene was directed by Matt Roberts). The scene plays better with no dialogue, just the sound montage of family members. Toni wanted to include the lines from the poem that was engraved on the inside of Claire’s wedding ring in the book. Originally the poem was in voice over, but we ended up using it as part of the sound montage. The ghost like image of Jamie is very moving. Claire’s heartbroken to see her home in this state of shambles, but it’s the only real home she’s ever known, so we felt she had to go back and visit it.

The SILHOUETTE -- a tall Highlander, wearing full rig-out.
Claire stares up at him, incredulous. The sun’s behind him,
so she can’t see his face clearly, but she would know him
anywhere -- it’s Jamie. Her breath catches in her throat --

CLOSE ON CLAIRE’S FACE as rain drops fall on her. She opens
her eyes, waking up. She looks around, disoriented from
where she’d dozed off on Lallybroch’s front steps.

She stands up and looks back at the arch where the Highlander
was. There’s nothing there. She heads back toward the car.

A17EXT. HIGHLAND ROAD - DAY (1968)A17

Establishing. Roger’s car drives down a paved road towards
Fort William.

17EXT. FORT WILLIAM - COURTYARD - DAY (1968)17

Roger and Brianna walk through the large empty space in the
midst of the abandoned old fortress.

ROGER
Fort William. Built in the 1600’s.
The Gaelic name for it is An
Gearastan Dubh, “The Black
Garrison.”
It was used by the
British as a command post and
prison... intended to control the
“savage clans and roving
barbarians.”

Toni Graphia

Originally, we had Roger take Brianna on a sightseeing tour at Loch Ness but putting them on boat for this one scene was very expensive for production. Toni thought it could be cool for them to visit Castle Leoch (Doune Castle) and be walking around the halls of where both sets of her parents spent time (Claire/Jamie and Claire/Frank) and buy a trinket in the gift shopa Scottish flag keychain or such. Matt came up with the idea for a darker scene where they visit Fort William (Black Ness Castle) and it’s truly chilling to see Brianna at the flogging post where Jamie was whipped almost to death by Black Jack Randall.

Brianna strolls around on her own, looking up at the imposing
grey stone walls that surround her.

BRIANNA
Military history isn’t really my
specialty...

ROGER
It was your father’s though, right?
The Reverend has a couple of his
books in the library.

BRIANNA
One of my earliest memories is
dropping an ice cream cone off the
ramparts of Fort Ticonderoga while
he held forth on the heroics of
Ethan Allen and the Green Mountain
Boys.

Then they arrive at the WHIPPING POST where Jamie was once
flogged by Black Jack Randall [Episode 106]. It’s now been
rebuilt, but the weather has taken its toll.

ROGER
Ethan Allen? “I regret I have but
one life to give --”

BRIANNA
Nathan Hale. Common mistake.

ROGER
Never quote American history to an
American.

BRIANNA
The Revolutionary War is practically
a religious text in Boston.

ROGER
With George Washington as the
messiah and Benedict Arnold as Judas
no doubt.

BRIANNA
Benedict Arnold is a deeply
misunderstood historical figure.

ROGER
I thought you didn’t like military
history.

BRIANNA
(bad Scottish accent)

We Randalls are a verra complicated
clan, laddie.

ROGER
That is the absolute worst accent
I’ve ever heard.

She laughs and Roger grins back -- a truly shared spark
between them for the first time. She opens up a little more.

BRIANNA
Do you... remember my father very
well?

ROGER
Bits and pieces. He was a... snappy
dresser. Wore his hat dipped down
over one eye, very dashing.

(then)
And he seemed... very kind.

Brianna says nothing for a long beat.

BRIANNA
He was... the kindest man in the
world. Kind... gentle... always
finding ways to surprise me... to
open my eyes to the world... it was
a gift he gave me... not to feel
trapped in the present...

to always know I was part of a chain
that stretched into the past... and
into the future... so even now, even
here I can reach back and feel the
link that connects me to him...

A long quiet beat in the empty fortress.

ROGER
Your mother seems like a kind woman
as well.

Brianna looks away, her expression hardening slightly.

BRIANNA
My mother... lives in another world.

Then the moment passes and she wraps her arms around herself.

BRIANNA (cont’d)
This place gives me the chills.

ROGER
With good reason... a lot of blood
was spilled on this ground.

With a last glace at the whipping post, they walk out of the
old fortress.

A18EXT./INT. ROGER’S CAR - DRIVING - DAY (1968)A18

Roger driving, Brianna staring out at the countryside for a
moment. Then she turns on him suddenly.

BRIANNA
Do you have any memory of... an
“incident” that happened... with my
parents when they were here?

ROGER
How do you mean -- “incident?”

BRIANNA
I don’t know exactly. Something.
Something big that happened between
them when they were here staying
with your father.

Toni Graphia

We wanted to give Brianna more drive in this storyto have her be the one interested in her family history and in solving this mystery about her mother’s past that has always been in the back of her mind. It gives her and Roger a chance to bond and for some sparks between them.

ROGER
(avoiding)
I was just a wee lad...

She nods and looks away, disappointed but not surprised.

B18EXT. LOCHSIDE - DAYB18

As they walk along the shore...

BRIANNA
Snow, in April?

ROGER
It’s Scotland. Seasons are mere
suggestions. She does what she
wants, when she wants.

Roger decides he is going to share what he knows about the
incident --

ROGER (cont’d)
I don’t remember all the details,
but I do recall... finding Mrs.
Graham crying out in the tool
shed... there were a lot of broken
things lying about... I think she
said that your father had lost his
temper and smashed everything up...

Brianna looks back.

BRIANNA
My father smashed...?

ROGER
Yes... but that wasn’t why she was
crying, I’m certain of that.

Brianna is puzzled, but definitely intrigued.

BRIANNA
My father definitely had a temper,
but he kept it tightly under wraps.

(then)
When did this happen? What year?

ROGER
Your mother said I was seven or
eight when she last saw me, so it
must have been... 1947 or ‘48.

Something unsettling lands in the pit of Brianna’s stomach.
It takes her a minute before deciding to take the plunge.

BRIANNA
My father kept a lock-box on the top
shelf of his closet. I knew where
he hid the key, so one day, I opened
it. There were letters in there,
from your father. I knew I wasn’t
supposed to read them, but I did.
Mostly academic stuff... but there
was one letter...

(beat)
The Reverend mentioned an “incident”
involving my mother and my father...
and the way he phrased it -- made me
feel like it was... something big...
maybe something terrible...
definitely something he didn’t want
to spell out on paper...

(beat)
It scared me for some reason. I put
the letter back in the box, locked
it and never looked at it again.

Roger sees an opportunity to bond with her, to fill in some
missing pieces. He gets an idea.

ROGER
My father kept a journal. Wrote in
it every night after supper. There
are boxes of them in the storage
room, if you wouldn’t mind getting a
bit grubby.

BRIANNA
Grubby doesn’t bother me. You
should see my bedroom.

(realizes)
That didn’t come out right --

ROGER
No, but I take your meaning.

They share another grin as they walk back towards the car.

18EXT. TOWN HALL - INVERNESS - DAY (1968)18

Establishing. Claire’s car pulls up in front of a building
where Burgh records are kept. As she goes inside, Claire
sees GRAFFITI spray painted on a building or other structure:
FREE SCOTLAND. The battle never ended. Perhaps it never
will.

Toni Graphia

The “Free Scotland” graffiti was a nod to the Scottish Referendum that was going on in Scotland while we were filming our first season. It was an interesting time to be in the country and we were intrigued talking to citizens on both sides of this issue. We thought it was cool that there were so many eerie parallels with what was going on in the show and what was happening in today’s politics.

9OMITTED19

20INT. TOWN HALL - RECORDS ROOM - DAY (1968)20

A short time later, a CLERK is laying out some DOCUMENTS on a
table for both her and Claire to examine.

CLERK
I traced the chain of title for the
estate known as Lallybroch or Broch
Tuarach and found this...

(pointing to a document)
The earliest document in our files --
a Deed of Sasine transferring title
to the property from James Alexander
Malcolm MacKenzie Fraser to James
Jacob Fraser Murray.

Claire looks at the document with the shock of recognition
and a thrill of memory. The clerk doesn’t notice.

CLERK (cont’d)
The property was transferred in
1745, witnessed by... Murtagh
Fitzgibbons Fraser and Claire
Beauchamp...

(squinting)
It’s a bit smudged, but I think her
surname’s Fraser as well.

Claire reacts as she looks down at the SIGNATURES, recalling
some MEMORY triggered by the smudge.

CLAIRE
Yes. I do believe it was.

Toni Graphia

This wasn’t in the book, but we felt Claire would wonder what happened to Lallybroch and whether it stayed in the family… what’s cool is we don’t know yet but will see later why she’s concernedbecause they had sent Fergus off to bring the deed. And of course, the smudge here on her name will be revealed later as the tear she shed as she signed the document. This is another one of those small moments that we tried to create where the Clerk says, she thinks her name might be Fraser too, and Claire just smiles and says, “I believe it was.”

Claire picks up the old parchment, touching the signatures
gently for a moment before finding her voice again.

CLAIRE (cont’d)
And after that?

CLERK
Various Murrays, it seems. The
property stayed in that family for
many generations.

Claire smiles knowing Jenny and her family lived out their
days at Lallybroch. The clerk hands Claire an ENVELOPE.

CLERK (cont’d)
I’ve made you a copy, so this one’s
yours to keep.

CLAIRE
One last thing. Is it possible to
do a genealogical search?

CLERK
Aye, what’s the name?

CLAIRE
Roger MacKenzie. I’ll give you his
parents’ names...

As Claire begins to write them down on a piece of paper...

21EXT. TOWN HALL - DAY - A SHORT WHILE LATER (1968)21

Claire exits the building holding TWO MANILA ENVELOPES and
gets into her car.

22INT. CLAIRE’S CAR - DAY - CONTINUOUS (1968)22

Before she starts the car, she opens one of the envelopes.

CLAIRE (V.O.)
I only meant to indulge a curiosity.
Ever since I’d heard Roger was a
MacKenzie, I’d wondered if there was
an ancestral connection to Colum or
Rupert... but as I studied Roger’s
family tree, I was in for a shock.

She studies the document inside -- a FAMILY TREE. ON
CLAIRE’S FACE -- she’s stunned by what’s on the paper.

23INT. WAKEFIELD HOUSE - CLAIRE’S BEDROOM - NIGHT (1968)23

Claire’s sitting on the bed, having taken her shoe off and
rubbing her foot from her day of trekking, when Brianna
enters. Claire looks up, happy to see her.

CLAIRE
So, how was your date with Roger?

BRIANNA
It wasn’t a “date.”

CLAIRE
You have to admit he certainly is
handsome and intelligent. And he
has a very nice physique.

BRIANNA
Mo-ther! Who says physique? Stop.

CLAIRE
And his eyes, such a deep blue.

BRIANNA
Maybe you should date him.

Toni Graphia

With the “physique” line and the banter about Roger, we wanted to show some of the  playfulness and love between mother and daughter. But it quickly becomes more serious as conflict arises… Brianna is digging into her mother’s secrets… and confronts her with some grave accusations here… Did she love Frank?

CLAIRE
Where did you end up going?

BRIANNA
Fort William. Have you been?

Claire reacts. The thought of her daughter at the place she
was held captive by Randall, and Jamie almost flogged to
death. But she quickly covers.

CLAIRE
Once... I didn’t care for it.

BRIANNA
So what did you do today?

CLAIRE
Oh, I puttered around the village.

BRIANNA
Places you and Daddy went before?

CLAIRE
Some.

But Claire’s evasive tone and lack of elaboration sets off
Brianna’s radar. She asks suddenly:

BRIANNA
Do you miss him?

CLAIRE
Of course.

But the perfunctory answer doesn’t satisfy.

BRIANNA
Sometimes it doesn’t seem like you
do. Or... that you ever loved him.

Claire’s blind-sided by the explosive statement.

CLAIRE
What a thing to say.

A beat. Then more quietly.

BRIANNA
Well, did you? Love him?

CLAIRE
(the truth)
I did.

BRIANNA
And then what? You got married and
had me and... what? What really
happened between the two of you?

CLAIRE
Nothing happened, I don’t know what
you’re talking about.

BRIANNA
Fine. We can just keep pretending
you don’t know what I’m talking
about for the next twenty years if
you’d like.

Claire takes a beat.

BRIANNA (cont’d)
I think we should stay another day --
I want to hang out with Roger at the
college tomorrow.

Claire sees that Brianna’s retreated now. The walls are up.
Claire goes to her MEDICAL BAG and OPENS it.

CLAIRE
I wouldn’t mind staying. Dr.
Abernathy asked me to pick up some
medicinals for his research... I
have a list here somewhere...

BRIANNA
Cool.

Brianna EXITS. Claire begins taking out VIALS and BOTTLES
from her bag as she searches for the list...

24INT. JAMIE & CLAIRE’S ROOM - DAY (1746)24

TITLE CARD: 7:30 a.m.

Claire is taking VIALS out of her MEDICAL BOX as Jamie closes
the door behind them. She’s rushed him here so they can talk
privately. Breathless from running, a proposition regarding
Charles comes flooding out.

CLAIRE
This battle, this war -- everything
that’s about to happen -- it all
depends on Charles.

JAMIE
Aye.

CLAIRE
If he were to die... now... right
now
... there wouldn’t be a battle.
And this bloody rebellion would die
with him.

JAMIE

Christ!

(in Gaelic, then alt in
English)

JAMIE

A chiall!

(in Gaelic)

Toni Graphia

Desperation is showing here as Claire suggests killing Charles… they couldn’t stop him in Paris, and now they are down to the wire and need a solution. We wanted Claire to be active. They are not cold blooded murderers, but there are many lives at stake here and they are running out of time.

Claire finds the VIALS she was looking for in the box.

CLAIRE
I have these. Yellow jasmine.
It’s poisonous. The same mixture
that Colum took last night.

(off Jamie’s look)
He asked me for it. Begged me. He
knew his time was near.

JAMIE
(reeling)
He took his own life? That’s a
mortal sin.

CLAIRE
He wanted a quick and peaceful death
and I gave it to him.

Jamie absorbs this, then nods. He understands.

CLAIRE (cont’d)
Charles has been sickly, suffering
from scurvy for weeks.

I attended to him before Falkirk,
made him tea with rose hips. I can
do it again.

JAMIE
In a tea?

CLAIRE
The way it works... it’s like
drifting off into a deep sleep.

JAMIE
He would never know.

CLAIRE
No one would ever know.

OFF JAMIE and CLAIRE -- looking at each other, anguish in
their faces, as they consider the plan --

SMASH CUT TO:

25EXT. INVERNESS COLLEGE - DAY (1968)25

The next morning. Roger and Brianna walk along a PATH. As
they approach the History Building --

ROGER
I’m meeting the curator on the
second floor. I shouldn’t be long,
then we can go home and start the
great excavation of The Reverend’s
journals.

BRIANNA
Great. I’ll hang out.

26INT. INVERNESS COLLEGE - HISTORY BUILDING - DAY (1968)26

Roger and Brianna enter the LOBBY. As Roger splits off,
Brianna’s attention is drawn to a small RALLY happening in
the MAIN ASSEMBLY AREA. She HEARS the passionate speech of a
WOMAN in the front --

GILLIAN (O.C.)
America, India, Ireland -- all
proved it can be done. That
independence is possible.

27INT. HISTORY BUILDING - MAIN ASSEMBLY AREA - DAY (1968)27

A GROUP of students listen to GILLIAN EDGARS. A lithe woman
with flowing red hair, Gillian is seen only from behind.

GILLIAN
That an idea can turn into a
reality, that a few can become many
and rise against a tyrannical
government. We can’t deny that
English needs will always come
before Scottish needs. And we can
no longer allow their vision to
dictate ours.

Brianna stands against the back wall to listen further. A
handful of students and a few faculty are at rapt attention.

GILLIAN (cont’d)
The “Act of Union” in 1707 was a
betrayal. When Scotland was united
with England, under a single crown,
with a single parliament, it was the
beginning of the end for us. We
lost more than our independence, we
lost our spirit. The government in
Westminster, the bankers in The
City, the newspapers of Fleet Street
-- have stolen our money, our
voices, our futures.

As she’s speaking, PAN around from the back of GILLIAN to
REVEAL -- Gillian is in fact GEILLIS DUNCAN. A younger
version of Geillis, but unmistakably her.

Toni Graphia

One of our most fun scenes to write! We always knew we wanted a bigger role for Geillis in the finalewe love her character (and Lotte Verbeek) and wanted it to be more than seeing a glimpse of her going through the stones. We couldn’t do a scene with Claireotherwise she would have remembered Claire when Claire came to the 18th century. We came up with the idea that Geillis meets Claire’s daughterit’s just as chilling! And a perfect place for them to cross, since Geillis was a political activist in 1968 and Brianna a history student. It’s also cool that Geillis meets Rogerwho is her descendent. We liked that Brianna is flinty here and challenges Geillis on some of her rhetoric. We hope this scene is a treat for the fans, a little something extra.

GILLIAN (cont’d)
Where are the rulers of old who knew
how to look after their people -–
the Kings who have become legendary
–- Arthur of Wales, Richard the Lion
Heart and Prince Charles Edward
Stuart, our Bonnie Prince? We’ve
all heard of the battle of Culloden,
but imagine how different things
would be now if we’d won. Where is
our Bonnie Prince Charlie today?

(a call to arms)
I am Bonnie Prince Charlie! You are
Bonnie Prince Charlie! Scotland must
take her destiny in her own hands!

CHEERS AND APPLAUSE from the crowd. As the speech ends,
Gillian is mobbed by supporters.

TIME CUT:

Moments later, Gillian is fielding questions, shaking hands
and passing out PAMPHLETS to the crowd. Brianna is in the
crowd and catches her eye. As Brianna approaches Gillian, a
few staunch supporters finish praising the passionate speech.
THEN --

BRIANNA
I liked your speech.

(then)
But wasn’t it the Scottish King
James VI, who united the Crowns?
And Queen Anne, his Scottish
granddaughter who signed the Acts of
Union?

Gillian hears the critique immediately, but handles the
question smoothly -- she’s fielded this one before.

GILLIAN
Aye, but Anne was raised Anglican,
already under the influence of
Westminster. Prince Charles and his
father King James wanted to undo all
that.

BRIANNA
Sounds like they would’ve been just
trading one King for another.

GILLIAN
Charles was Catholic and a Scot.
Unlike German Geordie and the
Hanovers, his loyalty was to us.

BRIANNA
Maybe. Monarchs are monarchs.
Doesn’t seem much like power to the
people.

Gillian’s a little taken by this girl who’s challenging her
while others fawn over her like a rock star.

GILLIAN
You’re American. Are you a student
here?

BRIANNA
(introducing herself)
Brianna Randall. Just visiting.
I’m a history major from Boston.

GILLIAN
(shaking her hand)
Gillian Edgars. Boston? So you
know a little about overthrowing
distant rule.

BRIANNA
Yes, but America’s run by monied
interests as well -- Washington,
Wall Street...

GILLIAN
Democracy in action.

BRIANNA
An imperfect system, but I don’t
think monarchy’s the answer.

GILLIAN
So why are you here?

BRIANNA
I’m a history student. I like
watching history being made.

Gillian smiles, finding a grudging respect for the brash
American student.

ROGER (O.C.)
There you are.

Roger appears. Gillian hands Brianna a PAMPHLET with her
PICTURE on it and the logo of her organization -- the WHITE
ROSES OF SCOTLAND.

GILLIAN
There’s another rally later at The
Finch, a pub near campus...

(adds)
Where we’ll be making history.

Brianna smiles, noncommittal and leaves with Roger. HOLD ON
GILLIAN as she watches Brianna walk away --

CLOSE ON PRINCE CHARLES EDWARD STUART 28 28

His dapper dress and smirking expression. He’s standing
unnaturally still. That’s because -- this is not Charles in
the flesh, but a LIFE-SIZE WAX FIGURE OF THE BONNIE PRINCE.
Pull back to REVEAL we are in --

INT. CULLODEN VISITOR CENTER & MUSEUM - DAY (1968)

In a building just adjacent to the infamous battlefield, a
group of TOURISTS admire the wax likeness of the leader of
the Jacobite Rebellion.

TOURIST
Tall fellow, wasn’t he?

CLAIRE (O.C.)
He wasn’t that tall in real life.

Toni Graphia

We had read that there was a visitor center and museum at the real Culloden Battlefield, although we’re not sure if they have a life-size wax figure of Prince Charles, but we thought it would be fun! We imagined Claire encountering the wax character in one story, as she encountered the real one in the other. We love her snide comment that he wasn’t that tall in real life. And then of course, she sees the dragonfly… we don’t find out until later how it got there. We were trying to think of a name for the episode and thought of this scenehow the dragonfly symbolizes so many things, Claire’s life, for one. So we called the episode Dragonfly in Amber as an homage to the book. We felt like it really summed up this season perfectly.

REVEAL CLAIRE has wandered up beside them, gazing at Charlie.
The tourist shoots her a quizzical look. Claire continues:

CLAIRE (cont’d)
He could have been great. He had
the name and the cause and the
support of good men willing to lay
down their lives for him.

(beat)
We’ve taken a fool and turned him
into a hero.

Claire shakes her head, wanders off. She finds herself near
an exhibit labeled: WEAPONS AND ARTIFACTS FOUND ON THE
BATTLEFIELD. She glances over the variety of SWORDS,
MUSKETS, TARGES, and other HISTORICAL ITEMS. Then overhears
a HUSBAND and WIFE:

WIFE
(curious)
And what is that thing inside there?

HUSBAND
Hmm... not sure. Looks like a...
dragonfly maybe?

Claire looks and sees the DRAGONFLY IN AMBER given to her by
Hugh Munro. Claire gazes at it, filled with emotion.

CUT TO BLACK:

29INT. WAKEFIELD HOUSE - STORAGE ROOM - DAY (1968)29

POV FROM INSIDE the dark storage room as the DOOR creaks
open, letting the LIGHT slash in through clouds of dust.
Brianna waves a hand in front of her face, coughing.

BRIANNA
How long since anyone’s been in this
room?

ROGER
Ages, I expect.

He shines a FLASHLIGHT, lighting stacks of CARDBOARD CARTONS,
CRATES, STEAMER TRUNKS. Finds a dangling STRING, pulls it.
The room is suddenly lit by the glare of an oversized BULB.
Bree pokes around, finds a stack of LEATHER-BOUND JOURNALS.

BRIANNA
Are these his journals?

ROGER
Aye. If there’s anything here about
what happened back in 1948, we
should be able to find it.

She moves the box, a small, grey hairy CREATURE skitters out.

BRIANNA
What was that?! It was huge.

ROGER
Probably a rat.

(hands her the flashlight)
Shine this in any dark places, at
least you won’t be taken by surprise.

BRIANNA
Thanks a lot.

ROGER
Well, go on then. Or did you want
me to do a rat satire on the spot?

BRIANNA
(raising a brow)
A rat satire?

ROGER
An old Scottish custom; if you had
rats in your house, you could make
them go away by singing to them --
telling the rats how poor the eating
was where they were, and how good it
was elsewhere.

BRIANNA
You’re kidding, right?

ROGER
(singing)

Ye rats, ye are too many,
If ye would dine aplenty,
Ye must go, ye must go.
Go and fill your bellies,
Dinna stay and gnaw my wellies --
Go, ye rats, go!

Toni Graphia

The rat satire is a fan favorite. Originally, we had Roger singing a song at the wake. Maril said we couldn’t do two songs and she was right. We cut the wake song and kept this one and were glad we did, as shortly afterwards we saw Diana and she said she was so happy we used the rat satire! At the read-through, Richard Rankin was so charming, and he just went for it. The ladies were swooning and there was no way we were cutting it. You don’t see this on TV everyday, folks! 😉

BRIANNA
Did you just make that up?

ROGER
Of course. Any good rat satire must
always be original.

BRIANNA
After that performance, there
shouldn’t be a rat within miles of
this place.

They both laugh. Brianna looks at him, warming up a little.
But then she spots something, breaking the moment.

BRIANNA (cont’d)
Randall.

Roger follows her gaze to a carton labelled with her family
name. They go and open it. It holds an odd assortment of
items. PAPERS, LETTERS, PHOTOGRAPHS, ARMY MUSTER LISTS.

ROGER
Now there’s an heirloom for you.

He traces a COAT OF ARMS on the head of a sheet.

ROGER (cont’d)
A letter of commission in the army,
signed by His Royal Majesty, King
George II. Dated 1735.

BRIANNA
“Jonathan Wolverton Randall.” I
remember Daddy talking about him.
He’s one of our ancestors.

ROGER
Looks like he was one of the few
British soldiers killed in the
Battle of Culloden. The Highlanders
lost almost 2000, and the British
only 50.

(then)
Here’s a letter from your father...

BRIANNA
(scanning it)
The Reverend was doing research on the
Captain, but then my father told him
to abandon the project. “He’s not the
man I thought.”

ROGER
Odd. Let’s bring these boxes inside
to the library. Unless you’d like
to wait and see if my satire worked.

As they start to haul the boxes inside --

30INT. JAMIE & CLAIRE’S ROOM - DAY (1746)30

TITLE CARD: 8:15 a.m.

BACK with Jamie and Claire as they continue to discuss a plan
to poison Prince Charles...

JAMIE
Make no mistake, this is cold-
blooded murder we’d be carrying out.

CLAIRE
To stop a slaughter. Taking one
life -- to save thousands.

Just then ROSS rushes in the SIDE DOOR --

ROSS
Jamie! Lord George requests yer
presence near the east dyke! Ye’re
to come at once. They’re calling on
the men to form lines!

JAMIE
Aye.

Ross exits. Jamie turns back to Claire, time running out.

JAMIE (cont’d)
We have to move quickly.

CLAIRE
I can mix the Yellow Jasmine into a
tea now, bring it to him --

JAMIE
(full of rue)
I spent a year calling the man my
friend.

REVEAL DOUGAL MACKENZIE standing just outside the MAIN DOOR,
a look of absolute revulsion on his face. Who knows how long
he’s been there?

Jamie snatches his DIRK from his belt, jabs it into the
TABLE, where it stands quivering with the force of the blow.

ON DOUGAL, red with fury at this soul-crushing betrayal. He
charges in, CURSING --

DOUGAL
Ye ungrateful son-of-a-bastard! And
you filthy... whoring... witch!

Both wheel, shocked to see Dougal MacKenzie. OFF JAMIE AND
CLAIRE as they’re hit head-on by his wrath ---

SMASH CUT TO:

31EXT. CULLODEN MOOR - DAY (1968) 31

FOLLOW CLAIRE as she walks through the grassy field, past the
large granite BURIAL STONES which mark the mass graves. CLAN
MACGILLIVRAY. CLAN MACINTOSH. CLAN CAMERON. MIXED CLANS.

Claire HEARS FRANK’S VOICE in her head, telling her about
Culloden [Episode 105].

CLAIRE (V.O.)
I came here with Frank in 1945, and
walked among these same gravestones.
But this time I knew the men whose
bones lay under them.

She stops in front of the last one: CLAN FRASER. A SCOTTISH
WOMAN approaches. Lays HEATHER on the grave.

WOMAN
Are ye a Fraser?

CLAIRE
Yes... I am.

WOMAN
We must never forget them. They’ve
made our children proud.

Claire nods. The woman moves off, Claire is alone at the
grave. She stands there a beat, then talks to “Jamie.”

CLAIRE
I swore I’d never set foot on this
horrid place, but here I am. And I
know you’re here... your bones at
least. But I’m not going to cry.
You wouldn’t want that. Besides,
I’ve come with good news. You have
a beautiful daughter... Brianna.
Named for your father, just as I
promised.

(then)
I was so angry with you, for so
long. You made me live a life I
didn’t care to live. But you were
right, damn you. Brianna was safe
and loved and raised well. Frank
treated her like a daughter, always.
It’s just her and me now. But
sometimes when she turns and I see
her red hair or when I catch her
smiling in her sleep, it takes my
breath away -- because I see you.
She’s so beautiful, Jamie... I wish
you could meet her. She’s a Fraser
all right. Headstrong, stubborn,
fearless...

As Claire starts to tell Jamie all about his daughter...

CLAIRE (cont’d)
She was born at 7:15 on a rainy
Boston morning...

TIME CUT:

32EXT. CULLODEN MOOR - DAY - HOURS LATER (1968)32

Claire has finished.

CLAIRE
That’s everything, everything I can
remember. And no tears. You
probably didn’t think I could do it,
did you?

(then, a long beat)
Remember that day at Craigh na Dun?
We said a lot of things. But there
was one thing I didn’t say. I
couldn’t. And I haven’t, for twenty
years. But I’m here and it’s time.
So...

(then)
Goodbye, Jamie Fraser, my love...
Rest easy, soldier.

Toni Graphia

Culloden Moor is one of our other favorite scenes. Claire and Frank had visited before and how poignant that Claire is here again, this time, her husband Jamie under these grave markers. Claire’s speech was one of the most rewarding things to writein network TV you could never write a speech that long. But also, because we knew what magic Cait would bring to it. There were tears every time we saw this scene in the editing roomEVERY TIME! You can’t watch Claire say, “… Goodbye, Jamie Fraser, my love” without your heart breaking in two. And “Rest easy, soldier” is of course a callback to “On your feet, soldier” in the pilot.

Claire turns and walks away, before the dam breaks.

3OMITTED 3

34INT. WAKEFIELD HOUSE - REVEREND’S LIBRARY - DAY (1968)34

Roger and Brianna sit on the floor surrounded by boxes as
they sort and read through the journals labeled 1948. Roger
reads something. His eyes flicker -- he looks alarmed.

BRIANNA
You find something?

ROGER
No... ah... nothing yet... we should
stop for lunch. There are plenty of
leftovers from the wake...

He closes the journal, but Brianna notices some OLD YELLOWED
NEWSPAPER CLIPPINGS poking out from within the journal.

BRIANNA
What are those...?

ROGER
Hmm? Oh. Nothing. Just some old
newspaper clippings.

BRIANNA
Really? Let’s see --

Brianna grabs the journal from him and takes out the
clippings. She reads one of the HEADLINES:

BRIANNA (cont’d)
“Kidnapped by the Fairies?”

She’s holding a clipping of the same newspaper with Claire’s
PHOTO seen in Episode 201. Other clippings describe Claire’s
initial disappearance and the search for her, and there’s a
copy of one of the “MISSING” handbills [Episode 108].

BRIANNA (cont’d)
(reading)

“Claire Randall, wife of noted
historian Frank Randall... holiday
in Inverness... car found... gone
without a trace... police thought
she was possibly murdered...”

Brianna looks up, shocked.

ROGER
Obviously not. She turned up.

BRIANNA
Three years later.

(keeps reading)
“Mysteriously found wandering...
dressed in rags, disoriented,
incoherent...”

ROGER
I think we’ve found your “incident.”

BRIANNA
What about the journal? What did
The Reverend say about all this?

ROGER
Are you sure you want to do this?
You may not like what you find.

BRIANNA
I want the truth. No matter what.

Roger hands her the journal and Brianna begins to read --

TIME CUT:

O35 35

A36OMITTED (MOVED INTO SCENE 37)35

A36EXT. WAKEFIELD HOUSE - DAY (1968)A36

Establish Claire’s car parked in the driveway.

36INT. WAKEFIELD HOUSE - PARLOR - DAY (1968)36

CLOSE ON THE WHITE ROSES OF SCOTLAND PAMPHLET sitting on the
table.

Claire walks past the pamphlet as she makes a CUP OF TEA.
She seems more calm and at peace since her visit to Jamie’s
grave, which has given her a sense of closure.

Claire sets her tea down right next to the pamphlet. Geillis
Duncan’s face stares right at her, but she doesn’t see it
.

Brianna enters, having come from upstairs. She’s been
stewing for hours and she has a sheaf of PAPERS in her hand.

CLAIRE
There you are. Would you like some
tea?

BRIANNA
What I’d like is to know exactly
what you’ve been doing the past two
days.

CLAIRE
As I told you, I was...

BRIANNA
Puttering around town. Collecting
herbs. That all?

CLAIRE
Bree? What’s going on?

BRIANNA
Did you see him?

CLAIRE
Him?

BRIANNA
My father. Did you see my father?

Claire’s stomach turns over -- how could she know that? She
tries to rally, struggles for an indignant tone.

CLAIRE
What -- what the hell kind of
question is that to ask?

BRIANNA
Not Daddy -- he’s dead, I know that.
I’m talking about my father. The
man you had an affair with. The man
you were with for three years.

She tosses a stack of PAPERS at her feet -- the newspaper
clippings, the missing poster -- the scattered evidence of a
lie held for two decades. Claire closes her eyes, tries to
steady herself. The moment she’s always dreaded is here and
rushing forward like a speeding locomotive.

CLAIRE
It’s... complicated, Bree...

BRIANNA
It’s pretty simple, actually.
Newspapers say your “miraculous
return” was in April 1948. Well, I
was born in November ‘48. Do the
math and it turns out you were three
months pregnant when the “fairies”
brought you back to Daddy.

Silence. Roger walks in at this very moment with some PAPERS
in his hand.

ROGER
Bree! I found something else in The
Reverend’s correspondence. Not sure
what it means, but...

He suddenly becomes aware his timing couldn’t be worse.

ROGER (cont’d)
Oh. I’m sorry. I should let you --

BRIANNA
Stay! It’s your house and you
haven’t lied to anyone.

CLAIRE
I really think we should talk alone.

BRIANNA
He’s my friend and he stays.

Claire’s head is spinning, but she makes a decision.

CLAIRE
Fine.

(beat)
We should all sit down.

They do, including Roger. Claire takes a deep breath:

CLAIRE (cont’d)
There was... another man. And... I
loved him very much. And... yes, he
was... your real father.

Brianna looks like she’s been slapped, but she refuses to
crumble -- more than a little of her mother is in her.

BRIANNA
You lied. All my life... you’ve
lied to me.

CLAIRE
Frank didn’t want you to know...

BRIANNA
(dangerous)
Don’t you dare put this on him --

CLAIRE
He wanted to raise you as his own and
I agreed. That’s why we moved to
America, to leave all this behind.

BRIANNA
Until you found an excuse to visit
Scotland... is this really why we’re
here? So I could have some kind
of... surprise introduction to my
real father?

CLAIRE
No. It’s not possible anyway...

BRIANNA
Because he has no interest in
meeting his daughter?

CLAIRE
Because he’s dead.

Beat.

CLAIRE (cont’d)
I promised Frank I wouldn’t tell you
about him, so for twenty years, I
haven’t even uttered his name out
loud. But now you know. So I will
tell you about him... about your
father... Jamie Fraser.

BRIANNA
I don’t want to know anything about
him. Not one single thing.

She gets up and starts to leave, but Roger stops her.

ROGER
Bree --

(she stops)
You told me you just wanted the
truth, no matter what. Well, this
is it.

Brianna looks into his eyes for a long moment -- and Claire
notes the trust and bond that’s already formed between them.
Brianna sits back down and looks her mother right in the eye.

BRIANNA
Let’s hear it.

CLAIRE
Jamie loved you -- even though he
never met you, he loved you with all
his heart. And he would have raised
you... if it wasn’t for the Battle
of Culloden.

BRIANNA
Culloden...? What the hell does
that have to do with it?

CLAIRE
Everything.

37INT. JAMIE & CLAIRE’S ROOM - DAY (1746)37

Title card reads: 8:20 a.m.

BACK WITH Jamie, Claire and Dougal, having overheard their
plan to kill Charles.

JAMIE
Dougal. It isna what ye think, man.

DOUGAL
No? Not what I think? The woman’s
urging ye to foul murder -- to
murder your Prince!

CLAIRE
Dougal, please, you must listen --

DOUGAL
(to Claire)

You. I kent you were a traitor,
first time I clapped eyes on ye.

Dougal’s eyes rake Claire, burning with something between
horror and fury. Then starts toward her -- Jamie steps
between them --

JAMIE
Careful now.

The MacKenzie chief stops, stares at his nephew and instead
of exploding... sags, crestfallen in pain and heartbreak.

DOUGAL
Ye place yer trust in someone, ye
give into them with heart and soul.
Then to hear him planning murder of
our beloved Prince... I’d rather be
drawn and quartered.

Somewhere deep in his gut, Dougal resigns, makes a decision.

DOUGAL (cont’d)
Ye betray us all... what’s worse,
Jamie, ye betray Scotland herself.

(turning to Claire)
And you. You’re nothing but a lying
slut, who would take a man by the
cock and lead him to his doom, wi’
yer claws sunk deep in his balls.

JAMIE
She’s my wife! Ye’ll no speak ill
of her, even in your anger.

DOUGAL
What ye’ve done to me, we are past
anger.

Dougal puts his hand on his sword. He’s not stopping.

JAMIE
You’re tired, Dougal. Hungry and
cold. Go now, and I shall --

But Dougal’s drawn his sword and he lunges past Jamie for
Claire, who screams and ducks. Dougal grabs her hair and she
claws at his face. He raises his SWORD -- ready to plunge it
into her -- when Jamie knocks it out of his hand. Jamie’s
fist strikes Dougal hard in the ribs. Dougal lets go of
Claire, then whirls to face Jamie, pulling his DIRK now.
Jamie is unarmed. But he matches Dougal, eyes fixed on the
point of Dougal’s blade.

JAMIE (cont’d)
Put it down, Dougal.

But Dougal jabs upward, a ripping blow. Jamie dodges,
agility of youth on his side, but Dougal holds the knife.
Dougal rushes Jamie, the dirk sliding up Jamie’s side,
ripping his shirt, scoring a dark line in his flesh. Jamie
hisses in pain and grabs Dougal’s wrist.

CLAIRE
(screaming)
Stop it! Please! Don’t do this!

Claire grabs a CRATE and smashes it on Dougal’s back.

JAMIE AND DOUGAL -- locked now like lovers. Jamie gets the
upper hand and is on top of Dougal, but Dougal is still
holding onto the blade, rising. There’s no stopping Dougal.
He’ll fight to the death. Jamie fights him off the best he
can. But it’s steel versus flesh. The dirk rises, two hands
grappling for it. Dougal has it clenched in his fist and the
point barrels up toward Jamie’s heart -- and just before
sharp iron meets tartan --

Jamie, using all his strength, twists the blade around,
pointing it toward Dougal’s heart now. Jamie uses his
leverage and weight to slowly drive the blade into his
uncle’s torso.

Claire takes a step forward, looks at Jamie, then down at
Dougal. There’s a terrible sound from the MacKenzie chief, a
sound of SHOCK and STIFLED BREATH. Jamie pulls him up.
Dougal’s head lies on Jamie’s lap, Jamie’s arms locked around
his foster father.

JAMIE

I’m sorry, Uncle.

(then, in Gaelic)
Forgive me.

JAMIE

I’m sorry, Uncle.

(then, in Gaelic)
Thoir mathanas dhomh.

Claire kneels beside them, Dougal’s body goes limp as the
final breath of life leaves him. Jamie and Claire lock
eyes --

SMASH CUT TO:

38INT. WAKEFIELD HOUSE - PARLOR - DAY (1968)38

Claire has just finished telling The Story. Brianna stares
at her, having taken it all in. Roger’s quiet. Claire holds
her breath, waiting for the reaction. Finally --

BRIANNA
Wow... that’s... amazing.

Brianna’s giving nothing away about her feelings, answering
in a flat, unemotional tone. Given the circumstances, Claire
is relieved that her daughter’s taking it so well.

CLAIRE
I know it must be quite a shock.

BRIANNA
I... don’t know what to say.

CLAIRE
You don’t have to say anything.
It’s quite a lot to take in.

Brianna shakes her head, looks at Roger, then at her mother.

BRIANNA
So how long have you been cooking up
this story?

CLAIRE
No... I realize it must sound crazy,
but --

BRIANNA
Did you really think I would swallow
this... fairy tale? Do you think
I’m still five years old?

CLAIRE
It’s not a fairy tale.

BRIANNA
The man I grew up with, who loved me
for twenty years, isn’t my father.

My “real” father is some six-foot-
three inch red-headed guy in a kilt
from the eighteenth century. What
is wrong with you?

Claire takes her daughter by the shoulders --

CLAIRE
Listen to me, Bree. Frank was your
father in every way that matters,
except one: He didn’t make you.
Jamie and I did.

CLAIRE (cont’d)
You look just like him. Your hair,
your mannerisms... And he would
have loved you and raised you if it
hadn’t been for --

BRIANNA
The Battle of Culloden?! Oh my God,
stop!

CLAIRE
It’s true! Here. Look.

Claire shows Brianna the copy of the Deed of Sasine.

CLAIRE (cont’d)
My signature’s on the deed to
Lallybroch. Claire Beauchamp
Fraser. My maiden name and my
handwriting.

Brianna won’t even look at it.

BRIANNA
Just admit it! Admit you’re not a
perfect person. Own up to the fact
that you fucked someone else while
you were married to Daddy, just like
a million other bored housewives!

CLAIRE
(finally flaring)
I was not bored! And what Jamie and
I had was a hell of a lot more than
fucking. He was the love of my life!

Toni Graphia

This was actually the FIRST scene written, weeks before we even started the script. The Brianna casting was so important, so instead of writing up a simple throw-away audition scene, like what’s usually done because the script isn’t always written by the time casting starts, Maril Davis felt it was important to have a scene with some real gravitas to test our would-be Briannas. This was Brianna’s biggest scene, so we went ahead and just wrote it. It’s weird to write such a big scene out of sequence but luckily, we both write like thisnot linear. We always figured we’d punch the scene up later, as we wrote it in a hurry. But we ended up just dropping it into the script later without any changes. Sometimes the stuff you write fast and furious without stopping to overthink it, comes out the best.

There’s a beat, then finally tears spring to Brianna’s eyes.

BRIANNA
(heartbroken)
Why are you doing this?

CLAIRE
(softening)
Oh, Bree... I’m doing this
because... because it’s the truth.

Brianna looks at Claire, colder now --

BRIANNA
Only two people know what the truth
really is. And one of them is dead.
Too bad it wasn’t you.

A dagger in Claire’s heart. Brianna turns and walks out.

39INT. THE FINCH - DAY (1968)39

Roger and Brianna sit at the bar. She pushes back the PAPERS
that Roger had brought down earlier, when he interrupted her
and Claire talking.

BRIANNA
That doesn’t mean anything.

ROGER
I don’t know what it means, to be
honest. But The Reverend obviously
thought it meant something.

(waves to bartender)
Two drams. Talisker.

The bartender pours a couple of glasses.

BRIANNA
She’s insane. That’s all that
matters.

ROGER
She doesn’t strike me as insane.

BRIANNA
Then you weren’t listening.

Brianna tosses back the drink, chokes a little. She’s not
used to drinking whisky straight.

ROGER
Easy there, lass.

(then)

Now don’t lash out at me, but that
Deed of Sasine did look authentic.

BRIANNA
So some woman back in seventeen-
whatever had the same name as she
does. Or she read about someone and
is fantasizing it was her own life.

ROGER
Or... what if there’s something to
her story?

BRIANNA
Keep that up and I might just lash
out at you after all.

ROGER
You told me you could never get
close to your mother, that she lived
in another world. Maybe she’s
trying to show you that world.

BRIANNA
So you believe she traveled 200
years into the past? Through a
stone?

ROGER
It’s not important if I believe it.
She believes it.

BRIANNA
Which takes us back to insane.

ROGER
Remember all those boxes in the
storage room? They’re not all my
father’s. There’s one -- somewhere
buried in dust -- that belongs to
me. From my birth parents. And
I’ve never opened it. Maybe I want
to hold onto the picture I have of
them and not have any surprises.
Maybe I’m afraid of what I’ll learn
about myself.

BRIANNA
It’s easier to dig into history
when it’s not your own.

ROGER
I’m just saying, maybe we should
keep an open mind.

BRIANNA
How ‘bout we keep an open tab
instead?

Brianna throws back her drink. Waves for another.

40INT. WAKEFIELD HOUSE - PARLOR - DAY (1968)40

Claire paces around, frustrated. Worried that she’s
alienated her daughter for good.

Something catches Claire’s eye amongst a pile of papers on
the desk -- a familiar face --

SLOW MOTION as Claire zeroes in on the WHITE ROSES OF
SCOTLAND PAMPHLET that Brianna brought home from the rally --
GEILLIS DUNCAN’S FACE!

Toni Graphia

We wrestled with how we’d get Claire to find out about Geillis. Finally, we came up with having Brianna bring home a pamphlet from the rallyan easy fix!

As a stunned Claire picks up the paper --

CLAIRE (V.O.)
There were ghosts around me
everywhere since I’d arrived. The
red hair, the striking blue eyes.
The face was unmistakable. Geillis
Duncan. I remembered the date she’d
told me at the trial... the year she
came through the stones. 1968.
This was no ghost. Geillis was here
-- a younger version of her -- but
she was here.

OFF Claire as she goes over to the desk, grabs a PHONE BOOK,
starts flipping through it.

41INT. JAMIE & CLAIRE’S ROOM - DAY (1746)41

TITLE CARD: 9:00 a.m.

BACK WITH JAMIE AND CLAIRE over Dougal’s body... when a voice
startles them back to reality --

RUPERT (O.C.)
Great Christ!

Jamie and Claire look up to find RUPERT has just arrived in
the doorway in time to see the ghastly tableau.

Jamie, bloody and out of breath, Dougal’s head pillowed on
Jamie’s thigh, his lifeless eyes staring into space.

Rupert reacts with stupefied horror at the empty shell of his
great chief. For once in his life, Rupert is struck dumb.
He looks at Jamie in complete bewilderment.

JAMIE
Rupert...

But there’s nothing to say. Finally Rupert shakes his head.

RUPERT
I’d rip out my one good eye, if it
could have stopped me seeing this.
But seen it I have.

Toni Graphia

We always had this idea of having Rupert say he’d tear his eyes out rather than having seen thisand since he had been in battles, we asked the writers of the previous episodes to give him a battle injury of losing an eye, so we could say, “I’d rip out my one good eye if it could have stopped me seeing this.” We liked the image of a guy with only one eye being the one to see this horrific and heartbreaking image. So, we retrofitted Rupert’s injury.

JAMIE
Aye, ye have.

And with that, an entire conversation passes between them.
Jamie is his friend -- but Rupert cannot let the murder of
his chief be forgiven.

JAMIE (cont’d)
I ask ye one service... two hours.
There are some things I must see
to... you understand?

Rupert looks over to Claire -- he gets it.

RUPERT
And then?

JAMIE
I shall come back to answer for what
I’ve done. I give ye my word. Two
hours. Will ye grant me that,
before ye speak?

RUPERT
For the memory of the... friendship
I once had for you and which now you
have murdered as certainly as you
did my chieftain... aye, I’ll give
ye two hours, then I’ll damn your
soul to the fiery pit.

Jamie gets up, grabs Claire and they head out, leaving Rupert
standing over the body of his one and only laird...

SMASH CUT TO:

42EXT. GILLIAN EDGARS’ HOUSE - DAY (1968)42

Establishing. Claire’s car pulls up and she gets out, noting
the WHITE CITROËN already parked there.

43EXT. GILLIAN EDGARS’ HOUSE - DAY (1968) 43

Claire KNOCKS on a door. It swings open and she is face-to-
face with GREG EDGARS, Gillian’s husband. Handsome and rough
around the edges, he holds a GLASS OF WHISKY and looks like
he just woke up.

CLAIRE
I’m looking for a Miss Gillian
Edgars. Is this her residence?

GREG EDGARS
Aye. What is it you want with her?

CLAIRE
I’m an old friend of Gillian’s.
Claire Randall. You must be... ?

GREG EDGARS
Her husband.

44INT. GILLIAN EDGARS’ HOUSE - DAY - MOMENTS LATER (1968)44

The house is stylish, well it would be if it wasn’t a
complete disaster area. It reeks of stale cigarettes and
take-away food. Greg pours Claire a drink. Plops the glass
down on the table in front of her.

GREG EDGARS
Slàinte...

Claire is examining a FRAMED PHOTO on the mantle of Greg and
Gillian in happier days. A WEDDING PHOTO.

CLAIRE
I’m not going to be in the area
long, do you know where she might
be? I’d really love to say hello.

GREG EDGARS
It’ll likely be with the Roses, but
I’ve no kept up.

CLAIRE
The Roses? White Roses of Scotland?

GREG EDGARS
Bloody Nationalists. That’s where
we met.

Greg has definitely had more than a few, and he’s in rambling
drunk mode as he finds his way unsteadily to a chair.

GREG EDGARS (cont’d)
Fun at first, ye ken? Toss the
bloody English out, join the Common
Market on our own... beer in the
pub, cuddle in the back of the van
comin’ home from rallies. The
woman’s a she-devil in the sack.
That’s before she went potty.

CLAIRE
Potty?

GREG EDGARS
Aye. Lot of teuchters dressed up in
kilts with swords. Fine if ye like
it, of course. But Gilly’d always
take a thing too far. On and on
about the Bonnie Prince, and
wouldn’t it be a fine thing if he’d
won the ‘45? Blokes in the kitchen
‘til all hours, drinking up the beer
and arguing why he hadn’t. In the
Gaelic, too. Now she spends all her
time down at the Institute, day and
night, spendin’ all my money on
courses... folklore they call it.
She filled up a million notebooks
with her “findings.”

His eyes are beginning to droop as he nods to the corner
where a small WOODEN DESK sits, littered with PAPERS.

Toni Graphia

This was a great scene in the book, and it was one of the only places we used a lot of the book dialogue. We loved the character of Greg Edgars (poor Greg!) and his rant was fun to write. Some of it was trimmed out for time in the final edit, but the actor, James Robinson, did a fine jobhe played the little kid in Braveheart!

GREG EDGARS (cont’d)
Why not learn to type? Get a job,
if she’s bored, that’s what I told
her. So she left. Been weeks now.

(re: whisky)
Another?

CLAIRE
Thank you, no. So you say she’s
been gone for weeks?

She watches as he bolts down his third glass.

GREG EDGARS
That’s what I said. If ye do see
Gilly, tell her to come home, eh?
Tell her... I love her.

CLAIRE
Of course.

Greg closes his eyes, the alcohol lulling him into SLUMBER.
Claire stares at him a beat, actually feels sorry for the
man. Claire looks over at the desk --

She slips over and quietly rifles through the papers on top,
then the drawers. Finds SEVERAL NOTEBOOKS. She tucks them
inside her cloak and goes.

GILLIAN (PRE-LAP)
Brianna... ?

45INT. THE FINCH - NIGHT (1968)45

Brianna and Roger are still wrestling with Claire’s
revelations when Gillian Edgars stops by their table.

BRIANNA
Gillian, hi.

GILLIAN
You missed a great rally earlier.

BRIANNA
I’m sorry we missed it. Roger and I
are just... having a whisky.

ROGER
(explaining)
Been a bit of a jiggery pokery day.

Gillian looks to Brianna with a raised brow of curiosity.

BRIANNA
My mother’s insane.

GILLIAN
(laughs)
A sentiment echoed by daughters
everywhere.

Brianna looks at Gillian, she can’t help but like her.

BRIANNA
Maybe I’ll see you again at the next
rally.

GILLIAN
Afraid I’m leaving tonight to...
further the cause. But don’t stop
asking the hard questions. That’s
the way the world changes.

Gillian smiles. A cryptic message, but Brianna senses she
will never see Gillian again.

46INT. CULLODEN HOUSE - VESTIBULE - DAY (17)46

TITLE CARD: 9:30 a.m.

Jamie and Claire rush to find Murtagh in the chaos. FERGUS
with him. Murtagh, with one look at Jamie’s face, knows
something’s wrong. Jamie leans close to his godfather and
says bluntly, without explanation.

JAMIE
I’ve killed Dougal MacKenzie.

Murtagh’s face goes blank for a split second, then clouds
back to normal.

MURTAGH
Canna say I’m surprised, only that
it took ye this long. What’s to do,
then?

Toni Graphia

We love Murtagh’s reaction to Jamie having killed Dougal. “What took you so long?” And of course, Murtagh breaks our hearts when he tells Jamie that he won’t be dying for nothing, that he’ll be dying with Jamie. Their relationship is one of the best in the show and everyone should have a Murtagh in their life.

The tide of history is sweeping them over the waterfall and
nothing can stop it. Jamie exits through the front door and
returns a beat later carrying a ROLLED PAPER, then spreads it
out on something nearby.

CLAIRE
What is that?

JAMIE
Deed of Sasine. It conveys the
title to Lallybroch to James Jacob
Fraser Murray...

MURTAGH
Givin’ the place over to your
nephew.

JAMIE
Aye. So the Crown canna take it
away. This protects Lallybroch,
keeps the estate in the family, and
safe from the hands of the British
who would seize and plunder it.
Held in trust by Jenny and Ian until
Wee Jamie is old enough.

CLAIRE
It’s dated last year --

JAMIE
Aye. Before the rebellion -- before
I was a traitor. I need the
signature of two witnesses.

MURTAGH
(to Fergus)

Fetch your master ink and a quill,
lad. And quick about it -- go!

Fergus races off -- Murtagh glances around to make sure no
one’s listening.

MURTAGH (cont’d)
Will ye have me take it to Jenny?

JAMIE
Fergus will take it.

Fergus returns with a small inkpot and ragged quill.

FERGUS
Me, Milord?

As Murtagh SIGNS the deed --

JAMIE
(to Fergus)

Aye. You are to ride for
Lallybroch. Ye’ll leave now.
This must reach Madame Murray --
without fail. It is worth more than
my life -- or yours.

FERGUS
I don’t want to leave you, Milord!
I refuse!

JAMIE
Ye must. Not only for the deed,
but...

no matter what happens here today,
it’s important that someone
remembers. You understand, aye?

As Claire signs her name, she’s overcome, realizing this may
be the last they see of young Fergus. A TEAR falls onto the
deed as she’s signing it, making a watery smudge.

FERGUS
I will not fail you, Milord!

Jamie rests a hand on Fergus’ head.

JAMIE
I know ye won’t, and I am grateful.
Stop for nothing, except to sleep,
and when ye do, hide yourself well.
Ye’re a soldier now.

(then)
Mon fils, I love ye, as a son.

Overcome, Fergus kisses Jamie’s hand. Then Claire takes
Fergus’s face in her hands. Kisses his cheeks.

CLAIRE
As our own son.

Jamie hands Fergus the deed. Fergus stands up straighter
with the enormity of the responsibility he knows has been
given to him. Jamie and Claire watch as Fergus leaves...

SMASH CUT TO:

47INT. WAKEFIELD HOUSE - REVEREND’S LIBRARY - NIGHT (1968)47

Claire has a GLASS OF WHISKY as she pours over Gillian’s
NOTEBOOKS. She FLASHES BACK TO -- the moment in the orchard
where she first laid eyes on Geillis Duncan [Episode 102].

CLAIRE (V.O.)
For hours I read Geillis’ notebooks,
I tried to make sense of the
convoluted pages... they contained
formulas about the art and science
of time travel. Unlike myself,
Geillis had studied and prepared for
her journey. I was stunned to learn
she believed you must have a human
sacrifice to move through the
stones... and gemstones to protect
and guide you...

Another FLASHBACK -- The Church in Cranesmuir as Geillis is
carried away by the angry mob -- the last time Claire ever
laid eyes on Geillis Duncan [Episode 111].

CLAIRE (V.O.)
From what I could tell, Geillis
planned to pass through Craigh na
Dun -- and soon. Sadly, I knew how
that trip would end -- with Geillis
burned on a pyre in Cranesmuir. I
had to try to stop her...

Claire finally closes the notebook, using Gillian’s PAMPHLET
as a bookmark.

48EXT. HIGHLANDER CAMP - DAY (1746)48

TITLE CARD: 10:00 a.m.

Fergus having gone, Jamie turns to Murtagh now, pulling him
aside and hurriedly confiding in his godfather.

JAMIE
Gather the Frasers of Lallybroch
together. Then get them out of
here
. There will be a pell-mell on
the moor, wi’ troops and horses
moving to and fro. Nobody will stop
you, wi’ the British in sight and
the fight about to begin. Tell them
the order comes from me -- they will
follow without question -- God help
them, that’s what’s brought them
here. Then lead them off the moor,
and away from the battle. Set them
on the road toward Lallybroch and
home.

MURTAGH
Are ye sure?

JAMIE
This battle is lost. However
righteous, it’s been doomed since
the start. We did what we could.
But it’s over. I won’t let my kin
die for nothing.

MURTAGH
And what are you to do?

JAMIE
I’ll take Claire to safety.

Murtagh glances toward the distant hills then a brief
acknowledgement passes between them.

JAMIE (cont’d)
Then I’ll turn back for Culloden,
and fight until it’s done.

The ever-loyal Murtagh looks at his godson, shakes his head:

MURTAGH
I’ve always done what you asked, and
I will guide yer men to safety and
set them on the path home. But ken
this: When ye return, I’ll be
waiting here to fight by yer side.

JAMIE
I won’t have ye dying for nothing.

MURTAGH
I won’t be... I’ll be dying with
you.

Jamie looks at Murtagh and sees there’s no changing his mind.
He nods. The deal is made.

SMASH CUT TO:

49INT. WAKEFIELD HOUSE - CLAIRE’S BEDROOM - NIGHT (1968)49

A calmer, composed Brianna faces Claire as they sit across
from each other.

BRIANNA
I don’t want to argue. Let’s just
agree that I have a father... who
isn’t Daddy.

(then)
I’m not going to discuss your whole
time travel delusion. But I do want
to know more about this... Jamie
Fraser. Tell me about him.

CLAIRE
All right.

Claire takes a deep breath.

CLAIRE (cont’d)
He was tall and had red hair like
yours. His father was named Brian,
that’s where your name comes from.
He spoke French, and loved to play
chess. He had a sister named Jenny
-- your aunt...

Claire breaks off at the impossibility of it.

CLAIRE (cont’d)
It would take a very long time to
tell you everything about him. But
I will, I promise. Just as I did
today, when I went to his grave on
Culloden Moor to tell him all about
you...

Toni Graphia

Funny, but we had a lot more dialogue here about Claire describing Jamie, (after all, it’s easy to go on and on about the King of Men!) but it was like half a page! So we had to cut itwe had Claire just say that it would take forever to tell Brianna all of it so she’ll tell her later. 😉

BRIANNA
This is the part where you lose me.

Brianna starts to get up, but Claire reels her back in with
the passion she obviously feels.

CLAIRE
I didn’t intend to fall in love, in
fact, I fought against it. But I
couldn’t deny what I felt for him.
I couldn’t. I tried but... it... it
was the most powerful thing I’ve
ever felt in my life.

OFF Brianna as she takes in Claire’s words, as Roger
suggested, keeping an open mind. She sits down again.

50INT. WAKEFIELD HOUSE - REVEREND’S LIBRARY - LATER (1968)50

Claire comes downstairs and finds Roger in the library having
a whisky. Once again she joins him for a drink.

ROGER
How is she?

CLAIRE
We’re talking at least.

ROGER
A fair improvement from shouting.

Claire sits down near where she left Gillian’s notebook. She
holds out the pamphlet.

CLAIRE
Do you know Gillian Edgars?

ROGER
Not really. She gave that to
Brianna after --

CLAIRE
Brianna actually met her?

A tired and worn out Brianna appears in the doorway.

BRIANNA
Yeah. Gillian’s great. I mean
she’s a little crazy on the whole
Scottish nationalist thing but I
liked her.

CLAIRE
(gob-smacked)

Fuck.

BRIANNA
Mama!

CLAIRE
Do you know where she is now?

BRIANNA
No... why?

CLAIRE
Are you sure? I have to find her.
It’s important.

Brianna throws a look for Roger to jump in.

ROGER
We just ran into her at the pub, but
she said she was leaving town, tonight.

BRIANNA
Something about... going somewhere
to “further the cause.” It didn’t
sound like she’d be back.

It hits Claire like a lightning bolt -- tonight is the night
Geillis will carry out her plan at Craigh na Dun:

CLAIRE
She’s going through the stones.

BRIANNA
What are you talking about?

CLAIRE
Gillian Edgars is Geillis Duncan.
From the witch trial in Cranesmuir.

(holds up pamphlet)
This is her.

Brianna turns to Roger, here we go again.

CLAIRE (cont’d)
She saved my life. And if I can get
to Craigh na Dun in time, stop her
from going through the stones, then
I can save hers. But...

(realizing)
I can’t.

Roger tries to understand --

ROGER
Why not?

CLAIRE
... Because of you.

ROGER
Me?

CLAIRE
When I heard you were a MacKenzie...
I looked up your family history.
Your seven-times great grandparents
were William MacKenzie and his wife
Sara, who lived in the village of
Cranesmuir. They couldn’t have
children, so one was given to them
to raise as their own. That child
belonged to Dougal MacKenzie and
Geillis Duncan.

ROGER
So you’re saying... my ancestors are
actually the war chief you spoke
of... and the witch?

BRIANNA
Why are you dragging Roger into this?

CLAIRE
Because he has the same right as you
to know who he is.

ROGER
If this is all true -- then we have
to stop her, don’t we? If she’s
going back to be burned alive?

CLAIRE
But what happens to you if she never
goes back, never meets Dougal
MacKenzie, never has a child? What
if... you’re never born?

ROGER
How I can not be born? I’m here. I
can’t just... evaporate!

CLAIRE
I don’t know how it all works.

Toni Graphia

This conversation was tricky… how to explain to Roger the risks of changing history? Luckily, Toni has worked on like, five time travel shows, so we tried explaining it as cleanly as possible. We love Roger’s line, “I can’t just evaporate!”

BRIANNA
Finally, something she doesn’t know
about time travel.

(off the look on Roger’s
face)

You’re not buying this, are you?

ROGER
I don’t know... but just to be on
the safe side, I say we find her.
Warn her at least.

CLAIRE
(seizing upon the idea)
Yes... I can warn her -- tell her
not to draw attention to herself in
the past by doing anything that
smacks of witchcraft.

Brianna looks back and forth between them. Then, to Roger:

BRIANNA
You see what’s happening here?
You’re feeding her delusions!

Brianna starts to stalk away, Roger follows her and grabs her
arm, speaks in a low voice.

ROGER
Maybe I am. But this could be our
chance to make her actually face it.

BRIANNA
Face what?

ROGER
Gillian. See what Gillian says
about all this.

BRIANNA
And what if Gillian is as crazy as
she is? What if she really thinks
you can travel through solid stone
to the past?

ROGER
Then maybe we all get to watch her
slam her head into a five-ton block
of granite -- either way, this gives
us a chance to put a stop to it all.

Brianna shakes her head, dubious. But she lets him take her
hand and lead her back to Claire.

ROGER (cont’d)
I’ll get my keys.

51EXT. CRAIGH NA DUN - LATE NIGHT (1968) 51

Roger’s car slows as it turns up the road that leads to the
foot of Craigh na Dun. Claire gestures to a WHITE CITROËN,
parked at the roadside.

CLAIRE
That’s her husband’s car.

They leap out of their car, Claire heading into the darkness.

CLAIRE (cont’d)
It’s up this way. Come on!

Brianna grabs onto Roger’s elbow, follows her up. After a
hundred yards or so, WHOOSH! The night LIGHTS UP in a blaze
of brightness. There’s something burning their nostrils.

BRIANNA
What’s that smell?

ROGER
Smells like petrol. And...
something else.

BRIANNA
God, it’s awful.

Toni Graphia

Matt had Roger say the line “It smells like a fucking bar-b-que!” during the filming as a joke, and a call-back to Geillis’ great line in Toni’s script “The Devil’s Mark.” The line wasn’t written into this scene, but it played so well when we watched the rough cut, that Ron loved it and kept it the final version!

They climb faster. Claire is ahead of the two. Brianna
turns to Roger --

BRIANNA (cont’d)
Can you hear that, the buzzing?

ROGER
Yes, it’s getting louder.

Claire’s forging ahead, doesn’t hear them say that. She
arrives at the crest just in time to see the slim FIGURE OF A
WOMAN silhouetted in front of a FIRE, on the other side of
the hill, behind the TALL STONE. It’s Gillian, dressed in a
long skirt and tight bodice -- the clothes of another time.

Roger and Brianna catch up to Claire in time to see Gillian --
her eyes wide, hair flying. Gillian turns and runs like the
wind toward the tall stone
-- which is between her and Roger,
Brianna and Claire -- her hand outstretched to the rock --

ROGER (cont’d)
My god...

CLAIRE
(yells)
Geillis! Noooooo.... !!!

Gillian runs until she’s obscured behind the giant stone. As
though she’s running straight into it
.

Claire, Brianna and Roger run into the stone circle, but
there’s no sign of Gillian. Claire bends over, spent with
effort and emotion. Brianna and Roger look around in
astonishment. Gillian has literally disappeared.

A beat as the shock settles in. They look over to see the
flames from the fire, dying down now, to REVEAL an ugly fact:

THEIR POV: THE CHARRED BODY OF A MAN.

Off their faces --

52EXT. HIGHLANDER CAMP - DAY (1746)52

TITLE CARD: 10:33 a.m.

The sound of PIPERS WAIL, DRUMS BEAT to arms, and TRUMPETS
SOUND. Jamie leads Claire through the edges of the camp.
Like salmon swimming upstream, they’re going one way, as the
rest of the camp musters the other direction. No one stops
them, there is so much chaos that they are scarcely noticed.

Jamie’s concentrating single-mindedly on the task at hand.
Claire’s still in shock, until they head into a --

53EXT. STAND OF TREES - DAY (1746)53

Out of sight of the confusion, Claire puts her foot down.

CLAIRE
Where are we going?

Jamie runs his hands through his rusty locks, trying to make
light of it.

JAMIE
I’m no exactly inconspicuous, ye ken.
Red Jamie wouldn’t get far, I think.
But you -- I can save you, Claire,
and I will.

A few Highlanders run by, either deserting or joining the
battle -- hard to say. Once they’re gone --

CLAIRE
We could get away! Together! Sail
somewhere, anywhere!

JAMIE
The country is roused, the ports are
closed. I’m no afraid to die,
Sassenach. A musket ball, maybe a
blade. Better than the hangman’s
noose or the wrath of the
MacKenzies. I’m a dead man, either
way. I choose the battlefield.

CLAIRE
Then I’ll go back with you!

JAMIE
The hell you will.

CLAIRE
At the witch trial at Cranesmuir, if
I’d gone to the stake with Geillis --
would you have left me?

JAMIE
I would have gone to the stake with
you, and to hell and beyond, if it
had come to that.

(then)
But I wasn’t carrying your child.

Claire freezes.

CLAIRE
You can’t tell that. It’s much too
soon.

JAMIE
Sassenach, ye haven’t been a day
late in your courses in all the time
since ye first took me to yer bed.
It’s been two months now...

CLAIRE
You kept track? In the middle of a
bloody war, you kept track?

JAMIE
How long have you known?

CLAIRE
... A few weeks now.

Claire touches her stomach. It’s true. She’s pregnant. And
the timing couldn’t be worse.

JAMIE
This bairn is all that will be left
of me... ever. I beg ye, Claire --

CLAIRE
No...

JAMIE
Claire, ye made me a promise. Back
when ye asked me to spare Randall’s
life... you promised me that if it
came to this, ye'd go back through
the stones, back home...

Toni Graphia

A heart wrenching scene and almost impossible to get Claire to agree to leave Jamie. But Jamie plays a card which surprises herhe knows she’s pregnant. This baby is all that will be left of him and even Claire can’t argue with that. He also uses the fact that she promised himback in Matt’s script “Best Laid Schemes”that if anything happened to him, she’d go back.

CLAIRE
You are my home!

JAMIE
And you are mine. But this home is
lost. Now you and the bairn need to
go to a safe place. To a man who
can care for ye both.

OFF CLAIRE -- yes, she did promise. As she makes her
terrible decision -- they mount for the ride. Claire takes
one last look back at --

THE HIGHLAND ARMY. Forming into chaotic lines to face their
doom.

Then Jamie spurs the horse and they RIDE AWAY.

54EXT. CRAIGH NA DUN - DAY (1746)54

TITLE CARD: 1:00 p.m.

Jamie and Claire arrive on HORSEBACK at the base of the hill
where they dismount and leave the horse. They rush on foot
up the hill toward the STONE CIRCLE together. They stop, out
of breath. The TALL STONE towers ominously over them.

CLAIRE
And how shall I explain all this...
when I get back?

JAMIE
To Frank? That I leave to you.
Tell him what you will about me.
About us. It’s likely he’ll no want
to hear. But if he does -- tell him
I’m grateful. Tell him I trust him.
And tell him -- I hate him to the
marrow of his bones!

Jamie smiles, trying to stay strong. Claire’s ears fill with
the awful BUZZING, she’s dizzy and her throat closes so tight
she can hardly breathe. She covers her ears as if in pain.

CLAIRE
I can hear the buzzing. So loud...
I’m not ready...

(then)
Come with me! Damnit! Come through
the stones!

JAMIE
I can’t.

CLAIRE
You can try! You hear it, right?
The buzzing?

JAMIE
I don’t hear anything.

As if to prove to her, Jamie lays his palm on the tall stone.
Nothing happens.

JAMIE (cont’d)
And even if I could go through...
it’s not my place. My destiny is on
the moor.

(steeling himself)
But I will find you. I promise. If
I must endure two hundred years of
purgatory, two hundred years without
you -- then that is my punishment,
which I have earned for my crimes.
For I have lied and killed and
stolen, betrayed and broken trust...
but when I stand before God, I shall
have one thing to say, to weigh
against the rest. Lord, ye gave me
a rare woman, and God! I loved her
well.

CLAIRE
And I love you.

The urgency of the moment overtakes them and they rush
together one last time, MAKING LOVE up against one of the
trees. It’s over in seconds. Jamie pushes himself away with
tremendous effort.

And that’s when they hear it -- the distant echo of CANNON
FIRE. Jamie looks out over the hills, knowing:

JAMIE
(softly)
It has begun.

Claire looks towards the sound, where she knows so much blood
will be shed, including the proud Fraser blood of her
husband. Claire pulls an object from her pocket. A chunk of
smooth polished AMBER, inside a DRAGONFLY caught in flight.

CLAIRE
The wedding gift from Hugh Munro.
Carry it with you.

She holds it out for him. A talisman, a reminder of her, to
carry into battle. He tucks it inside his sporran. She
looks in his eyes, whispers their wedding vow.

CLAIRE (cont’d)
Blood of my Blood...

JAMIE
... Bone of my Bone.

CLAIRE
So long as we both shall live.

Jamie touches her belly, the life inside. That part of him
that will always be with her.

ANOTHER CANNON BOOM.

Jamie quickly pulls a RING from his sporran. A GEMSTONE of
some kind, set in gold.

JAMIE
This belonged to my father. Give it
to the bairn, when he’s old enough.

Tears in her eyes, Claire slides the ring on the middle
finger next to Jamie’s wedding band.

CLAIRE
I’ll name him... Brian. After your
father.

Jamie grins. The sound of the CANNONS continue, and Jamie
turns her back to the tall stone, pushing her towards it --

JAMIE
Goodbye, Claire.

She starts to, but she can’t say it back. Claire fights him
for a beat, but he stands behind her, covering her hands with
his own, he presses her palms on the cold surface of the
stone... then lets go.

Toni Graphia

Crazy, but this is another scene that was written well before we even started the script. There was talk that we would need to shoot the scene at the stones at a certain time of year, even though we had no script yet. So again, we were asked to write the BIGGEST scene in the script, out of order and before the script existed. We did it—and then ended up not having to shoot the scene early. But it was so funny, because when we started to write, we looked at each other and said, well, we already wrote the two most important scenes in the whole script, how hard could this be? 😉

SMASH TO BLACK.

BRIANNA (PRE-LAP)
So it’s true, then? All of it?
Everything you said is true?

55EXT. CRAIGH NA DUN - NIGHT (1968)55

FIND Claire and Brianna sitting on a log near the stones.
Claire nods. Yes, it is all true. Brianna takes this in.
Then --

BRIANNA
Was that... her husband?

CLAIRE
I think so.

A beat.

BRIANNA
And... someone has to... die... to
travel through the stones... is that
how it works?

CLAIRE
Gillian believed she needed a human
sacrifice... but no one died when I
went through.

BRIANNA
She murdered an innocent man.

CLAIRE
Not for the last time.

BRIANNA
You said she saved your life.

CLAIRE
She did. People are... complicated.

A beat. Brianna looks around at the stones, then asks --

BRIANNA
So this is the last place you saw
him? My... father?

CLAIRE
Yes.

BRIANNA
I believe you. I don’t understand
it, but I believe you.

She takes her mother’s hand, pulls her close.

BRIANNA (cont’d)
(intense)

No more lies. From now on... I only
want the truth between you and me.
All right?

Claire is moved. Words she’s heard before.

CLAIRE
So like your father...

(beat)
Yes. Only the truth from now on.

Brianna struggles to believe her, but there’s a sense of a
new mother/daughter relationship beginning.

56EXT. ON THE ROAD BY THE CAR - NIGHT (1968)56

Claire and Brianna have come down from the hill and are
waiting near the road just as Roger drives up to meet them.

ROGER
I’ve called the police, anonymously
of course. I don’t know how long
it’ll be before they get here, but I
think it’s best if we leave before
they arrive.

Claire takes one last lingering look back toward the stones
looming in the distance behind them. Brianna sees how hard
it is for her mother to leave this place. She looks to
Roger, something on her mind.

BRIANNA
Roger... tell her what you found --
maybe it means something after all.

Claire looks to Roger, quizzically. Roger takes the PAPERS
out of his pocket from earlier.

ROGER
Some research The Reverend did at
the request of your husband -- your
husband Frank. I’m not certain if
he ever sent it on to Boston or not.

He hands the papers over and Claire tries to read them, but
the light is too dim.

CLAIRE
What does it say?

ROGER
After the battle at Culloden, a few
Jacobite officers, all seriously
wounded, took refuge in an old
house. For two days, then they were
all taken out to be shot. But one
of them, a Fraser of the Master of
Lovat’s regiment, escaped execution.

Claire stares at him as the implication sinks in.

CLAIRE
There were... many Frasers on the
field that day...

ROGER
But only five Fraser officers. And
four of them have their names
memorialized on a plaque in the
church in Beauly, so we know for
certain that they were killed.

CLAIRE
(a whisper)
Who was... the fifth?

BRIANNA
James Fraser. My father.

CLAIRE
Jamie didn’t die at Culloden.

ROGER
No. He meant to die -- but he
didn’t.

CLAIRE
He survived... he survived...

Dawn is fast approaching. Claire staggers away from them for
a moment. Brianna and Roger exchange a worried look -- is
she going to collapse? But Claire rights herself after a
moment. Stands up straight. Turns and faces them with the
steely determination of Claire Beauchamp Randall Fraser.

CLAIRE (cont’d)
If that’s true, then...

We TURN with Claire to face the standing stones.

BRIANNA
You have to go back.

Claire’s heart and soul already racing up the hill toward the
center stone.

SMASH TO BLACK.

“Time Has Come Today” by the Chambers Brothers (1968) plays
over the CLOSING CREDITS.

END OF EPISODE