Inside the script:

Temperance

See what the crew says about your favorite scenes.

EPISODE 603
Temperance

WRITTEN BY

Shaina Fewell

BASED ON THE NOVEL BY
DIANA GABALDON

FINAL PRODUCTION DRAFT
9th June 2021

OUTLANDER
EPISODE 603 "Temperance"

PREVIOUS REVISIONS

Production Draft – 2nd November 2020

Blue Draft – 24th January 2021

Pink Draft – 4th February 2021

Yellow Draft – 9th February 2021

Green Pages – 12th February 2021 – pp. 44, 48.

Goldenrod Pages – 15th February 2021 – pp. 28, 28A, 29.

2nd White Pages – 26th February 2021 – pp. 44, 44A.

2nd Blue Pages – 10th May 2021 – pp. 54.


EPISODE 603 "Temperance"

CAST LIST — FINAL PRODUCTION DRAFT — 9th June 2021

CLAIRE FRASER
JAMIE FRASER
BRIANNA RANDALL FRASER
ROGER WAKEFIELD MACKENZIE

AIDAN MCCALLUM
AMY MCCALLUM
DONALD MACDONALD
EVAN LINDSAY
FERGUS FRASER
FISHERFOLK LAD #1
FISHERFOLK LAD #2
FISHERFOLK LAD #3
GERMAIN FRASER
HIRAM CROMBIE
HORTENSE MACNEILL
JOSIAH BEARDSLEY
KEZIAH BEARDSLEY
LIZZIE WEMYSS
MALVA CHRISTIE
MARSALI FRASER
MISTRESS MCGREGOR
MR. MCGREGOR
MRS. BUG
PADRAIC MACNEILL
RONNIE SINCLAIR
TOM CHRISTIE
YOUNG IAN


EPISODE 603 "Temperance"

SET LIST — FINAL PRODUCTION DRAFT — 9th June 2021

INTERIORS

  • Fraser’s Ridge
    • Big House
      • Bedchamber
      • Dining Room
      • Kitchen
      • Surgery
      • Parlour
      • Breezeway
  • Fergus & Marsali’s Cabin
  • McCallum Cabin
  • Meeting House
  • Christie-ville
    • Tom Christie’s Lean-To

EXTERIORS

  • Fraser’s Ridge
    • Big House
      • Back Porch
  • Fergus & Marsali’s Cabin
  • McCallum Cabin
  • Woods
  • River
    • Nearby Woods
    • Marsh Area
  • Christie-ville
    • Tom Christie’s Lean-To

OUTLANDER

“Temperance”

FADE IN:

1 EXT. FRASER’S RIDGE - RIVER - DAY (774) (D) 1

MORNING. Another day at beautiful Fraser’s Ridge. A BASKET suddenly comes into view, gently swirling and meandering with the eddies as it floats down the river --

REVEAL that inside the basket -- is a BABY! Not just any baby, but the dwarf son of Fergus and Marsali Fraser, HENRI- CHRISTIAN, now six months old and swaddled in his blanket.

Toni Graphia & Luke Schelhaas

We knew we wanted to start this episode off with something exciting and Henri-Christian being floated down the river is a fan favorite—tense, suspenseful, and heart-breaking. It was a great way to kick things off for this special episode which culminates in Fergus’s desperate act.

2 EXT. FRASER’S RIDGE - NEARBY WOODS - DAY (D1) 2

ROGER MACKENZIE is FIXING A FENCE, lost in his work -- until he hears a SHRIEK --

GERMAIN (O.C.)
He’s goin’ to drown!

Roger turns, alarmed. He sees FIVE BOYS -- including GERMAIN FRASER -- running along the riverbank, pointing, desperate. Roger drops the log he’s holding and races toward the river.

3 EXT. FRASER'S RIDGE - RIVER - DAY (D1) 3

Roger bursts from the trees just in time to see Germain, AIDAN MCCALLUM, FISHERFOLK LAD #1, FISHERFOLK LAD #2, and FISHERFOLK LAD #3 running along the river’s edge, eyes fixed on the basket, which is heading off downstream! Aidan turns to the Fisherfolk Lads, with an air of puzzled urgency --

AIDAN MCCALLUM
And if he falls out? What does
that mean? What do they say about
that, then?

Roger bolts to the river and runs into the water. He dives to stop the basket from going over the rapids -- but just misses it. The basket GOES OVER THE RAPIDS. Roger gives chase, running, swimming, as the boys follow from the bank.

As Roger and the basket approach the next bend in the river, they disappear from the BOYS’ VIEW. The boys short-cut through the woods to catch Roger at the next accessible spot on the river’s edge.

Toni Graphia & Luke Schelhaas

This sequence required an incredible amount of planning (and re-planning and rethinking and rewriting) due to the difficulty of actually shooting it. There’s the fact that we didn’t have a location with a waterfall, for example—so all of that had to be created in post (using visual effects) and via carefully planned “cheats” in how we filmed it. In addition, until the day of shooting, we didn’t know if the river would be too high to film in safely or too low to float a basket down it—both are possibilities due to the Scottish rainfall and snowmelt in winter. Not to mention, shooting anyone plunging into a river in Scotland at any time of year is a near-impossibility due to the cold temperature of the water and we were shooting this in winter. Richard Rankin was a trooper and went in that water over and over again but that required him wearing a ‘chill-cheater,’ a type of drysuit worn under his costume and it also required a number of ‘repeats’ of the costume. A repeat is just what it sounds like: Richard goes in for ‘take one’ of the scene and gets his costume soaked… so for the next take (and the next and the next and the next) he needs a fresh, dry costume that is an exact repeat of the first. So, all of that has to be created—multiples of the costume, multiples of the chill-cheater—and he has to dry off and warm up in between each take, which all requires time and planning. Finally, we needed to have a pretend baby that Roger could pull out of the water. So, you can see how the needs and demands (and real costs) of production impact the way the script is written (and vice versa of course). In the end, we took on all of those challenges and parameters and made an exciting sequence that we couldn’t resist filming because it’s so great, iconic, and does so much to set up a lot of ongoing character arcs and storylines.

The boys land, they see the basket heading for a WATERFALL. No Roger in sight! The BASKET GOES OVER THE WATERFALL! The miscreant boys watch, struck dumb.

Behind them, an angry Roger suddenly appears from upstream, dripping wet, splashing through the shallows towards them and clutching a near dry HENRI-CHRISTIAN in his arms. It was an empty basket that went over.

Toni Graphia & Luke Schelhaas

As we ‘broke’ this episode out on our marker boards in the writers’ room, there was a lot of debate about where to place this Henri-Christian sequence. Some of us felt it was a sequence we needed to build to—in other words, we’d see the new arrivals (the fisherfolk) showing disdain and suspicion toward young Henri-Christian, and that suspicion would build towards this moment as a sort of ‘last straw.’ But in the end, we couldn’t resist starting the episode with the striking image of that baby in a basket in the water. So, rather than a last straw, it’s an ‘inciting incident’—launching into the episode very quickly and with great excitement and action. But that meant we needed a different last straw… which we found.

ROGER
Right, ye wee bastards! Whose idea
was this?

The boys spin around, terrified. The biggest boy moves to flee, the others quickly follow --

ROGER (cont'd)
Don’t you dare run.

The boys stop. They look at Roger, holding the baby -- who is crying but is otherwise unharmed by this foolishly dangerous and rather unorthodox experiment.

ROGER (cont'd)
What happened?

FISHERFOLK LAD #1
Ye shouldna touch him, sir. Ye’ll
burn yerself!

Roger shoots Germain a stern look -- what are they up to?

GERMAIN
(sheepish)
They wanted to see if he’d float.

AIDAN MCCALLUM
And he did! That must mean he’s
the devil’s seed.

FISHERFOLK LAD #1
Ma and Da said so!

ROGER
He floated -- because he’s in a
basket!

With a glare, Roger wades almost to the shore, squats, and sprinkles a handful of water over the baby’s head --

ROGER (cont'd)
I baptize thee, Henri-Christian --
in the name of the Father, and the
Son, and the Holy Ghost!

(then, to the lads)
His name is Christian, do you hear!
He belongs to the Lord! Trouble him
again and Satan will pop up and drag
you straight down screaming to Hell!

The anger in Roger’s voice and eyes is too much for the boys -- they run, falling all over themselves in their urge to escape.

ROGER (cont'd)
Germain!

Germain stops and returns, tail between his legs.

A4 INT. FRASER'S RIDGE - BIG HOUSE - BREEZEWAY - DAY (D1) A4

CLAIRE and MALVA are arranging SEEDLINGS on a CART and preparing seeds to be planted in the garden.

CLAIRE
Can’t wait to plant these. A bit
of earth under the fingernails is
good for the soul.

Malva smiles and helps Claire with the seedlings, agreeing thoughtfully --

MALVA
We’ll bury them down deep, away
from the sun. They hold such
promise...

Wistful, with a touch of melancholy, Malva philosophizes --

MALVA (cont'd)
I suppose we reap what we sow?

CLAIRE
In this case, I certainly hope we
will. It’s a shame we don’t have
the conditions to grow Jesuit bark
for Lizzie’s malaria. But Blue
Lobelia for respiratory conditions
and some good old reliable mint
will do, along with this elfwort or
Inula helenium... named for Helen
of Troy -- said to have sprung up
where her tears fell when she lost
Paris.

MALVA
I’ve read about her. The face that
launched a thousand ships -- drove
men to war. Because she was, in
the eyes of many, a whore...

Claire thinks about the infamous seductress and wants to soften Malva’s view -- make her think about why some might view another woman in such a cruel light.

CLAIRE
Or because beauty can be a blessing
and a curse, I suppose. And
because jealousy is a force to be
reckoned with...

MALVA
When your mother taught you of
herbs and healing... is this where
you imagined your path might take
you?

CLAIRE
No, not really... My parents died
when I was very young... I was
raised by my uncle.

Claire finds herself a bit emotional at this memory, so unexpectedly unearthed. Malva carefully takes a seedling.

MALVA
You were but a wee seedling
yourself, then. As was I when I
lost my mother... But I’m sure
they saw how much promise you had.

Toni Graphia & Luke Schelhaas

A lovely scene with Claire and Malva that isn’t from the book (and wasn’t in the first couple drafts of the script). But we wanted to build in a moment where we could see these two bonding, and Malva blossoming under Claire’s mentorship. It’s friendly on the face of it, as Malva seems fascinated by what Claire does, yet there’s an edge…  it’s about herbs, but subtext abounds.

We researched medicinal plants which could grow at the Ridge and one of them turned out to be an herb named for Helen of Troy—something which may resonate later. Beauty is indeed a blessing and a curse… the talk of jealousy foreshadows events down the road. Claire and Malva find common ground as they realize they both lost their mothers at a young age. Unfortunately, this scene was cut for time, but will appear on the DVD as a deleted scene.

Claire pauses and smiles wistfully at that. Suddenly they are interrupted as MRS. BUG appears:

MRS. BUG
Mistress -- come quick. Somethin’s
happened wi’ Marsali’s wee bairn --

OFF Claire as she wipes the dirt from her hands and goes --

4 INT. FRASER’S RIDGE - FERGUS & MARSALI’S CABIN - DAY (D1) 4

Roger is with JAMIE FRASER and FERGUS FRASER. Germain sits in the corner, looking miserable.

Claire and MARSALI emerge from the back room --

CLAIRE
He’s safe and dry now, and
sleeping. He’s not hurt...

JAMIE
All is well, then?

MARSALI
“Well?!” I should drown the lot of
them in a well. If they’d harmed a
hair on his wee head --

(to Germain)
And you -- I turn my back for one
moment! I thought he was safe,
sleepin’ in his basket but --

ROGER
Those lads convinced Germain --

Roger tries to give him the benefit of the doubt, especially in front of the boy’s parents.

ROGER (cont'd)
It was a test. It seems their
parents told them that children
like Henri-Christian are... demon-
born... and that water rejects
their wickedness.

CLAIRE
Thank goodness they didn’t think to
take him out of his basket.

ROGER
They were afraid to touch him.
They thought he’d burn them.

This pains Marsali to hear. Fergus looks at Germain --

FERGUS
And you believed this? You think
your brother is a demon?

GERMAIN
I thought they’d leave us alone,
once they could see he --

MARSALI
You know better than that!

The raised voices have awakened Henri-Christian, who starts to CRY from the back room. Marsali exits to check on him.

ROGER
(to Fergus)
Superstitious fisherfolk is all.
I’ll speak to them. Don’t let it
bother you.

But Fergus, deeply troubled, exits. Claire follows after him. Jamie taps his fingers on his belt. Then, to Germain --

JAMIE
Find your... associates. Tell them
they’re expected in my parlour
before supper to receive a
punishment -- or else I’ll come to
their houses myself and thrash them
before their parents’ eyes.

Germain would rather die. Roger sees it, feels for him.

ROGER
I’ll go with you, lad.

Germain nods, grateful for the support.

5 EXT. FRASER’S RIDGE - FERGUS & MARSALI’S CABIN - DAY (D1) 5

Claire approaches Fergus and sits next to him but is silent for a moment. Fergus starts to speak:

FERGUS
In the mountain villages of France,
a dwarf child would be left for the
wolves.

Claire reacts to that terrible thought.

CLAIRE
Well, that’s not going to happen
here. We’ll surround Henri-
Christian with love. We’ll protect
him and treat him like anyone else
and he’ll grow up happy and --

FERGUS
And after he’s grown? Will he have
a happy life? Marry? Provide for
a family?

CLAIRE
There’s no reason why he couldn’t --
or why he can’t be educated, learn
a trade, be able to work at
something...

FERGUS
Something.

Fergus echoes her, the word holding despair and derision.

FERGUS (cont'd)
With respect, Milady -- you have
never seen the life of a dwarf.

CLAIRE
(gently)
You have?

Fergus closes his eyes.

FERGUS
Yes. In Paris. The house itself
had girls, of course, and even
children. They are the bread and
butter of the establishment. But
there are always those who
desire... the exotic, and who will
pay. And so, every now and then,
Madame would send for those who
dealt in such things...

(in French)
Le Maître des Champignons.

CLAIRE
The Master... of Mushrooms?

FERGUS
Oui. The Dwarf Master.

Fergus sees a memory -- not enjoying the recollection.

FERGUS (cont'd)
“Les Chanterelles,” we called
them... The females. The males
were “les Morels.” Exotic
delicacies, valued for the rarity
of their twisted shapes, the
strange savor of their flesh...

Claire takes this in, understands the horror of it.

FERGUS (cont'd)
They were not badly treated, les
champignons.
They were of value.
The master would buy such infants
from their parents -- or collect
them from the streets. I knew one
of them quite well -- Luc, he was
called.

We would work together sometimes,
pick-pocketing wealthy customers...
I found him one day in the alley,
with his throat cut. Madame sent
the doorkeep to fetch the body,
then sold it to a physician. They
would cut them up and sell their
parts for divination.

CLAIRE
I’m so sorry, Fergus.

FERGUS
When I met you and Milord, I found
a world beyond the brothel, and
vowed never to return to such a
place. That my son might find
himself in such a life --

CLAIRE
Oh, Fergus... You can’t think that
Jamie -- that we -- would ever let
such a thing happen.

FERGUS
No, you would not, Milady. But you
will not live forever, nor will
Milord. Nor I. But the child will
be a dwarf forever -- and it’s my
fault. I was not there to protect
my wife -- and he was beaten in the
womb.

CLAIRE
His condition has nothing to do
with that, Fergus -- this is not
your fault, you have to believe me.
I’m a physician: I know.

But she’s not getting through. Fergus walks away, destroyed.

CLAIRE (cont'd)
Fergus!

OFF Claire, watching him go...

6 EXT. FRASER’S RIDGE - BIG HOUSE/BREEZEWAY - DAY (D1) 6

A heavy-hearted Jamie and Claire walk up leading the horses.

JAMIE
North Carolina is far from Paris.
We’ll see to it that Henri-
Christian is safe here.

CLAIRE
And Fergus? We knew he was feeling
guilty, but... how long has he been
feeling so useless?

JAMIE
A wee while, perhaps. And the
bairn has reminded him of his past.

(beat)
Quarter Day is coming. I’ll ask
him to help me collect the rents.

Toni Graphia & Luke Schelhaas

The upcoming Quarter Day is something we added—not in the book—but has its inspiration in the first season’s Quarter Day at Lallybroch.

Clare nods, then we FOLLOW her as she walks up to the breezeway while Jamie leads the horses away. She’s startled to find TOM CHRISTIE glowering at her, his disfigured RIGHT hand curled protectively into his chest.

CLAIRE
Mr. Christie.

TOM CHRISTIE
I’ve been waiting for some time. I
wasn’t sure how long you’d be...

CLAIRE
Some of the youngsters put our
grandson in the river to see if he’d
float. I hope you’ve not been
encouraging any of this nonsense --

TOM CHRISTIE
Mistress Fraser, I assure you, I
have not. I am an educated man.
And I’m sorry that such a thing
occurred. Is the child well?

CLAIRE
For now.

TOM CHRISTIE
I’ll speak to the boys -- and their
parents. They know I disapprove of
superstitions.

CLAIRE
My husband is handling the matter,
thank you. Now, how can I help
you?

Tom holds up his RIGHT hand.

TOM CHRISTIE
It’s been long enough, my other
hand is healed... ‘tis time.

CLAIRE
Good. Come in, I’ll prepare the
surgery and the ether.

She leads Tom into --

A7 INT. FRASER'S RIDGE - BIG HOUSE - SURGERY - CONTINUOUS - DAY (D1) A7

As Tom follows Claire inside --

TOM CHRISTIE
Ether? I have agreed to the
operation, but I will not allow you
to employ your... potions upon me.

Toni Graphia & Luke Schelhaas

Tom Christie has been such a fun character to write. His stubbornness, which Jamie comments on here and elsewhere, is a great characteristic to play with. And Mark Lewis Jones embodies the character so fully. Great fun to see that character and this scene come to life.

CLAIRE
Why not?

TOM CHRISTIE
It is the devil’s work to use --

CLAIRE
And I thought it was only
Highlanders who were stubborn as
rocks --

Jamie enters now, overhearing --

JAMIE
Stubborn as rocks, eh?

CLAIRE
Mr. Christie is refusing --

TOM CHRISTIE
Mistress Fraser insists --

Words colliding, they both break off, glaring at each other.

CLAIRE (cont'd)
God wants him to have the surgery,
but the masochist refuses the
ether.

TOM CHRISTIE
Masochist?

CLAIRE
It’s a word for --

She catches herself, tempering the actual definition --

CLAIRE (cont'd)
-- those who prefer to suffer pain.

Tom cradles the crippled hand protectively against his chest. Jamie shoots Claire a look: I told ye so, Sassenach.

JAMIE
Well, you always were an awkward
bugger, Tom. Ye must please
yourself -- but I can tell ye from
experience that it does hurt a
great deal. She means to cut into
your hand.

TOM CHRISTIE
I know that.

JAMIE
Aye. But ye’ve not the slightest
notion what that’s like. I have.
Claire healed my hand years ago.

Jamie holds up his left hand -- the back of it toward Tom -- revealing faint scars from Black Jack at Wentworth prison, and from Claire’s surgery [Eps 115-116]. He moves his hand to show it functions normally.

JAMIE (cont'd)
Hurt like the devil. But hardly
shows now. Ye dinna want to suffer
like that if there’s a choice about
it -- and there is.

TOM CHRISTIE
And I have made my choice.

Jamie looks at him under heavy brows for a moment, then sighs and exits.

7 EXT. FRASER’S RIDGE - MCCALLUM CABIN - DAY (D1) 7

Roger and Germain approach the McCallum cabin: a simple square structure, spare and unadorned. They follow the path to the front door and see Aidan sitting on the porch.

AIDAN MCCALLUM
Please, dinna tell my Ma --

ROGER
I’m not here to speak with your
mother, Aidan.

(off Aidan’s reluctance)
Or else he’ll come ‘round himself
to talk to your mother.

A woman’s SUDDEN SHRIEK is heard from inside. Roger looks at the door, then back at Aidan, who cowers. To Germain --

ROGER (cont'd)
Stay here with Aidan, aye?

Roger heads quickly into the house --

8 INT. FRASER’S RIDGE - MCCALLUM CABIN - CONTINUOUS - DAY (D1) 8

Roger enters and finds AMY MCCALLUM, standing with her back against the wall.

ROGER
Mistress McCallum?

AMY MCCALLUM
(looking skyward)
Oh, thank ye, dear Lord! Ye sent
the minister.

She bobs an anxious curtsy to him --

ROGER
I’m not exactly that, you know.

AMY MCCALLUM
Maybe not exactly, sir. But we
enjoyed yer sermon this past week --
and they do say as how yer father
was a minister. Please, can ye
help?

She nods to a large wooden PAIL sitting on the ramshackle table, a muslin cloth draped across it to keep flies out.

AMY MCCALLUM (cont'd)
Lizzie Wemyss brought me some milk
last night. I went to dip a bit
out, for Aidan, but it -- well, if
it’s no’ a devil’s got into it,
it’s somethin’ else. It’s haunted,
sir, I’m sure of it!

Roger gingerly lifts the cloth -- lets out a yelp and jerks back, the cloth flying sideways. MALEVOLENT GREEN EYES glare at him from the middle of the bucket -- then disappear in the milk with a splash.

ROGER
Shit!

Amy claps both hands across her mouth. Roger wipes the splattered cream from his face then reaches into the bucket of milk. After a few tries, he triumphantly pulls a LARGE BULLFROG out of the bucket. Amy SHRIEKS!

Toni Graphia & Luke Schelhaas

A fun/tender scene we called the ‘bullfrog’ scene, in which Roger helps Amy McCallum out. We briefly considered substituting another ‘wee beastie’ but, ultimately, we were all in love with the bullfrog from the book and decided it was bullfrog or be damned. Luckily, production was able to find us a frog. Rest assured that no frogs were harmed in the making of this scene. 🙂 In spite of the fact that the bullfrog hops out of the bucket of his own accord in the book, the problem was… the frog refused to do any more than sit in its bucket presenting a production challenge—but a fun one!

ROGER (cont'd)
It’s just a wee bullfrog... well,
not so wee, but he’s friendly.

Roger takes the frog outside to turn it loose, then quickly re-enters and finds Amy has sat down on the floor in relief. He crouches tentatively, to comfort her --

ROGER (cont'd)
Miss Wemyss watches over a number
of lads on the Ridge; my guess is
one of them was playing a trick.

Still sitting on the floor, knees pulled tight to her chest, Amy cries. Roger sits down beside Amy. He’s tempted to place a reassuring arm around her, but knows it’s not appropriate in this time.

AMY MCCALLUM
Why? Why has God brought me here?

Roger sighs -- he relates more than he’d care to admit.

ROGER
Well... we must trust that He has a
plan of some sort. Even if we
don’t know what it is.

AMY MCCALLUM
To bring us all to this terrible
place, take my husband from me and
leave me to starve?

ROGER
It’s not such a terrible place...
And it doesn’t rain as much as it
does in Scotland.

The inanity of this comment actually makes her laugh, though,
through sobs --

AMY MCCALLUM
I’ll never see it again, Scotland,
will I?

He sits with her, searching for a way to reassure her.

ROGER
I can’t say... But I won’t let you
starve. That’s all I can promise.
But I do promise it.

Toni Graphia & Luke Schelhaas

We love how this scene takes Roger from a sort of calm, stern anger (at what happened to Henri-Christian) to tender sympathy by the end.

He gets to his feet and offers his hand to help her up. OFF Amy, taking Roger’s hand to rise.

9 INT. FRASER’S RIDGE - FERGUS & MARSALI’S CABIN - DAY (D1) 9

Henri-Christian lies bundled in BRIANNA’s lap, soft blue eyes fixed somewhere far beyond her.

WE HEAR JEMMY MACKENZIE, Joan (3), Félicité (2), and Germain playing in the back room with the WOODEN TOY CARS. The children laugh and make “vroom” noises.

BRIANNA
I think his eyes might stay blue...
What do you think he’s looking at?

Marsali spins, trying out Brianna’s new SPINNING WHEEL -- complete with a TREADLE that’s been added.

MARSALI
The wee ones see heaven, my Ma
always said. And maybe there’s an
angel sittin’ on your shoulder. Or
a saint who stands behind ye.

BRIANNA
Who’s the patron saint of laundry
and darning? That’s who we really
need.

Toni Graphia & Luke Schelhaas

One purpose of this scene was to explore the ever-increasing bond and friendship between Marsali and Brianna. These two women, who could easily be rivals, are like sisters… and offer a touching portrayal of female friendship and mutual support.

Brianna puts the baby down in his basket. Small mounds of clothing lie scattered about the room or draped over the furniture: an ever-growing pile of things needing mending.

MARSALI
Ye’d have to ask Da about that.
He kens more saints than anybody.

One of the wooden cars rolls out. Jemmy darts out to retrieve it, and returns to the back room. Marsali and Brianna trade a smile, glad the kids are having fun. Then:

MARSALI (cont'd)
(re: the spinning wheel)

This is wonderful. I’ll be better
wi’ some practice. My Ma always
wanted one like this... but I’ve
been makin’ do. You really made
this?

BRIANNA
Evan Lindsay helped. He knows what
wood works best.

MARSALI
(grateful)
I’ll work twice as fast and have
more time for the bairns.

Her feet flicker up and down under the hem of her dress, working the treadle...

Suddenly a SCUFFLE breaks out -- Jemmy and Joan fighting over the toy cars. Brianna turns toward the back room:

BRIANNA
(calls out)
Hey -- no fighting, or we put the
vrooms away ‘til tomorrow.

The children quickly quiet down.

MARSALI
Why do you call them “vrooms?”

Toni Graphia & Luke Schelhaas

We were always looking for moments to pepper in Jemmy’s “vroom” toys throughout the season. Watch for them!

Brianna realizes her slip up -- and scrambles for an answer.

BRIANNA
These? Oh, it’s... a sound that
Jemmy makes, sometimes when he
plays with them.

(changing the subject)
I wonder if Roger’s having any luck
rounding up the boys from this
morning...

MARSALI
Not sure what good it’ll do. ’Tis
the parents who need thrashing.

Marsali glances out the window for a beat.

MARSALI (cont'd)
I expected them home by now.
Fergus too. He promised me he’d
stop drinkin’... so...

Brianna can see that Marsali is cautiously hopeful.

BRIANNA
Good.

MARSALI
I told Da we’d bring Germain and
the bairn over for whatever
punishment he’s thought up.

BRIANNA
I’m sure Fergus’ll be here soon.

Brianna lays a hand on Marsali’s arm.

BRIANNA (cont'd)
Things will get better. You’ll
see...

OFF Marsali’s look. She’s not so sure.

10 INT. FRASER’S RIDGE - BIG HOUSE - SURGERY - DAY (D1) 10

Claire sterilizes her scalpel as Tom Christie watches nervously. Jamie enters, holding a Bible and a glass of whisky, both of which he thrusts unceremoniously into Tom’s hands.

JAMIE
Ye’ll take help where ye can, I
suppose?

TOM CHRISTIE
(hesitates, nods)
Thank you.

Claire offers Tom a piece of small block of wood from her medical kit --

CLAIRE
Here -- you may bite down on this
for the pain, if you’d like.

TOM CHRISTIE
I’d rather say my prayers.

Before he can talk himself out of it, Tom drinks the dram of whisky, then carefully thumbs through the Bible, landing on a text of suitable inspiration. Then, clearing his throat, he straightens himself up in the chair, and places his hand -- palm up -- on the cloth that’s been prepared.

TOM CHRISTIE (cont'd)
At your convenience, then, Mistress
Fraser.

Claire rolls back Tom’s sleeve and binds his forearm tightly to the little table, using leather straps. She fastens an additional band, holding back the clawed fingers from the site of operation, and swabs his palm with alcohol.

Claire makes her first incision and Tom lets out a high- pitched GASP. He arches upward out of the chair, jerking the table across the floor with a screech. Claire grabs his wrist in time to prevent his ripping the bandages away -- while Jamie seizes him by both shoulders, pressing him back into the chair.

Toni Graphia & Luke Schelhaas

There are some scenes (perhaps many is a better word in the case of the Outlander books) that, as soon as you read them, you know, no matter what else happens in an episode that scene is going to be included. That’s how it was with Tom’s hand surgery. No matter what else we were going to do with the ether, Tom’s Ardsmuir backstory, or Jamie and Tom’s journey, we all knew that this was going to be on screen. It’s just one of those scenes. Tom’s stubborn refusal of Claire’s ether; Claire’s disappointment at not being able to use her ether for its intended use; Jamie’s fraught relationship with Tom (and what that is building towards); Tom’s religiosity (matched by Jamie’s own knowledge of the Bible); the fact that Claire gets the last word—the last bit of scripture (in scene 12); the action of the scene; the pain that Tom is willing to stand (though barely); it’s all great stuff.  Story is character and character is story.

JAMIE
Be still, man.

Tom’s face glistens with sweat. He takes a quick look at his bleeding hand, then looks away fast, white as a sheet.

CLAIRE
You might experience some nausea,
so if you do feel the need to
vomit, Mr. Christie, here’s the
bucket.

One hand still on his wrist, the other pressing a wad of sterilized lint hard onto the incision, Claire nudges an empty bucket or basin towards him with her foot.

CLAIRE (cont'd)
(to Jamie)
Shall I stop?

Jamie shakes his head, eyes on Tom’s face.

JAMIE
Shame to waste that much whisky.

Jamie presses the cup to Tom’s lips, and Tom gulps it down. Jamie takes hold of Tom’s forearm with one hand, gripping firmly. With the other, he picks up the Bible, which had fallen to the floor, and thumbs it open.

JAMIE (cont'd)
“The right hand of the Lord is
exalted. The right hand of the
Lord doeth valiantly.” Well,
that’s appropriate, no?

Tom’s free hand clenches in a fist against his belly.

TOM CHRISTIE
Go on.

JAMIE
“I shall not die, but live, and
declare the works of the Lord. The
Lord hath chastened me sore, but he
hath not given me over unto death.”

Claire continues her work. Tom’s breathing slows a little, as he attempts to recite the passage along with Jamie, pushing through the pain...

JAMIE (cont'd)
“Open to me the gates of
righteousness... I will
praise thee, for thou hast
heard me...”

TOM CHRISTIE
(murmurs)
“Open to me...
righteousness... for thou
hast heard me...”

Claire has the aponeurosis laid bare and can clearly see the thickening. A flick of her scalpel frees the edge of it -- then a painful slice, cutting hard through the fibrous band of tissue. The scalpel strikes bone -- Tom GASPS.

JAMIE (cont'd)
“God is the Lord which hath shewed
us light; bind the sacrifice with
cords
, even unto the horns of the
altar...”

Jamie glances at Claire, amused. That’s appropriate, too. She hastily blots away the blood and discards the used cloths in a designated bowl.

Next, Claire trims away the tiny fibers from the surface of the tendon. The clawed fingers twitch, and the exposed tendons move suddenly, silver as darting fish. She grabs the fingers and squeezes them fiercely.

CLAIRE
You mustn’t move. I need both
hands. I can’t hold yours.

Tom’s jaw tightens in pain as we catch a glimpse of someone watching through the window...

11 EXT. FRASER’S RIDGE - BIG HOUSE - BACK PORCH - SAME - DAY (D1) 11

Morbidly curious, Malva peeks into the surgery window. YOUNG IAN approaches and stares at her for a beat. Malva feels his presence and turns.

Instinctively, she feels a slight twinge of guilt at having been caught peeping in. She moves away from the window.

MALVA
I was only coming to ask Mistress
Fraser something. But seeing as my
father’s in there --

YOUNG IAN
All the more reason to go in -- if
ye’re Auntie Claire’s apprentice,
surely?

Malva’s eyes light up --

MALVA
(pleased and surprised)
She called me her apprentice?

Young Ian is charmed by the innocence of her enthusiasm.

YOUNG IAN
That’s why ye’ve been hoverin’
about here all the time, is it no’?
To learn the ways of a healer?

MALVA
Yes, but don’t let my father hear
you. He doesn’t like me to see him
suffer... or to offend my “delicate
female sensibilities.”

YOUNG IAN
Ye seem strong enough to stand the
sight of a wee bit o’ blood... And
you’d be helping to make him well.

MALVA
He’s more worried about the health
of my eternal soul. Prefers that I
keep my mind on that.

YOUNG IAN
Well, rather than lingerin’ out
here like two souls in limbo...
I’ll walk with ye home?

Malva smiles, pleased with the offer -- it’s nice to talk to someone with a sense of humor. She teases him --

MALVA
I’m not Catholic so my soul won’t
be in limbo... but, yes, you may
walk me home.

Toni Graphia & Luke Schelhaas

This scene (and scenes 13 and 21) was written to introduce a wee connection between Malva and Young Ian. He’s still hurting from whatever went down at the Mohawk village in his former life. But he’s opening up a little here and is intrigued by Malva. They are both outsiders in some ways and bond over the pressure they feel from their families.

OFF Ian as he whistles for Rollo --

12 INT. FRASER’S RIDGE - BIG HOUSE - SURGERY - DAY (D1) 12

Tom presses the Bible against his body with his free arm, his eyes tightly closed and face contorted with pain.

JAMIE AND TOM
“The Lord is my shepherd, I shall
not want... he maketh me to lie
down in green pastures, he leadeth
me beside the still waters...”

Jamie holds Tom’s bound arm tight, his other hand on Tom’s shoulder, as he whispers --

JAMIE AND TOM (cont'd)
“Yea, though I walk through the
valley of the shadow of death, I
will fear no evil... for thou art
with me...”

Claire knots the last suture, clips the thread, and cuts through the linen bindings. The men’s voices stop abruptly.

She lifts Tom’s hand, wraps dressing tightly around the palm and, ever so gently, presses the clawed fingers back, straightening them a bit. Tom’s eyes widen as he blinks at his hand -- amazed. Claire smiles.

CLAIRE
“Surely goodness and mercy shall
follow me all the days of my life.”

TOM CHRISTIE
(incredulous)
It worked.

CLAIRE
You’ll have more motion once the
wound heals and the sutures are
removed. But yes, it worked.

(then)
You’d better stay here in the
surgery tonight, so I can keep an
eye on it...

13 EXT. FRASER’S RIDGE - WOODS - SHORT WHILE LATER - DAY (D1) 13

Young Ian and Malva walk and talk. ROLLO is with them.

YOUNG IAN
Why would yer father ever be
worried about your eternal fate?

Malva wonders how she should answer -- there are so many reasons...

MALVA
I’m flattered you don’t think he
should be... But why not? Are we
not all sinners, Mr...? It is
Fraser, isn’t it?

YOUNG IAN
It’s Murray -- my Ma is a Fraser.
And, aye, we are all sinners. But
a young lass like yerself... surely
ye’ve done no wrong --

Malva smiles a little. She indicates his clothes and his tattoos -- her point proven.

MALVA
Looks can be deceiving.

YOUNG IAN
Aye. I suppose if she could see
me, my Ma’d be worryin’ about my
eternal fate as well.

MALVA
My mother was not so spiritually
inclined...

YOUNG IAN
What do ye mean?

Malva takes a beat, she’s never said this aloud to anyone before... but somehow she feels safe with Ian.

MALVA
She was hanged as a witch.

Toni Graphia & Luke Schelhaas

We wanted to fill in a little of Malva’s background, i.e. her mother being hanged as a witch. Perhaps that’s why she’s drawn to Claire, who is an unconventional woman—what we would call a progressive woman—and one whom the fisherfolk are suspicious of.

There’s a lot going on with the character of Malva—so many secrets and contradictions. She’s a complicated, wonderful character. Troubled, tricky, flirty, sensuous, hurt, curious, hopeful. Her universe (within and without) is suddenly expanding. It’s fun to write. And you see so much of it playing just behind her eyes in the wonderful performance by Jessica Reynolds.

Ian stops in his tracks, shocked and sad for her --

YOUNG IAN
Hanged, for a -- ? When?

MALVA
I was very young... I hardly
remember...

Malva changes the subject deftly, obviously troubled by the thought of her mother.

MALVA (cont'd)
We’re almost home now. My brother
will be home as well, and he
wouldn’t be pleased to see me
walking alone with a young man...
I’ll go the rest of the way myself.

YOUNG IAN
Aye. Of course.

OFF Ian, curious and concerned...

14 INT. FRASER’S RIDGE - BIG HOUSE - PARLOUR - DAY (D1) 14

DUSK. Germain and the FISHERFOLK LADS, including Aidan, gather nervously, as Jamie warms an IRON POKER in the fire.

JAMIE
‘Tis my understandin’ that ye
wicked wee gomerels were eager to
play wi’ fire this mornin’...

Jamie takes the iron from the fire: burning with a red-hot glow. He singes a piece of wood, pleased with the heat.

JAMIE (cont'd)
There -- good and hot.

The lads freeze at the sight, eyes big as saucepans.

JAMIE (cont'd)
I have half a mind to burn ye
myself -- but since ye’re growin’
men, who mean to learn by doin’ --

Jamie sets the poker on the hearth, within easy reach, then walks out of the room -- a beat later he returns carrying Henri-Christian in a small bassinet.

JAMIE (cont'd)
Ye have a choice...

Jamie places the bassinet on a table set before the hearth.

JAMIE (cont'd)
Touch the bairn, or the poker.

The lads gather about, they hesitate -- the poker glows hot.

JAMIE (cont'd)
Go on, make yer choice.

FISHERFOLK LAD #2
You go first!

FISHERFOLK LAD #3
I dinna want to!

Toni Graphia & Luke Schelhaas

It was interesting (and heartbreaking) to research some of these real (and frankly horrible) superstitions of the auld times.

Fisherfolk Lad #2 pushes the smaller boy toward the baby.

One by one, they poke their fingers to touch Henri- Christian’s belly, gingerly. The bairn squirms and giggles, and the lads’ fear dissipates.

JAMIE
He’s a sweet lad, is he no’? Ye
can see that he is.

Henri-Christian makes a cooing sound.

JAMIE (cont'd)
See there, ye made him laugh. He
likes you.

The boys smile. It seems Jamie’s experiment has worked.

GERMAIN
(to the lads)
I told you he wasn’t a demon.

FISHERFOLK LAD #1
Is it true, what Mr. MacKenzie
said, about the bairn belongin’ to
the Lord?

JAMIE
I certainly wouldna argue with Mr.
MacKenzie about that. But whoever
else he belongs to, Henri-Christian
belongs to me as well. Best you
all remember it.

FISHERFOLK LADS
Aye, Mr. Fraser, sir.

Jamie pulls out a tray of bread and honey that he’s been
saving for this moment.

JAMIE
Now take some bread and honey and
be on yer way.

The boys quickly grab their treats and rush out, leaving Jamie to have a moment with Germain.

JAMIE (cont'd)
Henri-Christian also belongs to
you, Germain. He’s yer wee brother
and needs yer protection. You
understand?

GERMAIN
Yes, Grand-père.

Toni Graphia & Luke Schelhaas

Nice to see Jamie exhibiting some parenting skills here as he teaches the lads a lesson about tolerance. For the record, we do not advocate for using hot pokers as a teaching tool. But for Jamie in the eighteenth century—a pretty cool moment. His unflinching love for Henri-Christian is clear. We loved the line of thought that emphasizes Henri-Christian belonging to God… and to Jamie… and to his big brother, Germain.

Jamie kisses his grandson on the head, proud.

15 INT. FRASER’S RIDGE - FERGUS & MARSALI’S CABIN - NIGHT (N1) 15

Fergus sits in a chair, idling time away, in the numbed state of intoxication that is quickly becoming his status quo -- an empty TANKARD in his hands.

Marsali walks through the front door carrying a sleeping Henri-Christian. She can hear her children crying/whining in their back room. As Marsali lays Henri-Christian down in his crib, she’s not pleased.

MARSALI
Ye didna feed the children, did ye?

She’s determined to be patient, to try -- for better or worse.

MARSALI (cont'd)
How much drink have ye had?

Fergus shrugs --

FERGUS
If I’m still talking then not
enough. Maybe I need another...

MARSALI
You promised ye wouldna.

Before Fergus can get up to fetch another, Marsali prevents him. She softens, tries to reason with him.

MARSALI (cont'd)
Ye’re so much better than this, my
love --

Fergus shakes his head, filled with disdain for himself.

MARSALI (cont'd)
My husband is strong and capable.

FERGUS
You pick two words to describe me
and one of them is “capable?”

MARSALI
Stop it. ‘Tis the truth.

(then, irked)
And I’ve another truth for ye --
I’ve seen what drink’ll do to a
man. I watched my mother put up
wi’ it; Joanie and I suffered
because of it and, so help me God,
I willna put up wi’ it again. So
please, Fergus... tell me how to
help ye, please.

FERGUS
You can’t. I’m the one who’s
supposed to help you! To provide
for you and the children -- to
protect you and the children!

MARSALI
Then all I’ll say is that I thank
the Lord Henri-Christian was wi’ me
this evenin’ and that he drinks his
mother’s milk --

FERGUS
What does that mean? You think I’d
let any harm come to him?

Marsali can’t prevent disdain from creeping into her voice --

MARSALI
Well, it’s a fine job ye’d do in
this state! Ye canna protect
anyone if ye’re drunk!

FERGUS
You’re right. Only, I wasn’t drunk
when I failed you before.

Seeing his distress, Marsali tries to show him her strength --

MARSALI
I can fight for us, too. The
burden isna only on you -- I can
protect us as well.

FERGUS
Not against men like Lionel Brown.

MARSALI
Aye. I can. And I did.

Fergus looks at her questioningly. Marsali takes a deep breath, makes a decision to tell him something, in order to help him --

MARSALI (cont'd)
Let this be a comfort to ye,
Fergus, for I mean it to be...
Lionel didna die... I killed him.

Toni Graphia & Luke Schelhaas

The revelation here—Marsali telling Fergus that it was she who killed Lionel Brown—is such a blow to Fergus. Both actors played it beautifully. It’s not only a (hopefully) unexpected moment and therefore dramatic but, once again, it propels the story by propelling Fergus further into the certainty of his failure as a man/husband/father. That’s a misguided thought of course—he’s not a failure—but in that time, his is a very real and devastating reaction.

FERGUS
What? What did you say?

MARSALI
He threatened me, he threatened all
of us -- said he’d burn the house
down over our heads... so I filled
a syringe wi’ water hemlock and
stabbed him in the neck.

Marsali meant this to make Fergus feel better. But it backfires. He’s stunned, and upset.

FERGUS
You... killed him?

MARSALI
I was worried it would haunt me.
But it doesna. An evil man is gone
and no harm will come to us.

And not because of him. Once again, he’s failed. Fergus gets up abruptly, feeling as if he’s about to vomit --

FERGUS
I don’t need a woman to protect me.
But I do need a drink.

Furious and full of self pity, he slams his empty tankard on the table with a huge bang, a demand that she fill it.

MARSALI
Thirsty, are ye?

Marsali grabs the PITCHER OF ALE and POURS it over his head--

MARSALI (cont'd)
I hope that’s quenched it. Now
leave.

Toni Graphia & Luke Schelhaas

This scene was not in the book, but we wanted to build more towards Fergus’s suicide attempt and this fight with Marsali propels him further down his dark hole. Marsali is tough, but also loving, telling him he’s better than this. But Fergus won’t give up the drink. It was important to us to ensure that Marsali wasn’t a doormat… she grew up with an alcoholic, abusive father and she won’t stand for it in her own home. She loves Fergus but is willing to send him packing if he doesn’t do right by her and their children.

Stirred by the cold shock of the ale -- and dripping wet -- Fergus looks at her, incredulous.

MARSALI (cont'd)
I said “leave.”

FERGUS
I’m the man of this house.

MARSALI
Then ye can come back when ye’re
actin’ as one --

(then)
You promised me, Fergus Fraser...
and I’ll have a whole man, or none
at all.

Fergus is in no shape to argue. She’s disgusted with him and he’s even more disgusted with himself. He exits. Marsali slams the door shut after him. She starts to cry.

16 INT. FRASER’S RIDGE - BIG HOUSE - BEDCHAMBER - NIGHT (N1) 16

Claire sits at the vanity putting cream on her hands. Jamie stands behind her, recounting his talk with the fisherfolk lads.

JAMIE
You should ha’ seen the lads... as
soon as they touched Henri-
Christian and he smiled... well,
they saw the error of their ways...

CLAIRE
And what would you have done if
they’d chosen the poker?

JAMIE
Let them have their punishment.

CLAIRE
Well, I hope they’ll go home and
tell their parents.

Jamie comes around to her right side and crouches beside her as he jokes playfully --

JAMIE
Aye. On the other hand, if their
parents think he’s demon-born, and
I’m his grandsire and ye’re his
grannie... what does that say about
us?

Claire looks at Jamie (he’s in the same spot as he was in Episode 512 when she sat at the mirror after her attack).

But we HEAR Lionel Brown’s VOICE ring out, answering the question: “It says you’re of the devil yourself...”

CLAIRE’S POV: Claire turns back to the mirror. As she does, she sees LIONEL standing behind her in the reflection -- and her face is COVERED WITH BRUISES, just as it was in 512.

Claire startles, puts the cream down quickly and looks over her shoulder -- but Lionel’s not there -- it was only a phantom. When she turns back to the mirror, her reflection is normal, but it’s rattled her.

JAMIE (cont'd)
What’s wrong, Sassenach?

She composes herself.

CLAIRE
Nothing... I’m going to go
downstairs and look in on Tom...

Jamie nods, and Claire rises and heads toward the door.

17 INT. FRASER’S RIDGE - BIG HOUSE - SURGERY - NIGHT (N1) 17

Claire enters and checks on Tom who is sleeping. Satisfied, she turns to go, but spots the Ferguson mask on the counter. She pauses, tempted. She knows it will soothe the nerves stirred up by her vision at the mirror, but she’d never do it with a patient in the house.

Toni Graphia & Luke Schelhaas

Another scene that builds Claire’s ‘ether’ arc. We see her once again triggered by the pain and fear of her abduction and tempted to use the ether to escape. In this case, she is stopped before she can get to it.

TOM CHRISTIE
Mistress Fraser?

Claire gathers herself, and turns back. She approaches Tom and touches his forehead. He stiffens at the candlelit sight of her in a NIGHTGOWN with LOOSE HAIR.

CLAIRE
You’re a bit feverish.

She pours him a drink of water, then places a hand behind his back to help him sit and -- the touch of her hand triggers something within him. He JOLTS, drawing in his breath sharply as he jostles the injured hand.

CLAIRE (cont'd)
Easy...

She holds the cup for him as he drinks, and then settles his pillows in a comfortable fashion.

She picks up the bandaged hand and he pulls away, obviously made uncomfortable by her touch... and not merely because it’s a wound, but because she’s a woman.

CLAIRE (cont'd)
I only want to see how your hand is
coming along.

TOM CHRISTIE
It’s throbbing a bit, keeping me
from sleep.

He lets her examine it... The hand is swollen, but not excessively so. Gently removing the dressing that covers the wound, she checks for infection.

TOM CHRISTIE (cont'd)
Why do you never wear a proper
kerch or cap?

CLAIRE
Why should I?

TOM CHRISTIE
Because every pious married woman
should. And...

(quoting)
“Every woman who prayeth or
prophesieth with her head uncovered
dishonoureth her head: for that is
just as if she were shaven.”

CLAIRE
Are we back to St. Paul again?
Does it not occur to you that that
man had rather a bee in his bonnet
when it came to women? Besides,
I’m not praying at the moment. And
I want to see how this does
overnight, before I risk
prophesying about it. So far,
though, it seems --

TOM CHRISTIE
Your hair. It’s... It’s...
There’s a great deal of it.

Toni Graphia & Luke Schelhaas

Claire’s long talks and repartee with Tom Christie were well-loved in the writers’ room, and much of the dialogue here is book-driven. Of course, the fantastic acting of Caitríona Balfe shows so much going on with Claire, both spoken and unspoken. And Mark Lewis Jones takes the character of Tom Christie to another level. He inhabited the character completely and it was hard to imagine anyone else in the role once we found him. Maril and Toni were big fans of his from The Crown, and we were lucky to get him for this complex and challenging role. A favorite line: Tom’s, “Your hair… there’s a great deal of it.”

CLAIRE
Yes. There is a great deal of it.

Claire turns her attention back to his hand -- his fingers.

CLAIRE (cont'd)
You must move your fingers
regularly, to make sure that the
muscles don’t contract as they
heal. It will be painful at first,
but you must do it. Let me show
you.

She takes hold of his ring finger, just below the first joint, and keeping the finger itself straight, bends the top joint a little inward.

CLAIRE (cont'd)
Now, take hold with your other hand
and try to bend that one joint.
Yes, that’s it. Do you feel the
pull, down through the palm of your
hand? That’s just what’s wanted.

Claire smiles at him. He glances hastily away, down at his hand. His stomach growls, startling them both.

CLAIRE (cont'd)
Are you hungry, Mr. Christie?

TOM CHRISTIE
A little, I suppose.

CLAIRE
I’ll fetch you something. Keep
trying those exercises for a bit.

18 INT. FRASER’S RIDGE - BIG HOUSE - KITCHEN - NIGHT (N1) 18

MOMENTS LATER. Claire cuts some HAM. ADSO appears.

CLAIRE
Hallo, cat. If you think you’re
having any of this ham, think
again. I might go as far as a
saucer of milk, though.

Toni Graphia & Luke Schelhaas

A very short scene but another favorite moment from the book. Again, so much going on with Claire: concern for Tom, but also wariness; the temptation of ether; but also this sweet tenderness towards Adso.

Claire pours milk in a saucer, sets it down on the floor and goes about assembling a light supper onto a wooden tray. Then she makes her way back to --

19 INT. FRASER’S RIDGE - BIG HOUSE - SURGERY - NIGHT (N1) 19

Claire returns, surprised to see Tom doing the exercises; his face glistening with sweat.

CLAIRE
That’s very good. Now, let it
rest. I don’t want you to start
bleeding again.

Claire presents the tray and starts to feed Tom, but he insists on feeding himself, clumsily, with his left hand.

TOM CHRISTIE
Is there someone else in the
kitchen? I heard you speaking to
someone.

CLAIRE
Oh. No, only the cat.

Tom eyes Claire with suspicion.

CLAIRE (cont'd)
No, he’s not my familiar. He’s a
cat. Talking to him is only
slightly less ridiculous than
talking to myself, that’s all.

An expression of surprise flits across Tom’s face.

TOM CHRISTIE
I told you -- I am an educated man.
I do not think you are a witch.

CLAIRE
Oh, you don’t? So you don’t
believe in witches? But there are
witches mentioned in the Bible, you
know.

TOM CHRISTIE
I did not say that I do not believe
in witches. I do. I said I don’t
think you are one.

CLAIRE
Well, I’m very much obliged to hear
it.

Toni Graphia & Luke Schelhaas

We love this scene. So much we’re learning about Tom… and yet not nearly enough. He’s still a conundrum, indecipherable—both to Claire and to us.

Tom eats for a moment in silence.

TOM CHRISTIE
I want to apologize to you. For my
behavior this morning.

CLAIRE
Oh, that’s quite all right. I can
see how the idea of being put to
sleep might seem quite peculiar...

TOM CHRISTIE
I don’t mean that. I meant that
I... could not keep myself still.

Claire sits beside him, choosing her words carefully...

CLAIRE
I wouldn’t expect anyone to hold
still when having their hand cut
into.

TOM CHRISTIE
(bitter)
Not even your husband?

(off Claire)
He said you’d healed his hand for
him. He didn’t squirm when you did
it, though, did he?

CLAIRE
Everyone’s different...

TOM CHRISTIE
You wouldn’t expect any man to do
as well as him. I know that.

CLAIRE
That’s not what I meant. I’ve
stitched wounds and set bones for a
good many men -- almost all the
Highlanders were terribly brave
about it --

TOM CHRISTIE
-- Highlanders. Hmph.

CLAIRE
You seem to think they’re no more
than Barbarians.

TOM CHRISTIE
Your husband is... certainly a
gentleman. He comes from a noble
family, if one tainted by treason.
But he is also... one of them.

CLAIRE
One of them -- you mean a
Highlander, or a Barbarian?

TOM CHRISTIE
The same thing, is it not?

Claire can’t help an ironic chuckle -- good grief.

TOM CHRISTIE (cont'd)
You know your husband bears the
stripes of flogging.

CLAIRE
Of course I do.

TOM CHRISTIE
But do you know why?

CLAIRE
I do. But you don’t.

She knows he doesn’t, from what Jamie said in Episode 601.

TOM CHRISTIE
No. Not all of them, it’s true.
He arrived at Ardsmuir with a great
many stripes. But I know that he
earned more -- while we were in
prison together. He claimed a bit
of tartan. It was forbidden.

CLAIRE
And do you know why?

TOM CHRISTIE
It wasn’t his. An old man’s, who
wasn’t of sound mind... It was an
act of... extraordinary... courage.
Incomprehensible.

CLAIRE
How he could do it, you mean?

TOM CHRISTIE
Not how. Why?

CLAIRE
Well, he’d do anything to protect
one of his men.

Tom’s gaze lands on her for a long moment as he pieces something together.

TOM CHRISTIE
Is that why... today? His presence
here...

(realizes)
Does he think I am one of his men?
Because I am not, I assure you.

CLAIRE
No. I’m sure he doesn’t.

(re: bible)
I’m sure it was simple kindness.
In both cases. He’d do as much for
any stranger -- you would yourself,
wouldn’t you?

He nods and lies back, suddenly feeling exhausted. Claire pulls the quilt up a bit, then blows out the candle.

CLAIRE (cont'd)
You did very well. Good night, Mr.
Christie.

With that, she’s gone...

20 INT. FRASER’S RIDGE - BIG HOUSE - BEDCHAMBER - NIGHT (N1) 20

Claire climbs back into bed, trying not to disturb Jamie, but realizes he’s already waking, a bit groggy...

JAMIE
How was Tom?

CLAIRE
As well as can be expected.

(a beat, then)
Is he... afraid of women? Afraid
of -- sinning, I suppose? He
seemed very uncomfortable with me
touching his hand. Or me touching
him at all.

Jamie takes a beat, fully awake now, and thinking back...

JAMIE
Aye. I was like that, too, after
Ardsmuir. It was shocking to be
touched. Especially by a woman.

Claire looks at him, curious...

JAMIE (cont'd)
It would be weeks, ye ken, and we
wouldna think of it. We were
always starved, cold, worn to the
bone. But every now and then,
something would change.

The fog of exhaustion would lift --
a story someone told maybe, or a
letter that came from someone’s
wife or sister. Sometimes it came
from nowhere. But ye’d wake to it,
in the night, in the dark, like the
smell of a woman lyin’ next to ye.
Memory, longing... need. Some men
would reach out to another --
sometimes to be rebuffed wi’ shouts
and blows. Sometimes not.

CLAIRE
And Tom...?

JAMIE
No. Tom turned inward... I was
lucky: you helped pull me back from
the darkness. Tom didna have that.

Toni Graphia & Luke Schelhaas

As fans of the book… this scene is truly a favorite Jamie-Claire conversation.

Something dawns on Claire...

CLAIRE
He was there when you arrived,
wasn’t he? At Ardsmuir. And you
left at the same time...?

JAMIE
When the prison closed, aye. Tom
was transported to the colonies to
serve his indenture. Why?

CLAIRE
Malva must be eighteen at least, I
should think... Wouldn’t Tom have
been at Ardsmuir still, when she
was conceived?

JAMIE
(thinks about it)
Or perhaps he married again when he
arrived in the colonies.

They settle in to sleep. After a beat, Claire wonders, tentative...

CLAIRE
Did any of the men ever touch you?

JAMIE
No. None of them would ever think
to touch me. I was their chief.
They loved me -- but they wouldna
think, ever, to touch me.

CLAIRE
Did you want them to?

JAMIE
I hungered for the touch of a hand,
only that. I longed for it. More
than food. More than sleep --
though I wished most desperately
for sleep. And not only for the
sake of tiredness. For when I
slept, often I dreamt of you.

Claire lifts her hand and places it on the small hollow in the center of his chest, very lightly. He closes his eyes, sighing, and clasps her hand, hard.

21 EXT. FRASER’S RIDGE - RIVER/MARSH AREA - DAY (D2) 21

A WEEK LATER. Young Ian helps Malva cut MARSH REEDS for later use in making baskets, etc.

MALVA
My brother tells me you’re a
fearsome hunter.

Flattered, Ian tries to be modest, but is secretly pleased --

YOUNG IAN
I s’pose. Keeps me well fed.

MALVA
(teasing)
As I used to say when my father’d
ask me what I must do to avoid the
fiery pits of Hell: be sure to eat
well and take good care not to die.

Young Ian laughs. But then...

YOUNG IAN
Yer father is...

(beat)
Well, it must be difficult to live
wi’ the burden of such high
expectations -- always wonderin’ if
ye’ve done right or wrong...

Young Ian knows a little something about that himself.

MALVA
Sometimes I think people make
mistakes and do the wrong thing...
but perhaps for the right reasons.

She searches his eyes.

MALVA (cont'd)
I s’pose your uncle doesn’t mind
much what you do?

She glances at his tattoos -- a glaring example of something her own father definitely would not approve of...

Toni Graphia & Luke Schelhaas

Another Ian/Malva moment. We’re learning these little bits about Malva–and about Ian too—hints about the things we still don’t know about Ian… the things he went through when he lived with the Mohawk.

MALVA (cont'd)
...that you have markings on your
face? Or that you’re... not a
Christian, I suppose?

Ian thinks about his answer.

YOUNG IAN
I dinna ken what I am or what I
believe. But I’ll always have a
home with Uncle Jamie. He’d give
me the coat off his back if I asked
him. Or wi’out askin,’ either.

MALVA
He loves you as his own son, then?

The idea intrigues her. She’s full of questions for him.

YOUNG IAN
Aye. He’s given me some land of my
own to farm.

MALVA
Must you pay him rent tomorrow?

YOUNG IAN
No, not yet. I havena been
farmin’. I dinna ken if my place
is here wi’ them -- or for how
long...

MALVA
Where else would it be? He must
think you very worthy and capable.

Ian can’t help but smile at that, but it’s bittersweet -- a callback to Episode 413 --

YOUNG IAN
Aye, a man o’ worth.

Emboldened, Malva touches the small dots of ink on Ian’s face. Ian pulls away slightly.

MALVA
Do they... mean something?

His time with the Mohawk is something he’s never talked about with anyone -- and yet he feels like he could tell her.

YOUNG IAN
That I’ve done much I’m proud of
and much that I regret...

Toni Graphia & Luke Schelhaas

Both of these characters are searching here. Can I trust again? Can I open up about what happened to me? And there’s maybe the slightest sense of attraction?

She sees the pain beneath the surface, but doesn’t press.

MALVA
You’ve lived, then.

YOUNG IAN
I have. No sin in that, I suppose.

MALVA
No. None at all.

That’s a kind of revelation to Ian. Saying it out loud, he feels a bit better about his past.

22 INT. FRASER’S RIDGE - BIG HOUSE - SURGERY - DAY (D2) 22

Claire is taking stock of her wares when there’s a knock.

TOM CHRISTIE (O.C.)
Your pardon, mistress.

Claire turns, startled.

TOM CHRISTIE (cont'd)
I came to say... thank you.

CLAIRE
You’re welcome.

He shrugs slightly.

CLAIRE (cont'd)
Please, sit. Let me have a look.

He sits, taking note of a book by the bedside: THE HISTORY OF TOM JONES, A FOUNDLING. Claire unwraps his bandage --

CLAIRE (cont'd)
It’s only been a week, but it’s
healing nicely. You’re doing the
exercises?

TOM CHRISTIE
Yes. I look forward to having its
use returned to me.

That means more than Claire realizes. Tom still owes Malva a beating [Episode 602] as a means of regaining his pride.

As Claire fetches salve and clean bandages, Tom turns the pages of Tom Jones slowly, lips pursed in concentration.

CLAIRE
I’ve been having trouble sleeping.
I find reading helps.

(then)
Do you read novels?

TOM CHRISTIE
Yes. I -- yes.

CLAIRE
Have you read Tom Jones before?

TOM CHRISTIE
No. But my wife --

He stops abruptly, having never mentioned his wife before. Claire applies a salve, waiting for him to continue.

Toni Graphia & Luke Schelhaas

Again, we are learning these little bits and pieces about Tom. Seeing behind the curtain of his complicated character. Not the whole picture—that wouldn’t be fun —but hints. We’re doing the same thing with Malva. With Allan. With Ian.

TOM CHRISTIE (cont'd)
She read novels.

Which Claire knows is unusual for the times -- the modern form of the genre still developing and their consumption usually the preserve of wealthy women.

TOM CHRISTIE (cont'd)
But I did not approve of it. Then.
I threw them all away.

CLAIRE
She couldn’t have been very pleased
about that.

Tom doesn’t really want to go there.

TOM CHRISTIE
She was not.

CLAIRE
And what made you change your mind?

TOM CHRISTIE
Ardsmuir.

(off Claire’s look)
We had no books there, but Mr.
Fraser was accustomed to recount
the stories he had read to the
other prisoners. Not Tom Jones,
but others. And I saw that fiction
was perhaps not, as I had thought,
merely an inducement of idleness
and wicked fancy, a confection of
lies.

CLAIRE
There’s a difference between lying
and telling a distracting tale,
don’t you think?

TOM CHRISTIE
It was distraction, to be sure. In
such conditions, distraction is not
evil. While it is, of course, more
desirable to escape into prayer.

CLAIRE
Of course.

TOM CHRISTIE
But it drew the men together. You
would not think that such men --
crofters, Highlanders -- would find
themselves in sympathy with such
situations.

His face lightens a little, recalling.

TOM CHRISTIE (cont'd)
They were starved, cold, covered in
sores, separated from their
families -- yet they could take
comfort in never having suffered
such vicissitudes as had befallen
these imaginary beings...

Tom actually smiles, shaking his head at the thought. But -- enough reminiscing. He closes the book.

CLAIRE
Would you like to borrow it?

TOM CHRISTIE
Oh, no. I couldn’t.

CLAIRE
Please, I insist. It will be a
distraction, from your hand. I’ll
retrieve it in a few days.

I’ll come by and see what progress
you’ve made.

He takes the book from her, accepting the gift graciously. A PATIENT appears in the doorway, waiting to see Claire.

TOM CHRISTIE
Then once again, I must thank you.

He tucks the volume under his arm and heads for the door. Then he turns back.

TOM CHRISTIE (cont'd)
I meant to say... Richard Brown
came by our settlement this
morning...

Toni Graphia & Luke Schelhaas

The reminder of Richard Brown here—and how that hits Claire—is effective.

Claire reacts to this casual news.

TOM CHRISTIE (cont'd)
He offered us the protection of his
Committee of Safety, should we have
need of it.

CLAIRE
I hope you refused him. He’s not
to be trusted.

Tom doesn’t answer, but there’s something in his look that gives Claire a chill. Tom bows and exits, as the patient enters.

23 EXT. FRASER'S RIDGE - WOODS - LATER - DAY (D2) 23

Jamie is walking along when he sees Malva Christie kneeling in the dirt, examining something under a fallen tree.

JAMIE
Lass?

Malva starts and turns.

MALVA
Oh! Mr. Fraser. You startled me.
I was looking for wood-ears.

She shows him a basket of mushrooms she’s collected.

JAMIE
What will yer father do when ye’ve
wed and left his house? He’ll need
someone to do for him I’d expect.

MALVA
I dinna mean to be wed anytime
soon, sir. We’ll manage well
enough.

JAMIE
No? Surely ye’ve suitors. The
lads swoon after ye in droves, I’ve
seen them.

MALVA
Please, sir, ye’ll say no such
thing to my father!

JAMIE
(reassures her)
I willna. I was only teasin’,
lass. Is your father so fierce,
then?

MALVA
(rather than answer)
I thought ye knew him, sir.

JAMIE
I did. I’m gettin’ acquainted wi’
him again.

(doesn’t press)
Have ye enough wood-ears there? I
saw a good many yesterday, up near
the Green Spring. I’m goin’ that
way, I can show ye.

Malva rises. Jamie takes her basket and carries it for her.

MALVA
You’re very kind.

They start down the path together.

JAMIE
Your brother’ll leave home too, I
suppose. Mebbe go down to the
coast? I ken he’s no’ really a
farmer at heart, is he?

MALVA
No, he’s not. He grew up in
Edinburgh.

Jamie remembers his conversation with Claire: about Malva’s age -- and how it could be that Tom conceived her -- but he doesn’t come right out and ask her.

JAMIE
Did ye have the same mother... yer
brother and you?

MALVA
(surprised by the question)
Of course.

Toni Graphia & Luke Schelhaas

This scene was an opportunity to have Jamie try to get some answers to the mystery of the Christies. He doesn’t have much luck, unfortunately. Actually—let’s say fortunately because it gives us something to build to. Wait for it.

JAMIE
Was it in Scotland ye were born?
Or here?

She looks at him for a beat, flattered.

MALVA
Am I such a curiosity to you, sir?

On Jamie, caught off-guard by her question.

MALVA (cont'd)
‘Twas in Scotland.

Jamie realizes half the mystery is solved. But only half.

MALVA (cont'd)
But I dinna much remember it. Some
say this place is like it, though.
Do you think so?

JAMIE
Something like. Some parts. The
Great Glen, and the forest -- aye,
that’s verra like this. But
there’s no peat here, o’ course.
And no heather either; and no
craggy moorland, that’s the biggest
difference.

Toni Graphia & Luke Schelhaas

Always nice to see/hear Jamie reminisce about his beloved Scotland.

They continue, Jamie reminiscing about their homeland...

A24 INT. FRASER’S RIDGE - TOM CHRISTIE’S LEAN-TO - DAY (D2) A24

Tom is alone, relaxing and reading Tom Jones...

TOM CHRISTIE (V.O.)
“That what is commonly called Love,
namely, the Desire of satisfying a
voracious Appetite with a certain
Quantity of delicate white human
Flesh, is by no means that Passion
for which I here contend. This is
indeed more properly Hunger;
and as no Glutton is ashamed to
apply the Word Love to his
Appetite, so may the Lover of this
Kind, with equal Propriety say, he
hungers after Women.”

Tom stops and looks up, contemplating the words, which are both provocative and upsetting to him. His expression a myriad of emotion...

Toni Graphia & Luke Schelhaas

The ‘A’ in this scene number (as you’ll know if you’ve been reading these annotations for a while now) indicates that it was added after we had a production draft of the script that we were already prepping or shooting. Meaning, it was only later (in this case much later) that we realized we needed this moment. That’s the way TV works—you shoot it, you cut it together, you watch it, and you sometimes realize you need something more to make it perfect. In this case, we felt we weren’t tracking Tom’s thinking with regard to his decision to return this book to Claire. Just when you think Tom is coming around, softening a little—nope.

24 EXT. FRASER’S RIDGE - FRONT OF BIG HOUSE - THE NEXT DAY (D3) 24

A STREAM OF FRASER’S RIDGE TENANTS trickle in by CART and HORSE, including Tom and Malva Christie. Reminiscent of a Lallybroch Quarter Day [Episode 112], there is a table set up with a couple of ALE BARRELS. The atmosphere is that of an open house. LIZZIE WEMYSS hands out cups of ale to the guests. JOSIAH and KEZZIE BEARDSLEY keep a protective eye on her as she flutters about.

Toni Graphia & Luke Schelhaas

It was great to write Jamie having his own ‘Quarter Day’—something we saw way back in Season 1 when he collected rents for Lallybroch. He’s now akin to a Laird, caring for the tenants on the Ridge, as they come to pay their share.

HIRAM CROMBIE
Thank ye, Miss Wemyss. I must
drink this before Mr. Christie sees
and chastens me.

RONNIE SINCLAIR takes a cup as well and toasts to Crombie.

RONNIE SINCLAIR
What auld Tom doesna ken willna
hurt him! Lang may yer lum reek!

Lizzie chuckles and helps the next in line.

JOSIAH BEARDSLEY
Sure ye dinna want any help, Miss
Wemyss? Kezzie and I could pass
some o’ that ale ‘round.

LIZZIE
(secretly flattered)
Oh, aye? As though every cup I
give ye wouldna go straight down
yer own two gullets. I’m no fool,
Josiah Beardsley.

Toni Graphia & Luke Schelhaas

Great to have a little Lizzie/Josiah/Kezzie scene. It’s admittedly a short scene. But it’s fun. And there’s more coming, we promise!

KEZZIE BEARDSLEY
We’ll keep watch, then. Make sure
no one steals a sip uninvited.

LIZZIE
If ye want to be helpful, fetch me
another barrel of ale.

She loves their attention. FIND Fergus, as he comes up the side steps onto the porch and slips into the house...

25 INT. FRASER’S RIDGE - BIG HOUSE - PARLOUR/DINING ROOM - DAY (D3) 25

Settlers carry small snacks of festive food and drink as they mingle. TENANTS enjoy the cheerful atmosphere, including Brianna and Marsali. Marsali welcomes the distraction.

MARSALI
It’s so good to have a rest from
the children...

BRIANNA
Mrs. Bug was happy to watch them.

Fergus slips in, taking sips from his FLASK of something stronger than ale, and avoiding his wife: he’s not here with her, and Marsali doesn’t see him enter. Fergus tries to ignore a Protestant couple, MR. AND MISTRESS MCGREGOR, who narrow their eyes at him and whisper to each other.

Jamie and Roger are seated at the dining room table as the tenants form a line. PADRAIC MACNEILL, accompanied by his VERY PREGNANT WIFE, HORTENSE MACNEILL, steps up.

ROGER
Padraic MacNeill.

Roger makes a note of the name in a LEDGER as Padraic offers Jamie his rent in coin.

JAMIE
Well done, sir. Keep it up and
ye’ll have more than enough to feed
a family o’ five.

Jamie’s in his element -- pleased his tenants are doing well. Roger notes the absence of the MacNeills’ two children --

ROGER
Aye, where are yer other two wee
scamps?

PADRAIC MACNEILL
They’ll be off makin’ mischief
somewhere.

HORTENSE MACNEILL
Gone lookin’ for sweetmeats, no
doubt.

As the MacNeills move away, Jamie spies something and frowns.

JAMIE
I’d asked Fergus to help today, but
it seems he’s having too good a
time.

Roger follows Jamie’s gaze to where Fergus can be seen hitting his flask again. It’s EVAN LINDSAY’S turn to step up. Jamie counts the coin as Roger fills out the ledger.

JAMIE (cont'd)
Evan. Ye’ve had a good year.

EVAN LINDSAY
Aye, Mac Dubh. My crops have been
blessed.

MARSALI
(teasing him)
Time the good Lord blessed ye with
a wife to spend all that money on.

EVAN LINDSAY
Perhaps He’ll introduce me to yer
sister... since ye’re spoken for.

Fergus watches all of this with bitter annoyance.

MARSALI
Careful now -- she’s far too young
for the likes of ye. And lives in
Scotland, forbye.

Fergus watches Marsali tease Evan, then exits. Marsali never knew he was there. Brianna whispers to Roger --

BRIANNA
We should set Evan up with Lizzie.
What do you think?

ROGER
Ha. If he can get past Josiah and
Kezzie Beardsley that is.

(off her look)
You haven’t noticed? They’re very
protective. Your mother says they
follow Lizzie around like two
puppies. But it’s more like two
wolves.

Roger squeezes her hand, enjoying the nearness of her.

26 EXT. FRASER’S RIDGE - BIG HOUSE - MOMENTS LATER - DAY (D3) 26

Fergus exits the house, carrying his flask. Claire, talking with Hiram Crombie, sees him, but doesn’t follow. Mr. and Mistress McGregor exit as well and start toward their wagon. Again, they stare at Fergus and Fergus has had enough.

FERGUS
Whatever you have to say to me, you
might as well say it. You’ve been
staring at me all morning. Staring
at me like you stare at my son --

An awkward pause. Mr. and Mistress McGregor are taken aback.

FERGUS (cont'd)
Have you never seen a man wi’ one
hand before? Or a dwarf?

Mistress McGregor, repulsed by his drunkenness, turns away --

FERGUS (cont'd)
Are we so hideous?

Mistress McGregor can’t help herself. She’s annoyed to be harassed in this way by a drunkard. She turns back --

MISTRESS MCGREGOR
Hideously drunk. But as to your
son, I think grotesque may be the
word. But you tell us -- if you can
bear to look at him yourself.

Fergus tosses a splash of whisky from the flask in her face. Mr. McGregor shoves Fergus back -- and Fergus SNAPS, PUMMELING the man with his wooden hand, unloading months of pain onto Mr. McGregor. Ronnie Sinclair rushes over and pulls Fergus away from Mr. McGregor. Claire and Tom Christie arrive as well --

CLAIRE
Mr. McGregor --

MR. MCGREGOR
This madman attacked me!

Fergus stumbles back, glaring at Mistress McGregor. Claire notices Lizzie standing witness.

CLAIRE
Did you see what happened?

LIZZIE
(re: Mistress McGregor)
It was her fault... mostly... She
shouldna ha’ said what she did
about the bairn... but...

RONNIE SINCLAIR
(reluctantly, re: Fergus)
... but then, throwin’ whisky in
her face didna help matters...

Claire looks at Fergus, troubled by this.

MISTRESS MCGREGOR
It is surely a curse from God --
for a child to look that way.
“Drink is the devil’s juice” --
isn’t that what you always say, Mr.
Christie? Well, the lad’s father
is never seen without a cup.

TOM CHRISTIE
The Frasers have opened their doors
to us and we will respect them in
the eyes of the Lord --

Claire is moved that Tom Christie took their side.

TOM CHRISTIE (cont'd)
-- with pity and kindness

This last comment is meant well, though it stings. Pity. Meanwhile Marsali has appeared and overheard this. She can see there’s been some conflict.

She goes to Fergus, reaches out to comfort him, but he brushes her off, taking it for pity too.

Toni Graphia & Luke Schelhaas

Another scene building Fergus’s path toward self-harm. In fact, this scene is the last straw we hinted at in one of our earlier comments. He’s drinking again and fighting… but who can blame him when fisherfolk are insulting his child? It only emphasizes how hard Henri-Christian’s life will be, and Fergus feels responsible for this. It’s telling how Tom Christie both defends the Frasers yet puts them down with his remark about pity.

FERGUS
(in French)
Not you as well.


(French)
Pas toi aussi.

ON Fergus as he moves sullenly away, alone, and Marsali turns to Claire questioningly. As Claire starts to explain...

ROGER (PRE-LAP)
As we all settle in this new land,
so far from the soil in which many
of us were born, I want to reflect
on the words: Thou shalt love thy
neighbour as thyself.

27 INT. FRASER’S RIDGE - MEETING HOUSE - NEXT DAY (D4) 27

MORNING. Roger’s at a PULPIT. The Protestants have gathered, eager for God’s word: Mr. and Mistress McGregor; the MacNeills; the McCallums; Hiram Crombie and MRS. CROMBIE; the Fisherfolk Lads (#1,#2,#3) and their parents.

Brianna sits off to one side. The Christies have the place of honor in the center of the first bench. Malva looks demure in a cap sitting between Allan and her father.

ROGER
I feel compelled to tell a story
about a helpless child who was
floated down a river in a basket...

The fisherfolk lads squirm a bit and Aidan glances nervously at his mother. This is going to be about them. But...

ROGER (cont'd)
His name was Moses.

Toni Graphia & Luke Schelhaas

A nice trick played by Roger here, relating Henri-Christian to Moses.

Brianna smiles at Roger’s clever switcheroo. Amy McCallum gazes at Roger, with open adoration that makes Brianna uneasy when she notices it. As the sermon continues...

28 INT. FRASER’S RIDGE - BIG HOUSE - BREEZEWAY - DAY (D5) 28

Claire walks out and is surprised to find... her TOM JONES BOOK sitting on the bench with a note from Tom Christie: “This is filth. I thought better of you.”

ROGER (V.O.)
Pharaoh ordered that all Hebrew
boys be thrown into the Nile and
drowned -- an edict that almost
killed the child who would later
lead God’s people to freedom.

Toni Graphia & Luke Schelhaas

Once in a while, we like to do one of these sequences where a single voiceover carries over several small scenes and unites them for effect. It helped us to wrap up all of the story threads in this episode. And Roger’s sermon about Moses is the perfect fit to bring us to scene 32 where Fergus tries to end it all.

OFF Claire, realizing Tom is still Tom...

29 INT. FRASER’S RIDGE - TOM CHRISTIE’S LEAN-TO - LATER - (D5) 29

Malva is bent over a chair, her skirts lifted, exposing her bare backside, and Tom is whipping her with his belt -- held strongly in his healed right hand -- making good on that promise he made [Episode 602].

ROGER (V.O.)
It was fear that made him do it...

Tom whips and whips -- and Malva takes it with silent, strong, accustomed suffering. She’s used to this.

A30 EXT. FRASER'S RIDGE - TOM CHRISTIE’S LEAN-TO - SAME TIME - DAY (D5) A30

Outside, Allan listens to Malva’s beating... troubled and angry at his sister’s suffering, and his father’s cruelty.

Toni Graphia & Luke Schelhaas

We always knew Tom would make good on his promise of whipping Malva (a scene inspired by the book, though slightly different here). But it was only a much later realization that we needed to see Allan witnessing the event. As we said in an earlier episode’s annotations, we’re getting A LOT of story arcs going in these first few episodes. And there’s A LOT more coming.

30 INT. FRASER’S RIDGE - FERGUS & MARSALI’S CABIN - DAY (D5) 30

Marsali makes use of her new spinning wheel, distracting herself from her troubles.

ROGER (V.O.)
For months, Moses’ mother kept him
hidden away, risking her own life,
until he was too big to hide. She
placed him in a basket in the River
Nile and prayed. She entrusted him
to God, in spite of her fear...

31 EXT. FRASER’S RIDGE - DAY (D5) 31

Jamie is going out to fish. He notices Fergus walking in the distance and gets a funny feeling.

ROGER (V.O.)
Many of you are parents. To what
lengths would you go, to protect
your innocent children...?

Jamie watches -- can’t shake the feeling that something is off... He sets down his gear and follows after Fergus --

32 EXT. FRASER’S RIDGE - RIVER - DAY (D5) 32

Jamie comes through the trees in time to see Fergus rolling up his sleeve. As Jamie watches for a beat, curious -- then shocked to see Fergus take a small KNIFE in his right hand, and SLASH THE VEINS OF HIS LEFT ARM -- blood streaming out --

ROGER (V.O.)
You never know what you’ll be
willing to do, until --

Roger’s VOICEOVER STOPS ABRUPTLY.

JAMIE
Fergus!

Jamie bolts down the hill, grabs Fergus and quickly wraps his hand around Fergus’ arm tightly, attempting to slow the blood loss -- Fergus yanks away, sad and lost.

FERGUS
No -- milord. Let me be.

Jamie attempts to restrain Fergus, but he keeps struggling, losing blood, until -- Jamie HITS him. Fergus falls to the ground, finally surrendering. Jamie pulls his neck stock off and wraps a tourniquet -- stopping the blood loss.

FERGUS (cont'd)
Let me die -- this is the only way.

JAMIE
Marsali and the children need you --

FERGUS
This is for them! Marsali can
marry again -- find a man who can
provide for her and the children,
and protect Henri-Christian. I
cannot.

JAMIE
You can --

FERGUS
-- you know damn well I can’t!
Roger saved him. You protected
him! I’m nothing -- I’m useless!

He raises his stump. Jamie’s heart breaks.

JAMIE
You? Useless?

Jamie makes Fergus look at him. In Jamie’s eyes is enough love to envelop the Earth -- and it’s all for Fergus.

JAMIE (cont'd)
With only one hand, ye kept our
family together when I was at
Ardsmuir. Wi’ one hand, ye
convinced a beautiful girl to marry
ye -- and convinced me to give her
away to be yer wife. Wi’ one hand,
ye helped me at my print shop when
I was grievin’ for Claire. And wi’
that one hand, ye’ve made some of
the finest whisky that ever crossed
my lips -- and ye will again.

Ye’re the only one who can show yer
son what a “useless” man like ye
can achieve. And how proud he can
make his father.

Jamie kneels with Fergus, embracing him, wet with blood and water, locked together -- as if Jamie might never let go.

Toni Graphia & Luke Schelhaas

It was Fergus’s storyline which shaped this episode and here it comes to a head with his tragic attempt to kill himself. It is only the love of his father, Jamie, that can bring him back from the brink in this powerful scene.

JAMIE (cont'd)
Ye dinna ken, lad, that it is you.
Not what you can give, or do, or
provide. It is you we need...

JAMIE (cont'd)
(in French)
Do you understand, my child, my son? Do you understand?


(French)
Tu comprends, mon enfant, mon
fils? Comprends-tu?

FERGUS
I am not who I once was, Milord. I
do not know if I can be that man
again.

JAMIE
You can. You will.

Toni Graphia & Luke Schelhaas

This whole Fergus story (or at least the general thrust of it, including Roger’s rescue of Henri-Christian in the river) is in the book. However, in the book, it happens sort of ‘off-screen’ with Jamie telling Claire about it after the fact. It also happens much later in the book than it does here. The decision to play it on screen was sort of an obvious one—it’s such good stuff. In addition, it’s the main story arc for Fergus and Marsali and we didn’t want to hold off on seeing it for too long. It also provided an incredibly salient dramatization of the conflict brought to the Ridge by the arrival of the Christies and the fisherfolk… the sense of otherness and tense opposition that needs to be resolved. Will it be resolved? Keep watching!

OFF a glimmer of hope returning to Fergus’ eyes as he holds onto his father...

33 EXT. FRASER'S RIDGE - FERGUS & MARSALI'S CABIN - DAY (D5) 33

ON MARSALI, opening the door and looking out to see Fergus arrive, arm now bandaged, with sorrow and love in his eyes.

Jamie and Claire (who has tended to Fergus’ wounds) stand behind, hanging back to allow the young couple a tearful moment of tender rapprochement alone.

OFF Marsali as she hands Henri-Christian to Fergus, and Fergus holds his son lovingly... a new start...

34 EXT. FRASER'S RIDGE - BIG HOUSE - DAY - LATER (D5) 34

Jamie and Claire walk to the house. Claire puts a hand on Jamie’s arm, knowing the sadness he feels. A CART approaches on the drive -- MAJOR DONALD MACDONALD and his DRAGOONS.

JAMIE
Major MacDonald?

MAJOR MACDONALD
Mr. Fraser. Mistress Fraser. I
come bearing gifts.

They join him at the back of the cart, where FOUR DRAGOONS pull a tarp off of two large CRATES. They jemmy the lids off the crates to reveal: 30 RIFLES and MUSKETS.

MAJOR MACDONALD (cont'd)
Your letter requesting guns was
well-received.

He means the letter Jamie wrote on behalf of Bird-Who-Sings- In-The-Morning [Episode 602]. Jamie takes in the sight of the guns, the reality hitting him.

MAJOR MACDONALD (cont'd)
And it appears the loyalty and
readiness of the Snowbird Cherokee
could not come at a better time.

He hands Jamie and Claire a broadsheet (newspaper). They read the front page, Claire picking out familiar -- to her -- headline: Tea Destroyed at Boston Harbour.

CLAIRE
(quietly to herself)
... The Boston Tea Party.

Toni Graphia & Luke Schelhaas

And as a coda, we have Major MacDonald arrive with the guns…we loved that we were able to reference the Boston Tea Party… it’s often hard to do in the show, because of the difficulty of making certain historical dates line up with our characters’ timeline. But we like to work them in where we can in order to give the audience a frame of reference. Claire knows that the storm that was on its way (a reference to dialogue from the previous season) is finally here.

MAJOR MACDONALD
So you’ve heard.

Jamie realizes Claire has heard (being from the future).

MAJOR MACDONALD (cont'd)
I imagine the King will view it as
an act of outright aggression.

(returning to the guns)
Where would you like them?

Toni Graphia & Luke Schelhaas

The arrival of guns (requested in the previous episode) sets Jamie on a path that will force him to make some difficult decisions down the road.

JAMIE
We’ll store them in the corncrib
for now.

As MacDonald and his men haul the crates away, Jamie and Claire hang back.

JAMIE (cont'd)
(re: the newspaper)

What does it mean?

CLAIRE
It’s starting. The storm. The
war. It’s almost here.

Toni Graphia & Luke Schelhaas

Claire’s line “It’s starting. The storm. The war. It’s almost here” was used in our Season 6 teaser trailer. It’s their anticipation of the Revolutionary War, but it also references the audience’s anticipation for the new season. Believe us, as writers and producers of the show we share in that anticipation. We couldn’t wait for Season 6 to start. We hope you’re enjoying it!

OFF this ominous realization...

FADE OUT.

END OF EPISODE