Inside the script:

Allegiance

See what the crew says about your favorite scenes.

EPISODE 602
Allegiance

WRITTEN BY

Steve Kornacki & Alyson Evans

BASED ON THE NOVEL BY
DIANA GABALDON

FINAL PRODUCTION DRAFT
9th June 2021

OUTLANDER
EPISODE 602 "Allegiance"

PREVIOUS REVISIONS

Production Draft – 21st September 2020
Blue Draft – 2nd November 2020
Pink Draft – 3rd December 2020
Yellow Draft – 15th December 2020
Green Draft – 18th December 2020
Goldenrod Draft – 7th January 2021
2nd White Pages – 11th January 2021 – pp. 33, 35, 52, 52A, 54.
2nd Blue Pages – 27th January 2021 – pp. 26, 27, 29, 29A, 55.
2nd Pink Pages – 3rd February 2021 – pp. 52, 53, 57.
2nd Yellow Pages – 26th March 2021 – pp. 37, 38, 38A.
2nd Green Pages – 5th April 2021 – pp. 1, 2, 7, 15, 38, 38A, 38B, 45, 45A, 45B,
45C, 45D, 45E, 49-51, 52.
2nd Goldenrod Pages – 8th April 2021 – pp. 1, 7, 8, 45, 45A, 45B, 45C, 45D, 45E,
54, 54A.
3rd White Pages – 10th May 2021 – pp. 2, 8, 9, 25, 45E.
3rd Blue Pages – 17th May 2021 – pp. 45B.


EPISODE 602 "Allegiance"

CAST LIST — FINAL PRODUCTION DRAFT — 9th June 2021

CLAIRE FRASER
JAMIE FRASER
BRIANNA RANDALL FRASER
ROGER WAKEFIELD MACKENZIE

AIDAN MCCALLUM
ALLAN CHRISTIE
ARCH BUG
CHIEF BIRD
DONALD MACDONALD
FERGUS FRASER
GERMAIN FRASER
GRANNIE WILSON
HIRAM CROMBIE
KEZIAH BEARDSLEY
LIZZIE WEMYSS
MALVA CHRISTIE
MARSALI FRASER
MRS. BUG
MRS. CROMBIE
SELU
STILL WATER
THE SIN-EATER
TOM CHRISTIE
WALELA
YOUNG IAN


EPISODE 602 "Allegiance"

SET LIST — FINAL PRODUCTION DRAFT — 9th June 2021

INTERIORS

  • Cherokee Village
    • Lodge
  • Fraser’s Ridge
    • Big House
      • Bedchamber
      • Dining Room
      • Foyer
      • Kitchen
      • Surgery
      • Parlour/Study
      • Breezeway
      • Stables
  • Church
  • Fergus & Marsali’s Cabin
    • Bedroom
  • Roger & Brianna’s Cabin
    • Loft
  • Christie-ville
    • Cabin
    • Tom Christie’s Lean-To

EXTERIORS

  • Cherokee Village
    • Lodge
  • Fraser’s Ridge
    • Big House
      • River
      • Stables
      • Back Porch
  • Church
  • Fergus & Marsali’s Cabin
  • Christie-ville
    • Tom Christie’s Lean-To
  • Blue Ridge Mountains

OUTLANDER

“Allegiance”

Toni Graphia & Danielle Berrow

This episode went through several titles…  Crown & Feathers, Weapons of War, Come What May. Sometimes a title hits perfectly on the first try and sometimes we don’t settle on it until after the script is finished, or until the script has gone through a few drafts.  This one landed after Jamie’s line at the end was, “His allegiance is to them. My allegiance is to him.” It was then that we realized the theme had coalesced and “allegiance” emerged as something resonating in each of the stories and seemed to fit just right.

One of the biggest and most exciting challenges of these early episodes, including Episode 602, was that we had to jump start the season arcs for nearly all of our characters. With each character, we needed to see the beginnings of their story—their hopes, their goals, their dilemmas and conflicts, etc. For Jamie: the dilemma of whether to arm the Cherokee on behalf of the Crown when he will soon be changing sides. For Claire: the struggle with PTSD and self-medicating while also caring for a growing community. For Brianna: embracing her purpose in this time period, now that she and Roger have decided to stay, using the engineering skills she honed in her time. For Roger: the fact that he’s being drawn to the ministry and the reveal that he and Brianna are trying for a baby. For Fergus: his feelings of inadequacy and failure. For Marsali: the struggles of childbirth and parenting and a fraught marriage. For Young Ian, the sense of being torn between two worlds. For the Christies… well, wait and see. Once again, the theme of ties—and allegiance—permeates each of these arcs.

OVER BLACK -- we hear a WOMAN’S UNEARTHLY WAIL cut through the silence, followed by a breathy, rhythmic sobbing and a painful howl of SONG, now sung by several women...

1 INT. FRASER’S RIDGE - CHRISTIEVILLE - CABIN - DAY (774) (D6) 1

COLD OPEN. In the barely-lit darkness of the small, cramped cabin, a group of WAILING WOMEN has formed a tight-knit circle around the deathbed of an OLD WOMAN.

The other-worldly song of loss and sorrow continues. This is the old tradition of “keening,” the wailing women singing their lament for the deceased, passing their song -- and their grief -- from one to another...

Toni Graphia & Danielle Berrow

We are always eager to try and incorporate some lesser-known aspects of Scottish culture where we can and this particular instance— ‘the wailing women’—was inspired by a few passages in A Breath of Snow and Ashes. Chapter 39, ‘I am the Resurrection’ describes the ‘unearthly wail’ of the bean-tuiream or ‘mourning woman.’ Historically, such woman would have followed along behind the coffin of the deceased or gathered in the home of the deceased to mourn in a very particular way, by wailing or ‘keening’, as it is also known. Their role was predominantly to help channel and ritualize the grief of the bereaved, and they were often paid for their services. It was a custom that was also practiced in Ireland. We loved the notion of the ‘keeners’ forming a circle around the deathbed of the woman laid out in this scene (later revealed to be Grannie Wilson). We conducted a great deal of research into the process, had musicians compose a number of unique versions of the lament, and eventually selected one to be performed by the singers on set. Although this scene was intended to be the ‘cold open’ in the script, it didn’t make the final cut because of time. However, it will appear in the Deleted Scenes on the DVD set.

REVEAL a few others we now recognize at the bedside... HIRAM CROMBIE and MRS. CROMBIE, along with TOM CHRISTIE, ALLAN CHRISTIE and MALVA CHRISTIE. Tom puts his hand on Hiram’s shoulder, to comfort him. As the keening fades out --

MAIN TITLES.

FADE IN:

A2 EXT. BLUE RIDGE MOUNTAINS - DAY (D4) A2

On horseback, JAMIE FRASER and YOUNG IAN MURRAY crest a ridge and look out. Below them is the destination they have ridden towards the last few days: the remote village of the Snowbird Cherokee. Huts, fires, a council house, Cherokee men and women moving about. They ride on.

2 OMITTED 2

3 EXT. CHEROKEE VILLAGE - DAY (D4) 3

Jamie sits across from the War Chief, TSISKWA SUNALE DIKANOGISGI (Jee-SKWAH Shoo-nah-LEY Dee-kah-NOH-GEE-skee) which means BIRD-WHO-SINGS-IN-THE-MORNING. He is known as “Bird” for short, or Tsiskwa (Zee-SKWAH) in Cherokee. Young Ian and Bird’s entourage, including Bird’s younger brother, STILL WATER, or Ama Tohi (AH-ma-toe-HEE), sit listening, and watching the exchange. (Jamie and Ian’s horses have been left tethered nearby and they carry no weapons.) OTHER CHEROKEE INDIANS go about their daily activities.

MEN carry slain game while others prepare deerskins. WOMEN weave baskets, garden and cook.

CHIEF BIRD
We want more guns.

Jamie hesitates, then gives in to a sardonic urge --

JAMIE
Who doesna?

CHIEF BIRD
Who indeed. You’re here on King
George’s behalf... you tell him
this. We want more weapons:
rifles, muskets... guns.

Still Water eyes Young Ian skeptically. Why is this white man trying to look like an Indian?

CHIEF BIRD (cont'd)
What have you to say on the matter,
then?

JAMIE
I say trade goods are certain.
Knives likely. But guns are a
different matter.

Bird mumbles something to Still Water in Cherokee:

CHIEF BIRD
Elihasg nigadanvdvna?

Is he thinking you and I are
fools?

JAMIE
You must understand, the King may
be hesitant to... arm you against
his own people.

CHIEF BIRD
(wryly)
You must understand -- we can kill
them without guns if we want to.

JAMIE
Of course ye can. But ye are wise
enough not to --

CHIEF BIRD
Not yet --

(then, smiles)
I like you, Bear-Killer. You’re a
funny man.

JAMIE
I may be. Give it time.

CHIEF BIRD
Perhaps you have forgotten, the
Cherokee have fought with the King
before, and we may choose to fight
with him again -- if the time
comes.

(then)
But that is a decision for another
day. Because our war is with those
crossing the Treaty Line. They
build houses, plant crops, take
game from our hunting grounds...

STILL WATER
If the King cannot keep his people
where they belong, how can he
protest when we defend our land?

CHIEF BIRD
So, Bear-Killer. You will tell the
King these things?

JAMIE
I will consider it, certainly.

CHIEF BIRD
Hmph. I’ve heard such words
before...

JAMIE
It’s only that... I canna promise
it.

Bird stares at Jamie, then nods, satisfied.

CHIEF BIRD
Wa-do -- thank you, for your
honesty, at least. I hope you’ll
stay the night.

A4 EXT. FRASER’S RIDGE - CHRISTIEVILLE - ESTABLISHING - DAY (D4) A4

HIGH AND WIDE ON THE SETTLEMENT that the new fisherfolk settlers are beginning to build: tents and lean-tos to sleep in, a few cabins started, and the skeleton of one larger building that might be a school, but will prove to be a church (no steeple has yet been built).

4 INT. FRASER’S RIDGE - TOM CHRISTIE’S LEAN-TO - DAY (D) 4

A STRAND OF BLOODY CATGUT is extracted from skin. Malva Christie watches intently, grimly intrigued as CLAIRE FRASER removes stitches from Tom Christie’s left hand.

MALVA
Does it hurt?

Claire glances up at Tom, who remains stoically silent.

CLAIRE
I shouldn’t think so -- the wound
has mostly healed.

(snips last stitch)
There. You should have the left
one back to normal in a week or
two. Then we can get on to mending
your right hand.

But Tom gets up and announces somewhat stiffly --

TOM CHRISTIE
I’ve decided that I shall leave
this hand as it is.

CLAIRE
Why?

TOM CHRISTIE
If this infirmity be God’s will,
then so be it.

Undeterred, Claire uses Tom’s pious words against him.

CLAIRE
Was it the Lord’s will that your
nanny goat should injure her leg?
Because if it was, then you ought
to have left her to die, rather
than allowing me to mend it.

Malva is surprised and a little impressed by Claire’s retort. Cornered, Tom sets his jaw stubbornly.

CLAIRE (cont'd)
Do you think the Lord regards you
as less deserving than your goats?
Seems unlikely to me, what with His
famed regard for the tiniest
sparrow...

Tom looks at Claire, surprised -- it’s an argument he himself used with the men at Ardsmuir Prison [Episode 601].

Malva watches with nervous glee. It’s rare for her to see someone take on her father -- especially a woman.

TOM CHRISTIE
Indeed. Then I’m sure you will be
familiar with the Letter from St.
Paul to Timothy, in which he says --

MALVA
“Let a woman learn in silence. I
suffer not a woman to teach, nor to
usurp authority over the man, but
to be in silence.”

Tom throws a look at his daughter, but before he can say anything, Claire gives Malva a sympathetic nod --

CLAIRE
I expect St. Paul ran into a woman
who could outargue him, too.
Easier to try to put a stopper on
the entire sex than to win his
point fairly.

Irked, Tom glances at his daughter --

TOM CHRISTIE
The devil finds work for idle
hands, Malva. Be off with you.

Given Tom’s vexed tone, Malva knows better than to argue. Disappointed, she exits. Claire takes advantage of their privacy, redirects the conversation.

CLAIRE
The truth of the matter is that
you’re afraid.

TOM CHRISTIE
Afraid?!

CLAIRE
Yes -- that I might hurt you. Or
that you’ll lose what use you now
have of your hand. But I have a
medicine called “ether.” It will
put you to sleep and you won’t feel
anything. I promise.

Claire reaches out for Tom’s contracted hand. He extends it begrudgingly, flinching at her touch. Claire cups his hand in hers, then begins pressing his gnarled fingers back, rubbing her thumb gently over ropey palmar aponeurosis (contracted palm ligament).

Tom relaxes his hand for a moment as she kneads it. Then, he suddenly withdraws his hand and stands, embarrassed.

TOM CHRISTIE
Thank you, but I’ve much to do
today.

OFF Claire, realizing she’s being dismissed.

5 EXT. FRASER’S RIDGE - TOM CHRISTIE’S LEAN-TO - DAY (D4) 5

Claire hears a rasping whine as she rounds the side of the lean-to. She runs headlong into Allan Christie, who’s busy sharpening his knife on a foot-treadled grindstone. Malva helps him. A few goats stand in the yard as well, one of them with a bandaged leg. Allan gives Claire a nod.

CLAIRE
How is your back?

ALLAN CHRISTIE
Much better, Mistress Fraser. The
salve you gave me helped.

MALVA
Only yesterday we were saying how
remarkable it is that you’re a
physician, you being a lady.
Weren’t we, Allan?

ALLAN CHRISTIE
Yes. We were. Particularly when
others might accuse such a woman of
witchcraft and the like...

Malva flushes, worried that Claire might take offense, but Claire takes it in stride and teases --

CLAIRE
Well, if I should need to sharpen
my broomstick or my surgeon’s
knives, Mr. Christie, I’ll come to
you first.

In spite of himself, Allan smiles. But Malva craves Claire’s attention for herself --

MALVA
He doesn’t take the slightest bit
of interest in the subject of
healing, whereas I’m eager to
learn.

CLAIRE
Would you like to accompany me in
the morning? I’ll be examining my
daughter, Marsali, who’s with
child. You might find it
interesting.

Malva is delighted, but --

ALLAN CHRISTIE
Malva has duties to attend to at home.

Claire glances at Malva but, embarrassed, Malva looks away.

CLAIRE
Perhaps another time, then.

OFF Malva, watching Claire walk away.

6 EXT. CHEROKEE VILLAGE - LODGE - NIGHT (N4) 6

Establishing: a thatched, wattle and daub guesthouse. Smoke wisps out of the hole in the roof and drifts into the night.

7 INT. CHEROKEE VILLAGE - LODGE - NIGHT (N4) 7

Jamie is asleep under a blanket. Young Ian is next to him, snoring. A sliver of light falls on their faces, as if the door was quietly opened, then closed. There’s the hint of a GIGGLE. Underneath the blanket that covers Jamie, something begins to move toward his crotch. Suddenly, Jamie bolts up, clutching a skinny wrist --

JAMIE
Ian! Are ye there?

YOUNG IAN
What is it, Uncle?

JAMIE
There’s a woman in my bed.

This gets Ian’s attention. He rolls over. Sure enough, Jamie has a firm grip on the naked wrist of a young CHEROKEE WOMAN, SELU (SHAY-loo). And in the shadows, just behind, is ANOTHER CHEROKEE WOMAN called WALELA (Wah-LAY-lah).

Toni Graphia & Danielle Berrow

This is one of the more fun scenes for Jamie Fraser in this episode and the writers enjoyed talking about this scene, which is heavily inspired by the book. Sam really knocked this one out of the park. His reactions were so adorable and Young Ian certainly enjoys making fun of his uncle. We also wanted to emphasize that Ian’s knowledge of the Cherokee language is far from perfect—he speaks very little of it and, therefore, the excuse he gives to the woman as to why Jamie will not lie with them is in rather comically broken language.

YOUNG IAN
(amused)
There are two of them, Uncle Jamie.
The other is waiting her turn.

Selu strokes Jamie’s bare chest.

JAMIE
Two of them? What do they think I
am? Christ!

Jamie pushes Selu away then stands, wrapping the blanket around his lower half and distancing himself from the women.

Young Ian notices the women admiring Jamie’s physique. The women exchange a look, smiling mischievously.

YOUNG IAN
Well, no, Uncle, they dinna think
ye’re Him. They ken that ye’re the
King’s Agent and... I s’pose they
think that... it might be an honor
and a privilege to...

JAMIE
Madam! Cease! The two of you!
You are beautiful. But, I canna
lie with you.

Jamie doesn’t need to be able to speak Cherokee to get this particular message across. Walela is clearly taken aback --

WALELA
Tla yigoliga.

I don’t understand.

YOUNG IAN
I think she wants to know why not?

JAMIE
Tell her there is an oath upon me!
I have sworn -- sworn... my
fidelity to -- my wife.

But Young Ian can only laugh at Jamie’s earnest plea. He’s getting a kick out of this -- and Walela’s attentions are getting bolder by the minute.

YOUNG IAN
They dinna seem to care so much --

JAMIE
Well, give them an excuse. And
have them put on some clothes!

YOUNG IAN
I can try but it is Mohawk I
speak... hardly any Cherokee!

JAMIE
Try. Please.

Young Ian hands the women their clothing.

YOUNG IAN
(in broken Cherokee)

Tsemi usgitsv’i. Unehlvnvhi
ulutsv nole kanohehv... Hadi
watali? Yi kalogwe Ugvwiyuhi
Tsiskwa yayohiha, kila ageya
dadvneli?

Creator came... in dream.
Told him: must not lie with a
woman until... guns to Chief
Bird.

The women slip their clothes on, as Young Ian explains.

YOUNG IAN (cont'd)
I told them the Creator came to ye
in a dream and instructed ye that
you musn’t go with a woman until
you have brought guns to Chief
Bird. At least I hope I did.

JAMIE
Until I what?!

YOUNG IAN
Well, it’s the best I could think
of in a hurry, Uncle.

SELU
Uyo! Osd dikandi!

Disappointing. He has a very
nice...

Both women giggle. Walela agrees, impressed, but adds --

WALELA
Aseno, yeligwo diniyohli
gigage ustiyekv gesesdi.

Though we might have had red-
haired children.

Young Ian translates --

YOUNG IAN
They say they understand. Though,
the one lass is saying it’s a
disappointment to her, because you
have a verra nice... er, um...

(indicates Jamie’s
privates)

The other is more philosophical.
She says she might have borne ye
children, but they might have had
red hair. I think.

JAMIE
What’s wrong wi’ red hair?

YOUNG IAN
I gather it isna somethin’ ye want
yer bairn to be marked with if ye
can help it.

JAMIE
Well, no danger of it now, is there.

(forcing a smile for the
ladies)

Wa-do -- thank ye.

Selu and Walela disappear into the night. Young Ian can’t stop laughing.

JAMIE (cont'd)
Ye’d be wise to stifle yer glee.

Barely containing himself, Young Ian rearranges his coverings and lies down, as Jamie pulls the blanket up to his neck and prays for fortitude.

A8 OMITTED (MOVED TO A12) A8

8 INT. FRASER’S RIDGE - FERGUS & MARSALI’S CABIN - DAY (D5) 8

The cabin is in slight disarray. JOAN and FÉLICITÉ shriek from underneath the kitchen table as GERMAIN, pretending to be a HIGHWAY ROBBER, holds them captive.

GERMAIN
Yer money or yer life!

Toni Graphia & Danielle Berrow

It’s fun to imagine the kind of make-believe games that children might be playing in this period. In the case of Germain and his sisters, it’s highway robbers, sailors and pirates. Childhood was perceived very differently in this time, however, and children were often expected to carry a heavy burden in terms of the chores they performed and their contribution to the household, but it’s nice to see these little ones having some time and space to play.

9 INT. FRASER’S RIDGE - FERGUS & MARSALI’S CABIN - BEDROOM - DAY (D5) 9

In the next room, MARSALI FRASER lies stretched out on her bed as Claire palpates her very pregnant belly (PRODUCTION NOTE: her belly need not be bare/exposed). Claire’s medical bag sits on a table. The varied NOISES of childish play and laughter carry through --

CLAIRE
What are they up to in there?

Marsali sighs involuntarily -- her face pale, her eyes weary.

MARSALI
One day ‘tis highway robbers, the
next ‘tis sailors... or worse --
pirates.

There’s a KNOCK at the door. The children, in the other room, go quiet. Then --

GERMAIN (O.C.)
There’s someone outside, Maman. It
might be an old gypsy or a witch!

Claire and Marsali exchange a look. Claire rises and looks out into the main room -- as Malva Christie pokes her head in the door. Claire is pleased.

MALVA
Sorry, I did knock, but --

CLAIRE
Come in. I wasn’t expecting you.

MALVA
I was able to finish all my chores.

CLAIRE
You don’t mind, do you, Marsali? I
invited Miss Christie to observe --

Marsali realizes with some surprise that she’s a bit envious that Malva seems to be taking on her old role as apprentice. But she bears Malva no ill will. She smiles --

MARSALI
Well, let this be a lesson, lass.
If you have the misfortune to
marry, dinna let him touch ye -- or
ye’ll end up like this.

Marsali indicates her belly, half-teasing. Malva is shocked by the rather candid statement.

CLAIRE
Here. I’ll show you how to examine
her stomach...

(demonstrates the
palpation)

With time and practice we learn how
it feels when the baby is in a
proper position... head down, into
the pelvis...

MARSALI
It seems to me that a “proper
position” would be out of my womb.

CLAIRE
I couldn’t agree more.

(smiles)
All is well -- now we’ll check
Marsali’s pulse...

(rotating Marsali’s arm)
...which we do by locating the
blood vessel below the thumb...

As Claire rotates Marsali’s wrist to take her pulse, she sees a series of faint BRUISES along Marsali’s lower arm -- new ones, received since Claire first saw bruises [Episode 601]. Marsali doesn’t notice her clocking it.

CLAIRE (cont'd)
If you put your two fingers on the
underside of her wrist and press
down gently, you’ll feel a
pulsing... we can count it...

Malva carefully mimics Claire holding her fingers to Marsali’s wrist. Feeling the beat, she smiles. In the meantime, Claire fetches a SMALL HOURGLASS from her bag, and starts to count silently while checking the pulse.

CLAIRE (cont'd)
We count the heartbeat for as long
as it takes our minute glass to run
out. Anywhere from sixty, seventy,
even up to a hundred beats per
minute is quite normal.

(smiles)
In this case, it’s perfect.

A SCREAM from the next room gets everyone’s attention. Through the doorway, we see Germain wielding a TOASTING FORK, running toward his imprisoned sisters. He’s a pirate now.

GERMAIN
Avast, you bilge rats!

MARSALI
Germain! Put that down or I’ll
smack your bottom so ye’ll no’ sit
‘til the Sabbath!

Joan bursts into tears. Marsali looks like she might too.

CLAIRE
Malva, would you mind taking the
children outside for a bit?

MALVA
Of course, Mistress Fraser.

Malva walks out. Marsali waits until she hears them leave.

MARSALI
I’m at my wit’s end wi’ them.

CLAIRE
Where’s Fergus? Hasn’t he been
helping?

MARSALI
Oh, aye. Believe me, Fergus is
their First Mate.

Claire hears the tone of reproach in Marsali’s voice.

CLAIRE
Is everything all right between the
two of you?

(then, re: Marsali’s arm)
You’ve more bruises.

Marsali looks at the bruises on her arm.

MARSALI
Och, no. I fell is all. Chasin’
after Germain, o’ course.

This raises Claire’s suspicion -- it’s the second time she’s seen bruises on Marsali. But Marsali seems so reluctant to talk about it, that she doesn’t push.

CLAIRE
Any spotting? Bleeding, I mean?

MARSALI
No, none. But my head aches most
days. And my feet are as heavy as
lead...

CLAIRE
Yes, I noticed your ankles are a
bit swollen...

MARSALI
(clocking Claire’s worry)

What does it mean?

CLAIRE
Maybe nothing. But I think you’d
better come up to the Big House and
stay with us until the baby comes --
I want to be able to keep a closer
eye on you.

(then)
Marsali, I have to ask... for your
baby’s sake... tell me about your
bruises. Did Fergus... hurt you?

(gently)
It’s no secret he’s been drinking
more than usual lately...

Marsali knows she has to tell the truth. A beat.

MARSALI
It wasna his fault. He did grab my
arms, but ‘twas only because... I
went after him wi’ a stick....

Marsali looks away, ashamed.

MARSALI (cont'd)
I’m cursed wi’ my mother’s temper
and it got the better of me.

CLAIRE
So he was defending himself.

MARSALI
I was so tired of him bein’ gone,
bein’ drunk.

CLAIRE
Perhaps if we got to the bottom of
what’s troubling him --

MARSALI
I ken what’s troubling him. He’s
ashamed, the fool. He’s taken a
notion that he should ha’ been
there to defend us when -- what
happened wi’ that wretched
Lionel...

CLAIRE
(surprised)
That wasn’t his fault.

MARSALI
I’ve told him time and time again:
How can it be his fault when he
wasna there?

But he willna hear it. He thinks
that I shouldna ha’ been there.
Workin’. And that there’s
somethin’ wrong with the bairn
because of the attack. Do you
think...

CLAIRE
No. Put that out of your mind.

But in truth it is something that Claire is worried about.

MARSALI
(wiping away the tears)
Look at me, goin’ to pieces. I’m
sorry. But I’ve been sick wi’
worry ever since that awful day.
O’ course, that’s nothin’ compared
wi’ what happened to you...

Toni Graphia & Danielle Berrow

The ether arc is not in the book. It’s something we came up with, as we wanted to address Claire’s trauma from her abduction and sexual assault last season. We showed her using the ether in Episode 601 and knew we would continue to play her self-medication to escape the pain as the season went on. So, in Episode 602, we used Marsali talking about her own pain and frustrations to bring up Lionel and to give a nod to Claire’s past with Lionel… this becomes a trigger for Claire, which subsequently sends her back to the refuge of the drug.

CLAIRE sees QUICK FLASHES in her head [Ep. 512] --

Lionel Brown’s HIDEOUS GRIN; his fist SLAMMING into her jaw; the ROPE TIGHTENING around her neck; her clothes TEARING as the rapists assault her, etc...

Claire tries to mask her pain, but Marsali sees the effect the memory has on her.

MARSALI (cont'd)
I didna mean to upset ye...

CLAIRE
No -- a bit of a headache is all.

She covers with a brave smile. OFF Claire -- shaken by the memories...

10 OMITTED 10

11 INT. FRASER’S RIDGE - BIG HOUSE - SURGERY - DUSK (N5) 11

Back home, Claire sets her medical bag down and starts to unpack it, putting items in cupboards -- including her Pinard horn and minute glass when -- she looks up and sees --

A FLASH of LIONEL’S FACE in the window. She winces, knows he’s not really there, but it’s terrifying nonetheless.

She sits, rattled, and tries to compose herself, her hand shaking.

Her eyes fall onto the DROP-NECK ETHER BOTTLE that we recognize from Episode 601. She hesitates for a moment, then grabs the bottle of ether along with a CLOTH and the FERGUSON MASK.

Sitting down on a bed, Claire quickly pours some droplets onto the cloth-covered mask. She then lies down, placing the mask over her nose and mouth. Inhaling deeply, she drifts away into perfect peace.

A12 INT. FRASER'S RIDGE - ROGER & BRIANNA’S CABIN - DAY (D6) A12

A FEW DAYS LATER. ROGER enters.

BRIANNA’s at her work table, her drawing portfolio open in front of her, contemplating a jar made of glass, sealed with a cork, covered with a layer of red wax. An amorphous chunk of something is inside, submerged in liquid. Beside her on the table is a simple kerchief mask.

ROGER
What’s that?

BRIANNA
White phosphorus. A present from
Lord John.

ROGER
(worried look)
Isn’t that -- explosive?

He sits and pages through some of Brianna’s recent drawings: DESIGNS for a water wheel, a screw pump, a groundhog kiln and a rudimentary toilet. Off that image --

ROGER (cont'd)
(only half-joking)

Please tell me this doesn’t have
anything to do with your flushable
toilet idea.

BRIANNA
(laughs)
No. I’m going to make matches. I
know how in theory, but it might be
a little tricky in practice.

(explains)
Phosphorus doesn’t explode. But it
does burst into flame the minute
it’s exposed to air, that’s why
it’s packed in water.

ROGER
Oh is that all?

(looks around)
Jemmy’s with Lizzie I hope.

BRIANNA
Yes. I’m not crazy. And I’ll be
careful, I promise.

She gets up to look for something in a cupboard.

ROGER
I just spoke to Tom Christie...
Hiram Crombie’s mother-in-law died.

BRIANNA
How sad. I’m sure the journey here
didn’t help.

ROGER
Hiram wants a quick funeral. Tom’s
asked me to do it, since their
minister’s been delayed.

Toni Graphia & Danielle Berrow

This is the beginning of Roger’s arc of wanting to be a minister. Because his father was a Presbyterian minister, Roger is familiar with Protestant services and practices, so he’s been the one to speak at funerals in prior seasons. And now, Tom Christie, who likes Roger and has bonded with him over their shared Presbyterian beliefs, asks him to speak at Grannie Wilson’s funeral. We thought this was a good way to set up Roger’s interest. This emotional self-exploration mirrors Brianna’s own; she is also on a journey of finding herself and figuring out what she wants to “do” with her life now that the MacKenzies are determined to settle in the eighteenth century. She hopes to use her interest and skills in engineering to help the people on the Ridge. Roger and Brianna are both content in this scene, but it’s the first step, and one that later builds to conflict regarding their choice of roles…

But it’s clear Roger is feeling a bit of pressure.

BRIANNA
Well, you’ve done funerals before.

ROGER
Did you know they’ve already built
a church? This’ll be the first
gathering there...

Brianna finds a jar of paraffin wax, goes back to her table.

BRIANNA
Do you know what you’ll preach
about?

ROGER
I have absolutely no idea. I’ll
have to pray about it, I suppose...
That’s what the Reverend would have
done.

Brianna has a moment of pride, partly a joke, partly sincere:

BRIANNA
Look at us... finding our place in
the past.

ROGER
We can make a game of it. You make
matches; I’ll commune with the
Almighty... We’ll see which one
catches fire first.

Brianna likes the idea. She smiles, kisses him.

BRIANNA
I think I’d better do mine outside.

She leaves, taking the mask and phosphorus jar with her.

12 EXT. FRASER’S RIDGE - DAY (D6) 12

Jamie arrives on horseback and sees the Big House, a welcome sight.

A13 OMITTED A13

13 INT. FRASER’S RIDGE - BIG HOUSE - BREEZEWAY - DAY (D6) 13

Jamie walks up onto the breezeway, opens the kitchen door.

JAMIE
Sassenach?

No answer. He peeks into the surgery. No Claire.

14 INT. FRASER’S RIDGE - BIG HOUSE - FOYER - DAY (D6) 14

Jamie enters from the breezeway. MRS. BUG is there dusting.

MRS. BUG
Welcome home, Mr. Fraser.

But by the time she gets the words out, Jamie’s already blown past her and is taking the stairs, two at a time.

15 INT. FRASER’S RIDGE - BIG HOUSE - BEDCHAMBER - DAY (D6) 15

Jamie finds Claire sitting in a chair writing in her medical journal. She turns, surprised to see him.

CLAIRE
I didn’t hear you come in. How was
your visit to the Chero --

Jamie’s mouth is already on hers, kissing her passionately.

JAMIE
I missed you, Sassenach. I must
have ye.

Claire laughs as Jamie presses her up against the bureau.

CLAIRE
Now?

JAMIE
Did I tell ye I missed ye?

CLAIRE
(teasing)
You may have... But just so that
we’re clear, why don’t you show me
precisely what you mean...

And so he does, undressing her hungrily. They begin to make love, ravenous and urgent.

A16 INT. FRASER’S RIDGE - BIG HOUSE - BEDCHAMBER - DAY (D6) A16

Afterward, they lie back, enjoying the afterglow...

JAMIE
Ye’re smiling to yerself. Nice,
was it?

CLAIRE
Just now, I was actually trying to
rank “I love you; I like you; I
worship you; and I have to have my
cock inside you,” in terms of their
relative sincerity.

JAMIE
I meant every word of it.

CLAIRE
Even the last one?

JAMIE
Especially the last one. The flesh
requires a bite to eat and a wee
rest before I can think of doin’ it
again, but the spirit is always
willin’. Lucky ye’re wed to an
auld man, Sassenach, or ye’d be on
your knees with your arse in the
air this minute.

Claire laughs.

CLAIRE
Nice to be missed. I missed you
too.

After a beat, as they lie resting...

JAMIE
I want to ask ye about somethin’.
But every time I ask ye about the
future... yer answer is --

CLAIRE
Not to your liking? I can’t
promise anything. But go ahead.

A burden is weighing on Jamie’s mind --

JAMIE
In the coming war, do you remember
from yer books if the Cherokee side
with the loyalists or with the
rebels?

CLAIRE
I’m afraid my knowledge of American
history isn’t that extensive. Why?

Toni Graphia & Danielle Berrow

We always love it when we can work in a scene where Claire’s knowledge of the future can help inform a difficult decision that the Frasers have to make. We are careful, however, not to make Claire appear to be a walking Encyclopedia because it’s not believable that a person would conveniently remember all their history lessons—especially for an English woman like Claire to be aware of some very particular aspects of American history. The Cherokee, for example, had a complex relationship with the United Kingdom and the British Army, having fought both with and against them at various points throughout the colonial period. And yet, Claire was married to a historian and her daughter went to school in America, so she has absorbed some knowledge. We try to be realistic and often have her admit that she doesn’t know specifics, but she certainly knows enough to chime in and give Jamie an idea of what direction the future is heading. So we have to walk that line.

JAMIE
The War Chief, Bird Who Sings In
The Morning, has requested weapons.

CLAIRE
And you’re concerned you might be
arming a potential enemy.

JAMIE
(nods)
Before I was appointed Indian
agent, I would no’ have questioned
what a man might need to defend
himself. But once again, I’m
wrestlin’ wi’ my conscience.

CLAIRE
If you don’t provide them with
weapons, then...

JAMIE
Then there’s a chance they’ll
decide to fight wi’ the rebels...
wi’ me. If I do give them guns,
they’ll likely fight for the Crown.

CLAIRE
(the sad truth)
They’ll lose either way. Damned if
you do. Damned if you don’t...

(Jamie nods)
I know one thing: Richard Brown
would’ve made an awful Indian
agent. You, on the other hand,
you’ll do the right thing.

Young Ian’s voice shouts from outside.

YOUNG IAN (O.C.)
Uncle. Major MacDonald’s comin’.

CLAIRE
No rest for the weary.

16 INT. FRASER’S RIDGE - BIG HOUSE - PARLOUR/STUDY - DAY (D6) 16

Jamie sits across from MAJOR DONALD MACDONALD. They’re mid-conversation. Interested, Young Ian hovers by the door, listening, as the Major rattles off a history lesson of sorts, weighing matters as he goes.

MAJOR MACDONALD
Then again, they were with us in
the Tuscarora wars, between 1711
and 1714. Or was it 1715?

Jamie is about to interject, but --

MAJOR MACDONALD (cont'd)
Several prominent Cherokee visited
King George the second, some forty
years or so ago...

A little bored by this long-winded account, Jamie rises to get some whisky. Pours some for MacDonald, then himself.

MAJOR MACDONALD (cont'd)
And then they fought with us
against the French, of course.
That said, there was that trouble
with the Cherokee Rebellion in ‘58.
Although --

Jamie finally interrupts --

JAMIE
Forgive me for sayin’ so, Major,
but --

MacDonald isn’t completely socially unintelligent.

MAJOR MACDONALD
My apologies. You asked one simple
question about past allegiances and
I bored you half to death with my
ramblings --

JAMIE
Well, sometimes we have a better
idea of what’s to come when we look
at what’s gone by... But, I was
goin’ to say that in talkin’ wi’
them, it seems that they... are
undecided as to what they want...

MacDonald is intrigued.

MAJOR MACDONALD
And what do you think they want?

JAMIE
‘Tis more a question of what they
don’t want, it seems. Settlers
crossin’ the western boundary...

MacDonald’s face screws up. He quickly pulls a handkerchief from his coat, SNEEZES into it, then wipes his nose.

JAMIE (cont'd)
There’s an expectation that the
Crown will intervene. Take a
more... aggressive stance --

MAJOR MACDONALD
Are you proposing that we send
soldiers?

Young Ian is frustrated that Jamie hasn’t mentioned Bird’s request for guns. He can’t hold his tongue any longer.

YOUNG IAN
Not soldiers. Forgive me, Uncle,
but they did say what they wanted.

Jamie throws Ian a stern look and cuts him off --

JAMIE
Ian --

Young Ian bites his tongue. MacDonald’s eyes are watering. He suddenly SNEEZES again. He looks around.

MAJOR MACDONALD
Blast! Have you a cat, Colonel?

JAMIE
(thrown, looks around)
Aye. Wee Adso. Hidin’ somewhere hereabouts.

MAJOR MACDONALD
The plight of the Indian is --

Another SNEEZE. MacDonald stands, dabs at his watering eyes.

MAJOR MACDONALD (cont'd)
Wretched creatures. I always seem
to suffer in their presence.

YOUNG IAN
(annoyed)
Indians?

MAJOR MACDONALD
Cats -- but some Indians as well.

MacDonald snickers at his own joke, but he’s the only one who finds it amusing.

MAJOR MACDONALD (cont'd)
Forgive me, I’m in need of some
air... will you excuse me?

MacDonald walks out. Young Ian turns to Jamie, confused.

YOUNG IAN
Why did ye no’ mention Chief Bird’s
request for weapons?

JAMIE
Because I’ve decided against it.
And it wasna yer place to speak up
in front of the Major.

YOUNG IAN
‘Tis only that ye told the Chief --

JAMIE
I promised him I’d consider his
request. Nothing more.

Ian looks dejected. It’s not usual for him and Jamie to be
at odds. Jamie senses this, and softens.

JAMIE (cont'd)
I’ve spoken wi’ yer Auntie about
who the Cherokee will fight for in
the coming war. She couldna say
wi’ certainty.

YOUNG IAN
But she has knowledge of what will
come to pass?

JAMIE
The royal provinces will unite to
become a new nation. But they will
have no king. Claire is certain of
that.

YOUNG IAN
Those loyal to the Crown will lose?

JAMIE
Aye.

YOUNG IAN
And us?

JAMIE
There will come a day when I fight
with the rebels. They will win the
war -- Claire and Brianna came from
an America where this happened.
But I dinna ken on which side the
Cherokee will fight, do you see?
If Chief Bird acquires weapons,
they may soon be pointed at us.

Young Ian weighs this information. Takes it to heart.

YOUNG IAN
It would be a shame if our Indian
neighbors became our enemies. But
I will stand by you, Uncle.

Toni Graphia & Danielle Berrow

This sets up a rare conflict between Jamie and Young Ian, who are usually in sync. But here, it’s an opportunity for us to explore something that comes between them—how they will deal with the request of the Cherokee for guns and all the ramifications that come with that, especially since they are not certain whom the Cherokee will choose to be allied with in the coming war.

Jamie puts a reassuring hand on Young Ian’s shoulder.

JAMIE
I trust ye’ll keep what I’ve told
ye to yerself, lad. But for those
of us who have this knowledge -- of
the future -- it must inform our
decisions.

YOUNG IAN
Aye, Uncle.

JAMIE
You have it now, too. But take
heed... it can be both a blessin’
and a curse.

Ian nods, feeling the responsibility. As they exit... FIND ADSO curled up contentedly in a basket of yarn.

17 EXT. FRASER’S RIDGE - CHURCH - LATER THAT DAY (D6) 17

Claire and Jamie approach the church with Germain. The sight of the building gives them pause.

CLAIRE
Wow. They put that up fast.

It’s a simple church, almost finished now, windows with thick SHUTTERS but no window glass. Some clapboards still need to be affixed. Scaffolding stretches upward. Other evidence of ongoing work. MOURNERS trickle toward the entrance.

As they approach the building...

18 INT. FRASER’S RIDGE - CHURCH - MOMENTS LATER (D6) 18

GRANNIE WILSON is laid out on a table with a bandage under her jaw to keep her mouth closed. Candles are lit nearby. A saucer holding a scrap of bread and a heap of salt sits beside her on the table next to a bowl of wine.

A SMALL NUMBER of FISHERFOLK have come to pay their respects, including Tom, Allan and Malva, who stand with Hiram Crombie and the grieving Mrs. Crombie.

Toni Graphia & Danielle Berrow

This scene was one of the trickiest to film during COVID, as was any scene requiring a crowd of people. In the book, the funeral is very well attended. Because we had to have people standing at least six feet apart in the church, we opted for a smaller gathering, and added dialogue to help account for the low turn-out—that Grannie wasn’t very popular!

The sin-eater represents another interesting ritual relating to death in the United Kingdom that is featured in the book. The custom was prevalent in certain parts of Britain (particularly in Wales, where Celtic superstitions often merged and blended with certain aspects of Christianity). The bereaved would leave bread, salt and beer or wine on or near the corpse for the ‘sin-eater’ to consume. It is almost akin to a communion of sorts and helps absolve the dead of their sins, ensuring that they make it to heaven.

Bible in hand, Roger stands over the corpse nervously -- waiting for everyone to finish with a traditional custom of approaching the body and touching it gently, to pay their respects.

Claire, Jamie and Germain enter and take in the low turnout.

CLAIRE
Where is everyone?

JAMIE
(quietly)
I’m told she was an old nag if ever
there was one.

(beat)
We’ll pay our respects.

Jamie scoops Germain up and joins the line of people. Germain spots the bread and salt --

GERMAIN
Is she going to eat it?

JAMIE
No, lad. She’s dead. That’s for
the Sin-Eater.

GERMAIN
Sin -- eater?

JAMIE
(to Grannie Wilson)
God rest ye.

As Jamie and Germain return to their spot next to Claire, the congregation quiets. Claire sees Malva looking at her from across the room. They acknowledge each other pleasantly. Allan seems mistrustful, as usual. Roger begins --

ROGER
Today we give thanks for the life
of this woman... a servant of God,
faithful and true... a fellow Scot
who came to this Province, but now
stands before the Lord in Heaven.
Let us pray.

The gathered mourners stand with heads bowed, eyes closed. Roger -- whose eyes are also closed in prayer -- gently lays a hand on the corpse’s shoulder.

ROGER (cont'd)
O, God, our Heavenly Father...

But Germain has kept his eyes open -- and he’s noticed something. He starts tugging at Claire’s skirt --

GERMAIN
Grannie --

CLAIRE
Shhh...

ROGER
...who art leading us through
the changes of time to the
rest and blessedness of
eternity...

Germain starts tugging at her hand. Claire opens her eyes.

CLAIRE (cont'd)
(quietly, to Germain)
Do you need to go to the
privy?

ROGER (cont'd)
...Be thou near to us now, to
comfort and to uphold...

GERMAIN
No, look!

ROGER (cont'd)
Make us know and feel that
Thy children are precious in
Thy sight, and that they live
evermore with Thee...

He points at the corpse of Grannie Wilson. Claire looks and is shocked to see: Grannie Wilson’s eyes have opened wide!

Claire rushes forward.

The corpse GASPS for air. Only now do any of the other mourners open their eyes -- and they’re astonished to see Grannie Wilson struggling to raise her head -- with Claire helping her! There’s a collective gasp -- and an instinctive stepping back, with shrieks of dismay. Most of them assume that this is somehow Claire’s doing...

TOM CHRISTIE
Christ, defend us.

Jamie swoops Germain up to keep him from being crushed.

CLAIRE
Roger. Help me make her
comfortable.

Roger and Claire have gotten hold of the erstwhile corpse, and are putting a cushion under her head. Grannie shifts a little and the bread and salt fall to the floor. The crowd presses forward now, excited -- awed.

CLAIRE (cont'd)
Stay back. Give her some air.

The room is shaking with expectation as Claire bends down and looks into Grannie’s eyes. The old woman’s breathing is labored and shallow -- but she’s definitely alive.

CLAIRE (cont'd)
Mrs. Wilson, can you hear me?

Grannie’s stiff jaw starts moving. In a quavering voice --

GRANNIE WILSON
Where am I?

CLAIRE
In church. Shhh... your family is here with you.

Mrs. Crombie bursts into tears. She leans over her mother...

MRS. CROMBIE
Aye, Mother, I’m here.

Claire clasps Grannie’s clammy wrist and looks for a pulse. Tom Christie approaches, trying to take charge.

TOM CHRISTIE
(sharp whisper)
What devilry is this?

Claire and Roger ignore Tom.

ROGER
Claire?

Claire moves her hand to the old woman’s carotid and feels a very weak, though rapid, pulse there.

CLAIRE
She has a pulse, but it’s weak.

Thinking of something, Claire moves her hand to the old woman’s abdomen and feels a thumping pulse there, where no pulse should be, the beat of it visibly bouncing her hand.

Malva watches with rapt attention, admiring Claire’s confidence and ability. Claire speaks quietly to Jamie and Roger, though her words only really make sense to Roger.

CLAIRE (cont'd)
She’s had an aortic aneurysm.
Internal bleeding... likely a slow
leak... long enough for her to lose
consciousness and feel cold to the
touch.

JAMIE
But she lives --

CLAIRE
Not for long. The aneurysm will
rupture soon and --

(lowers voice)
-- then she really will die. She
has minutes at most.

That lands on Roger. But they’re interrupted by --

GRANNIE WILSON
What sort of a funeral is this?

Grannie has found the strength to shift onto her side. Mrs. Crombie helps her sit up. Claire knows this will only speed along Grannie’s death and objects--

CLAIRE
Mrs. Crombie, I wish you wouldn’t --

But Grannie carries on, showing why she isn’t well liked--

GRANNIE WILSON
Why, Hiram Crombie, ye shameless
skinflint! Have ye laid me out in
a barn wi’ nothin’ but a crust of
bread and a drop o’ wine for the
Sin-Eater?

HIRAM CROMBIE
Skinflint?!

GRANNIE WILSON (cont'd)
And where is my good brooch I
said I wanted to be buried
with? Stole it for yer own,
nae doubt.

HIRAM CROMBIE (cont'd)
Stole it?! Have I not given ye a
home these past twenty years? Fed
and clothed ye as my own mother.
Put up wi’ yer wicked tongue --

GRANNIE WILSON
My tongue, wicked? Why --

ROGER
Good people -- enough.

There’s authority in that voice. Even Tom listens to it.

ROGER (cont'd)
I’ll not have this. It’s not
fitting, and I won’t have it. Mrs.
Wilson, do you not know that you
stand before God?

GRANNIE WILSON
As do you.

ROGER
I’m afraid you are -- closer.

(then, gently)
Your condition is... temporary.
You are still bound for eternity.
Let me help you compose your soul.

Kindly, Roger kneels before Grannie REVEALING, behind him, in the doorway, the silhouetted image of a MAN.

MALVA
The Sin-Eater.

Everyone turns and looks at the SIN-EATER standing in the doorway. His presence here doesn’t shock or scare them; they were expecting this. But the Sin-Eater himself is surprised to find the deceased sitting up. He steps forward, removes his hat, a tall, gaunt, balding man of indeterminate age.

THE SIN-EATER
(confused)
You are not... dead.

GRANNIE WILSON
What of it? Did not my son-in-law
pay ye to eat my sins? Ye did pay
him, Hiram?

HIRAM CROMBIE
Well, I’m no’ going to pay him
before he’s done the job. What
sort of way is that to be carrying
on? I have the money -- I brought
it.

GRANNIE WILSON
(to the Sin-Eater)
Then you best be about your
business, sir.

She is calm and ready for what’s next -- though still scared. Uncertain, the Sin-Eater picks the piece of bread up off the floor. Everyone watches as he eats the scrap.

Grannie manages a smile as the Sin-Eater finishes the bread and drinks the wine. He sets the bowl down, then...

THE SIN-EATER
I give easement and rest to thee;
and for thy peace, in Christ’s
name, I pawn my own soul.

He looks at Grannie and bows. And that’s it. Simple and powerful. Hiram removes a few shillings and drops them into the Sin-Eater’s hands, careful not to touch the man lest the Sin-Eater’s load of sin transfer to him.

A heaviness seems to be lifted from Grannie as the Sin-Eater turns and walks toward the door. The Mourners part like the Red Sea, avoiding eye-contact -- respect and appreciation mingling with an instinct to shun. He exits.

Everyone’s attention is drawn back to Grannie Wilson. She’s now lying back down on the table, seemingly at peace.

GRANNIE WILSON
I forgive ye, Hiram. Ye’ve been...
a good... lad.

She winces in pain. Claire helps her settle back. Grannie catches Claire’s eyes.

GRANNIE WILSON (cont'd)
I am not afraid.

She grows very still... and dies. Claire feels her abdomen for a pulse, but there’s nothing there. But to be absolutely sure, Claire checks Grannie’s carotid. Nothing. She gives Roger a shake of the head. Grannie is dead. Roger closes Grannie’s eyes and offers a prayer...

ROGER
“I am the resurrection and the
life, saith the Lord. He that
believeth in me, though he were
dead, yet shall he live. And
whosoever liveth and believeth in
me, shall never die.”

19 OMITTED 19

20 INT. FRASER’S RIDGE - BIG HOUSE - DINING ROOM - NIGHT (N6) 20

Mrs. Bug and LIZZIE serve roast chicken and root vegetables to Jamie, Claire, Marsali, Roger and Bree.

CLAIRE
Thank you, Mrs. Bug. Looks
delicious.

MRS. BUG
‘Tis a new recipe I’ve tried for
the neeps.

MARSALI
Och, I dinna think there’s room in
my belly for anythin’ else.

MRS. BUG
Will Mr. Fraser be joining us?

She means Fergus. An awkward silence follows the question. Fergus’ absence has become the elephant in the room of late.

MARSALI
No. He’s, erm... at the still.

MRS. BUG
(embarrassed)
Of course he is. Forgive me, dear.

Mrs. Bug leaves. As they all dive into their food, Brianna clears her throat.

BRIANNA
We have some exciting news.

Looks are exchanged around the table. Jamie and Claire spark to it -- is this what we think it is? Jamie eyes Roger.

ROGER
This one’s more Brianna than me.

LIZZIE
(blurts out)
Ye’re with child!

Shocked, Brianna laughs. Jamie sees that as affirmation and turns to Roger, elated. Claire isn’t so sure.

MARSALI
I dinna envy ye, Bree, but I’m
happy for ye both.

JAMIE
A toast! Sassenach, get the whisky.

BRIANNA
No! Stop. I’m not with child.

That puts a cork in the merriment. A beat.

BRIANNA (cont'd)
I was going to say... that I have a
surprise. I’ve... invented
something.

She hesitates. It seems silly now. But Roger nods. Go on. So Brianna produces a small BOX and produces a MATCHSTICK, waxy and homemade-looking. She scrapes it on a strip of roughened metal on the box -- and watches proudly as it ignites.

MARSALI
Wee pieces of flint is it?

BRIANNA
Well, no -- it’s easier than flint.
It lights more quickly and holds a
flame. You can take them with you
and light a fire wherever you go.

Quizzical looks spread between Jamie, Marsali and Lizzie.

MARSALI
Never had trouble lightin’ a fire.

LIZZIE
Puttin’ one out, mebbe...

Marsali and Lizzie laugh, though not unkindly. Still, Brianna is clearly disappointed.

Toni Graphia & Danielle Berrow

The obvious way to go with this scene would be for everyone to be “wow-ed” by Brianna’s match demonstration. But we talked in the writers’ room about how perhaps people may not be bowled over, since they use fire so much in their everyday lives and are adept at lighting them—it’s not as if these folk have never seen anything like this at all before. Early matches in this period would have been pieces of cord, cloth, paper or wood dipped in melted sulfur and ignited with a flint, but Brianna’s invention is more akin to the modern ‘safety match’ which ignites by friction when rubbed against a roughened surface. Her matches are impressive for their convenience, not their ability to ignite… So we purposefully downplayed the reactions, as with Marsali and Lizzie’s comments, giving the scene a bit of a twist.

Also, since Claire’s interaction with Grannie Wilson during the funeral caused consternation among the fisherfolk and suggestions of witchcraft were in the air once again (a callback to Season 1’s “Devil’s Mark” witch trial episode), we wanted to stay away from any suggestion that Brianna’s matches are anything to do with black magic or the occult in the eyes of the eighteenth-century folk. In Claire’s case, it’s only gossip, but dangerous gossip, the kind that’s almost gotten Claire killed twice, the other time being with Lionel Brown’s gang. It’s a set up for the later scene where Jamie warns Tom that he never wants to hear this kind of talk about his wife again.

BRIANNA
I’m sorry it wasn’t the news you
were expecting.

Marsali and Lizzie feel a bit badly.

JAMIE
Not so. Well done, a leannan.
These matches will be verra useful.

CLAIRE
(genuinely impressed)
It’s wonderful, darling. I for one
can’t wait to use them.

(tactfully pivoting)
And well done to you, too, Roger,
for your deft handling of Grannie
Wilson’s rather strange funeral.

LIZZIE
Aye, so rousin’ I hear ye woke the
dead.

ROGER
Mr. Christie must’ve been impressed
anyway. He asked if I might preach
the sermon on Sunday. Just as a
lay-minister, of course.

BRIANNA
He did?

(beat)
Why doesn’t Tom do it, if their
minister’s been delayed?

ROGER
Tom’s not a preacher.

BRIANNA
Neither are you...

She’s not sure how she feels about all of this.

ROGER
Maybe the Reverend was up there
watching me today, proud... It’s
only temporary.

Claire smiles at that thought. Jamie has some concerns however -- though not about Roger --

JAMIE
Well. If there’s preachin’ to be
done, I’d rather you do it than Tom
Christie. I’ve known him to stir
up trouble wi’ his beliefs. I
willna have it on the Ridge.

ROGER
I’m happy to fill in.

CLAIRE
Well, I was asked never to darken
the doorway of the church again.

JAMIE
What?

CLAIRE
It seems Mrs. Wilson’s rising from
the dead
has some of the new
settlers thinking I’m a witch.

She exaggerates the comment, clearly unfazed by its ridiculousness.

BRIANNA
And that doesn’t bother you?

CLAIRE
(comme ci, comme ça)
I’m used to it. And I have
absolutely no intention of
complying with their demands.

ROGER
(joking)
Especially since I’ll be doing the
preaching now. Wouldn’t want to
miss that.

Then, before anyone can say more --

MARSALI
Lord Almighty!

Marsali pushes back her chair, doubling over in pain. Everyone jumps up. Brianna rushes to help.

MARSALI (cont'd)
Oh, somethin’ feels wrong,
Claire... It feels different than
before --

CLAIRE
Quickly, let’s take her to the
surgery.

As Jamie and Roger help Marsali to the surgery --

21 OMITTED 21

22 INT. FRASER’S RIDGE - BIG HOUSE - KITCHEN - LATER - NIGHT (N6) 22

Marsali is on the operating table in the surgery as...

Jamie watches as Claire selects pieces of paper-thin strips of brownish-green DRIED SEAWEED (known as “laminaria”) from a jar. Claire sniffs the jar, checking it’s still usable -- there’s a faint smell of iodine.

JAMIE
Seaweed?

CLAIRE
Inserted into the opening of her
cervix, it absorbs moisture and
forces it to open further --

JAMIE
To help the bairn along? I thought
perhaps it was already on its way.

CLAIRE
We had one contraction, but the
baby hasn’t moved for hours.

Jamie reads the concern on her face --

JAMIE
What is it, Sassenach?

CLAIRE
(re: the seaweed)
This isn’t much used in my time
except, on rare occasions... to
assist in expelling a dead child
from the uterus...

(off Jamie’s worried look)
I’m trying not to think about that.

JAMIE
I have faith in ye. And in the
lass.

Grateful, Claire smiles. But she’s more than usually nervous.

CLAIRE
I know... But it could be
anything... Obstruction, pelvic
disproportion, pre-eclampsia... all
of which I’m unprepared to deal
with here. I could do a cesarean
if I had to -- and possibly save
the child, but...

JAMIE
(realizing)
But not Marsali...
(then, angry)

Where the hell is Fergus?!

CLAIRE
I was hoping you’d know. Marsali
told me he’s feeling guilty about
what happened to us with Lionel...

JAMIE
Well, aye, he would.

He says it so matter-of-factly that Claire balks.

CLAIRE
For heaven’s sake. Why? It wasn’t
his fault.

JAMIE
(gently)
Ye think that makes a difference?
And if the lass should die -- or
mischief come to the child? Ye
think he’d no’ blame himself?

(beat)
Ye think I dinna curse myself every
day for what happened to ye?

CLAIRE
But there’s nothing either of you
could have done to prevent it. And
both of you came to our rescue.

Jamie nods. He knows that’s true. But he knows, too, that by the time he rescued her, the damage was done. Claire sees this play on his face. She takes a beat --

CLAIRE (cont'd)
Well, someone should go and find
him... and quickly, or else he
might have regrets about that too.

Jamie looks in at Marsali with concern.

JAMIE
I’ll have Roger fetch him.

Brianna enters with Malva.

CLAIRE
Malva, thank you for coming. If
you’re truly interested in learning
to help me... tonight’s the night.

MALVA
I’m pleased to be here, Mistress.

A23 INT. FERGUS & MARSALI’S CABIN - NIGHT A23

The door BURSTS open and Roger barrels in on a mission. He finds a disheveled FERGUS FRASER there about to pour himself another drink from a whisky bottle. Roger comes over, yanks the drink from Fergus’s hand and confronts him.

ROGER
What in God’s name are you doing?
Your wife’s at the Big House having
your child --

FERGUS
Claire’s with her. She can take
care of -- I’d only be in the way.

Fergus is drowning in alcohol and self-pity.

ROGER
Your wife wants you. She needs
you.

FERGUS
What can I do?

ROGER
I don’t know what it is you can
do... but she thinks there’s
something. She’s been crying out
for you.

That registers on Fergus’ face. Roger sees it and leaps.

ROGER (cont'd)
You’ll regret it if you’re not
there, trust me. Maybe not today,
but there will come a time you’re
looking at your child and you’ll
kick yourself for not being with
Marsali on this blessed day.

FERGUS
No -- leave me alone -- it’s too
late!

Roger grabs him up by the collar and turns Fergus so they’re close, face to face, Roger staring straight into his eyes.

ROGER
Bloody Hell, Fergus! Your wife’s
in harm’s way -- I don’t know what
has you in this state, but it
doesn’t matter. Marsali needs you
NOW. So for tonight, pull yourself
together and be the man Marsali
thinks you are, the man you
promised her you’d be -- even if
you have to pretend. And maybe
when you see her, you won’t have
to.

OFF Fergus --

23 INT. FRASER’S RIDGE - BIG HOUSE - SURGERY - NIGHT (N6) 23

LATER, having finished with the laminaria, Claire settles Marsali in one of the surgery beds and makes her comfortable while they wait, propping her slightly on her left side. There is a BIRTHING CHAIR -- ready for the big event.

CLAIRE
There. We’ll give the laminaria
some time to do its work.

Marsali scoops up Adso and strokes him, finding comfort in his purring. She’s nervous. She watches, wistfully envious, as Malva helps Claire with something, then exits.

MALVA
(to Marsali as she exits)
I’ll make some tea...

MARSALI
If I should die, Adso, dinna let
Mistress Fraser be doin’ an autopsy
on me. Or Malva Christie, either.

Claire shakes her head -- what nonsense. But Marsali is more serious now.

MARSALI (cont'd)
I dinna doubt yer skill, Claire,
but I ken ye well enough -- I ken
what ye look like when ye’re
worried...

(then)
D’ye think I might borrow some
paper and some ink?

CLAIRE
Of course, why?

MARSALI
I’m thinkin’ it would be as well if
I wrote to my mother...

Claire can see that Marsali looks terrified and realizes why she wants to write.

CLAIRE
Marsali... you’re going to be all
right... I’m going to do everything
in my power. But... if it will put
your mind at ease, then yes. Of
course.

But before Claire can go and fetch any paper or a quill -- FERGUS FRASER walks in. He’s sober but unkempt and unshaven. Still, Marsali’s eyes light up as he kneels at her bedside.

FERGUS
Mon amour... How... are you?

MARSALI
Better, now. The babe needs to
come quickly. Help me, mon cher.

FERGUS
Oui, chérie.

Fergus kneels at his wife’s bedside. He reaches in his pocket and produces Marsali’s ROSARY. He takes her hand and kisses it, folding the rosary inside her palm.

Then, surprisingly, he reaches for the strings of Marsali’s shift and draws them down, nearly exposing her breasts. Marsali sighs, relaxed by his touch. Claire is pleased by the immediate positive effect on Marsali -- but she wasn’t expecting this sort of “help.”

FERGUS (cont'd)
(off Claire’s look)
I suppose you would not have heard
of this, milady? When the birth
pangs are slow to start, suckling
the woman’s breasts encourages the
womb to move --

CLAIRE
Not exactly the most conventional
method... but I have heard of it.

FERGUS
In the brothel, if one of les
filles
had a difficulty, sometimes
another would do such service for
her. I have done it before -- when
Joan came. It helps, you will see.

Rather than be put off by Fergus’ technique, Claire is touched by the innocent sweetness of what he’s saying, his obvious love and tenderness for Marsali. And Claire’s love for both of them means she will take any help at all. Then again, she has no intention of staying to watch: as Fergus exposes Marsali’s breasts, Claire turns away.

CLAIRE
I’ll just be... um, out here.

Without further ado, Fergus cups Marsali’s breast in both hands and takes her nipple into his mouth.

Marsali and Fergus are already too much in their own little world to notice Claire leave. She exits, pulling the double doors closed behind her. The curtains are drawn.

Toni Graphia & Danielle Berrow

Lauren and César were terrific in this scene and it was easy to see the deep love between these two characters in spite of their recent marital troubles. When it brings a tear to the eye in the editing room, you know the scene is working.

MARSALI
Fergus... I think I may be goin’ to
die.

FERGUS
You always think you’ll die. All
women think it.

MARSALI
Aye, that’s because a good many of
them do.

FERGUS
Not you. I will not let you go.

Fergus leans down and continues...

24 INT. FRASER’S RIDGE - BIG HOUSE - KITCHEN - NIGHT (N6) 24

Weary, with nothing to do but wait, Claire, Jamie, Brianna and Malva eat the MOLASSES CAKE they never got to at supper.

JAMIE
Are ye sure the lass is well in
there wi’ him?

CLAIRE
Quite sure.

JAMIE
I didna ken a man could have so
much to do wi’ this part.

A small grunt and a pleasant sigh inside the surgery gets everyone’s attention. A beat.

JAMIE (cont'd)
Well if that’s what the wee
bugger’s up to...

JAMIE (cont'd)
There’s post that needs
sortin’.

BRIANNA
I think I’ll go for a walk.

Claire is left alone with a blushing, virginal Malva. The pleasant noises inside the surgery continue.

MALVA
They’re really...?

CLAIRE
Yes.

MALVA
At first I thought she was in pain.
But some women... like it?

CLAIRE
They do.

But before she can explain further --

MALVA
Sinners, you mean? Whores.

Claire is taken aback by this reductive understanding of sex, which Malva has obviously learned from Tom.

CLAIRE
No. I mean -- when you love
someone. You want to give them
pleasure. And they want to do the
same for you.

(after a beat)
Many women enjoy it.

That’s a revelation to Malva. Gentle love is not something she has seen in her world. She finds it hard to believe.

25 EXT./INT. FRASER’S RIDGE - STABLES - NIGHT (N6) 25

Pulling a shawl around herself, Brianna walks past the stables. She sees Young Ian, just inside, perhaps looking up at the stars. Rollo is with him. Brianna steps in, but gets the sense that she might be intruding.

Toni Graphia & Danielle Berrow

This is somewhat of a companion scene to the earlier talk which Claire and Jamie have about the Cherokee and their role in the Revolutionary War. Only Brianna knows more details, having gone to school in America and having studied history. She’s able to give Ian more details about what’s to come in the decades that follow the war, which is the driving force to him going against Jamie and finding a way to help the Cherokee.

BRIANNA
I’m sorry. Were you...

YOUNG IAN
Sayin’ a prayer for the bairn.

A beat.

YOUNG IAN (cont'd)
Can I ask ye about the Cherokee,
cousin?

BRIANNA
What about them?

YOUNG IAN
Uncle Jamie told me of the
Revolution. He spoke of a new
country, after the war.

BRIANNA
The United States of America.

YOUNG IAN
United... Then the Indians will be
a part of this nation?

Brianna’s hesitation is telling -- where to begin?

BRIANNA
White people will tell them that
they are. But no -- not really.
They’ll be forced to live in places
called reservations.

(off Ian’s quizzical look)
Lands far away from their ancestral
homes.

YOUNG IAN
But why? The Cherokee are strong.

BRIANNA
Not strong enough. Settlers have
been coming -- and will continue to
come -- from all over the world.
They’ll take what they want and the
Indians will suffer because of it.

Brianna wishes she could give Young Ian some hope. But, before she can speak--

YOUNG IAN
I’m sorry.

BRIANNA
Why are you apologizing?

In a callback to Jamie’s earlier warning --

YOUNG IAN
Because... knowing what happens to
them, I’m responsible too.

A beat. Then Lizzie approaches from the house with news:

LIZZIE
The bairn’s comin’.

26 INT. FRASER’S RIDGE - BIG HOUSE - SURGERY - NIGHT (N6) 26

Marsali is sitting in the BIRTHING CHAIR, mid-contraction. Claire coaches her. Only Malva is with them.

CLAIRE
Push, but not too hard. He has a
large head.

Marsali bears down, panting.

MARSALI
Oh... is that so?

CLAIRE
Good. Once more...

A27 INT. BIG HOUSE - KITCHEN - SAME TIME - NIGHT (N6) A27

Fergus and Jamie wait with bated breath as the sounds of Marsali’s travails continue inside the surgery. Jamie pours the father-to-be a dram of whisky.

JAMIE
Whatever ye did in there, lad...
it seems to have worked.

Lizzie, Brianna and Ian enter, excited.

BRIANNA
Well?

Inside the surgery, Marsali bears down again and SCREAMS.

FERGUS
Listen for yourself --

Jamie pours the new arrivals a dram as well.

CLAIRE (O.C.)
That’s it, one more. Last one.

Inside, Marsali groans... and then silence. And then...

One of the greatest sounds on planet earth... the unmistakable sound of a BABY’S FIRST CRY to the world. A smile lights up Fergus’ face. Everyone breathes a collective sigh of relief. Jamie gestures to the surgery door.

Toni Graphia & Danielle Berrow

The sequence of Marsali giving birth was challenging for us production-wise, largely because of COVID. This entire sequence of scenes was planned out very carefully. The decision to play a lot of it on the faces of the people waiting outside the surgery was necessary from the standpoint of actually being able to shoot it but also (and importantly) gave us a great opportunity to tell a birthing story a little bit differently than we have in the past. We were able to show, not only how it was affecting Marsali, but also Jamie, Claire, Ian, Brianna, and especially Fergus. Intercutting these scenes with Ian, who will reveal that he fathered a baby when he lived with the Mohawk later in this episode, was especially poignant and exciting for us as writers.

JAMIE
Papa?

The others hang back, giving Fergus a moment alone to go meet his new bairn.

B27 INT. BIG HOUSE - SURGERY - CONTINUOUS - NIGHT (N6) B27

Fergus enters as Claire is wrapping his new BABY in a flannel cloth. Malva looks amazed. Fergus goes to Marsali and kisses her sweetly, wiping sweat from her forehead.

FERGUS
Chérie?

MARSALI
Never again, Fergus Fraser.

But she smiles and so does he.

Meanwhile, Claire notices something about the baby in her hands. Her face is hard to read -- it’s not exactly worry, but there’s clearly something here that she wasn’t expecting. The baby cries again.

CLAIRE
Bonsoir, Monsieur.

FERGUS
Monsieur?

CLAIRE
Monsieur.

She smiles, covering her concern, and hands the baby off to his proud father.

Exhausted, Marsali grins as Fergus places the baby near her. But as he unwraps the child, Fergus’ joy fades. The baby’s head is large, and his limbs appear shortened. Malva clocks Fergus’ reaction and eyes Claire. Marsali turns to see a stoic look on her husband’s face.

FERGUS
Il est un nain.

Fergus stands frozen for a minute, staring at his baby. Then he walks out. Claire and Marsali look on, troubled as...

Fergus walks past Jamie, Brianna, Lizzie and Ian in the kitchen -- without a word. They know something’s wrong, but don’t know what.

Stunned, Marsali looks to Claire.

MARSALI
What did he say? Nain...? What
does it mean?

Claire takes a beat.

CLAIRE
It means that he is a dwarf...

This is obviously what Claire noticed earlier.

Malva reacts to this, as well, knowing that her father and the other new settlers might take it as a sign of evil.

CLAIRE (cont'd)
He’s perfectly healthy.

Claire re-swaddles the infant, then picks him up and hands him to Marsali.

CLAIRE (cont'd)
Come and see your Maman.

Marsali reaches out for the baby, not knowing what to expect. But as she stares into the innocent face of her newborn, all she can see is perfection--

MARSALI
He’s beautiful.

C27 OMITTED C27

D27 OMITTED D27

E27 EXT. FRASER’S RIDGE - BIG HOUSE - STABLES - DAY (D7) E27

A WEEK OR TWO LATER. KEZIAH loads bundles of pelts into the back of a wagon. Jamie speaks with ARCH BUG, who’s already seated in the wagon.

ARCH BUG
The fox pelts should fetch a good
sum in Cross Creek.

JAMIE
When ye take the whisky onwards
from there to River Run, I’d be
grateful if ye could see if my Aunt
has any letters for me.

Arch nods. Mrs. Bug approaches with food for the road. Lizzie is with her.

MRS. BUG
Bread and sausage for a week, as
requested. I dinna envy yer gut,
Mr. Bug. Nor that one’s nose.

She tilts her head towards Kezzie.

ARCH BUG
(to Jamie)
Yer humble servant, sir.

(turns to Keziah)
We’d better be on our way, lad.

LIZZIE
Be safe, Kezzie. And hurry back.

KEZIAH BEARDSLEY
Ye mean ye’ll miss me, Lizzie?

LIZZIE
A wee bit, perhaps, but dinna let
that go to yer head. I’ll try to
keep yer brother out of trouble.

The banter of good friends. Jamie smiles, watches as Arch and Keziah settle into the wagon. Arch turns to Keziah.

ARCH BUG
I hope ye’re not the talkative one.

Jamie smiles to himself as Bug slaps the reins. The horse-drawn wagon trundles off. Jamie heads back toward the house.

F27 EXT. FRASER’S RIDGE - BIG HOUSE - NEAR RIVER - MOMENTS LATER - DAY (D7) F27

As Jamie walks toward the house he sees -- Chief Bird, Still Water and some other Cherokee men standing near the river, having recently arrived but waiting respectfully to approach. Their presence isn’t threatening, but from the looks of it, they are here on serious business.

Young Ian, who’d been whittling on the back porch, spots them too, and joins Jamie as they move to greet the visitors.

As they meet, Bird doesn’t look pleased.

JAMIE
Chief Bird. You are most welcome.

CHIEF BIRD
I’m glad of it... since we gave you
such a warm welcome in our village.

Jamie smiles, a little uncomfortable. Where is this going?

JAMIE
Is there somethin’ we can do for
ye?

CHIEF BIRD
Did you convey my request for guns
to your King?

JAMIE
No.

(hesitates)
I have decided against it.

Bird takes that in. It’s what he suspected -- but not what he’d hoped to hear.

CHIEF BIRD
Then tell me what I must do to
acquire more weapons. To persuade
you to do what is right.

(then)
I’m not sure what more we can
offer. More goods? More of our
blood spilled for your people?

JAMIE
No. Bloodshed is the verra thing
I’m tryin’ to avoid.

CHIEF BIRD
Then why did you not convey my
request?

JAMIE
You will have to trust me that it
is for the best.

Bird scoffs. A beat.

CHIEF BIRD
No. It is for your best.

Bird glares at Jamie. There’s a tense moment as Jamie eyes the Indians with their bows and what few rifles they have.

CHIEF BIRD (cont'd)
This is not the last you’ll see of
us, Bear-Killer.

He turns and walks off down the path. His Men follow him. Jamie watches them for a beat. Young Ian stands there, something heavy on his heart, but hesitant to speak.

JAMIE
Speak, lad. I see ye want to.

YOUNG IAN
I canna agree with yer decision.

JAMIE
In spite of what I told you before?

YOUNG IAN
Because of what you told me. I
have a kinship wi’ them.

JAMIE
And what of our kinship? Ye ken
well my reasonin’, lad.

YOUNG IAN
Ye told me that my knowledge of
what’s to come must inform my
choices --

JAMIE
Aye, so --

YOUNG IAN
Then that’s my reasonin’.

(off Jamie)
Brianna told me of the injustices
the Indians will face. If that is
their fate then they deserve every
chance to protect themselves, and
if you willna help them, I will.

JAMIE
And where d’ye expect to find guns
for them? How will ye pay for
them?

YOUNG IAN
I dinna ken. But I will find a
way.

Jamie watches as Young Ian walks away.

G27 EXT. FRASER’S RIDGE - BIG HOUSE - BACK PORCH OR BREEZEWAY - LATER - DAY (D7) G27

Jamie’s cleaning/oiling his rifle but stops halfway through and is now staring off into space, deep in thought.

Toni Graphia & Danielle Berrow

Jamie had his misgivings in Episode 601, but he realizes that trouble is brewing when Brianna tells him about the church that Tom is building. Jamie’s line about the church being a “weapon of war” in Tom’s hands shows us that, in Jamie’s mind, he’s just as worried about this as he is about the guns he intends to give the Cherokee. Both are true weapons of war in his mind. The politics of religion and all the tension that comes with that is extremely complicated, especially for two men previously imprisoned at Ardsmuir, where they were leaders to two different factions of men. This burgeoning tension was at the heart of Jamie’s fear about Tom living on the Ridge, and it’s something he’ll have to address.

BRIANNA (O.C.)
Should we start calling you Atlas?

Jamie turns to see Brianna, approaching.

JAMIE
Hmm?

BRIANNA
You look like you have the weight
of the world on your shoulders.

JAMIE
(gets it now)
Aye. Of Heaven and earth and
everything in between.

Brianna casually takes the gun from her father, admiring his handiwork --

BRIANNA
Whatever it is -- I hope it’s not
too serious...

JAMIE
Not sure there’s much ever put
right in this world by gunpowder
and bullets... But it seems to be
one of the ways most favored by
men.

Jamie puts down the gun, moving on to more present matters.

JAMIE (cont'd)
Were you up at the fisherfolk camp
this morning?

BRIANNA
Yes. I was with Roger at Amy
MacCallum’s. We’re building her a
cabin --

Jamie’s pleased -- and proud of his children’s generosity.

JAMIE
Aye. I heard.

BRIANNA
They’re really making progress out
there... Tom’s almost finished with
the church... they’re working on
the steeple now...

Brianna reads the cloud of frustration that crosses her father’s face --

BRIANNA (cont'd)
You don’t seem too pleased...

JAMIE
I’m not. In Tom Christie’s hands,
a church can become a weapon of
war.

OFF Jamie --

27 EXT. FRASER’S RIDGE - CHURCH - DAY (D7) 27

Work is being done on the uncompleted steeple. Hiram Crombie, Allan, and others wield hammers while Tom Christie supervises, unable to work because of his curled right hand. Tom looks up to see... Jamie approaching on horseback. As Jamie dismounts and ties his horse to a post...

Toni Graphia & Danielle Berrow

Jamie already made it clear to Tom in Episode 601 that his word was law on the Ridge. He tried to avoid a power struggle. But here we see that Tom has forged ahead with the construction of a church and that Jamie must put him in his place—the church will be a meeting house, open to all. Since the church is typically the heart of the community in this period, Jamie’s solution is to ensure that this new building will be non-denominational and that, in fact, it is a place where a number of other important activities can take place alongside worship. Jamie also makes it clear that there will be no “witch” talk about Claire. We can see Tom seething…  he’s not taking this well.

TOM CHRISTIE
What do you think?

JAMIE
I thought ye were intendin’ to
build a cabin here. I didna say
anythin’ before, out of respect for
Mistress Wilson, but --

TOM CHRISTIE
As I told your son-in-law: a man
must build a house for God before
he builds one for himself.

Jamie smiles tightly. He has to give it to the man -- he’s consistently self-righteous, at least.

JAMIE
We’ve come a long way since
Ardsmuir, Tom. That place was
enough to make any man lose faith,
so I’m glad to see ye’ve kept God
first, but...

(beat)
Well, ye willna ha’ forgotten yer
Freemason’s vow, will ye?

TOM CHRISTIE
Erm, no, I --

JAMIE
Then let this be a meetin’ house.
Not Protestant or Catholic, but --
a place where every man, woman and
child can enter freely... wi’ God
in their hearts.

TOM CHRISTIE
Every man, woman and child...

JAMIE
Aye. My wife, too, Tom.

(quietly)
And if I hear anyone accusin’ her
of witchcraft again...

This is salt in the wound for Tom, especially with his son
Allan watching.

TOM CHRISTIE
(bitterly)
I suppose ye’ll have me bring down
the steeple, then?

He holds Jamie’s gaze. The work has stopped by now, the men waiting for this to be resolved before they continue.

JAMIE
No. ‘Tis a beautiful sight. It
should have a bell; one that calls
all to worship... Or to their
lessons. As I said: a meetin’
place.

(beat)
Some windowpanes wouldna go amiss
either.

OFF Tom, quietly seething at playing second fiddle to Jamie once again --

A28 INT. FRASER’S RIDGE - TOM CHRISTIE’S LEAN-TO - DAY (D7) (FORMERLY SCENE 30) A28

Tom blows through the door in a foul mood. Malva looks up and, sensing that something is wrong, moves to the other side of the room, hoping to stay out of his way. He takes off his coat, then goes to the MILK BUCKET for a drink. He notices:

TOM CHRISTIE
The milk has turned.

MALVA
I’m sorry... I was goin’ to make
some butter, but --

TOM CHRISTIE
(accusatory)
Why haven’t you?

The birth of Marsali’s child is the answer. But, fearful as she is, Malva refuses to put her visits with Claire at risk.

MALVA
It must have slipped my mind...
Mistress MacNeill brought us some
ale, father. Would you like some?

TOM CHRISTIE
I don’t want ale. I want milk.
Come to a land of milk and honey,
eh, and what do I have? Nothing.

Not even a church. But he can’t say that.

TOM CHRISTIE (cont'd)
It’s because you’re spending too
much time with Mistress Fraser.

With his hand feeble, Tom accidentally knocks over the milk bucket trying to put on the lid -- spilling milk all over the floor. This is the last straw. He snaps, enraged. As Malva reaches for a cloth and drops to the ground to sop up the milk --

TOM CHRISTIE (cont'd)
You have the same dark soul as your
mother. You know what became of
her.

He takes off his belt.

TOM CHRISTIE (cont'd)
Stand up.

We understand this is more about Jamie than it is about Malva. It’s about being emasculated -- and punishing Malva for it. But Malva ignores him, continues to sop up the mess.

TOM CHRISTIE (cont'd)
I won’t ask you again, Malva.

Malva stands, defiant.

MALVA
I didn’t do anything.

TOM CHRISTIE
Lift your skirts.

Tom pushes her over a chair and she reluctantly lifts her skirts, exposing her bare backside. She’s been here before. But as Tom goes to whip her, the belt (in his right hand) flops out of his weakened grip like a dead snake. He tries to pick up the belt, but his severely disfigured hand will not cooperate. It’s useless. He tries with the belt in his left hand, but it’s awkward and feeble and soon his injury [Episode 601] starts to bleed slightly.

It’s obvious to both that he can’t discipline her as he wishes, and he is unable to vent his rage. He’s humiliated.

She looks back at him -- partly in pity, partly victorious -- a sly smile on her lips as she pulls her skirts back down. It only enrages him more.

Toni Graphia & Danielle Berrow

Furious about having been reprimanded by Jamie, Tom brings his anger home where it spurs him to beat his daughter. He tries to take it out on poor Malva, but he is unable to hold the belt with his damaged hand. We used this as a set up to catalyze Tom’s decision to seek Claire’s help in fixing his hand.

TOM CHRISTIE (cont'd)
Take that look off your face.

(then)
Clean up this mess.

He leaves.

28 OMITTED 28

29 OMITTED (PARTIALLY MOVED TO E27 AND F27) 29

30 OMITTED (MOVED TO A28) 30

A31 EXT. FRASER’S RIDGE - FERGUS & MARSALI'S CABIN - DAY (D7) A31

TO ESTABLISH. LATER THAT DAY. Smoke rises from the chimney. Rollo lies on the porch...

31 OMITTED 31

32 EXT. FERGUS & MARSALI’S CABIN - CONTINUOUS (D7) 32

Jamie rides up and dismounts. He goes to the porch, surprised to see Rollo outside. He didn’t know Young Ian would be here. He stops when he HEARS Marsali inside...

MARSALI (O.C.)
His name is Henri-Christian.

Jamie steps toward an open window and sees Young Ian holding Marsali’s newborn baby, sleeping comfortably in his arms. Ian starts WHISPERING IN MOHAWK.

Toni Graphia & Danielle Berrow

We added this small but lovely scene of Ian visiting Marsali’s new son, which is in the book… but had Jamie overhear Ian talk about having a Mohawk child. Jamie thus realizes how deep Ian’s love and commitment to his Mohawk family goes and that, even though Ian doesn’t live there anymore, his ties and allegiance to them will always be part of him. This is a crucial scene for this story as it’s what drives Jamie to makes his decision to help the Cherokee.

33 JAMIE’S POV -- 33

YOUNG IAN
Onkehrori neh Kawehra,
tahiehsahnonwahraton, tahnon
neh Kahroniah,
iehsahnahktonnih, tahnon neh
Onehkah, tahnon, ohhontsa,
tahiehsasnieh.

I will call on the wind to
welcome you, and the sky to
give you shelter, and the
water and earth to take care
of you.

MARSALI
What’s that ye said?

YOUNG IAN
A sort of blessin’. Ye call upon
the wind to welcome him, the sky to
give him shelter, and the water and
the earth to yield him food.

MARSALI
Oh, that’s nice.

Ian closes his eyes, his cheek resting on the baby’s head. Then, quietly --

YOUNG IAN
I had a child.

34 EXT. FERGUS & MARSALI’S CABIN - CONTINUOUS (D7) 34

Jamie reacts, surprised and deeply touched by this revelation, while inside, Marsali calmly hides her surprise...

MARSALI
Did ye, then?

Toni Graphia & Danielle Berrow

A favorite small, but important, line—Marsali’s quiet “Did ye then?” We loved that she didn’t show shock or surprise (since no one knew until now about Ian’s child) and that she didn’t pry, but merely acknowledged what he said and was there for him in his vulnerable state of remembering a child he lost, while holding her newborn.

She puts a hand on his arm, moved. But she doesn’t press for details. A long beat.

YOUNG IAN
Believe me, cousin. Your husband
grieves. But he will come back.

Marsali hopes Young Ian is right.

Jamie watches for a moment more, then quietly slips away.

35 INT. FRASER'S RIDGE - BIG HOUSE - BREEZEWAY - DAY (D7) 35

Claire is alone, shaking out a rug. She’s surprised to see a disheveled Tom Christie approaching, his left hand bandaged with a kerchief.

CLAIRE
(terse)
Mr. Christie. What brings you
here?

TOM CHRISTIE
My hand is worse, it’s preventing
me from... writing.

He swallows. It may be affecting his writing, but also his ability to punish his willful daughter.

TOM CHRISTIE (cont'd)
I have considered the matter, and
prayed upon it. I understand now
that God brought you to me for a
reason. I will undergo your...
operation.

CLAIRE
(ironic)
Well, who am I to stand in the way
of the Almighty’s plans?

(then, noticing the dab of
blood on his bandage)

But as I said, we need to give your
left hand a chance to heal.

OFF Tom --

A36 INT. FRASER'S RIDGE - ROGER & BRIANNA'S CABIN - LOFT - NIGHT (N7) A36

Brianna leans over a sleeping JEMMY and tucks the blanket around him, then kisses his forehead before she exits.

36 INT. FRASER’S RIDGE - ROGER & BRIANNA’S CABIN - LATER - NIGHT (N7) 36

Roger strikes a match and lights a CANDLE. Brianna is there, both of them sitting by the fire. Jemmy is asleep in the loft.

ROGER
(re: the match)
Works like a charm.

BRIANNA
It’s pointless, nobody cares.

ROGER
Come now, what if Edison had said
that?

BRIANNA
Edison was a man. Apparently the
only worthwhile thing I can do is
get pregnant.

ROGER
Is that what’s really bothering
you... or, that we’ve been trying
for a while now with no result?

This is news -- they’re trying for another baby.

BRIANNA
Maybe it’s just not the right time.
And since we’ve decided to stay for
good, I guess I should be patient.

She gives him a kiss, leans her head on his shoulder. A KNOCK at the door. They exchange a look. Who’s this? Roger opens the door to find AIDAN MCCALLUM, lip quivering.

ROGER
Aidan. What’s wrong, lad?

AIDAN MCCALLUM
I was out chasin’ rabbits... I
tried to make my way home but
must’ve got turned about in the
dark.

ROGER
I fancy a wee walk. Why don’t I
show you the way?

Roger grabs a lantern and is about to light it from the candle when he has an idea.

ROGER (cont'd)
Aidan, would you like to see a
marvel? A trick of sorts --

AIDAN MCCALLUM
Aye.

Roger picks up a matchstick and shows it to Aidan.

ROGER
Watch the stick closely.

Roger holds the match in his palm and SNAP -- strikes the tip of it on his fingernail. He opens his palm to reveal the matchstick on fire. Aidan’s eyes go wide.

AIDAN MCCALLUM
How did you do that? It’s a
miracle --

ROGER
Not a miracle, lad. It’s science.
My wife made it. She’s a genius.

AIDAN MCCALLUM
Have ye more of them, Mistress?

BRIANNA
I do.

Brianna gives Roger a look of gratitude. She knows he did this for her. Aidan is in awe as Brianna uses another match to light the lantern. She hands it to Roger.

BRIANNA (cont'd)
(quietly)
Thank you.

ROGER
We should be off.

Roger and Aidan walk out into the night.

37 INT. FRASER’S RIDGE - BIG HOUSE - PARLOUR/STUDY - NIGHT (N7) 37

It’s late. Jamie sits at his desk composing a letter. Dressed for bed, Claire approaches.

CLAIRE
I worry the fisherfolk will be
suspicious of Henri-Christian.

JAMIE
They will. But we will protect
him.

Claire massages his shoulders, peers down at the letter.

CLAIRE
Who are you writing to?

JAMIE
The Governor.

CLAIRE
So you’ve decided to pass along
Chief Bird’s request for weapons.

JAMIE
More than that. I’m recommending
we do as they ask.

CLAIRE
Come what may?

JAMIE
I may have cause to regret it.
But if Governor Martin sees fit,
the Cherokee shall have guns, and
do with them as they please. I’ll
give the letter to Major MacDonald
before he leaves.

CLAIRE
What changed your mind?

JAMIE
Ian. He had a child with his
Mohawk wife.

Off Claire’s surprise --

JAMIE (cont'd)
He told Marsali. But said no more
about it.

Claire gives him a sympathetic look, wondering what must have happened for Ian to keep such a secret.

JAMIE (cont'd)
He fights for them because they’re
his family. His allegiance is to
them. My allegiance is to him.

Toni Graphia & Danielle Berrow

Jamie making his decision to help the Cherokee…  and the lines which inspired the title…

Jamie returns to writing...

CLAIRE
I think it’s the right thing to do.

Jamie signs, then folds the letter. A beat.

JAMIE
Come what may.

He drips candle wax on the flap. He firmly presses the stamp into the hot wax then pulls his hand away, REVEALING the seal with its impression of the phrase: Je Suis Prest.

38 INT. FRASER'S RIDGE - FERGUS & MARSALI'S CABIN - NIGHT (N7) 38

Marsali is picking up a blanket to bring to the BASINET, where the newborn Henri-Christian sleeps. The other children are in bed. Fergus is nowhere to be seen. As Marsali waits up for her husband, she speaks softly and reassuringly to Henri-Christian:

MARSALI
There, there, mon beau garcon, all
will be well. There may be times
when things are hard... Ye see,
folk are afraid of things they
dinna understand...

Toni Graphia & Danielle Berrow

This is another lovely scene that was unfortunately cut for time. However, it will appear on the DVD in the Deleted Scenes, so the audience can enjoy Lauren Lyle’s very poignant performance.

She’s putting on a brave front, but her fears are real. She summons her courage.

MARSALI (cont'd)
But dinna fash, yer Da will be home
soon. I ken he will. He loves ye,
we both do... and yer family will
fight for ye if need be. We’ll
never let any harm come to ye... I
swear it.

OFF her fierce motherly strength...

FADE OUT.

END OF EPISODE