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Sam Heughan Talks Us Through the Five Stages of Jamie’s Sadness

Season three of Outlander has been devastating so far.

Sam Heughan as Jamie Fraser in Outlander

STARZ

Who is Jamie Fraser now? The man we knew from seasons one and two of Outlander has gone through a monumental shift after losing the love of his life, and in every episode of this season so far, he’s almost been a different character, with a new name and a new life. “I really feel like every episode has been a mini-movie,” actor Sam Heughan told ELLE.com, “and episode four is like Downton Abbey.” When we caught up with the actor in his trailer on the Outlander set in Cape Town, South Africa, he took us through his process of portraying Jamie Fraser as the Dun Bonnet (the rebel outlaw), Mac Dubh (the leader of men in Ardsmuir Prison), and Alex MacKenzie (the groom at Helwater). Yet while he may take on different guises, he’s always a wanted man—in more ways than one.

Here, find out how Heughan took on the challenge of an ever-changing Jamie.

Nice costume! Are those satin boots?

Yes! It’s nice to be wearing something more genteel than a kilt. [Laughs]

For someone who is supposed to be 20 years older, you’ve aged well.

I disagree with you, actually! On screen, obviously, Jamie does age very well, but I could show you a list of everything we’ve done to him, everything the make-up artists have done. A little gray hair, prosthetics on my forehead, a little eyework. But it’s more his journey, what’s happened to him, about what he’s gone through. It’s really hard to lose someone and find a way to go on.

Jamie Fraser Outlander Sam Heughan

Jamie Fraser (Sam Heughan) at the Battle of Culloden

STARZ

From what I understand, you modeled Jamie’s journey on the stages of grief?

Yes! It’s a whole journey in the first few episodes, where he comes to terms with the fact that Claire’s really gone, and finds a will and a way to live. He actually doesn’t want to be Jamie Fraser anymore, and so he creates all these different personas for himself, in each town, in each episode. It’s actually been fantastic. It’s been a real gift, this season. I wrote it down with the directors, all the stages of grief, and we tried to figure out where they all factored in.

So the Battle of Culloden was the anger stage?

Yes. It’s a great start to the season. He loses Claire, and he goes into battle, and I wanted to show him being cut a lot, and not caring. It’s almost like he’s committing suicide. He’s being very rough. There’s one scene, where he slashes a guy’s throat, and we were going to have it like he was smashing this guy’s head in with a rock or something, because he’s using the battle to take out his anger of losing her.

And then we go through his disbelief. That whole sequence after the battle where he’s hallucinating? He’s getting closer and closer to death, he’s bleeding out, and he sees Claire while he’s in this dreamlike state. Rupert saves him, and the pain brings him around, but I thought, he’s such in a bad way physically, and with his grief, that he doesn’t want to live. But he’s so deteriorated that it hasn’t fully hit him. He’s just lost. The first time you really see him conscious, and wrestling with it, is when he’s hiding out as the Dun Bonnet. For me, that’s when he’s in the worst place.

Sam Heughan as Jamie in Outlander

Jamie Fraser in hideout mode

STARZ

He barely even speaks.

They had it in the script that he spoke a little more, but I thought he shouldn’t. I felt like he should be very quiet. He feels like his actions have hurt everyone around him, and he doesn’t really want to be at Lallybroch. He had built a life there with Claire. He sees her everywhere. There’s one section when we see her appear in front of him, but I think that’s happening a lot. Everything reminds him of her. He’s in so much pain, he’s lost any form of communication. It’s a bit of self-punishment as well.

But when this thing happens to Fergus, he realizes that he’s got this family, and some sort of responsibility to them. Actually, there was a sequence, a fairly large sequence that got cut, where this Scottish Redcoat followed Fergus and found Jamie’s cave, and there was a fight. Jamie ends up drowning him in the river. And I kind of liked that, because we saw this other side of Jamie: this ruthless, feral side. He’s so used to living off the land, eating wild animals, and there’s now something savage about him.

“HE ACTUALLY DOESN’T WANT TO BE JAMIE FRASER ANYMORE”

He manages to connect with Mary McNab, though.

He just needs some sort of human interaction that isn’t a reminder of Claire. And the way we shot it, he just can’t…He just closes his eyes, because he wants to shut it out. The best place for him, really, is prison. Which is why he’s more than willing to give himself up, to help these other people. He feels his life is worthless, so why not? But the whole time at Ardsmuir Prison is really hard for him, because he wants to just die in the corner, and yet he gains this status with the men, unwillingly. He doesn’t want to be a leader of men. He doesn’t want to have attention. But the men have this respect for him, and he does want to look after Murtagh. I feel like at this point, he sees what these men want, and he knows he needs to keep them going. So he’s found a bit of purpose.

When he’s asked to translate what the wandering man is saying, his words give Jamie hope that Claire might have come back.

He knows it’s madness, but he can’t help himself. He wants to hold on to her. He’s been talking to her, dreaming about her, thinking about her, and so he goes on this sort of fool’s errand, to escape to this island. But there is nothing there that he is looking for, although something else is there. And that’s when he’s like, “Oh, God. She actually is gone. She is not coming back.” That’s when he finds acceptance, ultimately. Which is great, because it means he can move on. And that’s really hard for someone to come to terms with.

Jamie Fraser (Sam Heughan) and his son, William Ransom​ (Clark Butler)

Jamie Fraser and his son, William Ransom (Clark Butler)

STARZ

So by the time we get to his adventures at Helwater, he’s moved through all the stages?

Exactly. I wanted to play it like—before, he wasn’t sure what John Grey was going to do to him, because he still has a bit of Black Jack[–inspired] distrust, but then he sees what he’s been given. And he’s able to find some peace there. He’s back with horses, which he enjoys. After being all over the world, and being involved with history, politics, revolution, now he’s got a quiet life. He’s happy to be in the shadows serving someone else.

Although serving someone else brings him into yet another woman’s bed!

[Laughs] It’s a little complex! He’s not trying to replace Claire. It’s either done in finding solace, some sort of companionship, or, in Geneva’s case, because of blackmail. And then it means he has a child he can care for, even if he has to do it from afar. For him, having Willie is very rewarding. He’s always wanted children, always wanted to care for them, so it’s heartbreaking when he has to leave Willie behind. And in such a short amount of time to deal with it all! We literally only got one scene there. But he carries Willie wherever he goes now. At least there’s someone else there to live for now.

Sam Heughan Talks Us Through the Five Stages of Jamie’s Sadness

Outlander’s third season has been an epic voyage, especially for its hero Jamie Fraser. Sam Heughan, who plays the fighting Scot, fills us in on the many guises Jamie has assumed so far-and on how Claire’s loss has affected him.

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Title: Of Lost Things

Written by: Toni Graphia

Directed by: Brendan Maher

This recap includes information from both the official script and  Starz podcasts  by the executive producers and will include things changed or edited for television.

The podcast was hosted by executive producers Toni Graphia (TG) and Matthew B. Roberts (MBR).  The original title was going to be Helwater but Matt felt that this title applies to so many people and things in this episode that it fit.

This episode was highly anticipated (or dreaded depending on which scenes we are talking about).  I thought there were excellent changes including one important one, a few plot holes and once again, outstanding performances.  There should be a special award for Bear McCreary’s score, David Berry’s eyebrows should win best supporting actor and if Sam Heughan doesn’t get nominated for a major award this year, there will be some serious crockery throwing in this house.

The title card is of a man’s hands carving something out of a piece of wood.  We see it is a snake that resembles Sawny, a sentimental gift to a young Jamie from his brother Willie.

We begin in 1968 right after episode 213 ended.  Claire, Bree and Roger have a war room set up to try to find out what happened to Jamie after he survived Culloden.  Claire locates him on a prison roll from Ardsmuir and they find that he was still alive for three years until the prison closed.  (I was thinking she might have found Murtagh’s name too but perhaps they were just focused on Jamie and didn’t bother scanning for more familiar names.)    TG notes that Roger names all real prisons in Scotland at that time and they tossed in Blackness as an Easter Egg for the fans since that is where they filmed for Fort William.  Bree and Roger go find whisky to celebrate while Claire wonders what Jamie did next.

The answer awaits us in the next scene.  We are at Helwater, home of Lord and Lady Dunsany and their daughters as they return from Italy,  in a scene with the servants lined up in such a way that TG calls Downton Abbey.  The script says that Lord Dunsany is in his 50’s and his wife in her late 40’s which I find hard to believe but they must have aged faster in those days.  (Think about how beautiful Claire looks at 50.)  Geneva and Isobel are 21 and 20, respectively.  I hate that the smart daughter is always the plain one with cheaper gowns.  TG said she was going for the Lady Mary/Lady Edith vibe from Downton.  Dear Toni, Not even close to the same show.  Unless you care to resurrect Matthew through the stones.

Dunsany speaks to Jamie (using an alias of Alexander MacKenzie) and advises him that while Dunsany is aware of his Jacobite past, his wife is not.  She is grieving the loss of their son, who died at PrestonPans and may not be so forgiving.  Dunsany respects his commitment to his cause, and so will keep  his secret but not let him free.  Jamie notes that many lost children on both sides and then breaks my heart for the first of many times this episode with this line.

It’s 1968 and we’re back to Roger and Bree in his broken down car.  She teases him about Fiona’s interest in him and he acts like he’s 15 instead of 30 by getting all embarrassed.   The EP’s in the podcast keep talking about how cute they are.  Is there a reason they are pushing this couple?  Book readers know what happens and non-book readers should be able to watch it happen.  They flirt a little and Bree shows off her mechanical skills in what is foreshadowing of things to come.   There is another bit of dialogue in the script that I am so very happy did not make it for a variety of reasons. 

Apparently this was Ronald D. Moore’s idea but then an assistant told TG that JAMMF was kind of a fan thing.   Thank goodness for that assistant.  First, because that’s a great line by Roger that was originally said when he found Claire asleep with a book in her hand still searching for Jamie.  And he speaks that line to (virtual) Jamie.  It was more poignant in the book version.  Second, Bree’s lines are just so stupid and corny that it would make people dislike her character even more and it breaks the fourth wall in a bad way. That Easter Egg would be rotten.  Somebody give that assistant a raise.

Back in Helwater, “Jimbo” is comfortable with his life around horses.  The grooms draw straws to see who gets stuck taking  the entitled, rude Geneva on her ride.   Jamie draws the long straw  and makes a comment about what that spoiled girl really needs.  Her sister Isobel overhears but doesn’t disagree.  They discuss the beautiful horses and stables but she notes that a cage is still a cage and one can’t help but think that it applies to Jamie as well.  A friendly bond begins to form here.

We bounce to 1968 and Roger takes a  phone call from the hospital in Boston for Claire.  It’s Dr. Joe who is really calling to see when she’s coming home.  TG noted they wanted to put the squeeze on Claire in terms of both of her obligations needing her.  Always glad to see Dr. Joe but this scene seemed unnecessary especially when an important scene is cut for time later.

In Helwater, we meet the Earl of Ellsmere, an older, pompous man who has been promised to Geneva, because that’s what happens when you give women  no rights or opportunity to earn a living.  She’s disgusted at the idea and glancing at the new handsome groom, a plot forms in her mind.  The next time they draw straws, she orders Jamie to take her instead.  She teases him, takes off without him and pretends to be thrown from her horse.  He finds her, tries to help her and when she laughs at him, he drops her in the mud.  ‘I laughed out loud.

MBR and TG argued about whether she should be pissed as in the books or a good spirit about it.  TG won out, but I think Matt was right.   They had to make several of the gorgeous riding dresses to do these takes which I guess took up all the costume budget as poor Isobel is stuck in the same dress throughout the episode.

MBR noted that the book called for her to fall off in the river but the water was cold and doing multiple takes makes it hard and is unhealthy for the actors.  So, I guess it was OK to put poor Sam Heughan in the ice cold stream by the mill pond in Season 1, eh?   Remember his comment when he slid into the water?  Cack!

Lord John is visiting!  His family are friendly with the Dunsanys.  He and Jamie play chess and you see Jamie relax for the first time in awhile.  They are met in the field by Lord Melton (LJG’s brother Hal from Culloden) and the sisters.  Melton is shocked to see his brother playing chess with the very much alive Red Jamie but holds his composure.  LJG can tell Hal is displeased..again.  Geneva, ever the conniving one, smells there is a greater truth somewhere and decides she is going to find out.

Geneva finds Jamie near the stables “shoveling shit”.  In the book, he’s in the field with his shirt off but not only was that difficult to film, MBR liked the idea that others were around them and they had to whisper.  She tells him a drunk Lord Melton told his story and she knows he is Red Jamie.  She tells him he must come to her bed before her wedding in three days or she will tell her mother about him which will see him back to prison.  She does not want her first time to be with the old dude.  And she reveals her knowledge of Lallybroch and the obvious threats to his family if he is found near there.  He’s pretty mad but reluctantly he agrees to avoid risk to his own life and those of his family.  TG notes she is basically a female villain.  MBR said she is diabolical but underneath, it’s all an act.

The sex scene with Jamie and Geneva was hard to film.  MBR said it is always hard to show Jamie or Claire with somebody else because in the book, you can imagine it the way you want but in the show, it is right in front of you.

Jamie enters the room and does not look happy.  TG said it is clear he is angry and feels manipulated.  But she felt in some ways, Geneva deserved a break. She does not know Claire existed.  It was a challenge to show her as a girl, who for once, is not in control.   Even though Jamie is angry at the situation, it is his humanity that lets him see her vulnerability.

MBR said for Jamie, it is not personal and it is not intimate.  It is a physical act that he has to get through.  There will be a primal instinct for a bit as he’s a man who has had a woman only once in almost a decade.   MBR indicated that they even spoke with the director and specifically said it should not be romantic.  They even adjusted the lighting and the music so that it was not romantic.  The music had a rather ominous tone and in a great blog I read recently (apologies I cannot find it to credit properly),  the blogger notes it is actually very similar to a theme played when Black Jack was describing his flogging of Jamie.  Verra interesting choice, Bear.

The act goes on for too long, though.  Not only do I not want to see Jamie having sex with someone else for five minutes (especially after they went completely the other way in Season 2) but if the man has not had sex in years, he isn’t going to last that long even if he is JAMMF. But he doesn’t touch her much and  just finishes and rolls off her with a stern look on his face.  (It’s important to remember that he was twice her age here.)  In the end, the inexperienced Geneva thinks she is in love but Jamie pours cold water on that thought and explains to her that it was not special.  Then Claire returns to the room (in his mind) and he tells her what special really his.  MBR said it was a great example of one handed clapping.  Geneva is clapping, Jamie is not and there’s no sound.

I also want to give a two handed clap (I hope that’s not a euphemism) to TG for re-writing the squirrely consent/lack of consent in the book to make it quite clear that there was definitely consent and in fact, there was the offer to back out.  That was one of the worst choices Diana Gabaldon ever made in these books, no matter how man times she tries to double-down that it wasn’t rape.  We teach young men and women that No means No.

Thankfully, we leave Geneva’s bedroom back to 1968.   Fiona is giving Ellen Fraser’s pearls to Claire even though Claire had given them to Mrs. Graham (her grandmother) when she first came back through the stones.  I found this an odd choice to include when in the book Claire had just kept them to give to Bree.  She kept Brian Fraser’s ring, she could have easily hidden them from Frank.  We never saw Frank destroy them so nobody would question where they were.  It just seemed like an added plot that was not needed.   Either way, it is foreshadowing of at least two scenes to come.

The three historical detectives keep looking and coming up with dead ends and Claire is getting discouraged.  Bree confesses that she is torn between seeing her mother happy by finding her father and knowing that will mean she could lose her forever.  Roger is torn for similar reasons as he knows  they will leave for Boston if they come up short and he could lose Bree.  She kisses him on impulse.  TG said they wanted Bree to take the lead since we already know how Roger feels about her but it was unclear how she feels in return.  Once again, Roger looks 15.  I’m not finding it so cute any more.

Geneva is married but on one of her returns to Helwater, she gets out of the carriage to show Jamie a little surprise.  She’s pregnant and it ain’t an Ellsmere.  The wheels turn in Jamie’s head and he’s pretty sure his super-sperm have given him yet another child with unfortunate timing.  A couple of  months later, a frantic Isobel comes to the stables to find him as Geneva is giving birth and it isn’t going well.  The researchers had to correct the script here as she tells him to hurry! but in those times, they didn’t hurry, they made haste.

They make such haste to Ellsmere’s estate to find that a boy is born (see light-bulb of happiness over Jamie’s head for a minute) but there is a problem.  She’s in trouble and the Earl is quite pissed since he has never slept with his wife and this isn’t no miracle baby.  (Why didn’t Geneva just sleep with him once to cover her bases?)  Isobel is in tears as Geneva has died and Jamie’s brain is full of emotions including guilt.  Isobel reveals she knew about their one night stand and blames him with a stinging slap.  (MBR said she really slapped him.)  A maid comes to retrieve them as the Earl is threatening to kill the boy.  Jamie takes Lord Dunsany’s gun and fires it, killing the Earl. He rescues the child who winks on cue (sign this kid up for S4, he hits his marks) and the look of brief happiness that flits across Jamie’s face must be quickly concealed.

Later, Jamie is riding in the woods when Isobel comes up to him with the baby in a carriage.  Carriages were not period appropriate but that’s what TG wanted to do.  She tells him the baby is William after her father, which pleases Jamie because William was also his brother.  She leaves him for a moment as her mother approaches from the distance.  This gives Jamie a chance to look at his son and assure him that he shouldn’t worry, his father was here.  But Lady Dunsany reveals she is aware of his past and can arrange a pardon in exchange for saving her grandson.  Jamie makes up a story that he needs to keep sending money home and he will stay for awhile.  (PS.  Stop looking at the baby when you say that, you’ll blow your cover-and  his.)

Five years later, we see Jamie helping a young boy who looks of Mediterranean descent (Um, I mean Willie) on a horse.  This kid looks nothing like Sam Heughan and resemblance is a key part of the plot here.  I guess I can overlook it as he really did a great job.  It’s hard to believe he’s 11 in real life.   Think about it, that’s how old Fergus was supposed to be at PrestonPans.  Lady Dunsany comments on this resemblance in a joking way but Jamie hears her.  Later, he’s cleaning a carriage with Willie and notices the resemblance in the reflection.  He knows he has no choice but to leave.

But first we’re back in 1968 with Claire, Bree and Roger in a bar listening to a recitation of Robert Burns’ poem with the line of Freedom and Whisky go together.    Claire comments she used to say that to Jamie.  Don’t step on that Foreshadow, Roger.

Willie learns “Mac”is leaving and is  not happy.  He acts up in anger and when Jamie calls him a little bastard, he hates that line.  One wonders if he’s heard whispers.  Jamie is stung, realizing the double meaning and apologies.  We know this is important to him because he was a bit ashamed that his own father was a bastard.

Willie spontaneously gives him a hug and the this cuts right to Jamie’s heart (and mine) as he knows he has the love of this child that he can never claim.

 

 

LJG is visiting Helwater again.  He has heard Jamie is leaving which makes him sad as well but he knows that it is for the best as he too has guessed about Willie’s parentage.  They walk and Jamie asks him if he will look after Willie and offers his own body in return.  This shows how serious his request is and LJG doesn’t even know what he’s been through (unless you’ve read the novella).  David Berry gives a great performance of disbelief, joy and gallantry.  He refuses him and tells Jamie he is to be married to Isobel and that together they will raise Willie.   This scene was so great on many levels.  The bromance chemistry is very real and it makes me happy for Jamie to have such a friend.  As MBR said, if you think about their evolution, this man was once his prison warden and now he is asking him to raise his son.  

They shake and Jamie  puts his left hand over their clasped hands, which has great significance to LJG after their awkward moment in Ardsmuir.  Matt said handshakes weren’t period correct either but it seemed too little to just bow as a thank you. 

Jamie returns to his room with candles lit and prepares to take out his hidden statue of Saint Anthony, the patron saint Of Lost Things.  (Saint Anthony works overtime for me but always comes through!)  Willie enters and inquires about the candles and Jamie tells him that he prays for his family and his wife, whom he thinks about, always.  In the script, Jamie is praying before Willie enters including the famous line which mysteriously has been left out all season about praying that Claire is safe, she and the child.  There was a scene of Claire praying for him too that was going to be a nice pairing and for some reason, they were both edited out.  That makes me shake my head in so many ways.  Leave that in and take out the useless phone call from Joe or cut the Geneva loses her virginity scene down by 25 seconds.   Will somebody please give the editors a copy of this book?  Although RDM has read it.  “nuff said.

Willie wants to be a “stinking Papist’ like Jamie and he is baptized by his father.  Jamie gives him a carving of Sawny with his own name carved in the back.  I loved this change from the rosary, as the writers correctly point out that there is no way a British prison would let a Jacobite keep anything of value, especially a symbol of Catholicism.

It’s time to go home. Claire and Bree back to Boston and Jamie back to Lallybroch.  Claire looks as sad a she did hopeful at the end of 213.  Back at the Wakefield residence, Roger tears up over what might have been with Bree.  Bob Dylan’s song My Blue Eyed Son plays in the background (a rare choice of contemporary music and TG’s choice ever since she read the book).  Jamie says goodbye to Isobel, who whispers they will take care of his son and LJG has tears in his eyes for his friend and for him.  Jamie gets on his horse but Willie yells for him not to leave and takes off toward the horse.  (Hats off to David Berry who had to really run fast to catch this kid.)  Jamie doesn’t look around and for the first time, looks every bit of his 40ish years.  He rides with a straight back, but the lump in his throat (and mine) is large and he has to catch his breath as he rides away from another child. He’s lost three children now.  And Sam Heughan breaks my heart again.

 

 

 

 

Thanks to the following for their time and talent for the screencaps and gifs: emmakillian, jamieclaire, outlander-scenery, caitbalfes, Starz.   If we missed a credit, please notify us on any of our social media sites.

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Title: All Debts Paid

Written by: Matthew B. Roberts

Directed by: Brendan Maher

This recap incorporates an OLA writer’s opinion on the episode woven in with information from both the official Starz podcasts  by the executive producers along with comments from the official episode script writer’s notes and will include things changed or edited for television.

The podcast was hosted by executive producers Toni Graphia (TG) and Matthew B. Roberts (MBR)

The title card for this episode is a black Newfoundland dog that is a bit of an Easter Egg for the Print Shop Episode.  It also has a birthday cake, to represent various age points in time for Brianna.   Matt noted that as executive producer, he has changed the original title for all but one of this season’s episodes.  Toni calls him the Title Whisperer.  This episode was originally called Ardsmuir.  This episode was filmed in the same block as episode 301.

The show opens with breakfast at the Randall’s in Boston.  Frank is cooking a “real English breakfast” for Brianna.  He shows his underlying disdain for all things American (like her love of Eggo waffles)  probably including Claire who years past has expressed an interest in citizenship.  MBR said they had to research what was available in that year and found that you could indeed “leggo my Eggo” in that year.

Things seem peaceful, normal in the house as Brianna shares a drawing with Claire and she chooses to use her free night off from Medical school to go to a movie with Frank.  Frank indicates that he’s already seen both of her choices and after several awkward pauses, and his reminding her that they agreed on separate lives, Claire realizes he’s taken another woman to the movies.  (Note: If Claire’s so busy in school and at the hospital and he’s offered to be Bree’s primary caregiver, where does he find time to get around town to more than one movie?)  Claire looks taken aback.  It’s like agreeing to something is one thing but having it tossed so casually in your face is quite another.  Except, hold on Claire.  It is going to be more than verbally tossed in your face.

Jumping back to Scotland in the 18th century and we walk into Ardsmuir Prison with the outgoing and incoming wardens.  MBR notes they discussed when to reveal who he was and when we would know if Jamie recognizes him for Lord John William Grey (LJG).  The warden points out that the men are pretty defeated in mind and body but that he should watch out for the leader, known as Red Jamie Fraser.  LJG immediately recognizes the name that has haunted him and acts like the petulant teenager he once was when Warden Quarry suggest he continue his routine of dinner with Red Jamie once a week.  Hats off to David Berry who did a great job playing LJG as an 18th century version of a Millennial.  You believed it most of the time.

While CraigMillar Castle in greater Edinburgh was used for the exteriors of Ardsmuir, Jon Gary Steele designed the interiors as sets.  Jamie walks into his cell shared with other Highlanders and you can immediately see the deference paid to Mac Dubh (son of the black one, or Black Brian Fraser).  He is laird once again but not of any lands worth owning.  We hear a familiar voice and it is an older, frailer Murtagh!!  MBR reveals that they had planned to #SaveMurtagh for a long time.   They wanted to not show him right away but first you hear him and then you see him.  (Thanks for trying to make it great, Matt but Ron Moore spoiled it a week before the episode.)

Murtagh inquires about the new warden while he hangs on to a scrap of tartan, the last remaining evidence of the clans after the Clearances where the British forbade weapons, tartans, kilts and bagpipes.  Murtagh is not sounding well and I get nervous that they have saved him from the book death at Culloden only to have him die with Jamie now.  Jamie gives him some medicine made from thistle and they speak of a “lass that knew a bit about healing.”  The sadness in Jamie’s eyes and his inability to speak her name after all these years is evident to us and to Murtagh, who still remembers her fondly.

MBR notes it was a challenge to pick what to show for Ardsmuir as Jamie was there for 3 years and much happened.  They want to keep Jamie and Claire connected in some way even though they are centuries apart. You can tell each time in their scenes that they are thinking of the other and that one is always present in some way.

Jamie is brought to LJG’s office by prisoner Mackay.  You can see here that he is their leader as Mackay looks to Jamie even when LJG gives him an order.  The line of “Lord knows what you did to be sent here” was originally said in the books by the outgoing warden but MBR felt it was more effective if Jamie said it.  Sam Heughan delivers these lines so effectively.  There is strength and weakness in his speech, he is Mac Dubh for his men but he is not JAMMF.   It is clear that his chains are not just around his ankles and wrists.

More time passes in Boston as it is the graduation from Harvard Medical for Claire and Joe Abernathy. They are having a reception  in the Randall home before a dinner celebration.  The writers show that no matter what was happening between the parents, Frank was a good father to Bree. source dragonfly sparkles  She seems to even prefer staying with him versus going out to dinner.  The doorbell rings and the level of discretion goes out the door in terms of Frank’s girl on the side at the door.  Candy…her I mean Sandy.

For me, this was a jerk move.  You can go out to dinner to celebrate Claire’s accomplishments on their own right without having date that comes to your door.  Part of me feels he wanted it to happen, he could have easily met her around the corner or taken a cab.  Claire maintains her poise and they leave for dinner early.  Dr. Joe knows exactly what’s going on.

Also, Claire was 18 or 19 when she married Frank who was already teaching.  Sandy was a graduate student.  There’s a name for guys like that.  It’s all about power.  When Claire returned from the 18th century, his power over her was lessened and kept together only by her need for Bree to grow up in a good home.  Jamie wanted her to go back to a man who loved her.  If only he knew…

A beautiful outdoor scene of a wagon carrying guards from Ardsmuir was filmed about 90  miles north of Glasgow.  An old man is walking along the road muttering something about gold.  They perk up as it is no secret that all of the British want to find the rumored French gold sent to Charles Stuart by his cousin, the King.  They bring back the old man who is not speaking English but some combination of English, French and Gaelic.

LJG brings Jamie to him as he’s learned this smart man speaks three languages.  (Sam Heughan never gets credit for acting in three languages.)  They negotiate-lose the chains.  Done.  The metal weight falls off leaving the friction scars of three years.  But Jamie is not done and negotiates blankets and medicine for his men.  When JGF legitimately cannot supply that, he makes a request to at least help Murtagh. LJG, continually surprised by Jamie, agrees.

Jamie begins to hear bits and pieces of the old man’s muttering and perks up when he talks about Ellen and the Silkie (another nickname for Brian Faser) and the white witch seeking a brave man.  He thinks Claire may be alive.  He tells Grey all that was said except the part about the white witch.

MBR said they had to film this scene 4 times due to all the languages.  Rules of sub-titles are that if Jamie or Claire understand, then subtitles are used.  If one of them does not, no sub-titles.

Jamie does share it with Murtagh and he brightens at the thought that maybe they can find out where Claire went and what happened to the baby.   Jamie tells him not to think about as it will cause him pain and misery (presumably thinking about his own burden) but agrees to let Murtagh pray for them.  MBR said there was so much to get through with the LJG story but they did not want to short change Murtagh scenes.

Jamie is dining again with LJG and negotiates some freedom in the moors for setting snares and gathering watercress.  He reveals again that he learned it from his wife, again not saying her name.  When he sits down for a meal of pheasant in a wine sauce, the grubby Highlander sets his napkin on his lap and recognizes the wine.  LGJ is once again intrigued.   Mac Dubh tells the story of the meal and instead of resentment, the men act like children hearing the story of Harry Potter and revel in each virtual morsel.

Dr. Claire is sitting fuming waiting for her less than discrete husband.  He comes in, slurring words a bit and MBR refers to the scene as almost a Who’s Afraid of Virginia Wolfe play.  The writers discussed why they wouldn’t just get a divorce but it was not that easy in that time period, especially with a child.  Claire does offer a divorce but Frank, continuing to want his cake and eat it too, says he is afraid he’d never see Bree again despite her assurances.  He mocks her new accomplishment by emphasizing DOCTOR Randall in a snide tone ( I would have turned those tables and said Fraser, Dr. Fraser).  MBR points out that Frank doesn’t really know her now but maybe he never did.   He and Tobias Menzies talked about making sure Frank had a tone of resentment in some of his words.   Tobias was good in this scene and Caitriona Balfe was terrific showing a range of emotions in a very short period of time.

Bree turns 16 and you can still see that passive-aggressiveness reigns in that household. 

Back in Scotland, the men are checking their snares for game (another negotiated item) Jamie hides in the hills, presumably to go looking for Claire.  MBR said Jamie doesn’t care about the gold, he is desperate to find out information about Claire.  LGJ is pretty pissed at getting foiled.  The fact that all the men helped Jamie with his plan once again shows their respect for Mac Dubh.

The British figure out that Jamie may have tried to swim out to the castle on Silkie Island.  MBR notes the castle was CGI’d into the shot although the ruin itself does exist elsewhere called DeNure (south of Glasgow).

A great callback in reverse when Jamie sneaks up on LJG relieving himself and we see that he’s known who the warden is all along.  LJG confesses that the events of their very first meeting have caused him shame and embarrassment for years.  Jamie reminds LJG that he had promised to kill Red Jamie if they ever met again and in a beautifully acted scene by both men, kneels before him to die.  This is as much about giving up as it is about honor as we find out later that Jamie found nothing of Claire and realizes she’s ‘Truly gone”, gives up his last remaining hope.  The Grey family continues to do the right thing and he does not kill Jamie.

It’s high school graduation for Bree and both parents look on proudly but as MBR notes, at this time parents are usually hugging each other in the “we did it” kind of way and there is great distance between the Randalls.

In Ardsmuir LJG sends the doctor for Murtah as promised and a new friendship takes form between Mac Dubh and LJG.  Three months later, Murtagh is well and the guys are playing what appears to be a regular game of chess.  They talk and Jamie reveals for the first time, with a smile, that his wife’s name was Claire.  They both reveal a bit more with LJG’s story implying that his love was lost too but that his love was a man.   LJG touches Jamie’s hand in an empathetic gesture but then forgets where he is and strokes his hand.  The immediate shift from smile to killer eyes is a credit to Sam and he threatens to kill him if he does not remove his hand.  He feels betrayed and angry (and maybe a little PTSD) and storms out.   LJG’s tears are both of shame and sadness that he just messed up a good thing.

Back in Boston, Frank (who never seems to age) drops a bomb on Claire that he wants a divorce, is moving to England and taking Bree and soon to be Mrs. Frank Randall II with him.  (Sandy was a PhD student, I wonder if he mocked her title of Doctor.)  Claire of course won’t let him take Bree and he takes the worst shot you can take at a mother and tells her she wasn’t there for Bree anyway.

Toni Graphia loves Frank a little too much, in my opinion and it showed in her comments.  She felt badly for Frank. He still in the end wanted to see if Claire loved him but Claire, on a great line, answers Frank’s question of if she could have ever gotten over Jamie with time, tells Frank there isn’t that kind of time. 

He is defeated.  Sympathy for Frank?  Not me, you wanted it all and couldn’t have it.  And you wanted barely anything for her.    As MBR notes, the scene was in  synch with the title, Claire freed him at that point.  His debt was paid.

Chaos at the prison as the Highlanders are hauled out and carted away.  All except Jamie, who is grabbed, shackled and tied to a rope put behind a LJG’s horse.  He is walked away as he and Murtagh retain eye contact, not knowing anything except the Highlander are being sent to the colonies as indentured servants so the prison can be used for a dragoon regiment.

LJG won’t tell Jamie where they are going as they travel for 3 days.   He finally tells him that he could not send him to the colonies so he has found work for him at Helwater.  Jamie does not understand why but LJG says he has now freed himself from the debt owed to Jamie.

Claire is called back to the hospital and after surgery, sees Dr. Joe walking toward her with a face nobody wants to see.  MBR notes that doctors have to give bad news and another doctor would recognize that face.  He tells her Frank has been in a car accident.  (I believe Dr. Joe is a pathologist but they may not have established that yet.)

Claire runs to the morgue and Frank is there.  She tells him what he may have always wanted to hear that she did love him (implied: Once) and Cait breaks your heart as she reminds him he was her first love while tears run down her face.  She, like Jamie, takes a deep breath after that to figure out what this means for her life now. 

 

 

 

 

Thanks to the gif makers and screen cappers:  Sources for this blog are farfaraway site, neighan-donne, anoutlandishidea, italianoutlanders and Starz.  If we missed a credit, please message us on any OLA social media site.

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The long Droughtlander ended with a powerful beginning to the new season. Episode 301 did not disappoint.

Not a Docu-Drama

While most fans raved about the season premiere episode, some expressed mild dissatisfaction that more focus wasn’t given to the Battle of Culloden. While the point here is to address favorite scenes, the negative reaction was so surprising (to me, anyway) that it deserved a minor mention. Outlander is a sci-fi, fantasy, historical, or period romance, take your pic, but it is NOT a docu-drama on the Jacobite Rebellion and the Battle of Culloden.

Naturally, one of the favorite scenes was Jamie finally taking his revenge on Black Jack Randall. It was a long time coming, and being able to exact his revenge was probably the only thing Jamie lived for at this point, having just lost the love of his life and his unborn child. The final confrontation was given a surreal feeling with special coloring, which added to the dramatic effects. BJR finally succumbs to his wounds and the two embrace each other is what has been called (by Tobias Menzies) a “death dance.” Oddly, BJR ensures Jamie’s survival on the field my collapsing on top of him, allowing the weight of his body to apply sufficient pressure to the wound he inflicted on Jamie to actually save his life. Bye bye, Black Jack.

Though heartbreaking, other favorites scene occurred on the battlefield. When Jamie appeared near death and saw Claire walking towards him was a tearjerker. When she touches his face and asks me if he is alive, we see that it is Rupert. This was immediately preceded by the odd and untimely appearance of a hare on the field very near Jamie. Ron D. Moore claims the hare was added as a contrast to life in the middle of a scene of death. Some of us prefer to apply a more metaphysical meaning.

Gotham-Ruaidh offers an excellent explanation for the symbolism of the hare. “Lying on Culloden Moor, yearning to become one of the dead, Jamie sees a hare. ‘The Celts believed that the goddess Eostre’s favorite animal and attendant spirit was the hare. It represented love, fertility and growth, and was associated with the Moon, dawn and Easter, death, redemption and resurrection.” (Thanks to IrishAbroad.com.)’

“Easter Sunday was April 10, 1746, six days before Culloden. The hare is a symbol of the risen Christ and Jamie’s own impending resurrection from near-death. The hare is a symbol of the risen Christ – and Jamie’s own resurrection from near-death. It is only after seeing the hare – and then seeing Claire – that he returns to the land of the living. For Claire is his salvation from sin and death. She brings him back to life, even when he wishes to die, raises up his soul, and then his body. Resurrects him. Redeems him.”

Immediately after seeing the hare and vision of Claire, Rupert appears to rescue him from death on the muddy battlefield.   See why Gotham’s explanation is more intriguing?

In Episode 216 we saw Jamie returning Claire to the stones. Using flashbacks to that time after she literally disappeared in his arms was a nice touch. I always wondered how he reacted when she vanished into thin air.

Who can’t admire a defiant Claire? Claire is out of her element and seemed much more comfortable with her life back in the eighteenth century with Jamie, even without the modern conveniences the twentieth century offers. When she has trouble lighting the gas stove, we can almost see her think to herself, Fuck the 20th century! She solves her dilemma by making dinner in the fireplace. Of course, she’s probably recalling all the times she cooked outdoors with Jamie, and at the end of the scene she closes her eyes and thinks of Jamie. It was heartbreaking enough, but then it fades into Jamie awaiting execution after the Battle of Culloden.

There were so many sad moments in this episode, not the least of which was Rupert’s goodbye to Jamie.  It was good to see Rupert come to terms with Dougal’s murder at the hands of Jamie, even if he didn’t exactly forgive him.  Regardless, Rupert did save Jamie’s life.

At the end of the episode, we see the nurse asking Claire and Frank where Brianna got her red hair. This simple question interrupted their moment of new parent bliss and brought them back to reality. That’s right, Frank. Jamie will always be with Claire, and she will see him every time she looks at Bree. She may not speak his name, but he is always on her mind and in her heart. The blood vow with Jamie will last an eternity… for both of them.

“Ye are blood of my blood, and bone of my bone. I give you my body. that we tow might be one. I give you my spirit, ‘til our life shall be done. Ye are blood of my blood, and bone of my bone.”

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Title: The Battle Joined

Written by: Ronald D. Moore

Directed by: Brendan Maher

OLA will be publishing an episode-based Recap on Steroids (ROS) during Season 3.  These ROS will incorporate an OLA writer’s opinion on the episode woven in with information from both the official Starz podcasts hosted by Showrunner Ronald D. Moore along with comments from the official episode script including things changed or edited for television. OLA editorial comments in the ROS recognize and respect the experience of those associated with the show even though we may disagree at times with their process or assumptions.  We hope you enjoy these special recaps!

The podcast was hosted by Ronald D. Moore (RDM) with executive producers Toni Graphia (TG) and Matthew B. Roberts (MBR).

The title card for this episode is a torn Scottish flag to represent the defeat of the Scots.

The new opening sequence with the Skye Boat song but are bagpipes replaced by strings to reflect the fact that bagpipes are one of the many Highlander traditions forbidden after Culloden.  In the previously on Outlander segment which shows scenes from 213, it occurs to me that Claire says to Frank “I accept your conditions”.  That’s what you say in a hostage negotiation.

We know that this episode would cover the long-discussed battle of Culloden.  I was curious if they would try an epic Game of Thrones style battle (which is usually 20 minutes of wincing for me) or something new.

RDM discussed how he had written the entire battle scene but when they timed the episode, it would have been both too long and too expensive.  He considered it anyway knowing he would have to short change somewhere else in the season.  I’m grateful he did not because that’s not why people watch the show.

The scene opens at the end of the battle with piles of dead men (mostly Jacobites) lying in the field as the British search for weapons, wounded Redcoats and most importantly, living Scots who are then murdered without remorse.    RDM notes that this area is smaller than it looks (see picture) but they know how to film in small spaces and make them look big.   I would agree with this after Outlander America admins went to Scotland last month and visited the site for Lallybroch.  That courtyard area is not that big and yet it always looks larger on the show.

The camera pans over to the still body of Jamie Fraser with a redcoat lying on top of him.  In the script, they specifically mention that this is Black Jack Randall (BJR) and he is dead but the viewer is left to wonder for a bit.  Jamie regains consciousness and with it come blurred memories of the battle he just fought, both in his sacrifice to convince Claire to return to the stones to save their child and the one on the field where he went to die after she reluctantly agreed.  He takes one less intake of her essence from the plaid she left behind and returns to the generals discussing war strategy.  At this point, he wants nothing more than to get the inevitable over with and convinces the now shocked Bonnie Prince Charlie that they should charge.

One thing I thought was interesting in the charging scenes is how fast the men were running.  I wonder if they sped up the film just a bit or if that was real. I can’t imagine how tiring that filming sequence was nevermind the actual charge in 1746.   The battle is intense as most hand-to-hand combat is especially as the British gunned down the first line of charging Jacobites.  Jamie fights all who come close by at one point nearly attacking Murtagh.  They share a moment of witty banter (while Sensei Murtagh stabs a guy who dares interrupt) and Murtagh assures him the men from Lallybroch made it out safely.  This is good news to the (former) Laird.  He did his final duty to them despite the risk to his own life.

Jamie is still slipping in and out of consciousness and remembers a pivotal moment.  Across the field, he notices a redcoat knocked off a horse and realizes it is BJR.  They see each other at the same time, with BJR smirking and Jamie flaring his nostrils.  RDM noted that they got lucky as there was a strange pink hue to the sky that afternoon and made for an almost surreal filming light. They charge at each other and leap with swords flying.   I though this was a very cool scene and nicely done by both men.  They fight with each taking advantage.  (I found this to be a bit hard to believe.  BJR is probably a great traditional sword fighter but Jamie has to be much stronger. But he’s probably not eaten or slept enough leading up to this.)

At one point it appears that they are the only two people fighting on the battlefield but in reality it was probably that surreal thing where time seems to stand still.  RDM called it two men-out of time and place.

Knocked to the ground, BJR slashes Jamie’s left thigh with a deep wound and an injured Jamie is still strong enough to block a knife swing with his left hand while delivering a fatal stab to the stomach.  BJR collapses against the shoulder of a badly bleeding Jamie and they fall to the ground together in an embrace of death. 

As Jamie remembers this, the dead Redcoat rolls off of him and it is BJR.  I am not even sure if that registered.   The man who tried to kill him one last time may have saved him by applying pressure to the wound with his body.  Jamie is clutching the dragonfly in amber given to him by Claire at their parting.  RDM stated that he didn’t mean to make it look like a magical stone but they had to punch up the color in post-production to make sure people saw it.  They had to place it in the battlefield since Claire finds it in the Culloden museum in episode 213.

Jamie turns his head upon hearing a noise and sees a bunny rabbit in the field, written to be a human moment among the dead.  However, in a recent Twitter Q&A, the writers said we may see that bunny again.   Jamie looks up to see an ethereal Claire walking across the battlefield toward him.  He thinks she reaches down to touch him and ask him “are you dead?” but in reality it is Rupert. (It is emphasized by the writers several times that Jamie and Claire will never be in the same frame together until the reunion episode. )

Telling him he’ll not let him die in the mud despite Jamie saying leave me be, Rupert picks him up.  The amber stone falls to the ground.  RDM said he thought that was a bit clunky which I found surprising since it was clearly a metaphor to hanging on to the memory of Claire as he thought he was dying.

The camera holds steady on the dragonfly in Amber as it transitions into Claire’s face.  She is another, trapped in time.

It’s Boston in the 1940’s as Frank shows Claire their new home.  Some of the  Frank and Claire scenes were added later since the first read-through of the episode showed they were going to be very short.   The Boston set was a redress of the apartment in Paris.

Claire is having trouble lighting her stove and in frustration, enters the living room.  Looking at the fireplace gives her an idea and she goes out to get firewood.  (This was slightly unbelievable too.)  When she returns, she is met by her new neighbor Millie who helps her with the firewood.  Millie (and her husband, Jerry) were named for the two next door neighbors in the Dick Van Dyke Show.   Claire cooks up a great meal in 18th century style which impresses the nasally voiced Millie who must have relocated from Jersey.

Back at Culloden, several wounded Scots are hiding in a farmhouse.  Jamie is lying there with the pallor of someone who has had extensive blood loss.   Rupert and the other Scots assess their situation. Rupert and Gordon try to figure out if they should escape but too many are wounded.

A quick switch back to Claire at her bedroom mirror as Frank tells her they need to leave for dinner with his Dean. (Note: This was supposed to be the first Boston scene but the others were added after they discovered the short episode length in the table read.)

It’s Harvard (actually Glasgow U) and the Dean is a pompous windbag who loves imposing his views on the quiet professors who are too afraid to contradict.  A foreshadow of things to come as Claire mentions women getting into Harvard Medical.  Claire tries to interject into the conversation and is met with misogynistic comments from the Dean.   Claire Fraser would have retorted back.  Claire Randall just returns a frozen smile.

In the first script version, Frank was less on her side but after discussing with Tobias Menzies and Caitriona Balfe, RDM re-wrote it to be more neutral to “root for them as a couple”.  No, Ron.  You’re the only one who continuously roots for them as a couple.

Jamie is still bleeding in the farmhouse and lies their weak and resigned.  He asks about Murtagh’s fate but nobody knows.  He and Rupert make amends as the British in the form of one Lord Melton enter to look for traitors. Rupert takes Jamie’s traditional position as leader and answers on behalf of the group that they are “traitors all”.  Melton informs them that they will not be hanged, but shot like soldiers.   The acting by all the players in this scene as the Scots are brought out one by one to die plays out in the background.

Claire is making breakfast and sees a bird outside of her window. The bird echos the bunny’s movements at Culloden and also represents Claire’s yearning to fly free.

The bird flies away, something perhaps Claire wishes she could do.  Frank enters the kitchen and Claire discusses her love of their new country so much so that she wants to become a citizen.  Frank is appalled and recites all that is good about England in a speech straight from the musical 1776 (apparently a favorite of RDM).  They argue about the distance between them and how Claire is still missing her past.  The words get personal and ugly and he leaves in anger after ducking an ashtray (a scene which apparently injured Tobias Menzies).  A distraught Claire, grieving over Jamie and feeling lost as to how to adapt to this new life, is left in tears.

More tears back in the farmhouse as two young boys are executed.  Gordon inquiries about Claire.  Jamie tells him she is gone and does not wish to discuss it further.  Melton begins to look for volunteers to be shot and Gordon agrees to go next.  Rupert and Jamie share a laugh over Angus before Rupert volunteers to be next and head held high with traditional Rupert irreverent humor, then Rupert Thomas Alexander MacKenzie marches out to his death.  RDM wanted to give Rupert a strong scene in tribute to his contributions over the first two seasons and knew he was going to save Rupert back in Season 2 for this reason.  It also gave them a chance to give Grant O’Rourke a nice exit. Grant did a really great job in this episode and I wish him well in his next endeavors.

Sam Heughan’s face of a thousand expressions reflects Jamie’s sadness and grief over the loss of his friend (and distant cousin) and he whispers Farewell Rupert in Gaelic.  RDM noted that Sam researched the correct phrasing to add it to this part of the script.  RDM commented that Sam did a great job in this episode as asking an actor to just lay there and act with essentially just his face is very difficult to do.   He was especially impressed with his eyes.  Me too, Ron, me too.

Frank is trying to sleep on the couch but the noises of modern life keep him awake.  He gets up and begins to draft a letter to Reverend Wakefield to search for information about one James Fraser.  (A callback to the letters Roger found in 213.)  But Claire enters the living room to tell him her water has broken.   This birth of Jamie’s child is in juxtaposition with Jamie’s turn to die.

Jamie informs Melton that he wishes to be next and as he is giving his full JAMMF name to the clerk, Melton stops in his tracks.  He recognizes this name and bends down to ask Jamie if he is Red Jamie.  Melton presses him on his memory of a 16 year-old boy named John William Grey.  Jamie remembers breaking the boys arm but it is Melton who remembers that Jamie spared the boy’s life and his family owes him a debt of honor.  Jamie just wants this to be over with (retaining his sense of humor in his darkest moment) but Melton takes this honor thing very seriously and finds himself in a pickle. I’m pretty sure his utterance of “God’s blood” is 18th century for #FML.

He decides to have Jamie put in a wagon after dark and leave his name off of the register.  (Callback to 213 where Roger Wakefield tells Claire and Bree that five Fraser officers were in the field that day but only four were killed.)  RDM noted that there actually was a Fraser that was hiding in a farmhouse after Culloden and that wasn’t listed on the dead roll.  Diana Gabaldon apparently found this in her research.

RDM considered a flashback to the scene with young Grey but decided that would pull the viewer out of the mood.

A wagon is seen driving through the Scottish countryside and ends up with Jamie at Lallybroch.  Jenny and Ian are happy to see him as he is ready to pass out.  The script calls for him to pass out as he says “love you, mo neaghan donn” but they cut that.  Grrrrrr.

RDM had also considered having it rain with Jamie holding out his hand to spilt the rain into two streams to represent the parting of Jamie and Claire but decided against it as the shot was too hard to get.

Back at the hospital, Claire is experiencing the archaic way of giving birth where the wife was just a vessel and the husbands all paced in the waiting room.   She is appalled that they will be putting her to sleep during delivery.  RDM considered having her go in and out of consciousness and thinking about key scenes in her life but decided against it.  Claire wakes up and immediately panics that her second child may also have died in a similar fashion to her first.  Frank walks in with the baby girl and the joy (and hormones) of giving birth cause them to consider this a new beginning of trying to work things out.  But that is short lived as the nurse compliments the baby and delivers the verbal wet blanket by pointing out her red hair.

    Lord, that she may be safe. 

STUFF

  • RDM noted they brightened the baby’s hair in post to make it look more red.
  • Props to Terry Dresbach for her period costumes.
  • Leaving Murtagh’s fate ambiguous was deliberate.
  • Dear Ron, It’s Fraser like razor not Frasier like the TV show.

Credits:  Pictures are from Starz.  Gifs sourced at jamieclaire, themusicsweetly,sam-heughan-daily, sassenach4life, jemscorner.  Thank you for your talents.

Please let us know if we inadvertently left off a credit.  You can reach us on any of our social media sites found on the right side of the website homepage.

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Recap on Steroids Episode 206 Best Laid Schemes

Written by Matthew B. Roberts

Directed by Metin Huseyin

The podcast for this episode was narrated by showrunner Ronald D. Moore (RDM) and executive producer/episode writer Matt Roberts.

The title card for the episode was a series of torches which would not be familiar to people until seeing where they fit in the episode.

The deleted scenes from this episode are great. You can find them on the DVD and BluRay which can be purchased at our Shop Outlander Amazon shop.   You can also see them on the Outlander America YouTube Channel here.

 

As we noted in our recap for episode 205, originally episodes 205 and 206 were supposed to be together at some point but it became clear that it was too much for one hour.  Matt Roberts notes that their stories play longer than other television shows that he and RDM have worked on together.

The original script called for a dream sequence that turns into a nightmare for Jamie.  In it, Claire chooses Frank over Jamie but the face of Black Jack (similar to Frank’s, of course) haunts him.  When the camera in the actual episode catches up to him, he is still a bit shaken by that dream.  The dream sequence was actually never filmed, even though Sam Heughan, Caitriona Balfe and Tobias Menzies were actually looking forward to filming it.  Matt said it also served as a way for Jamie to make peace with his promise to Claire to wait a year.

Murtagh walks in to tell Jamie that the duel with BJR will take place in two days but Jamie, strumming his fingers on the desk in his usual way, must tell Murtagh that the duel is off.  Murtagh leaves in disgust.

Claire is at the hospital assisting Monsieur Forez with cleaning a deceased patient.  Forez tells her he has been called to perform his “day job” as the Royal Executioner.  The King is not pleased with practice of the Dark Arts and so this prisoner will not just be hanged, he will be drawn and quartered while still alive.   He hints that this is what happens to both those involved in dark magic but also to traitors.  RDM commented that the scene creeps him out and he always wanted to cut it.  The scene was actually much longer in the original version.  I personally think it goes on too long even with the editing.  Forez hints to Claire that her friend Master Raymond is in danger.

Claire excuses herself and hurries off to Master Raymond’s to warn him.  There were two versions of this script; one had it already trashed by the King’s men and the other, as filmed, with the men not yet arriving.  Matt noted that it would have been crazy for Jon Gary Steele’s set design team to trash it and then have to put it together again.  There are so many small details in that shop.

Later that evening, Claire is being a good husband rubbing his pregnant wife’s feet.  RDM and  Matt note that this is something every husband should learn.  Jamie brings up the fact that he did not agree to wait a year to kill BJR because she had saved Jamie’s life twice.  He reminds her, quite correctly, that he’s saved her life just as much.  He also reminds her that he owes Frank nothing as Claire had a choice and she chose Jamie.  He told her that he delayed to keep Frank alive because of Charles Edward Stuart.

Claire is confused but Jamie explains that even though Charles is a bit crazy and not very bright, there is something about his passion that will make men follow him-even to their death at Culloden.   Jamie, with great sadness in his eyes, asks Claire to promise him that if they get to that point that she will go back through the stones to Frank so that their child will be safe.  Matt Roberts said that he personally would find that something difficult to ask and accept.  So would Frank, Matt.  So would Frank.

Matt felt the promise scene is one of the most important scenes of the season.

Matt and RDM got into a discussion about the fact that both Frank and Jamie are valid partners for Claire.   If Claire had never met Jamie, she would have been fine with Frank.  I disagree.  She was never her whole self with Frank.  I think this may be something that can only be understood by a woman.   Matt did comment that Claire and Jamie are soulmates and you can’t unring the Jamie bell.  (Not to be confused with violinist Jamie Bell.)  Yes, and Frank could never be her soulmate.

The next scene in the book was where Jamie accompanies Murtagh to Portugal to buy the wine before Comte could raise money for the prince.  Murtagh was supposed to fake smallpox but with Jamie’s chronic seasickness, he ends up looking like he has it.  RDM said it would have been a fun scene to shoot but sea battles are difficult to set up and film and it wasn’t worth it for one scene.  As we know, they will be relocating the set to South Africa to film the last third of Voyager on ships.

Instead, they wrote in the scene where Claire uses a mixture to fake smallpox on a reluctant Jamie.  Fergus is adorable in this scene as he is totally not paying attention to “mom” and she knows it.  Murtagh thinks it is charades and games and does not get why these continue to play them.   Fergus and Murtagh leave while Jamie wishes Claire had some Pepto from the 20th century.  They both realize that it is time to tell Murtagh the whole truth about Claire and what she knows about the devastation that awaits the Scots.

Out in the courtyard, a pissed off Murtagh is pacing and a still queasy Jamie begins to tell him the truth in Gaelic in case they are overheard.  The editing here is smart and does not recount things the audience already knows.  I always found it strange that after Jamie tells him the story in Gaelic for privacy, Murtagh responds about Claire being a witch in English.  But in true Murtagh form, he immediately believes Jamie but punishes him for his lack of trust with a good hook to the jaw.  (Or, as Matt says “ a Murtagh reaction”.) All is well with the two of them as Claire watches through the upstairs window.

RDM commented that Jamie and Claire are the ultimate power couple and when they team up, their strengths complement each other.

Claire sends Fergus and Jamie on their way to spike the wine with her fake smallpox concoction with another cute exchange with Fergus.  I really like how they made their relationship closer, quicker in this season.

Claire returns to the living room where Murtagh is still absorbing the news about Claire being from the future.  RDM suggested this scene and at first, Matt struggled with writing it.  He felt by having Murtagh write down all the years of Claire’s 20th century life, it would be real to him.  Murtagh asks Claire if she knows what will happen to them individually and she does not.  Murtagh correctly recognizes this knowledge as a burden for Claire.

We are treated with a nice montage of Jamie and Fergus riding to Le Havre.  These were all filmed as second unit footage, directed by Matt.  They arrive at the distillery in Le Havre which is actually a real distillery in Scotland known as Deanston Distillery.   Fergus spikes the wine and paints the mashed nettles inside their clothing.  A longer, deleted scene shows Fergus was nearly caught.

A tired Jamie returns as Claire awakens to ask him how it went.  Matt commented that he loves that the writers are given the freedom to write in humor as that is just as integral to who Jamie and Claire are as their intimacy.  Jamie jokes about their skills in creating havoc.  He collapses into bed while completing a few barrel roll kisses with Claire.

Back at the brothel, an angry Comte is discussing what to do next with the Bonnie Prince and he’s pissed at Jamie for being late.  (Hey le Dude-he was up all night creating pestilence on your ship.)  Charles decides to have Jamie drive another shipment himself but the Comte doesn’t trust Jamie and says he will join him.  This of course, throws yet another monkey wrench in to Jamie’s plans.

So, plan B (or is that C) is hatched with a fake heist to be initiated by a “French” Murtagh.  Jamie and Claire (who suddenly looks like she’s having triplets) watch as Suzette dresses him in hose and satin finery.  Claire is concerned that this plan is dangerous to which Jamie replies “Tis”.

Claire, hearkening back to the wedding pledge about secrets but no lies, tells him that it is OK to lie to her every once in awhile.  Matt liked this because he felt this was their married couple private joke.  Murtagh is not pleased and asks them not to let him hang in this outfit, which Suzette helpfully offers to get him out of.  IYKWIMAITYD

Once again hats off to Duncan Lacroix who was the perfect supporting actor in Season 3 but for some reason can’t even get Starz support for awards because his name doesn’t end with Menzies.

Later that evening, the ovary popping scene, I mean a lovely scene with Jamie and Claire in bed and bonding over their unborn baby.  Jamie feels his child kick for the first time and speaks to him/her about how he canna wait to meet them.  Sweetness turns to passion and an unsure new father-to-be worries that he might poke the kid in the head but Claire assures him this is not the case.  They begin to make love as we fade to black (the scorn of Season 2 sex…)

This incredibly lovely and hot at the same time scene was added late. Matt felt it was important as it is the first time they are a family.  RDM was opposed to it but now realizes it was important but not for the reason you might think.  He realized that they must reconnect after last week’s fight before breaking them up again coming up.  Yes, technically you are right Ron but once again you are thinking about plot rather than character.  Please try to think about it the other way around.

The men leave for their little fake heist while Claire visits Louise.  She can’t get into the conversation of simple and vain aristocratic women while she is so preoccupied but then chooses to try to plant the seed of sympathy for the poor into their minds.  After all, as RDM reminds us, these rich French women are doomed.  They, of course, don’t get it and she leaves to get away from their foolishness.

In the woods, the wagons led by Jamie and Comte drive straight into Le Murtagh the French highwayman.  (Note back to title card here as they have torches in the wagons.)   Murtagh points his gun at Le Comte who is all, I’m not backing down and so Jamie pretends to save him by jumping onto Le Murtagh.  Jamie gives Murtagh the subtle hint to play it up by knocking him out.

Claire left Louise’s for the hospital where she attends to patients while Fergus plays with Bouton, the amazing diagnosis dog.  She is obviously feeling tired and Mother Hildegarde tells her to lie down.  They both notice the blood on her leg and Mother H. lies to her and tells her it is normal.  Matt Roberts used to be an EMT and has delivered babies before so he knows that Claire, as a combat nurse, may not have recognized any symptoms of problems since soldiers don’t have babies.  Mother Hildegarde convinces Claire to stay the night and Fergus returns home to let Jamie know.

Le Comte and Jamie return to the brothel to break the bad news to the prince.  Comte does not trust Jamie over this but the smart plan to have Le Murtagh gun butt Jamie convinces Charles that he is just unlucky.  The Prince is upset and worries that he will have to return to his mother’s native Poland in disgrace.

Jamie returns home to grab some dinner from the buffet just as Fergus returns from the hospital to tell him that Milady will be staying the night.  They begin to share a meal and here you can see, as Matt tells us, that Fergus has a bad case of hero worship.   Suzette interrupts to tell them that the Prince is drunk and causing trouble at the brothel so Jamie must go to calm things down.  Fergus accompanies him to “guard his right” which are shades of Jamie’s soldiering time fighting with Ian.  Matt admits he likes to throw in nuggets like that.

At the brothel, Fergus wonders around and sees some perfume in a room that he plans to steal for Claire.  But, creepy central because you can see the redcoat hanging on a hook in the room.  (They originally had it on the bed but it looked like a blanket so they re-shot the scene.)  Fergus looks afraid as a shadow looms.  (Oh RDM, if only you had left it there…)

Claire returns in the morning to find Jamie gone but his brace remains.  (In the book, of course, he cuts his hair to keep it out of his eyes but TV Jamie has hair that is not quite as long as book Jamie.)  She is finally able to scare it out of Suzette that he has gone to duel with the Englishman.  Claire is beginning to experience a lot of discomfort but she tells Magnus to get her the carriage.  He insists that she cannot go alone and accompanies her.

The carriage storms out of the courtyard (and if you watch it, the back wheel actually fishtails in a rather dangerous way with Cait in it!)  Claire is upset and worried.  She touches her gold wedding ring wondering if Frank will die if Jamie kills BJR.   She goes back and forth with worry, anger and labor pains.

The duel was filmed in Glasgow’s version of NY’s Central Park and they had trouble keeping cameras away but they really didn’t want to have too much come out early as spoilers.  You can hear the clash of swords before you see them. Claire makes her way to the clearing, in obvious pain. She knows she can’t scream out to distract either man.

Sam and Tobias rehearsed for a few days and performed the duel scene a few times.  Matt commented that they really got a workout!    Claire watches in horror before a very big pain comes and blood drains from her body.  She begins to collapse just as Jamie stabs BJR in the groin and falls backwards.  The filming here is top notch as the French police ride in on horseback and chaos ensues.  Claire screams for Jamie and he forgets all else except the fact that she is lying there in her own blood.

Magnus helps her up to begin to take her home but she has presence of mind enough to tell him to take her to Mother Hildegarde or she knows she will die.  (Cut dialogue here is bystanders commenting that she’s going to die.)

The camera takes us from Claire, to a passed out (dead?) BJR to Jamie’s anguish at not being able to go to her as he is swarmed by guards.  Matt said they talked about who to end on and they end on Claire passing out in Magnus’ arms.

All is not good for the Fraser’s at this point.

 

Picture Sources: Starz, ScreenersTV and Heroes & Heartbreakers

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Lotte Verbeek and Caitriona Balfe in ‘Outlander’ | © Amazon/Starz

Scotland / FILM & TV

The Beautiful Scottish Locations Showcased In Amazon’s ‘Outlander’

Cassam Looch
Film Editor
Updated:
We recently visited the set of hit Amazon Video show Outlander and spoke to the stars about the upcoming third season. You’ll be able to see our exclusive videos with Caitriona Balfe and Sam Heughan before the series returns next year, but in the meantime, join us as we take a tour around some of the iconic locations in Scotland that feature in the show’s first and second seasons.


The village of Culross in Fife | © Culture Trip

The village of Culross in Fife | © Culture Trip

As we follow the time-hopping antics of Claire Randall (Balfe) over the course of the Outlander saga, the one constant across the ages has been Scotland. Even when the show took a detour at the start of the second series to the opulent palaces of 18th-century France, we knew the characters still longed for their beloved Highland home.

Doune Castle

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A medieval stronghold near the village of Doune, in the district of Stirling, the castle was built in the thirteenth century and has been damaged and rebuilt a number of times since. Previously famous as one of the locations used in Monty Python and the Holy Grailthe castle is now best known as Castle Leoch, the home of the powerful MacKenzie clan.

In season one of Outlander we saw two versions of Castle Leoch. Claire and her 20th-century husband Frank (Tobias Menzies) visit the location before we see it in its full 18th-century glory.

1940's Castle Leoch | © Amazon/STARZ

1940’s Castle Leoch | © Amazon/STARZ

The extensive filming for season one took place over three months. To convert the exterior and courtyard, 65 tonnes of soil were used to cover the ground. To avoid causing any permanent damage to the grass, a removable membrane had to be laid out first and any structures such as wooden huts or fences had to be raised from floor level. Interiors such as the kitchens were built on studio sets, but took heavy inspiration from the rooms inside the building itself.

The Courtyard of Doune Castle | © Culture Trip

The Courtyard of Doune Castle | © Culture Trip

Unsurprisingly, visitor numbers have increased by 40% since Outlander was shot at Doune Castle.

Culross

The village of Culross | © Culture Trip

The village of Culross | © Culture Trip

The village of Culross in Fife is a rare example of what a Scottish town would have looked like in the 17th and 18th centuries. The central Mercat Cross area was transformed into Cranesmuir in the show, and was the site of some of the most dramatic moments in the series.

Giellis Duncan's house in Outlander | © Culture Trip

Geillis Duncan’s house in ‘Outlander’ | © Culture Trip

Geillis Duncan (played by Lotte Verbeek) lives in a house in the square. For the show, the exteriors were painted in a different colour, and were also used as the setting for the aftermath of the witch trials which saw Geillis make the ultimate sacrifice for Claire.

Fans will recognise this spot as where Jamie and Claire help the young boy being punished for a minor crime © Culture Trip

Fans will recognise this spot as where Jamie and Claire help the young boy being punished for a minor crime | © Culture Trip

The impressive Culross Palace has an equally impressive natural area behind it, and served as the herb garden that Claire and Geillis used to pick ingredients for their potions and medicines. It obviously looks a lot different in the summer months, when the plants are in full bloom.

The herb garden behind Culross Palace (on the left) | © Culture Trip

The herb garden behind Culross Palace (on the left) | © Culture Trip

Midhope

Lallybroch | © Culture Trip

Lallybroch | © Amazon/STARZ

This 16th-century tower house is one of the most recognisable locations in the show. The home of Jamie Fraser (Heughan) and the Fraser Clan, Lallybroch is referenced in the show long before it is seen. The near-mythical ancestral home of Jamie, it becomes the place that feels safest to Claire and where she first meets fiery Jenny Murray (Laura Donnelly).

Midhope Castle | © Culture Trip

Midhope Castle | © Culture Trip

Still used as a working farm, production has to be scheduled around the day-to-day running of the area. The telegraph pole you can just about see in the image above has to be removed when shooting and replaced afterwards.

Blackness Castle

The Ship That Never Sailed | © Culture Trip

The Ship That Never Sailed | © Culture Trip

Romantically known as “the ship that never sailed” on account of the way the structure juts out into the Firth of Forth, Blackness Castle also has a far less savoury past.

Once used as a prison and military garrison, in Outlander it was turned into Fort William, which is where Captain Jonathan Randall (Menzies) flogged Jamie in front of a horrified crowd.

Jamie Fraser and Jack Randall in Outlander | © Amazon/STARZ

Jamie Fraser and Captain Jonathan Randall in ‘Outlander’ | © Amazon/STARZ

Drummond Castle Gardens

When the second series of Outlander began in France, the look of the show changed dramatically, but the locations used hadn’t moved that much at all.

Drummond Castle Gardens | © Wikicommons

Drummond Castle Gardens | © Wikicommons

The stunning gardens we saw were actually located in-between Perth and Loch Lomond in the grounds of Drummond Castle. Proof that the transformation was perfectly executed was evidenced when many fans went looking for the location in France!

'Outlander' season 2 | © STARZ/Amazon

‘Outlander’ season 2 | © STARZ/Amazon

[amazon text=Order Season 2 on BluRay&asin=http://astore.amazon.com/outlande0c-20/detail/B01I5SLOJ4]

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Episode 201 is the first episode of Season 2, and for non book-readers it was a WTH moment.  About the first 35 or 40 minutes are spent showing Claire’s not-so-happy reunion with Frank after she goes back through the stones.  The remainder of the episode up until the last half of the season finale is told in flashback.

“I made a promise, and I must keep it.”

The opening scene has Claire having just gone through the stones at Craig Na Dun.  She didn’t want to leave Jamie and return to her life with Frank, but she made Jamie a promise and was bound to keep it.  This isn’t a favorite scene, but it is a very important one, and gives us an idea of Claire’s emotional state and what we might expect from future scenes depicting the struggles in the Randall marriage.

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Again, this isn’t a favorite scene, but it does illustrate the differences between the attitudes of Jamie and Frank.  Initially Frank is upset to learn of Claire’s pregnancy, but since he is sterile he agrees to raise Jamie’s baby.  He does have conditions, though, and this is where we see the contrast between Jamie and Frank.  Frank as conditions attached to his reunion with Claire:  1) they will raise the child as their own, withholding the true paternity from the child; and 2) Claire must let Jamie go.

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Jamie never made that demand of Claire during their marriage.  He never told Claire she had to forget about Frank.  However, Claire agrees with Frank’s conditions.  She agrees to let Jamie go, not because Frank, in his selfishness demands it, but because she had promised Jamie she would.  She did it for Jamie, not Frank.

I’m not a huge Frank fan (no offense, Tobias), but I must give him his due.  He is at least willing to raise Jamie’s child as his own, and from all accounts in the book (Voyager, primarily), he was a good father, if not a stellar husband.

Back in time

To escape the rumors, gossip, and criticisms of of their situation, Frank and Claire move to Boston where he has accepted a professorship at Harvard.  The transition back in time to Jamie two hundred years earlier in France occurs when Claire steps off the plane in Boston.

It was very hard for Claire and us to watch Frank burn her clothes.  They were a symbol of his life with Jamie, and Frank would not have allowed her to keep them.

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Secrets, Lies, and Deceptions

For the remainder of the season until the finale, Jamie and Claire embark on a mission of secrets, lies, and deceptions in an effort to thwart the Jacobite rising and avoid the tragedy of Culloden.

Unfortunately, and much to Murtagh’s chagrin, Jamie and Claire must keep their secret from him as well.  That must have been especially hard for them because of their close relationship with him.  It must also have been difficult when it was necessary to deceive Jared, Jamie’s wine merchant cousin. However, the deception was necessary for the requisite introductions to the Jacobite leaders in France.

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“I’m sorry I doubted ye, brother.”

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“I wouldn’t change you to save the world.”

This is absolutely a favorite scene.  It doesn’t take Claire long to get them into trouble when they arrive at Le Havre, France.  Because she diagnosed smallpox on Comte St. Germain’s ship, the ship and its cargo are burned.  He is furious and vows revenge.

Instead of being angry with Claire, Jamie simply comments that life with her is never dull, but that he wouldn’t change her to save the world.

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Perhaps Jamie wouldn’t change a thing about Claire, but they have made a dangerous enemy, and surely there is plenty about Claire that the Comte will want to change.

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Title: Untimely Resurrection

Written by: Richard Kahan

Directed by: Douglas Mackinnon

It’s  Episode 205 of  OLA’s  continuing series of Recaps on Steroids (ROS) for Season 2.  These ROS will incorporate an OLA writers’ opinion on the episode woven in with information from both the official Starz podcasts hosted by Showrunner Ronald D. Moore along with comments from the official episode script including things changed or edited for television. OLA editorial comments in the ROS recognize and respect the experience of those associated with the show even though we may respectfully disagree at times with their thought process or assumptions.  We hope you enjoy these recaps!


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The podcast for this episode was narrated by showrunner Ronald D. Moore (RDM) and costume designer Terry Dresbach.

The title card for the episode was inside the King’s stables with the white horses being brushed and a blanket with the King’s emblem laid over their backs.  This was Richard Kahan’s first script and he did a great job.  You can tell he is a fan of the books as he writes Jamie and Claire very well.

One thing that came into my mind while researching the episode, podcast and script for this episode is that it would be really cool to have one of the actors do the podcast with RDM.    This episode was definitely one of those that would have benefited from that.  I would imagine the logistics of this would be difficult.

The episode begins after the dinner party and the post-dinner fight with some having been hauled away to the Bastille.  RDM mentioned that this show actually ran shorter, but they made cuts as feedback from the studio and network was that it was running long.  (Editorial comment: This is why a bunch of middle-aged white guys should not make decisions about what women want out of a character-driven story of a strong, married couple!)

The previous episode was going to end with a scene with King James as he was going to be invited to the dinner party in an early version of the script.  So much changed for the end of 204 and the start of 205.

The camera pans from the clearing of the dinner table to the chaos of broken items and overturned furniture to a worried Claire.  A deleted scene had Claire stressing by the fire with Fergus joining her to brush her hair.  He explains the story of LaDame Blanche, and through Claire’s questioning, we also learn the story of Fergus.  I thought this was a lovely scene, and one where it showed Claire really coming to care for Fergus as her adopted son and not just Jamie’s.  This was one of three deleted scenes in this episode that I felt added both depth and insights into the characters.

Jamie returns to find Claire still up and Fergus fast asleep.  He picks up their sleeping son and meets Claire in their bedroom.  (Side note:  I like that the script had Jamie kiss Claire on the forehead but in the episode Jamie kisses her hand.  It was sweeter.)

Jamie tells Claire that Duverney vouched for them, but that the Duke of Sandringham fired Alex Randall, since he was still in prison.  They discuss how Claire got away from the attackers (hard to believe that half of 204 and the start of 205 is all the same day!) and she mentioned they called her LaDame Blanche.   Jamie confesses to having called her that at Maison Elise to be able turn away prostitutes without looking unmanly.  At first Claire is incredulous that he could risk her being seen as a witch again, but then realizes that this probably means the attackers frequent the brothel-and that narrows down the suspects.  Jamie makes a mental note to assign Murtagh to watch the Comte, just in case St. Germain still has revenge on his mind.

Jamie sits down, exhausted, on the bedroom couch next to Claire in the script, but I like the choice (by Sam? the director?) of him standing and snuggling Claire from behind while he seems to inhale her.  It reminded me of the snuggle from behind scene in Lallybroch from Season 1, where they express their love to each other for the first time.

The next morning, a kilted Jamie is in his office at the winery talking with Murtagh.  (RDM provided an interesting tidbit that the office was a redress of the set that was the Inn from Episode 201.)  Murtagh confesses that he feels guilty that he failed Jamie by allowing his wife to be attacked.  Jamie reassures him that he was outnumbered, but nonetheless Murtagh vows to lay vengeance at his feet.  Jamie charges him with this vow as he knows a proud Highlander would want it.

Richard Kahan noted something interesting in the script notes.  He said Sam added a subtle subtext to this scene by showing that Jamie, for a split second, also wonders if Murtagh could have done more.  Kahan noted that “Sam brought an awesome subtle flavor” to the scene.

Meanwhile, Claire sneaks in a visit to Mary to see how she is doing.  (Mary’s room is another redress of a set-Louise’s apartment.)  I liked Claire’s purple suit here, it felt very 18th century yet very modern, too.  Mary is writing a note explaining the details of the attack in order to free Alex.  She then confesses to Claire that she and Alex intend to be married.  Claire hides the fact that this terrifies her as it may prevent Frank’s ancestor (the offspring of Mary and Jack Randall) to be born.  She considers not delivering the letter to leave Alex in the Bastille but decides against it.  Richard Kahan was very complimentary of Caitriona Balfe in the notes, saying she is a writer’s dream.  I have read that sentiment from other writer’s as well.

Terry Dresbach explained that Mary was wearing a cute cap here but they get pressure not to put caps on leads.  This might explain why Jamie rarely wears the Highlander cap but Murtagh and Dougal often are seen with one.

Back at the winery, Murtagh has left on his quest and Bonnie Prince Charlie shows up.  He tells Jamie he is rid of the female haze and can focus on their quest. (It got me thinking that if he had been more focused on Louise and their baby, would he have given up or delayed the plan? )  He explains that there is a shipment of wine that is coming in, and he needs Jamie to help the Comte St. Germain to procure it so they can make some money for the cause.  Jamie is naturally not keen on this idea, but has to agree.  The look on his face is one step forward, two steps back in their plan to prevent Culloden.

Alex Randall is released from the Bastille and takes a walk with Claire.  Claire notices he is ill (who couldn’t, the constant coughing is like an anvil saying ALEX RANDALL IS SICK).  She makes a decision to talk Alex out of marrying Mary, given his lack of position and ill health.  Was I the only one thinking that if a man is coughing and obviously has something potentially contagious that the pregnant nurse walking with him should protect herself better?

Jamie meets up with Le Comte at the brothel.  jamie-and-comteIn a great writing/acting decision, the pride of both men intervene as Jamie will only speak English and Comte will only speak French. Jamie gets his point across that he will kill the man responsible for attacking Claire.   The mutual disdain at the table is palpable.

Jamie returns home to tell Claire about the Prince’s plan, and they realize that they must try to stop him.  Claire gets an idea about simulating smallpox, but tucks it in the back of her mind for later.  Jamie presents her with a wooden case containing 12 Apostle spoons that are a family heirloom.  He had Jenny send them so he could present them to Claire as a christening gift for their baby.  Producer Toni Graphia came up with this idea after research.

Claire opens up to Jamie about her fears of being a good mother.  Not only is this a natural way to feel, but Claire lost her own mother when she was five and so has no real maternal role model other than Jenny.  Jamie reassures her that they will learn together.  jamie-reassuring-claire-about-baby A longer version of this scene is part of the DVD deleted scenes.  It’s too bad it wasn’t kept in, especially if the show was running short as RDM noted.

Richard Kahan said that this part of the script went through many revisions.  There was even an intense sex scene at the end of one of them.  But as a new father himself, he felt the more emotional connection was the better way to go.  There must have been some editing on set, as the scene ending with Claire saying “I do love you” and Jamie’s reply of “I love you too, mo nighaen donn” were not in the published script.

Jamie and Claire meet the Duke of Sandringham at Versailles to assist him at a horse sale.  This was originally scripted as  dressage, but the production people thought it would take days to film correctly.  Jamie looks at horses with the Duke while poor Claire must take a ladies’ walk with Jamie’s former girlfriend, Annalise.  Claire’s dress here was an unusual print which I claire-analisedidn’t like when I first saw pictures, but it actually matches very well with the garden surroundings.  Terry commented that there was a lot of criticism when pictures were released during the “Droughtlander,” but that the dress was seen out of context.  I would agree.  She also commented that many said the long yellow gloves looked like dish washing gloves, and to my surprise, RDM said “that’s because people are idiots.”  No, Ron.  I am no idiot, and that was my first thought, too. I love yellow, but that was too much yellow, and since yellow dish washing gloves are kind of an iconic symbol of women 40 years ago, it’s not a stretch.

Annalise comments to Claire that she knew him as a boy, but Claire has made him into a man.  She then notices a man staring at Claire, and to Claire’s horror, it is Black Jack Randall standing in full uniform.  Annalise runs off to find Jamie before Claire can stop her.

RDM said that he and Tobias Menzies talked about how Jack should behave in this sequence.  RDM said that Jack had taken all he wanted from Jamie at Wentworth and so his demeanor should be a bit lighter.  Richard Kahan noted it made him even creepier.  Jack is  thrilled to see Claire and even more so with the fact that Jamie was there.  Claire, whose heart is probably pounding out of her chest at this point, cannot control her contempt; but the King is on a stroll with his entourage and protocol beckons.

Jamie arrives but cannot draw his sword in the presence of the King.  Louis picks up on the fact that black-jack-bowsClaire and Jamie don’t seem to like BJR and he mocks and humiliates him.  Jamie enjoys this very much. Jack notes that he is there to try to help his brother Alex get his position back.  We know that Jack and the Duke have had dealings together in the past.  Two peas in a rotten pod.

Claire pretends to be unwell to be excused by the King.  Once Jamie confirms that she’s OK, he turns back to speak to Jack.  RDM wanted the scene to be from Claire’s POV as she watches in horror wondering what they are saying.  I thought that was an effective choice on the part of RDM.  Jamie returns to her side with a look of utter joy on his face as BJR agrees to a duel, and Jamie can taste his blood at that moment.  On the carriage ride home, Jamie looks like a kid headed to Disney World while Claire’s mind races as to how she can stop this.  Jamie jumps out of the carriage at home to start planning the duel with Murtagh while Claire takes the carriage to the Bastille.

Murtagh and Jamie are discussing duel logistics when Claire walks in looking upset.  She tells them that she signed a petition saying BJR was part of the attack.  She knows he will have an alibi, but it buys a few days for her to talk Jamie out of it.  She even asks Murtagh to leave.

What follows is some of the best acting seen on television, in this or any other 2016 program.

As RDM notes, when Sam and Cait have to fight as Jamie and Claire, they dig deep.  He said that “these two actors can take you places.”  And “Jamie and Claire are the show, and these two characters are brought to life by these two actors.”  (I am biting my tongue about how this doesn’t reconcile well with all the Jamie and Claire cut scenes on the DVD…)

jamie-claire-dirk-205Claire begs Jamie to wait a year because if he kills BJR; otherwise Mary will not conceive the child that will become Frank’s ancestor.  As the script notes, Jamie looks at Claire as if she is insane.  He cannot believe she is asking this of him after knowing all he went through physically and emotionally and how it impacted the most intimate parts of their relationship.  He asks her to kill him instead.  She throws the dirk away and seconds later she pours salt in an open wound by saying “you owe me a life.”

Jamie is a man of honor and agrees to one year.  He kisses his sword in “goodbye for now” (great move by Sam Heughan here as this was not in the script).  She goes to hug him, but he says quietly and coldly…Dinna.TOUCH.me

The scene ends with them being far apart in the room and even farther apart emotionally.

Richard Kahan noted that in one of the versions of the script, Jamie walks from room to room  yelling with Claire running after him yelling back.  (Hey Richard, how did he know that is what goes on in my house during an argument!)  Kahan also said he loved writing the scene and that Sam and Caitriona “elevated it beyond measure.”

The deleted scenes from this episode are great. You can find them on the DVD and BluRay, which can be purchased at our Shop Outlander Amazon shop.   You can also see them on the Outlander America YouTube Channel.

 

All pictures sourced from Starz/Sony, OutlanderAmerica Pinterest.  Last gif sourced from varietyofwords via Tumblr

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