Inside the script:

The False Bride

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EPISODE 403
The False Bride

WRITTEN BY

Jennifer Yale

BASED ON THE NOVEL BY
DIANA GABALDON

FINAL PRODUCTION DRAFT
11th September 2018

OUTLANDER
EPISODE 403 "The False Bride"

PREVIOUS REVISIONS

Production Draft – 25th October 2017

Full Blue Draft – 9th November 2017

Full Pink Draft – 13th November 2017

Yellow Pages – 15th November 2017 – pp. 20, 21.

Green Pages – 16th November 2017 – pp. 21, 22, 23.

Goldenrod Pages – 17th November 2017 – pp. 23, 24, 25, 26.

2nd White Pages – 18th November 2017 – pp. 23, 24, 25.

2nd Blue Draft – 20th November 2017

2nd Pink Pages – 22nd November 2017 – pp. 8, 14, 15, 27, 40, 40A, 44, 46, 50.

2nd Yellow Pages – 2nd April 2018 – pp. 40, 40A, 41, 42, 43, 43A.

2nd Green Pages – 11th April 2018 – pp. 29, 29A.

2nd Goldenrod Pages – 13th April 2018 – pp. 40, 40A, 42, 43, 47, 48, 49, 50, 51.


EPISODE 403 "The False Bride"

CAST LIST — FINAL PRODUCTION DRAFT — 11th September 2018

CLAIRE RANDALL FRASER
JAMIE MACKENZIE FRASER

BRIANNA RANDALL
JOCASTA CAMERON
JOHN QUINCY MYERS
ROGER WAKEFIELD
YOUNG IAN

ERNIE BUCHAN
FIONA GRAHAM BUCHAN
INDIAN WARRIOR (OTTER TOOTH)
PHAEDRE
ULYSSES

ANNOUNCER
ARTIST
CEILIDH CALLER
GORDON CLAN LEADER
STEWART CLAN LEADER


EPISODE 403 "The False Bride"

SET LIST — FINAL PRODUCTION DRAFT — 11th September 2018

INTERIORS

  • Boston Airport
    • Walkway
  • Brianna’s Car
  • River Run
    • Parlor
    • Staircase
  • Rustic Cabin
  • Scottish Festival – Tent
    • Booth Area
    • Portrait Booth
    • Stage Area
  • Tree Shelter
  • Wakefield House

EXTERIORS

  • Boston Airport
  • North Carolina Highway
  • North Carolina Wilderness
    • Trail
  • North Carolina Woods
    • Campsite
  • “The Ridge”
  • River Run
    • Front Porch
  • Rustic Cabin
  • Scottish Festival
    • Tent
  • Wakefield House

OUTLANDER

“The False Bride”

FADE IN:

1 EXT. RIVER RUN – FRONT PORCH – DAY (D) (767) 1

Sunrise. CLAIRE looks out over River Run. JAMIE joins her
at the rail.

JAMIE
Are ye all right, Sassenach?

CLAIRE
I can’t believe such ugliness could
occur in such a beautiful place.

She’s glassy-eyed and numb. Both of them exhausted and
drained from the utter horror of last night’s events.

Toni Graphia

Given how the previous episode ended on such a horrific scene, the writers had many discussions about how to open this episode. We came up with dialogue that juxtaposes the beauty of the land with the ugliness of what happened the night before, but ultimately, in editing, we settled on a quiet moment for Claire on the porch—then we cut right into Jamie telling his Aunt that they are leaving. We decided there was no need for Jamie and Claire to have a conversation about it. It was a given between them that they can’t stay in this place. 

They stare out for a long beat, as SLAVES, carrying farm
implements, walk past on the road, followed and watched by an
overseer on a horse. Finally --

JAMIE
We can’t stay here.

Claire nods in agreement. It goes without saying.

JAMIE (cont’d)
I’ll go and speak to my aunt.

Jamie touches her arm, then exits, leaving Claire gazing out,
sad beyond words.

2 INT. RIVER RUN – PARLOR - DAY (D1) 2

Jamie faces his aunt JOCASTA CAMERON. ULYSSES stands in the
corner of the room, letting aunt and nephew have a moment.

JOCASTA
I suppose there’s no changing yer
mind.

Jocasta shakes her head. She knows better. The mood is
somber.

JOCASTA (cont’d)
Foolish of me to ask that of ye wi’
MacKenzie blood in yer veins -- once
yer mind’s made up on a matter, the
Devil himself couldna sway ye.

JAMIE
Aye. We must leave.

Jocasta takes a beat, then offers up something of an apology.

JOCASTA
I wanted so badly for ye to stay.
I thought that perhaps, in time,
ye’d begin to love River Run as I
do and accept the ways that are
different here.

JAMIE
I’m sorry, Auntie, I’ll only be
master to my own soul.

JOCASTA
Where will ye go, Nephew?

JAMIE
We’ll keep to the plan we had
before we arrived -- take Ian back
to Wilmington to board a ship home.
Then... travel west toward the
mountains. We heard there’s a town
with a great number of Scottish
settlers there.

JOCASTA
Aye. Woolam’s Creek. The most
ye’ll find outwith Cape Fear.

JAMIE
Claire can practice her healing and
I can find work as a printer.

JOCASTA
(raising a brow, a little
dismissive)

A printer.

JAMIE
Aye, I made a fair go of it in
Edinburgh.

But Jocasta’s expression doesn’t change, belying the fact
that she thinks Jamie’s meant for more.

Jamie takes her hand and puts the COIN PURSE given to him by
Farquard into her palm.

JAMIE (cont’d)
I’ll return this.

Jocasta shakes her head, offers it back to him.

JOCASTA
Ye may keep it. I insist.

JAMIE
I canna accept what I didna earn.

JOCASTA
If ye wilna take it for yer own
sake, Nephew -- take it for the
sake of yer wife -- for the journey
ye face.

(then)
Dinna let yer pride stand in the
way of your family’s security.

A beat. Jamie takes back the purse. Jocasta gets up and
indicates that Jamie should follow her to a cabinet.

JOCASTA (cont’d)
I’ll have Ulysses ready some horses
for you, and a wagon to carry
provisions. That’ll get ye where
ye’re going. Wherever that may be.
He’ll provide ye with a rifle and
pistols as well.

JAMIE
I’m grateful, Auntie.

JOCASTA
And one last thing.

Jocasta opens the cabinet and retrieves a decorative BOX.
She holds it for a beat; whatever’s inside the box is special
to her and it costs her something to part with it.

JOCASTA (cont’d)
These belonged to yer mother. I
ken she would want ye to have them.

Jocasta opens the box and hands Jamie two SILVER
CANDLESTICKS. He holds them, touched by the gesture.

Toni Graphia

The silver candlesticks were added into the scene after the fact, to set up a touching moment in a later episode. This is something writers occasionally do, called retrofitting, when they realize something in a future episode needs setting-up in a previous episode.

Stay tuned to see how these candlesticks become significant later in the season!

JAMIE
I’ll treasure them.

Jocasta leans over and touches Jamie’s face, running her
hands over his cheekbones, his strong nose, his eyes and his
lips. Tears welling in her blind eyes.

JOCASTA
No good comes grieving over what’s
already lost -- but what I wouldna
give to look upon yer face just once.

OFF Jamie, as he takes her hands in his and kisses them
gently before he gets up and goes.

3 INT. RIVER RUN - STAIRCASE - DAY (D1) 3

PICK UP Jamie and YOUNG IAN as they walk down the staircase.

JAMIE
I already told ye no -- I made a
promise to yer mother and father to
see ye home safe. Ye belong wi’
them.

YOUNG IAN
‘Twas a promise ye shouldna have
made. I dinna belong to anyone --

JAMIE
Ye’re too young to be on yer own.

YOUNG IAN
I won’t be on my own, I’ll be with
you and Auntie Claire.

JAMIE
We’re takin’ ye to the ship.

YOUNG IAN
D’ye no recall that ye sailed to
France when ye were younger than I
am now? By the time ye were my age,
ye were fightin’ a war --

JAMIE
It may have been a war, but the
country was civilized. There are
savages here, and dangers we dinna
yet ken --

YOUNG IAN
Dangers we dinna yet ken? And what
of those I do ken? The dangers I’ve
already faced!

I’ve been set upon by pirates --
twice. Kidnapped, thrown into a
pit, sailed through a hurricane --
and it was naught compared to what
the Bakra herself put me through --
ye ken what I speak of, Uncle.

Jamie takes a beat, considering all that Ian has survived
over the past months. It’s arguably enough for a lifetime.

YOUNG IAN (cont’d)
Before we came here, I saw things
through the eyes of a boy... but
the things I’ve seen have changed
me... I’m no the same lad ye kent
in Scotland. I am a man, free to
call the place I choose -- home.

Jamie is moved by the lad’s passion. He nods.

JAMIE
I’ll no stand in yer way any
longer. I’ll write to yer mother
and father.

Young Ian claps his Uncle Jamie on the shoulder.

YOUNG IAN
A man writes his own letter, Uncle.
Word of my decision to stay in
America will come from me.

JAMIE
Go write yer letter. We leave this
afternoon.

OFF Jamie -- as he sees a boy starting to turn into a man
before his eyes...

Toni Graphia

In the book, Young Ian receives a letter from his parents in Scotland giving him permission to stay in America with Jamie. However, we wanted this to be Young Ian’s decision, to show his strength of character and his maturity. We wanted his passion and drive to be what sways his uncle into allowing him to stay. The line, “A man writes his own letter,” is to show that Young Ian handles his own affairs.

4 OMITTED 4

A5 INT. RIVER RUN - PARLOR - DAY (D1) A5

Claire enters the parlor to find Jocasta.

CLAIRE
I wanted to say goodbye.

An awkward beat. But Jocasta maintains civility.

JOCASTA
What happened last night... I wish
it had been different.

CLAIRE
So do I.

JOCASTA
I ken we’re not of like mind, but I
admire a woman of conviction.
And blindness doesna prevent me
from seeing how much ye love my
nephew.

CLAIRE
It doesn’t prevent you from much as
far as I can tell.

A grudging compliment. Despite how things went down, there
is a mutual respect between them. Then, as Claire turns to
go, Jocasta takes a parting shot:

JOCASTA
But you’re doing him a great
disservice, ye ken.

CLAIRE
(turning back)
I beg your pardon?

JOCASTA
You’re the reason he wouldna accept
my offer. You’ve a good deal of
influence on him, and he’s blinded
by his passion for you, the same as
my sister was blinded by her love
for Brian Fraser -- the reason she
turned her back on family. If you
truly loved Jamie as much as ye say
ye do, you’d want him to be the man
that he was born to be. To have
the things he lost in Scotland --
the chance to be a laird.

Toni Graphia

This was a tricky scene to write, because Claire and Jocasta are at odds over the issue of slavery. Our goal was to show that despite having different beliefs, one thing they have in common is how much they love Jamie. It’s important here that Jocasta challenges Claire, recognizing that Jamie is no ordinary man—he was born to be more than a printer. This gets under Claire’s skin and causes her to consider their future. Even though Claire is defensive and bristles that Jocasta doesn’t know Jamie well, Jocasta is still family, and her assessment of him holds weight. 

Claire takes this in. Then answers with a quiet, even tone,
going toe to toe with this strong, regal woman.

CLAIRE
You haven’t seen Jamie since he was
a child, and you’ve seen us together
all of a few days. You don’t know
anything about me or my husband.

JOCASTA
I ken my nephew’s no ordinary man.
To allow him to squander his
talents behind a printer’s counter
would be a dreadful shame.

CLAIRE
Thank you again for your
hospitality.

With that Claire turns and makes her way to the door.
Jocasta stares into the room as she listens to Claire’s
footsteps fade.

B5 EXT. RIVER RUN - DAY (D1) B5

LATER. Jamie and Young Ian load their bags onto the back of
a mule named CLARENCE and into a SMALL WAGON pulled by a
horse; Ulysses and PHAEDRE help. Two other horses are at the
ready, along with ROLLO. Claire arrives as Ulysses is
handing the mule’s reins to Jamie.

ULYSSES
Clarence is as strong and friendly
and loud a mule as ever God made.

JAMIE
We appreciate it, Ulysses. He’ll
serve us well.

Phaedre turns to Claire.

PHAEDRE
Ye’ll find some oatcakes and salted
meat for the journey among
yer belongings, Mistress Claire.

CLAIRE
Very kind of you, Phaedre.

JOHN QUINCY MYERS arrives, leading his own horse. Young Ian
spots him.

YOUNG IAN
Uncle Jamie, Auntie Claire...
This is John Quincy Myers.

CLAIRE
Pleased to meet you.

JAMIE
I’m told that it’s thanks to you
we’ll not be travelin’ with a foul-
smelling hound among us.

MYERS
Indeed.

YOUNG IAN
What’re ye doing here?

MYERS
Auntie Jocasta tells me you’re
traveling west. As it so happens, I’m
going that way myself. I’d be happy
to guide you into the Blue Ridge.

JAMIE
Thank you. That would be most
useful.

Jamie climbs up into the wagon next to Claire, while Ian and
Myers mount their horses. And with that, they’re ready to
leave. As they start down the road, leaving River Run behind
-- Jamie looks back up toward the house where Jocasta stands
at the rail, her proud head held high. She may not be able
to see them leaving, but her heart is surely tightening in
her chest.

CLAIRE (V.O.)
Jamie and I had wanted to light a
fuse of change. But the explosion
had backfired. Only ash and dust
remained. We were once again
adrift, holding on to the promise
that we might find a place to call
home.

PRE-LAP a GUITAR strumming an old Highland tune --

5 EXT. WAKEFIELD HOUSE - DAY (D1) (1970) 5

Establishing. The SONG wafts through an open window. A
master at practice. There is a REMOVAL VAN parked outside.

6 INT. WAKEFIELD HOUSE - DAY (D1) 6

FIND ROGER WAKEFIELD playing his fucking heart out on a
GUITAR in his EMPTY childhood home. A GUITAR CASE sits open
at his feet, and beside it, a JAR OF SALT and BOTTLE OF
CHAMPAGNE.

The door opens and FIONA enters with a HOUSE PLANT, followed
by her good-natured (if somewhat goofy) new husband ERNIE
BUCHAN, late 20s, who is loaded down with BOXES.

Seeing them, Roger STOPS playing, abruptly placing the guitar
into the guitar case --

FIONA
(eyeing the guitar)
Since when do ye stop playing when
ye see me?

ROGER
I was just messing around.

FIONA
It was lovely, carry on and I’ll no
hear otherwise...

Ernie sets the boxes down.

ROGER
If there’s one thing ye’ll learn,
Ernie... Fiona never takes no for
an answer.

Toni Graphia

We wanted Roger to playing his guitar, to set-up his later performance at the Scottish festival.  We liked the idea in the book that Fiona found love with someone that actually returned her feelings. We were charmed by the idea of meeting Ernie and thought it would be sweet to see Ernie and Fiona together. Although this scene isn’t in the book, we thought it would be poignant to see Roger in the room he grew up in, having to turn the keys over to Fiona and say goodbye to his old home and his former life.

Since we’ve never shown Roger having anyone to talk to about Brianna, Fiona is someone who knows his feelings for Brianna. She was the best candidate for him to talk to, and it was nice to see Fiona, who had been in love with Roger for so long, now happily married and able to support his new relationship.

Fiona and Ernie share playful smiles. Roger returns the
guitar to his hip and begins to play -- a slow rhythm at
first but then it turns into a fast, rhythmic strumming
punctuated by percussive slaps on the body of the guitar.

Fiona’s grabbing Ernie’s hand and pulling him into the least
coordinated JIG ever danced. When it’s over, Ernie and Fiona
fall into each other laughing. There’s a wistful look on
Roger’s face -- he’s missing his own lass.

ROGER (cont’d)
My father always said dancing was
good for the heart.

Ernie slips his arm around his wife, kissing her on the
cheek. The new couple seems extraordinarily happy. Roger
picks up the jar of salt:

ROGER (cont’d)
Congratulations on your new home.

His childhood home is now her home. It’s emotional for him.
Roger hands Fiona the jar with a ribbon around it.

ROGER (cont’d)
Salt, for life’s tears. May they
always be happy ones.

And may ye have flavor in your
life.

(then)
You’ll need a toast of course.

Ernie takes the bottle, looking it over. It’s good stuff.

ERNIE
Let’s crack it open.

Ernie goes ahead and POPS THE CORK -- the foam spills onto
the floor.

Roger is happy for them -- and longing for Brianna. Fiona
glances at the taped boxes. Then back at the bottle.

FIONA
(drinking from the bottle)
It’ll do among friends.

She passes it to Roger.

ROGER
May the roof above never fall in;
may we below never fall out.

He drinks, then hands it to Ernie.

ERNIE
Here’s tae honest men and bonnie
lassies!

Smiling at Fiona. Roger gets back to business.

ROGER
I was able to donate or sell most
of my father’s things but I kept a
few boxes in the attic if that’s
all right? I’ll come back for them
on my next break.

FIONA
Leave ‘em as long as you like.
Your memories will always be here
waiting for a visit.

Roger glances around the empty room, filled with emotion. He
digs into his pocket and extracts a set of KEYS. He hands
them to Ernie, feeling sentimental. Roger packs his guitar.

ROGER
I should get going.

FIONA
Roger’s headed to America for a
Scottish festival.

ERNIE
(let me get this straight)
Ye’re leaving Scotland... to go to
a Scottish festival?

ROGER
(re: guitar)

I was invited to play.

FIONA
And...?

(to Ernie)
Roger’s courting a lass in America.
She’s studying Engineering at MIT.
In Boston.

Roger blanches and it’s not lost on Fiona.

ERNIE
Och. And here I thought driving
from Aviemore was a long distance
relationship.

FIONA
Ernie, will ye be a dear and let the
removal men know where to place the
furniture? I’ll see Roger off.

ERNIE
(nods)
Goodbye, Roger. Good luck.

Ernie heads out to the front to supervise the removal men.
Fiona turns to Roger:

FIONA
When’s the last time you saw
Brianna?

ROGER
She visited me at Oxford during her
summer break and we spent Christmas
together again in Boston. But it’s
been a while... we write and have
the occasional phone call, but with
my teaching and her studies...

Fiona stares at the man she was once so smitten with, sees
the longing on his face. He wants more.

FIONA
Ye have to tell her.

ROGER
Tell her what?

FIONA
I may not read tea leaves like my
Grannie, but I can see ye’re in
love with her.

She’s right, of course. But --

ROGER
But I don’t know if she feels the
same about me.

FIONA
Does she touch ye when she’s
talking to ye? Does she laugh at
yer awful jokes?

As Roger listens, his expression checks off the boxes -- yes.

FIONA (cont’d)
She’s head over heels for you,
then.

ROGER
Thanks, Fi.

Roger pulls Fiona into a big, farewell bear hug.

FIONA
(whispers in his ear)
Go get her.

Roger picks up his guitar case -- and a SUITCASE near the
door. As Fiona walks Roger out the door --

A7 EXT. BOSTON AIRPORT - DAY (D2) A7

Establishing.

7 INT. BOSTON AIRPORT - WALKWAY - DAY (D2) 7

Roger, having exited the plane, bobs through a SEA of
TRAVELERS, when his face lights up. Reverse on: BRIANNA
standing and waiting for him. She looks up and catches
Roger’s eye, a smile spreading across her face. She waves.

Roger waves, too, unable to believe his eyes. She’s so
beautiful, it’s almost paralyzing.

They move towards each other. He sets down his suitcase and
guitar case. Unsure of what to do, they both reach forward --
for a hug, or a kiss? They share an awkward hug -- but when
they part, they move in for a sweet kiss. Then...

ROGER
Hi.

BRIANNA
Hi. It’s good to see you.

ROGER
You too.

She smiles. There’s an awkward pause. They start to walk.

Toni Graphia

We wanted to show a bit of awkwardness between Roger and Brianna, because even though they’ve been dating over the last year, they’ve had limited contact with each other. It’s not like today where you can call, video chat, or travel easily. These two could only have expensive, long-distance conversations on the phone and limited visits with each other.

BRIANNA
How was your flight?

ROGER
Bumpy. I hope your car handles
turbulence better than that
airplane.

BRIANNA
I guess we’ll find out.

(beat, smiles)
North Carolina, here we come.

OFF Roger, excited for their long journey. He picks up his
cases and off they go.

A8 EXT. NORTH CAROLINA HIGHWAY - DAY (D2) A8

VARIOUS SHOTS of Brianna’s MUSTANG travelling from Boston to
North Carolina.

8 INT. BRIANNA’S CAR - DAY (D2) 8

Brianna and Roger cruise down the highway, through the
backcountry of the BLUE RIDGE MOUNTAINS. They’ve been on the
road for hours and the backseat is littered with fast food
wrappers. She is feeding Roger FRENCH FRIES as they drive.

BRIANNA
Britain may have a queen but we
have Dairy Queen.

ROGER
(with a mouthful)
These are the best chips I’ve ever
had.

BRIANNA
(playfully)
You’re in America -- call them
french fries.

ROGER
Of course, that makes perfect sense.

She gives him another fry.

BRIANNA
I can take another shift if you
want.

ROGER
I don’t mind. But I will have more
of that chocolate malt.

Brianna holds up the malt so Roger can drink from the straw.
They’re having fun, windows down, wind in their hair.

TIME CUT:

They are further into the trip now, sated with fast food.

BRIANNA
The Minister’s cat is an
androgynous cat.

ROGER
The Minister’s cat is an alagrugous
cat.

Brianna looks up at him, raises an eyebrow.

ROGER (cont’d)
Alagrugous -- grim or woebegone.

BRIANNA
The Minister’s cat is a brindled
cat.

ROGER
The Minister’s cat is a bonnie cat.

He smiles over at her, she’s the bonnie one.

Toni Graphia

We really wanted a scene where Brianna and Roger were just having fun and hanging out. Most of the scenes between them have been angst-ridden, so we decided to play a bit of their road trip, to show the spark of their love and attraction.

“The Minister’s Cat” is a bit from the book that we found charming and wanted to include, so it was worked into this scene.

BRIANNA
That’s a draw. Okay... the
Minister’s cat is a... coccydynious
cat.

Roger tries to work that one out with the root word...

ROGER
A cat with a wide backside?

BRIANNA
(laughs)
A cat that’s a pain in the ass.

ROGER
That’s a real word, is it?

BRIANNA
Uh huh. One of mama’s medical
terms. Coccydynia is a pain in the
region of the tailbone. She used to
call hospital administrators
coccydynians, all the time.

ROGER
I can think of a number of
administrators at Oxford that I’d
apply that word to. The Minister’s
cat is a camstairy cat.

BRIANNA
Another draw. The Minister’s cat
is a...

Roger looks over and sees that Brianna is staring at him.

ROGER
What?

BRIANNA
You’re pretty even though you have
ketchup on your nose.

Roger laughs and wipes his nose, thrilled, but...

ROGER
Pretty?

BRIANNA
(re: the ketchup)

You missed it. Here.

Brianna slides over with a napkin, dabs at his face. Roger
enjoys feeling her close to him.

ROGER
I mean, “dashing cat” would make
sense for our game... “devilishly
handsome cat” is a worthy term...

BRIANNA
Shut up and kiss me.

She plants one on his lips as he struggles to keep his head
straight and eyes on the highway.

ROGER
You’re going to make me run right
off the road, lass.

Roger SWERVES across lanes as their passion revs up. He’s so
in love with this girl, and he’s dying to tell her. But not
yet. As they drive pass a ROAD SIGN: “Grandfather Mountain
40 Miles.” A tallish peak LOOMS in the distance.

MYERS (PRE-LAP)
That mountain there --

FOLLOW BRIANNA’S CAR down the highway toward it --

MATCH CUT:

9 EXT. NORTH CAROLINA WILDERNESS - TRAIL - DAY (D2) (1767) 9

MANY DAYS after leaving River Run, Jamie, Claire, Ian and
Myers ride through the same wilderness -- or at least similar
to -- where Brianna and Roger are driving through, 200 years
earlier, near the same landmark (much like Cocknammon Rock in
the pilot). Clarence is tethered to Jamie’s horse as he
rides beside the wagon. Rollo trots beside them. Young Ian
sits in the back of the wagon. Myers, driving the wagon with
Claire next to him, points to a tallish peak visible through
a break in trees.

Toni Graphia

We thought it would be cool to see that the mountains Brianna and Roger drive through are the exact same mountains Jamie and Claire travel 200 years in the past, so we specifically scripted a match-cut here. Although Bree doesn’t know at the time that this is a place where Jamie and Claire travelled, we wanted to let the audience in on the serendipity of Brianna and her parents literally travelling the same roads, centuries apart.

MYERS
The Scots of the region gather
there in autumn to trade, after the
harvest is in. You’d find
yourselves at home there I’m sure.

He gestures around them.

MYERS (cont’d)
This area once belonged to the
Tuscarora. But you don’t see them
anymore.

CLAIRE
What happened to them?

MYERS
Some fifty years ago, a war was
waged, bloody it was too. Chief
Hancock of the Tuscarora led his
warriors out to attack settlers.
They did not fare so well. This is
mostly Cherokee land now.

Toni Graphia

John Quincy Myers is one of our favorites, and it was fun to have him give voice to the history of this land. In the book, they first meet the Tuscarora Indians. In our research, we realized there was very little information available about the Tuscarora, their language or their customs. Because we want to be authentic and do justice to history, the decision was made to portray the Cherokee instead. There was an abundance of information on this tribe which we could reference for authenticity, and they were also found in the area during this time period.

Young Ian hangs on Myers’s every word.

YOUNG IAN
The Cherokee are great warriors, no?

MYERS
They fight well and fight with
honor. They do what they must to
guard their lands from whomever has
a mind to take ‘em.

JAMIE
I dinna blame them.

MYERS
It’s justice for them. Their way
of maintaining nvwadohiyadv,
“harmony,” on Earth.

JAMIE
Ye speak Cherokee yourself, Mr.
Myers?

MYERS
Oh, a bit -- words here and there.

YOUNG IAN
(boasting)
Mr. Myers has spent time with many
an Indian woman, Uncle.

Jamie glances over with a raised eyebrow.

MYERS
I don’t recall as I put a number on
it. But there’s been a few.

Cherokee women choose who they
marry, and before that, who they
bed with.

YOUNG IAN
I love this land.

He’s enraptured by the thought. They ride on.

A10 EXT. NORTH CAROLINA WILDERNESS - VARIOUS A10

SERIES OF SHOTS -- as the group travels further into the
backcountry, passing VARIOUS LANDSCAPES:

-- Valleys crisscrossed with streams, spilling off ridges and
trickling down steep rock faces.

-- A waterfall cascades off the side of a distant mountain,
arching in its fall to a gorge far below.

-- The Blue Ridge Mountains, beginning to rise up ahead in
all their glory.

Toni Graphia

We wanted to include as many shots as we could of the beauty of the land to demonstrate Jamie falling in love with the New World. Some of these are meant to be suggestions for “beauty shots.” They were either filmed during the shoot by our second unit crew directed by Matthew B. Roberts, or are stock shots found by our post department.

10 EXT. NORTH CAROLINA WOODS - CAMPSITE - NIGHT (N3) 10

They’ve stopped to bed down for the night. They’ve eaten,
and Clarence and the horses are hobbled. Jamie, Ian and
Myers share a nip of whisky by the fire. Claire leans on
Jamie’s shoulder.

MYERS
I must part with you tomorrow and
make my way to a trading house some
ways north of here. I have tobacco
for the Indians. And they’ll have
deerskins for me.

YOUNG IAN
Mr. Myers has been kind enough to
ask me to go wi’ him.

Myers reads Jamie’s concerned look.

MYERS
(reassuring)
You’ve nothing to fear. The Indians
who come to trade with the settlers
are very civil.

Even so, Claire’s still concerned that Young Ian will be
trekking through the mountains with a near stranger. Perhaps
a graceful interrogation is in order.

CLAIRE
You seem to know these mountains
well, Mr. Myers. Have you lived
here long?

MYERS
These mountains are old friends to
me and those who dwell around them
near enough so too.

Myers reads Claire’s concern --

MYERS (cont’d)
Not to worry, mistress, the lad
will be safe. I promise you both.

Claire smiles.

JAMIE
Aye, and dinna get yer heids
scalped.

OFF Ian and Myers moving away, leaving Claire and Jamie by
the fire.

JAMIE (cont’d)
We’ll reach Woolam’s Creek soon.

Claire’s very comfortable camping.

CLAIRE
I quite enjoy being under the
stars.

JAMIE
Ye’re sure ye wouldna rather go to
a place ye’re more familiar with?
Boston, say? Somewhere we might
start anew?

CLAIRE
Boston would hardly be starting
anew -- not for me at least. I’ve
already had a life there. And it
will be dangerous there. Tensions
will be rising -- the Revolution
actually begins there...

Toni Graphia

The Boston line is another nod to Claire’s previous life in Boston, and her knowledge of the coming revolution, something that will loom over the rest of the season.

(thinking)

I want to make a home together -- a
place that’s ours.

OFF the two of them, as they settle in for the night.

A11 EXT. NORTH CAROLINA WOODS - DAY (D4) A11

THE NEXT DAY. VARIOUS SHOTS. Claire and Jamie, continue on
alone along the path, through the gorgeous vistas, both on
horseback now. Clarence is tethered to Claire’s horse.

11 EXT. NORTH CAROLINA WOODS - DAY (D4) 11

ON Jamie and Claire riding, mid-conversation --

JAMIE
So she can have her choice of work,
then?

CLAIRE
Yes. When I left my time, a woman
had more choices than ever before.

JAMIE
Dinna keep me in suspense, what was
Brianna’s choice?

CLAIRE
Sorry to disappoint you, but she
didn’t make one. Funny thing, I’ve
always known what I wanted to be.
It was clear to me as far back as I
can remember.

JAMIE
Ye were born to be a healer, then.

CLAIRE
Yes. And to be honest, it bothered
me a bit that Brianna couldn’t find
something to be passionate about.
She’d try something, get bored, and
move on.

JAMIE
These times are such that ye’re far
more likely to take up yer family’s
work. And be thankful ye have that.

CLAIRE
She tried studying history, like
Frank. But later changed her mind.

JAMIE
Did she never want to be a doctor
like you?

CLAIRE
Frank spent more time with her,
they had a stronger bond. But I
think deep down, Frank was never
really passionate about history
either. In the end it was just how
he earned money.

JAMIE
Mebbe Brianna kent that as well and
that’s why she had no passion for
it.

(then)
Ye canna worry. She’ll find her
way. Ye tell me regularly how
sharp-witted she is.

CLAIRE
She is that -- but there’ll never
be a day I don’t worry about our
wee bairn.

Toni Graphia

We made a conscious choice when Claire first returned to Jamie in Season 3 to sprinkle in conversations where Jamie asks Claire about Brianna as often as possible. Claire tells him tidbits about Bree, her personality, and her life in the future, so Jamie can picture it and feel close to his daughter.

Jamie smiles, thinking about the child they made together.
In the distance, THUNDER RUMBLES.

JAMIE
There’s a storm coming. We’ll have
to abide at a tavern when we reach
the town... until we can earn enough
to put a roof over our heads.

A chance for a playful jab...

CLAIRE
Or perhaps there’ll be a quaint
brothel.

JAMIE
Och, will ye hold that over me
forever?

CLAIRE
Not forever...

More thunder... they ride on.

A12 EXT. NORTH CAROLINA WOODS - LATER - DAY (D4) A12

Jamie and Claire have paused on their journey while Jamie
works to re-shoe his horse. For most people this would be a
chore, but Jamie actually enjoys it.

Claire watches him -- he’s as skilled with a horse as Claire
is a surgeon. The seed Jocasta planted is starting to take
root.

CLAIRE
You love working with horses.

JAMIE
(playful)
Are ye asking? Or are purely
making an observation?

CLAIRE
Observation. And printing?

JAMIE
Canna say I loved it, but it kept
my mind agile... and my body in
good strength too.

CLAIRE
Will that be enough for you now?
You were also a smuggler and
seditionist.

Toni Graphia

This is where we see that Jocasta’s comments are weighing on Claire’s mind, as she gently probes Jamie about the kind of life he wants and would be happy with in America. She knows there is some truth to Jocasta’s words, and wants to make sure she’s not holding Jamie back from the man he was meant to be. Some of the dialogue was trimmed in editing, but the gist of it was, that Jamie acknowledged his outlaw past, and feels like he wants to give so much to Claire, to “lay the world at her feet.” What matters to him is not so much his profession but providing and caring for her and giving her the home he knows she’s always wanted.

Jamie looks up, surprised at the direction this is going.

JAMIE
A man should be settled at my age,
no? And I thought you wanted to
live in a town near the backcountry?
Ye said we’d be safer there --

CLAIRE
I did. But I don't want you to
make this decision because you
think it's what I want. There’s
this phrase that becomes important
in America, the “pursuit of
happiness...”

JAMIE
Do ye believe I canna be happy
unless I’m a criminal? That I
canna work as an honest man?

CLAIRE
I guess that is what I’m asking.
But it’s more than that -- I don’t
want you to live half a life. I
did that for twenty years -- we
both did.

After a long pause, contemplating, he says quite seriously:

JAMIE
I’m a violent man and I ken it
well. So do you -- or ye should.
There’s nae much to choose between
a man such as Stephen Bonnet and
me, save that I have a sense of
honor that he lacks. What else
keeps me from turning thief? It’s
in me to do it -- my grandsire
built Leoch on the gold of those he
robbed in the Highland passes.

CLAIRE
(heated)
Bonnet is a cold-blooded murderer
and the night I watched him slit
our friend’s throat still haunts
me... so if you think you have the
slightest thing in common with him,
you’re dead wrong.

JAMIE
I was an outlaw when we first met
and an outlaw when ye returned. If
it was only me I could live as an
outlaw and when I was auld lie down
under a tree and let the wolves
gnaw my bones -- but it’s not only
me. It’s you, and Ian, and Fergus
and Marsali. D’ye understand? I
would lay the world at your feet,
Claire -- but I have nothing to
give you.

Claire starts to answer, but before she can --

The WIND suddenly kicks up and a THUNDER CLAP rolls -- much
closer now. Jamie sees how dark the sky has become as their
conversation is interrupted by the impending weather.

JAMIE (cont’d)
Christ, the storm’s upon us. We’ll
make camp here.

There’s suddenly a FLASH of bright SHEET LIGHTNING above
them, followed by a LOUD BOOM OF THUNDER -- at which Clarence
BOLTS. When they look up, the mule has disappeared into the
woods -- carrying with him nearly all of their things.

JAMIE (cont’d)
Damn mule!

Toni Graphia

Who knew that when we gave this small nod to Clarence the mule, that it would be one of the hardest in the episode to shoot? As it turns out, Clarence was not so keen on running away, and he had to be shooed away many times to get enough footage of him escaping. Apparently, he, like everyone else, is enamored with Jamie Fraser and determined to stick by his side, 😉

Jamie has his horse’s hoof between his knees -- the shoe is
half off, and there’s still a bent nail stuck in the hoof.
He can’t ride like this.

CLAIRE
(re: Clarence)

I’ll get him.

She gets on her horse.

JAMIE
Claire, no -- he’ll no go far.

CLAIRE
Then he’ll be easy to find.

She kicks her horse -- and she’s gone.

JAMIE
Claire!

Jamie shakes his head, and finishes up the shoeing, thinking
she’ll be right back. As the THUNDER CLAPS grow louder --

12 OMITTED 12

13 EXT. SCOTTISH FESTIVAL - DAY (D3) (1970) 13

-- the BOOMING of DRUMS and the lively sound of BAGPIPES from
a pipe and drum band outside a LARGE TENT. Brianna and Roger
make their way past a sign reading: WELCOME TO AMERICA’S
OLDEST SCOTTISH FESTIVAL.

Highland Games are going on just outside the tent -- female
sword dancers, caber toss, shot put, tug of war, and Highland
cows.

Roger, looking dashing in a shirt with the sleeves rolled up
and a kilt, makes his way to Brianna, who is waiting for him
near the tent. She catches her breath as she looks him up
and down. There’s a “wow” in the way she looks at him.
Roger blushes.

Toni Graphia

We made the decision for Roger and Bree to attend a Scottish festival in North Carolina so that they would literally be travelling the same ground as Jamie and Claire. Hats off to Gary Steele and Terry Dresbach for all the hard work and creativity that went into designing the environment, outfitting the principles and extras, and dressing our colourful and exciting Scottish festival.

BRIANNA
My mother always said men in kilts
were irresistible. She was right.

ROGER
You look lovely yourself.

Hold on the moment, the air electric between them. Then they
head for the main tent.

14 INT. SCOTTISH FESTIVAL - TENT - BOOTH AREA - DAY (D3) 14

Inside, Roger and Brianna walk through as YOUNG WOMEN serving
HAGGIS work the CROWD. Children make crafts at small tables
while their PARENTS dance amateur jigs. Some are dressed in
kilts and other modern takes on 18th century garb, some are
in regular clothes.

BRIANNA
I had no idea there were so many
Scots in North Carolina.

ROGER
This area was settled by them.

A beat.

ROGER (cont’d)
I hope it isn’t too upsetting,
being here.

BRIANNA
No... I’m glad we came. But it does
make me think about my mother... I
can’t help but wonder if she ever
found Jamie. If she’s happy...

ROGER
I like to believe she did.

Toni Graphia

We felt it was important to have a small moment for Brianna to miss her mother, as being surrounded by Scottish culture would naturally make her wonder if Claire ever found Jamie and whether she is happy 200 years in the past.

Brianna looks to Roger, desperately wanting to share his
faith. Their hands brush slightly and she looks down. She
hooks a finger around one of his fingers. Then something at
the other end of the tent catches Brianna’s eye:

BRIANNA
That looks like fun.

A CEILIDH BAND is playing on stage and people are dancing in
front of it. It’s fast-paced and wild, accompanied by a lot
of laughter. A CEILIDH CALLER is helping some of the more
novice dancers; other dancers seem quite good.

ROGER
The ceilidh dance? Aye, it’s good
fun. Bit tricky though.

Brianna consults her FESTIVAL BOOK as they approach the
dancers and watch. Finding the entry:

BRIANNA
(reading)
“Try your hand -- and feet! -- at
ceilidh dancing. Live a long and
happy life.”

ROGER
Or die trying.

Brianna watches for a beat or two more, trying to work out
the moves, then -- oh, to hell with it --

BRIANNA
Let’s do it!

Brianna takes off to join the dance. Roger follows eagerly
through the crowd after her --

15 INT. SCOTTISH FESTIVAL - TENT - MOMENTS LATER - DAY (D3) 15

Brianna, with Roger trailing, arrives as the Ceilidh Caller
sends a couple down the row of dancers (men on one side,
women on the other: a dance called “Strip the Willow”).
Brianna and Roger stand near the Caller and watch.

CEILIDH CALLER
Next couple!

The next couple shake their heads -- they’re not ready.

CEILIDH CALLER (cont’d)
(to Brianna)

You want to be next?

BRIANNA
Sure!

CEILIDH CALLER
Done it before?

BRIANNA
Never! But he has!

CEILIDH CALLER
He’ll be a good partner then. Grab
his hands and spin for sixteen
beats! Go!

Roger and Brianna grab hands and start spinning. And then
they’re off to the races, going down the row, spinning with
outside partners, then meeting in the middle again to spin
with each other -- then outside -- then together.

The dance is lively and raucous. Brianna throws herself into
it, laughing. As they meet in the middle --

BRIANNA
This is easy! What were you
talking about?

ROGER
You haven’t got dizzy yet. You
will.

And they’re separated. And then they’re back together.

She laughs, loud. They separate again. He watches her as
she spins with other partners and she watches him, smiling.
And then they’re together again, clumsily spinning...

Toni Graphia

Again, we wanted to show Roger and Brianna having a good time together and experiencing a romantic and perfect weekend as they fall in love.

And then they’re apart -- and Brianna’s next partner flings
her a bit too enthusiastically -- and she SMASHES into Roger,
SMACKING his face with her head. She exclaims and holds her
head in pain. Roger holds his cheek...

TIME CUT:

Brianna sits in a FOLDING CHAIR, a little scuffed up. She
has an ice-pack on her head and a worried, doting Roger.

BRIANNA
I think I bit off more than I could
chew.

ROGER
I bit off part of my cheek.

BRIANNA
God, really? I’m sorry, Roger. I
have two left feet --

Roger quiets her with a kiss. A good one.

ROGER
You were brilliant.

Brianna looks up at him, melting...

16 INT. SCOTTISH FESTIVAL - TENT – PORTRAIT BOOTH – DAY (D3) 16

LATER. An ARTIST finishes up a drawing of a Teenage Boy.
The lad takes off a TARTAN SASH and hangs it up on a hook
under a label: CLAN GORDON. Brianna sees it.

Toni Graphia

The artist’s drawings that are hanging in the scene are actually portraits of some of our crew members!

BRIANNA
I’ve always wanted to have my
portrait done.

ROGER
That makes one of us.

Brianna and Roger peruse a row of modern clan plaids. The
Artist chats with them.

ARTIST
So what clan?

BRIANNA
I don’t have a clan.

(then, fumbling)
I mean... I guess I’m a Fraser...
But my boyfriend is a MacKenzie.

Roger looks at her when she says “boyfriend.” A good sign.

ARTIST
So then -- how about a drawing of
the two of you? It’ll be a fine
likeness; we’ve got a MacKenzie
tartan you can wear.

Brianna shakes off her worries and turns her attention back
to the Artist.

BRIANNA
That sounds great. Two MacKenzie
tartans.

(to Roger)
Come on -- we don’t have a single
picture of us together.

Roger lights up. Two MacKenzie tartans. To the Artist --

ROGER
Ye better focus on my good side.

A17 EXT. SCOTTISH FESTIVAL - TENT - DAY (D3) A17

Roger and Brianna walk between the tents. Brianna admires
the PORTRAIT of her and Roger before putting it into her
satchel.

17 EXT. NORTH CAROLINA WOODS - DAY (D4) (67) 17

The WIND is still blowing as Jamie finishes up with his
horse’s shoe, then puts his tools back into a bag. He hears
movement and turns -- as Clarence wanders up without Claire.
That’s a bad sign.

JAMIE
Claire?

He looks around. But there’s no sign of her. Just wind. It
isn’t raining yet.

JAMIE (cont’d)
Claire!

Nothing. Alarmed now, he quickly ties Clarence to a tree,
then mounts his horse and sets out to search for her.

18 EXT. NORTH CAROLINA WOODS - DUSK (D4) 18

Claire, on horseback, enters a clearing.

CLAIRE
Come on Clarence, where did you go?

She looks around -- nothing -- just WIND blowing the
branches. No rain yet. And suddenly she realizes she’s
lost. Every direction looks the same. Her horse stamps and
whinnies, unhappy with being away from the others.

CLAIRE (cont’d)
(soothingly)

Good boy. That’s a good fellow.

She looks around but has no idea where she is -- and it’s
gotten quite dark.

CLAIRE (cont’d)
Damnit. Where are we?

She starts to rein the horse back the way they came -- at
least she thinks it’s the way they came -- when --

A BOLT of LIGHTNING STRIKES A NEARBY TREE. Claire’s horse
lets out a high-pitched WHINNY and REARS UP, throwing Claire
violently to the ground. She LANDS HARD, hitting her head
onto the dirt. The horse runs away. OFF Claire, as she
loses consciousness...

19 OMITTED 19

20 INT. SCOTTISH FESTIVAL - TENT - STAGE AREA - NIGHT (N3) (1970) 20

ON STAGE, Roger plays a short but scorchingly-paced
traditional tune, “Devil in the Kitchen.” Brianna watches,
mesmerized, as he unleashes himself in the throes of the
instrumental piece. She’s decidedly turned on.

She looks at the PORTRAIT of herself and Roger. It’s simple
and realistic -- done in pastels that show off the tartan
colors. The pose is a bit 1970s, but the style is 1760s.
She carries a bag full of things she’s bought at the
festival. She looks back up at Roger.

This is a new side of her mild-mannered boyfriend. His hair
disheveled and eyes wild, he looks not only rakish but mildly
dangerous. The SONG ENDS to an eruption of APPLAUSE.

Two Young Women next to Brianna WHISPER and GIGGLE, looking
doe-eyed at Roger. Brianna smiles, amused at the lust
directed at the man who belongs only to her.

BACK ON ROGER

ROGER
(into the mic)
Here’s something a little
different...

Roger starts to play a softer, prettier tune, a love song.
“The False Bride,” also known as “I Once Loved A Lass.”

ROGER (cont’d)
(singing)

“I once loved a lass, I loved her
sae weel / I hated all others who
spoke of her ill / But now she's
rewarded me well for my love / For
she's gone to be wed to another / I
saw my love to the church go / With
bridesgroom and bridesmaidens they
made a fine show / And I followed
on with my heart full of woe / She
was gone to be wed to another...”

The crowd is taken by him. He is an amazing performer.
Brianna is enraptured by him.

Toni Graphia

We wanted to contrast Roger’s opening song, “Devil in the Kitchen,” with the slower, more emotional ballad he sings here. It was discussed whether Roger should play a popular song from the 1970’s, something by Donovan, Simon and Garfunkel, or Peter, Paul, and Mary. But it was decided that it would be nice to play an old folk song from the British Isles, called “I Once Loved a Lass,” also known in Scotland as “The False Bride.” It’s a sad and ironic song about a man who loses the love of his life. This is meant to foreshadow what happens later in the episode when Roger loses Bree after their disastrous fight, and also seemed well-suited as the title of the episode. But in this moment, as Bree watches him, enraptured, she is falling hard for him. The crowd fades away and he seems to be singing for her alone.

ROGER (cont’d)
(singing)

“I saw my love sit down to dine /
As I sat down beside her I poured
out the wine / I drank to the
lassie that should have been mine /
Even though she'd been wed to
another / The men o' the forest
they ask it o' me / How many
strawberries grow in the south sea?
/ I answer them a' with a tear in
my e’e / How many ships sail in the
forest...?”

OFF Brianna, melting as she listens --

21 EXT. RUSTIC CABIN - NIGHT (N3) 21

Flush with the good vibes of the day, Roger and Brianna walk,
hand in hand, to the ROW OF SMALL RUSTIC CABINS housing the
festival go-ers. Brianna is still swooning from Roger’s
performance.

BRIANNA
I still can’t believe what a great
musician you are. What other
talents have you been keeping from
me?

ROGER
(playfully mysterious)
I’ll never tell.

They arrive at Brianna’s cabin and linger by the door. Roger
pulls her in for a long, passionate kiss, leaving Brianna
breathless. Then --

ROGER (cont’d)
Good-night, Brianna. Remember, if
you need anything... my cabin’s
right over here.

He starts to walk towards his cabin next door, when --

BRIANNA
Wait... I bought you something,
while you were getting ready to
perform.

Brianna pulls out a BOOK. Hands it to him.

ROGER
(flipping through it)
“A Home from Home: Scottish
Settlers in Colonial America.”

(then)
Thank you.

BRIANNA
I figured you already know about
the Scots in Scotland.

(then)
And... your favorite beverage.

She holds up a BOTTLE OF WHISKY.

BRIANNA (cont’d)
Mountain moonshine.

ROGER
Where’d you get that? It’s a dry
county.

Toni Graphia

The book that Brianna gives Roger, called “A Home from Home,” is a fictional book that was concocted by Dani Berrow, who came up with the title. The author, Karen Bailey, was named after our STARZ executive, Karen Bailey, who has always been such a passionate champion of our series.

It was Karen, who hails from North Carolina, who pointed out to us the this would have been a dry county back then, and would not be selling whisky openly at the festival. Thus, we changed our original whisky-tasting scene to a moment where Brianna gifts Roger with some under-the-table moonshine she bought for him. Our intent was to get the couple a bit tipsy for what happens next…

BRIANNA
I asked around. Shall we?

ROGER
Maybe just a wee dram.

He follows her inside...

22 INT. RUSTIC CABIN - SHORT WHILE LATER - NIGHT (N3) 22

A cozy cabin, complete with a small gas fireplace. The
BOTTLE is now half-empty. Brianna and Roger drink from a
couple of BEAT UP MUGS. Her boots are off. They are both
feeling the effects of the alcohol. Roger eyes a mounted
DEER HEAD on the wall as he moves this way and that.

ROGER
His eyes are following me.

BRIANNA
I know. It’s creepy. I’ll have to
put something over his face before
I go to bed.

Roger rises and gets closer...

ROGER
He’s pretty canty-lookin’ for a
deer on the worst day of his life.

Suddenly, a BLOUSE lands over the deer’s antlers, draping
down and covering its eyes. Roger turns, surprised, to find
Brianna UNDRESSED. Brianna wraps her arms around him. She
presses her warm body to his. He catches his breath.

ROGER (cont’d)
Christ. You’re a sneaky one.

Suddenly, her hand is on the back of Roger’s neck, and he
KISSES her, feeling heat seep through the fabric of his
shirt. Her breasts rise against him and her mouth opens
under his.

His hand drifts lower, grasping the swell of buttock. She
shies, loses her balance, and the two of them COLLAPSE
awkwardly, grappling with each other, trying to stay upright.

Roger’s knees hit the floor, and he drags her down with him.
She tilts and sprawls, landing LAUGHING on her back.

He lunges over her, kissing her again. His hand on her bare
breast, full and soft. His other hand rests at the top of
her thigh, close enough that he can feel the heat through her
pants.

Despite himself, his hand drifts up her thigh, closer and
closer. But with an effort that makes him dizzy, he STOPS.

Her hand is on his arm, pulling him back up, enveloped by
desire and surrender.

BRIANNA
What’s the matter?

His heartbeat echoes in his head and chest, and he wants
badly to sweep her to bed, but his plans for the bigger
picture override his desire. He’s gotten an idea. He
extricates himself from Brianna’s tantalizing embrace.

ROGER
Wait... I want this to be perfect.

Brianna sits up, confused, as he heads for his jacket, having
made a monumental decision. Brianna covers her nakedness
with her arms.

BRIANNA
It is perfect... I don’t understand.

Roger removes something from his jacket (or sporran) on the
kitchen counter, a few paces away.

He takes her shirt from the deer head and drapes it over her
shoulders, gently leading her to the sofa. She slips her
shirt on again, then turns back to find Roger holding a
VELVET BOX.

BRIANNA (cont’d)
What’s this?

ROGER
Open it.

Brianna opens it. It’s a beautiful SILVER BRACELET, a flat,
delicate silver band, with a small gemstone inset in it and
words etched round the inside. She turns it slowly, reading
the words which are engraved in French.

BRIANNA
“Je t’aime... un peu... beaucoup...
passionnément... pas du tout.”

(then, translating)
I love you... a little... a lot...
passionately... not at all.

ROGER
It’s from a French children’s
rhyme... they recite it when they
pick the petals from a flower.

Roger takes the bracelet from her and slips it over her hand,
onto her wrist. Brianna stares at the bracelet, confused.

ROGER (cont’d)
It was just supposed to be a
present, but you’re right, this is
perfect, this whole weekend’s been
perfect. I’ll get you a proper
ring soon enough...

Roger’s heart hammers in his chest -- it’s time.

ROGER (cont’d)
I want you, Brianna. I cannot say
it more plainly than that. I love
you.

Roger gets down on one knee...

ROGER (cont’d)
Will you marry me?

Brianna doesn’t say anything, but her face changes, like
water when a stone is thrown into it.

BRIANNA
Roger... this is just... very fast.

He knows this must seem impulsive. But he also knows he can
convince her by backing off just a little. He’s confident.

ROGER
We can have as long an engagement as
ye’d like... I just want ye to say
yes... I want to give ye my name...
I want -- when the MacKenzies stand
tomorrow at the Calling of the
Clans, for ye to stand at my side,
knowing one day you’ll be my wife.
I want to have a home with you, big
enough for four or five wee
MacKenzies, a couple of dogs --

BRIANNA
Stop. Wait. I’m not ready for
this.

She shakes her head, white as a sheet. Roger gets it. He
suddenly feels like he’s crashed into a brick wall.

ROGER
Aye, well. Nae bother.

He turns to walk away. She grabs his sleeve.

BRIANNA
Roger.

It’s a great effort to turn and face her. He doesn’t think
he can bear even to look at her, but he turns and she rushes
to him, her hands grip his head and she pushes her mouth hard
onto his, not so much a kiss as blind frenzy, awkward with
desperation. He pulls her hands down, pushing her away.

ROGER
What in God’s name are you playing
at?

BRIANNA
You said you wanted me. I want you
too, don’t you know that?

Something between sickness and fury stirs in Roger’s gut, and
then erupts.

ROGER
Ye don’t want to marry me, but
you’ll fuck me?

We’ve never heard Roger swear, but he’s wounded and the
MacKenzie blood is pounding in his ears.

BRIANNA
You don’t have to use that
language!

ROGER
You can suggest such a thing, but I
cannot say the word?

He grabs her and pulls her to him.

ROGER (cont’d)
If all I wanted was to have my way
with you, I would have had ye on
your back a dozen times last
summer!

She SLAPS him across the jaw. He grabs her and kisses her,
harder than ever before. She struggles, but he kisses her
until he is good and ready to stop.

He wipes his mouth and stands back, shaking. There is blood
on his hand; she’s bitten him and he hasn’t felt a thing.
She is shaking too.

ROGER (cont’d)
If you don’t care enough to marry
me, then I don’t care enough to
have ye in my bed.

BRIANNA
That makes no sense.

ROGER
Neither do you. What the bloody
hell are you talking about?

BRIANNA
You can’t just spring a proposal on
me... I have school, an apartment, I
haven’t even thought about kids...

ROGER
Then what d’ye mean by making me
such an offer -- a nice Catholic
girl! I thought ye were a virgin.

BRIANNA
I am! What does that have to do
with it? Don’t tell me you haven’t
had girls, I know you have!

ROGER
Aye, I have!

BRIANNA
Then you’re a hypocrite!

ROGER
Because I didn’t want to marry
them?

BRIANNA
Because you’ll have sex with a
woman but you’ll only marry a
virgin? It’s 1970! No one I know
is saving themselves for marriage.

ROGER
So I’m old fashioned! You’re
missing the point. The point is I
didn’t love them! I love you, damn
it!

Toni Graphia

As the couple we’re rooting for finally implodes, our job was to make sure we felt for both parties. Roger, flush with romantic feelings from their perfect weekend, proposes to Brianna, but Bree, caught off guard, is not ready for marriage. We had to make sure that we understood each of their positions so that our heart breaks for them as a couple.

We included the bit about Roger hoping she can stand with him at the Calling of the Clans to set-up what happens in their last scene together.

This is a scene where we were keenly aware of our time period being the 1970’s. And while true that many young people were having sex in the “Free Love” era, Roger is a minister’s son who is admittedly an old-fashioned guy, and Brianna has led a bit of a sheltered life with her parents in Boston. We had to make this scene believable, that a young couple in this time would clash over the decision to embark on a sexual relationship.

He waits for her to say she loves him too. A long beat.

ROGER (cont’d)
But you don’t love me...

BRIANNA
I didn’t say that.

ROGER
You didn’t have to.

This was not the answer he was hoping for. Roger storms out.

23 OMITTED(MOVED TO SCENE A26) 23

24 EXT. NORTH CAROLINA WOODS - NIGHT (N4) (1767) 24

RAIN BEATS DOWN on Claire, still CRUMPLED in a heap on the
ground. Her eyes flutter OPEN as she comes to. She draws a
breath, reacts -- damn, that hurts. She lies still for a
moment, then slowly rolls onto her side, impeded by her wet
garments. She pushes herself up into a sitting position and
takes in her surroundings.

She gets up and walks a little ways. Finally, Claire spots a
large FALLEN TREE. Other trees have fallen in a cluster on
top of it, creating a space large enough to provide shelter
from the rain. As WOLVES HOWL in the distance, Claire
cautiously moves INSIDE --

25 INT. TREE SHELTER - CONTINUOUS - NIGHT (N4) 25

Protected now from the rain, Claire sits down and begins to
wring out her garments. She removes her wet shoes, setting
them aside, but keeps her stockings on for warmth.

Claire settles into her shelter. She shifts around, trying
to find a flat patch to lie on and a comfortable position. A
GLIMMER OF WHITE buried in the earth catches her eye. Upon
closer inspection, she sees it’s some sort of hard, white
stone and feels compelled to DIG it out. So she does,
REVEALING -- A HUMAN SKULL caked in thick dirt. She wipes
some of the dirt away, revealing a deep crack in the crown of
the skull -- where it was clearly struck by a hatchet or
tomahawk many years ago.

The hair on the back of Claire’s neck stands at attention,
much as it did when she held Geillis’s skull [Episode 305].

The wolves continue to HOWL in the distance. Claire tries
to overcome her growing fear and panic by talking to the
skull to distract herself.

CLAIRE
“How long will a man lie i’ the
earth ‘ere he rot?”

(then)
Not a fan of Shakespeare, are you?

(then)
Read any good books? No, I suppose
you don’t get ‘round much anymore.

(a beat)
It seems I’ve bored you to death.

She smiles at her own joke, but then the smile fades. She
knows she’s in a tight spot.

A26 EXT. NORTH CAROLINA WOODS - SAME TIME - NIGHT (N4) A26

FIND a harrowed Jamie cutting through the dense forest in the
HARD RAIN, searching for Claire.

Jamie hears a RUSTLING in the trees. He turns to FIND...
Claire’s horse wandering free. He approaches.

JAMIE
Easy, now.

Jamie grabs the horse’s reins. He looks around, calls out.

JAMIE (cont’d)
Claire!

But she’s nowhere to be seen. Rain is pelting the ground.

B26 INT. TREE SHELTER - CONTINUOUS - NIGHT (N4) B26

Claire sets the skull down and looks back to the hole in the
ground where she found it. She digs around and pulls out a
FLAT OPAL. It’s an irregular oval the size of a spoon head.
Claire rubs the dirt off, exposing a CARVING on one side -- a
glyph in the shape of a spiral, coiling in on itself.

Claire’s attention is then drawn outside where she SEES a
SOFT GLOW coming from a distance.

CLAIRE
Jamie?

She SPRINGS to her feet and steps out to see --

26 EXT. NORTH CAROLINA WOODS - CONTINUOUS - NIGHT (N4) 26

The faint GLOW of a torch’s flame. With its carrier hidden,
the flame floats through the trees as it makes its way toward
Claire. She moves forward, thinking it’s Jamie...

CLAIRE
Jamie, thank God you’ve...

But as the light comes nearer, drifting toward her, the
carrier of the torch is REVEALED --

It’s an INDIAN WARRIOR, 30s (whom we will later know as Otter
Tooth), dressed in traditional Mohawk garb. His hair is tied
in a scalplock and a thick stripe of black paint covers his
face -- from chin to forehead. And where his arms and legs
are exposed, we SEE long stripes of red paint.

OUTLANDER 403: "The False Bride" FINAL 11th Sept 2018 39.

It’s an intimidating sight, to be sure. But rather than run,
Claire stands frozen, that familiar tingling sensation on the
back of her neck. And it’s then she notices that despite the
rain, the torch continues to burn with a soft, steady glow.
Peculiar.

CLAIRE (cont’d)
What do you want?

But the Warrior doesn’t respond. He holds Claire’s gaze.

It’s then that she notices that the Warrior wears the SAME
OPAL she found with the skull. And inexplicably, it fills
Claire with calm.

Toni Graphia

The appearance of Otter Tooth is a very important and iconic scene in the Outlander series, and one we’ve all been excited to portray in the show. The appearance of a ghost had to be handled with care, so that it didn’t come off as cheesy or fake. A lot of discussions were had with the director, how to make sure Otter Tooth’s presence came across as disturbing and frightening, but also cool and believable. In the book, we are meant to connect the skull’s ghost via the opal Claire finds with it, with the opal around Otter Tooth’s neck. However, it was difficult to see the opal in the dark, the decision was made to give Otter Tooth a wound on the back of his head, so Claire can connect the wound on the skull with the ghost that she sees.

CLAIRE (cont’d)
I can’t do anything for you. I
know you’re there. I can see you.
But that’s all.

They continue to STARE at each other for a long, surreal
beat. Something strange: he is not wet from the rain. No
words are spoken, but Claire HEARS something in the wind, in
a voice that’s not her own, reassuring her:

MALE VOICE
(in American English)

That’s enough.

The Warrior has spoken, but without moving his lips. And
then, without haste, the Warrior turns. There is a FLASH of
lightning and -- when Claire looks again -- the crown of the
Warrior’s skull is visible, the skin peeled away in a ragged
circle: he’s clearly been scalped. But it’s not bleeding.
It is a strangely old wound, though it has not healed.

Claire reacts, shocked -- then she notices --

-- a CRACK in the crown of the Warrior’s scalped skull.

Claire looks at the skull she holds -- the same crack in the
same place. Could it be the same skull? Is the Warrior a
ghost -- and is this the wound that killed him?

There’s another bright LIGHTNING FLASH -- and the Warrior is
back to normal -- no scalping, just the topknot “haircut” he
had before. The Warrior walks away. Claire watches as the
light of his torch gets smaller and smaller, into the night.

27 OMITTED 27

A28 EXT. SCOTTISH FESTIVAL - NIGHT (N4) (1970) A28

People are arriving in droves, filling out the various marked
CLAN SECTIONS around a STAGE where a WOODEN STAG stands tall.
Many of them wear tartan of one kind or another... many hold
CLAN FLAGS. This is the weekend’s main event. The crowd is
fire-lit by braziers.

Then the notes of a SINGLE BAGPIPE come through the air,
silencing everything else.

A line of men marches into the glow of the firelight. They
hold CLAN BANNERS in their hands and are led by a few men
holding TORCHES. In the lead is a Piper -- his notes
blending with the oohs and ahhs of the crowd. FIND...

Roger marching with the men, carrying a MACKENZIE BANNER.

Upon reaching the stage, each man peels off to join his clan.
Roger goes over and stands near the section of the BLEACHERS
where Clan MacKenzie has gathered. He waits while the rest
of the Clan Leaders file in and start to take their places.

BRIANNA
Mind if I join you?

Roger turns to find Brianna, approaching. He nods. She
smiles hesitantly. Even though they are obviously both still
stung from the mutual rejections the night before, Roger
takes her appearance as a good sign. They both start to talk
at the same time:

BRIANNA (cont’d)
Look, I’m sorry about last...

ROGER
I didn’t mean to...

A beat as they stumble over each others’ apologies. Finally:

BRIANNA
I hate the way we left things.

Brianna gazes at him, tenderly.

ROGER
Me too. Have ye changed yer mind?

BRIANNA
No.

Brianna lays her hand on Roger’s, but he flinches it away.

ROGER
I can’t do this. Pretend
everything’s fine.

BRIANNA
I didn’t say marriage was out of
the question.

ROGER
That’s enthusiastic.

BRIANNA
My mother married the man she loved,
but later found her true soulmate.

ROGER
So you want to wait for someone
better, is that it, eh?

Brianna lowers her voice, feeling the presence of the crowd.

BRIANNA
That’s not what I’m saying.

ROGER
Well, what are you saying?

BRIANNA
Maybe I don’t believe in marriage
at all.

The pipes stop abruptly. We hear an ANNOUNCER:

ANNOUNCER
Let the calling of the clans begin!

(then)
Clan Gordon!

The GORDON CLAN LEADER approaches the stage, grabs a torch,
and lights it. Raising his torch high, he SHOUTS:

GORDON CLAN LEADER
The Gordons are here!

Toni Graphia

The climax of the Festival, the all-important calling of the clans, was really fun to portray. We cast our producer David Brown, who has been with the series from the beginning, as the clan caller! He seemed to have a lot of fun with it.

Loud WHOOPS and CHEERS ring out from the GORDON section of
the crowd, who RAISE THEIR FLAGS and ECHO the shout -- “The
Gordons are here!” Other sections cheer and clap. The mood
in the crowd is excited and electric.

BRIANNA
Roger --

Roger shakes his head, realizing what a chasm there is
between them on this issue.

ANNOUNCER
Clan Stewart!

The STEWART CLAN LEADER steps forward proudly, lights his
torch and raises it as well.

STEWART CLAN LEADER
The Stewarts are here!

CHEERS erupt from the section of the crowd that claims
kinship with Clan Stewart. They raise their flags high.
“The Stewarts are here!” Other sections cheer and clap.

ROGER
Brianna.... I’ll have you all, or
not at all.

Brianna’s heart breaks as Roger focuses on the calling. A
long beat before...

BRIANNA
I’m sorry, Roger. Here. You should
have this back --

She hands him the bracelet, but --

ROGER
No. Keep it. It was a gift.

ANNOUNCER
Clan MacKenzie!

Roger looks to Brianna -- this is the moment that he had
planned she would be at his side, as his future wife. But
now she stands silent, holding the bracelet, the tension
thick between them... and finally Roger steps forward. He
grabs a torch and lights it, then YELLS to the flag-waving
MacKenzie crowd:

ROGER
The MacKenzies are here!

Roger fights his pain by throwing himself into the moment --
WHOOPING in unison with the other MacKenzies, who all ECHO
his cry of “The MacKenzies are here!” -- save for Brianna.

All of the Clan Leaders have now surrounded the stage,
holding their torches aloft. And then, in unison, they THROW
THEIR TORCHES at the wooden stag, SHOUTING the war cries of
their clans:

STEWART CLAN LEADER
Creag an Sgairbh!

GORDON CLAN LEADER
An Gordonach!

ROGER
Tùlach Àrd!

The entire crowd is now clapping and cheering as the STAG
goes up in FLAMES. Roger looks back toward the bleachers to
find Brianna gone. OFF ROGER, surrounded by his clan,
feeling alone.

B28 EXT. NORTH CAROLINA WOODS - DAY (D5) (1767) B28

The storm has passed. The woods sit quiet. VARIOUS SHOTS of
the forest.

28 INT. TREE SHELTER - DAY (D5) 28

Daylight STREAMS in, awakening Claire, who is curled up on
the ground. She sits up and rubs her head -- that was quite
a fall she took. She then REACHES for her shoes, but they’re
not there. Huh. Claire gropes around the shelter, covering
the small space again and again. But it’s of no use. Her
shoes are gone.

Claire grabs the skull and the opal, shoving them into her
bag. She then gets up and moves out to --

29 EXT. NORTH CAROLINA WOODS - CONTINUOUS - DAY (D5) 29

Where Claire notices on the ground... FOOTPRINTS leading from
the tree shelter, as though someone walked away in her shoes!

Claire shakes her head, perplexed. OFF Claire, suppressing
reason as she puts one foot in front of the other and starts
to follow the tracks --

30 OMITTED 30

31 EXT. NORTH CAROLINA WOODS - DAY (D5) 31

An exhausted Claire, having journeyed quite a distance
without shoes, continues to follow the footprints. It seems
that she’s trekking higher and higher up a mountain -- when
the footprints suddenly end. She stops. Then she sees --

Jamie, standing at the bank of a stream. Sensing something,
he turns -- and sees her.

Relieved and overjoyed, Jamie runs to hold up Claire’s
suddenly limp body, her adrenaline now replaced with pure
fatigue. She moves her hands from his face to his body, not
fully convinced.

JAMIE
For God’s sake, are ye hurt?

It’s his turn to pat her anxiously, checking for damage.

CLAIRE
No, I’m -- just so glad I found
you.

JAMIE
Ye were the one lost, Sassenach.
But I’m glad ye had the wits to
come back here.

She raises an eyebrow.

CLAIRE
What do you mean “back here?”

(confused)
I’ve never been here before.

JAMIE
Then how did these get here?

He holds up Claire’s shoes.

CLAIRE
(astonished)
Where did you get those?

JAMIE
They were here by the stream, side
by side. I wondered why ye’d have
gone off in nothing but your
stocking feet.

CLAIRE
Did you see anyone nearby? Or
any... thing?

JAMIE
Just yer cursed horse.

He indicates their two horses and Clarence hobbled a short
distance away. Claire bends down to slip on her shoes.

JAMIE (cont’d)
I had a devil of a time tracking ye
through the woods in the storm.
But once it abated, I followed yer
footprints here.

CLAIRE
Me too.

Jamie frowns, baffled by what she’s saying.

CLAIRE (cont’d)
I didn’t make these footprints,
Jamie. I’ve never seen this stream
in my life. Those are my shoes,
but I didn’t walk here in them.

JAMIE
Who did then?

CLAIRE
I don’t...

She stops, considering what she’s about to admit and how
insane it’ll sound. But she’s told him far crazier stuff, so
what the heck.

CLAIRE (cont’d)
I saw an Indian -- or -- the ghost
of an Indian.

JAMIE
A ghost?

CLAIRE
I believe I found his skull.

She lifts the skull out of her bag to show him.

CLAIRE (cont’d)
I know it sounds crazy, but I
think he stole my shoes and led
me -- us -- here.

Seeing it in daylight, it is hardly a prepossessing object,
stained from the soil in which it was buried.

JAMIE
I suppose we should be grateful to
whatever spirit brought us back
together...

CLAIRE
Jamie... all those things you said
yesterday -- about Bonnet... and
having nothing to give me --

JAMIE
Dinna fash, Sassenach. Ye’ve had a
harrowing night. Why not have a
wash and get some rest?

TIME CUT:

Rested and recovered, Jamie is packing up the horses while
Claire kneels by the stream, contentedly washing her face and
collecting water. She remembers her companion from the night
before and pulls the SKULL from her bag.

She begins cleaning it and sees again the crack near the
temple, as though the Indian had been struck violently on
that side of his head with an axe. Curious, she turns the
skull around in her hand, looking for other damage -- and
stops cold. Imbedded in one of the skull’s molars is --

A SILVER FILLING -- something that will not be invented for
more than a hundred years. In fact there are three fillings.
A shiver runs over her as she wonders what this could mean.

CLAIRE
My God...

She reels at the discovery, gingerly turning the skull back
over so she can stare at the empty eyes and lopsided grin.

CLAIRE (cont’d)
(to herself)

Who were you?

Jamie looks over, seeing her with the skull.

JAMIE
What is it?

He comes over and she shows him the skull -- and the molars
containing the fillings. Claire points.

CLAIRE
Do you see this? It’s a silver
filling. Something that won’t be
invented for another hundred years.

JAMIE
(realizing)
So... he was...

CLAIRE
I haven’t the faintest idea.
Except of course that he has to
have been someone like me, someone
who travelled through time.

JAMIE
Aye, and it means there could be
another Craigh na Dun or Abandawe
nearby.

OFF Claire as that sets in...

A32 EXT. “THE RIDGE” - A MOMENT LATER - DAY (D5) A32

Jamie and Claire walk along the ridge, when Jamie spots
something... he leans down and grabs at a patch of leaves
interspersed with telltale flashes of red.

CLAIRE
Strawberries!

Claire and Jamie both gather handfuls and eat them.

JAMIE
I haven’t seen any in a long time.

(then)
They’re an emblem of the Fraser
Clan -- harking back to when a
Monsieur Freselière came across
from France, and took hold of land
in the Scottish mountains.

CLAIRE
(grinning)
Freselière? Mister Strawberry? He
grew them, did he? Or was he only
fond of eating them?

Jamie returns the smile, taking a sprig and dropping a berry
into his mouth -- before kissing Claire deeply -- sharing the
burst of flavor. Then, they look upon an unexpected vista --
out over the land, to see a wooded valley and river down
below them. They are struck by the magnificence of the view.

JAMIE
This might be the most beautiful
land I’ve ever seen.

He stares at the view for a long beat. Claire sees how much
he loves it --

CLAIRE
You can’t tear your eyes away from
it, can you?

JAMIE
It’s good land, no doubt about
that. That meadow below would do
for a few animals and the land
nearer the river could be cleared
for crops.

CLAIRE
I know that look on your face,
Jamie Fraser. You’re in love.

It’s clear that Jamie is wrestling with his feelings --

JAMIE
A good man would take the safe road
-- we intended to live in town, not
here in the wilderness, wi’
nothing. But what it is to feel
the need of a place...

A long beat. They both know what this would mean.

JAMIE (cont’d)
But we’d have to accept Governor
Tryon’s offer and it’s a deal with
the Devil, we both ken it.

Toni Graphia

Claire and Jamie find a majestic view that makes such an impression that they decide this land will be their home. The catch—they’d have to accept the governor’s offer, a deal with the devil. Here is where we decided to use a conversation from the book about the Law of Thermodynamics. If we are unable to fit something we like from the book into its original place, we keep it in our back pockets and resurrect it somewhere else where we feel it could fit. However, it was cut in editing and later moved into a scene for Episode 401.

The moment of decision is here. Fear washes over Claire --

JAMIE (cont’d)
What is it, Sassenach?

There is no point in lying.

CLAIRE
I’m afraid.

(then)
All my life I’ve wanted a home --
and I want it with you.

(then, apprehensive)
But, I’m afraid that if you take
Tryon’s offer --

She studies his face --

CLAIRE (cont’d)
Soon we’ll find ourselves on the
wrong side of another war.

And I know if there’s a fight to be
fought, you’ll fight it. You’ll
get yourself killed.

JAMIE
We dinna ken what will happen
between now and then. We have time
to decide what to do when the time
comes -- if the time comes. We
canna live our life afraid.

CLAIRE
I don’t want to be without my other
half again, I can’t bear it.

Jamie takes her in his arms.

JAMIE
Do ye not see how small a thing is
the notion of death, between us,
Claire? All the time after ye left
me, after Culloden -- I was dead
then, was I not?

CLAIRE
I thought you were.

JAMIE
I was meant to die at Culloden -- I
should have, but I didn’t. And ye
returned to me. We keep finding
each other. Just like we did after
the storm. And I could die at any
time. Be it Indians, wild beasts,
the hangman’s rope, or only the
blessing of auld age.

JAMIE (cont’d)
While you were there -- in your own
time -- I was dead -- and yet all
that time, I loved you.

CLAIRE
I loved you too. I never stopped.

JAMIE
So long as my body lives, and yours
-- we are one flesh. And when my
body dies, my soul will still be
yours. I will not be parted from
you. Nothing is lost, Sassenach,
only changed.

CLAIRE
That’s the first law of thermodynamics.

JAMIE
No. That’s faith.

(then)
Ye trust me, Claire?

CLAIRE
With my life.

JAMIE
And wi’ your heart?

CLAIRE
Always.

Claire takes his face in her hands. This time, she kisses
him, proving her love for him is never in question.

JAMIE
This will be our home. And we’ll
call it Fraser’s Ridge.

As they look out in wonder... PULL BACK to show an epic and
gorgeous WIDE SHOT of the stunning ridge that will become
their new home.

32 OMITTED (MOVED INTO SCENE 31) 32

FADE OUT.

END OF EPISODE