Final production and layout by Brigitte Blanc   

In purple, the interventions of the writers about the episode.   



Season 5 Episode 3  

Free Will   

Written by Luke SCHELHAAS  



Based on the novel by Diana Gabaldon


October 30, 2019

COPYRIGHT © 2019 Sony Pictures Television INC.







Fraser's Ridge/ Big House /Kitchen/ Infirmary/ Unfinished Living Room/Hallway /Roger and Brianna's Cabin /Beardsley Farm: Barn + Cabin + Front Room + Main Room + Attic



Fraser's Ridge/ Big House /Road /The Surroundings of the Big House / The Porch /Roger and Brianna's Cabin / Woods / Road /Camp /Chariot /Beardsley Farm /Cabin /Woods /near Findlay Farm






Pieces of bread are just beginning to mold under several bells and glass domes in the kitchen, in the infirmary: an attempt to carry out an experiment... In the infirmary, Claire enthusiastically instructs her new apprentice Marsali as they check the bread and pour a few drops of water on it...

MARSALI: "How do you know what to look for?"


Luke Schelhaas: "This scene showed Claire alone under her microscope, looking for penicillin and recalling (in voiceover) how she and Jamie had tried to change the past before, to no avail. It was decided through various conversations and revisions that Marsali should be part of it – to continue her studies as Claire's apprentice. It's fun to see Claire as a teacher – Cait and Lauren are so good at these scenes together. « 


Claire is surprised by the question. For Latin speakers, there is a clue in the etymology of the name, but penicillin has not yet been discovered or named - CLAIRE: "That's a very good question... Exactly the kind of question you need to ask... »

Marsali smiles, delighted, but looks forward to an answer.


While thinking, Claire uses a tried and tested method -- loved by all teachers who need extra time to think.

CLAIRE: "What teacher worthy of the name gives ready-made answers? So how do you think I know what to look for? «

MARSALI: "Through an experience? Or a book? in Boston perhaps? They seem to be teeming with new ideas and other avant-garde things. »

Marsali said more than she knows. Claire smiled.

CLAIRE: "That's right. Then? »

MARSALI: "Mold is white or gray," you said, "or... «

Marsali thinks there are other colors but she seems to have forgotten, so Claire helps her.

CLAIRE: "Light blue and sometimes green... «

MARSALI: "Yes, and we try to avoid it if it's dark green or black... »

Claire nods.

MARSALI: "It's dangerous mold... And the more food you have, the more likely you are to find the type of mold that can be used as medicine. «

CLAIRE: "All right. Soon we will start looking at it under a microscope. »

MARSALI: "What's next?"

CLAIRE (optimistic): "Then the real work begins."


They walk out of the room. Close-up of the bells, on one in particular.

We see a lapse of time passing showing the progression of mold on the bread, in a strangely beautiful way. To show this passage of time, people enter and leave the frame; The light changes from day to night, from night to day.

CLAIRE (speaking in voiceover on these images): "Jamie and I had tried in vain in the past to prevent the story from happening. What I was doing now was different. I defied fate, forcing events to happen, to advance the future. Penicillin was one of those avant-garde things I hoped to place in the past. And I defied history to stop myself. »

The camera moves towards Claire looking into her microscope.

She looks up. The disappointment can be read on his face.

CLAIRE: "Damn... »


Luke Schelhaas: "In an early draft of the script, Claire had managed to find penicillin at the end of that scene, but we realized that it was happening too quickly. Not only was it probably unrealistic that she could discover it so early in her experience, but it was like we were ruining a very good story. The truth is that we didn't know when (in which episode) Claire would have another chance to find out, if not here. But in the end, it didn't go well. Trying to "invent" penicillin is, in Claire's own words, "defying fate," "moving the future forward," and "daring history to try to stop me." This is no small feat. And not a small risk. Getting there too quickly would have been a mistake. As a screenwriter, you're often tempted to "move on to the right things." But you can get there too soon sometimes. Any big moment in an episode (or arc of episodes) has to be earned, and it often takes a little time. »  



It's late. Jamie returns on horseback, exhausted from many days on the road. He returns home, alone, from Hillsborough where Lieutenant Knox awaits him [Episode 502].

He sees the Big House and smiles.

The house. A soft glow emanates from the kitchen windows, at the back the curtains are closed. Clear... He moves his horse forward.



The fire is smothered and Claire sleeps in her bed. Jamie comes in and looks at her for a moment, so happy to be home.

JAMIE (in Latin): "Deo Gratias"

Close-up on Claire. She wakes up and her eyes fill with joy.

CLAIRE: "Jamie... «

She sits down. He kneels down to kiss her. They embrace, needing each other, drawing inspiration from each other.

CLE: "Why do you thank the Lord?"

JAMIE: "To see you, Sassenach"

She can see gratitude in her eyes – he is grateful to be home, to be with her – but she also sees weariness and deep worry.



Claire adds wood to the fire. It's a little later. Jamie told Claire what happened in Hillsborough, but there's something else.

CLAIRE: "You liked Lieutenant Knox."

JAMIE: "That's right. Even provoked by Ethan, I didn't think he would be so vindictive and dangerous. ».


Luke Schelhaas: "Often you face this problem (or a similar problem) when writing a TV episode:  

1) Claire needs to know what happened to Jamie in the last episode; then...  

2) Jamie must tell him; but...  

3) We've already seen everything that's happened, so getting the camera to see it again would be repetitive: so...  

4) We are coming to the end of a conversation that took place off-screen.  

This exchange inspired the title of the episode. She comes back and sits next to him on the bed. «  



CLAIRE: "The choices of others are not your responsibility. You made yours by freeing these men. And I hope it makes a difference. «

JAMIE: "That's what I'm afraid of, it won't be. These men told me... That they have an army now, and I have seen it with my own eyes, they are not afraid to face death. »

Claire sees the weight he carries and wants to offer him comfort and support.

CLAIRE: "Murtagh is safe at the moment. And you're home. I missed you. Everyone will be very happy to see you again. «

Feeling guilty, Jamie looks away.

JAMIE: "I doubt our settlers share your feelings... especially those who swore an oath to me... «

Claire looks at him, sorry.

JAMIE: "I have to gather our militia and find as many men as I can - and get back to Hillsborough as soon as possible."

CLAIRE (worried): "To fight?"


Luke Schelhaas: "Again, some of these things are things that we (the public) already know. There's like a dance here – how to get information that the audience needs to hear, but also how to get information that the audience already knows while keeping in mind that the character needs to hear it in an organic, dramatic and emotional way. «   


JAMIE: "I hope not. Knox sent a note to Tryon asking for reinforcements -- and if I can gather enough men... »

Claire understands what he's getting at.

CLAIRE: "A show of force to prevent war."

Jamie agrees. Claire is resigned but reassured.

"Whatever happens with the Regulators, nothing has been written about it, to my knowledge. So it won't be very important. »

JAMIE: "The man Knox killed may think differently than historians about the significance of this fact."

Claire has to admit it's true. So it makes a decision.

CLE: "Then I come with you"

JAMIE: "But if there's one with the Regulators... »

CLAIRE: "Then you'll need a doctor. Tryon, Knox, Murtagh -- they've all made their choices. And I made mine: you need my help. «

Jamie thought and smiled tenderly at Claire.

JAMIE: "I've always needed it. And I will always need it."




The exterior balcony of the Big House. It's calm and quiet, early in the morning. Everyone will wake up soon...



Jamie is holding a cup of coffee, when he notices the moldy bread under the bells. He is surprised.

JAMIE: "Sassenach?"

Anticipating his disapproval, Claire stops him.

CLAIRE: "When Brianna was little, she loved this fairy tale about a boy who had a magic brush. Everything he painted would come to life... coins, food, animals -- whatever. «

Jamie looks at her, puzzled.

JAMIE: "Was your favorite subject then a 'still life'?"

CLAIRE: "No... «

Jamie is looking forward to it.

CLAIRE: "I hope to find penicillium mold"


Luke Schelhaas: "We cut that scene into a post. Apparently, when I write a screenplay, it ends up being way too long (i.e. well over an hour of television). So we had to cut that scene and a few other scenes to keep up with the length of the episode. What you realize when you write is that some of the things you thought were essential to tell the story can be abandoned and you can still tell the story. We can assume that Jamie knows that Claire is working to discover penicillin... even without this scene. «   


She motions for him to follow her to the infirmary As he follows, Jamie realizes the connection with his story.

JAMIE: "Penicillium. From "Penicillus" meaning "little tail" - the fine brush of a camel hair artist: a brush... «

CLAIRE: "Exactly."

Claire lights a candle and shines the focused beam of her lantern magnifying glass [Episode 502] on the microscope mirror and looks into the lens...

Close-up of a mold of bread moving during focus under magnification of the focal length. While it achieves a sharp focus...

CLAIRE: "Here, look."

Claire steps back to let Jamie watch. Jamie leans down to look under the microscope. But...

JAMIE: "I don't see anything like a brush, Sassenach.

CLAIRE: "I know. That is the problem. I haven't found it yet. (Then, enthusiastic) But for the right kind of penicillin mold should look like a brush. It saved your life once... »

Jamie looks at Claire because he has finally understood.

JAMIE: "Is it mold you put in my butt?"

CLAIRE: "It helped you, didn't it? And if I can find the right strain, then I can do penicillin. «

Claire looks at her microscope again...

CLAIRE: "I wish you could see what I see. Its beauty and potential. One day it will save millions of lives. «

Jamie can feel the strength of his passion, his dynamism, his impatience. He takes her hand and shakes her.

JAMIE: "What made you do all this?"

CLAIRE: "Leith Farrish is dead."

This affects Jamie. Farrish was one of its settlers.

JAMIE: "Farris? How? «

CLAIRE: "A burst appendix, which I might have been able to treat if I had known sooner... »

JAMIE: "What if you had had penicillin."

Jamie thinks... If penicillin can make this period safer, then Brianna might be more inclined to stay. This thought gives him hope for the future.

JAMIE: "Grow all the mold you want, Sassenach."

Giving his wife an optimistic look, he goes into the kitchen. Close-up of Claire, thinking back to her conversation with Roger [Episode 502] and wondering if Jamie's hope is well placed...



Jamie drinks coffee and reads the Woolam's Creek newspaper: the beginning of a good day in any century.

GERMAIN: "Grandpa!"

Fergus and Germain approach. Germain runs up and kisses Jamie, delighted to see his grandfather for the first time in a long time. Jamie bends down to talk to Germain, who is delighted to see his grandfather giving him a piece of cake.

JAMIE: "I'll tell your mom... Your friend Thomas is here. Go share that with him."

Jamie and Fergus watch Germain run.

FRIGUS: "I saw Ronnie at the still. He said you were gathering the militia. «

JAMIE: "Yes. I'm glad you're here; perhaps you could give notice to the printer at Woolam's Creek? «

FRIGUS: "Let me go get a pencil and paper."



Fergus enters the house, looks around: he sees a pile of papers rolled into a ball on a table. It picks up a piece that is folded in half and blank on one side, even though we can see the writing on the other side. In fact, it's a copy of Claire's medical advice [Episode 502] with a few crossed out words showing that this is an abandoned first draft.

Claire, works under her microscope in the infirmary, and she sees Fergus come and go, but does not see him take the paper. She stands up, curious.


B8 INT. LARGE HOUSE - HALLWAY - MOMENTS LATER - DAY (D2) Fergus stands at a small desk near the front door, ready to receive Jamie's dictation.

FERGUS: "Get started"

JAMIE: "Colonel James Fraser, at the head of a troop of militiamen from Rowan County, assembled against the Regulators... To all able-bodied men from 16 to 60 years old... »

As Jamie dictates, Claire appears in the doorway of the kitchen and listens for a moment, with apprehension, then turns away...

JAMIE: "I'll be going around the county starting the 21st of this month recruiting men..." FRIGUS: "So early?"

JAMIE: "Yes. Have a dozen posters printed; They will be sent to all the colonies in the vicinity. «

He gives Fergus coins.

JAMIE: "Send Roger Mac to warn all the men on the Ridge that we will be leaving in a week. You'll be back in time to join us. We'll take your whisky with us – to share it with all the men who enlist. The best I've tasted since I left Scotland. «

FRIGUS: "I am happy about it, milord."

JAMIE: "Me too. Leave now. And hurry home. »

Fergus nods, excited by the mission. Close-up on Jamie...



A week has passed. Jamie, Claire, Roger and Fergus prepare the horses for their mission



Luke Schelhaas: "This scene does a lot to define the stakes for a number of characters in the future. "   


A dozen militiamen from Fraser's Ridge travelled with them -- including: JOHN QUINCY MYERS, ISAIAH MORTON; brothers KENNY and EVAN LINDSAY; GEORDIE CHISHOLM and RONNIE SINCLAIR. All are on horseback and accompanied by a cart full of provisions and the Fergus whisky barrel.

Jamie turns to Morton and Sinclair.

JAMIE: "We'll recruit more men along the way -- we'll stop in Brownsville first."


Luke Schelhaas: "Sometimes you have to draw a line just to make the audience aware of something. What's important here (and for later episodes) is that they don't head straight to Hillsborough... they will first make a stop at a place called Brownsville. Stay tuned. «   


Jamie approaches Claire. He hands her one of his pistols (one of the pair Jocasta gave him in episode 402).

JAMIE: "I hope you don't need to use it... «

Claire slips it into her belt.

Fergus approaches with a letter.

FRIGUS: "Milord, a letter for you has arrived since... »

JAMIE: "I know who sent it."

Jamie pockets it without opening it.


Luke Schelhaas: "It's called 'setting something up', which is playing with the audience. You can bet it will come back into the game later. » 


JAMIE: "Thank you, boy."

Meanwhile, Claire turns to Marsali, carrying Joan and holding Germain's hand.

CLAIRE: "Where is Mr. Nonsense? Be wise in our absence. (In Marsali) Keep studying. One day, you may have a wound to sew up, so practice suturing. You remember? »

MARSALI: "Pig meat replaces human tissue well."


Luke Schelhaas: "That line gave us our title card."  


Marsali nods, still amazed by what Claire knows.

CLAIRE: "Exactly. And I left you samples of penicillium mold. Keep looking under the microscope as I showed you. «

CLAIRE: "Bree, will you help Marsali with the reading?

BRIANNA: "Sure."

CLAIRE: "I'm going to miss you so much. I'll write of Hillsborough if it looks like we have to stay long. «

BRIANNA: "Goodbye, Mom. Take care of yourself »

CLAIRE: "It reminds me of when I said goodbye to your father on the station platform, as I was leaving for war."

BRIANNA: "Mom, there will be no war. I love you. «

They have tears in their eyes. As Brianna separates from her mother, she sees Roger preparing his horse. She approaches him and presses her head against his shoulder.

BRIANNA: "I feel like Scarlett O'Hara when all the men leave the plantations."

ROGER: "You should be proud: Jamie put you in charge of this place."

BRIANNE : "What does it represent, by the way? "

ROGER: "Welcome to my world -- where none of the studies you've done can prepare you for what lies ahead... »

BRIANNE : "You can say that about life, in all eras. "

He smiles, but it's clear that Roger is still worried about taking the responsibility of being a militia captain.

ROGER: "Here we are – that's the pioneering spirit we're looking for. And you have the advantage of being the daughter of the lord, so everyone will listen to you. «

He can see that she's not convinced, so he does his best to reassure her – ROGER: "You're going to live Riley's life... You'll have the bed to yourself, and you can do some paintings, a little drawing... »

There is nothing sarcastic about that. Yes, Roger was troubled by Brianna's Bonnet drawings [Episode 502], but he knows how much it haunts her and that drawing brings him comfort. Nevertheless, Brianna looks at him a little funny.

BRIANNA: "I don't want a whole bed for myself."

ROGER: "Most nights, I don't realize it! You spin and turn so much that my shins are full of bruises. «

BRIANNE : "You monopolize the cover! Be happy to have only bruises! »

Roger smiles and kisses her, then he kisses Jemmy. They kiss like a family. A moment later, Jamie's militia leaves... a look back — Brianna and many Ridge residents watch them go — reminding us that it's for them that Jamie and Claire are really fighting.



Jamie, Claire, Roger, Fergus, the militia troop and the wagons...

The group moves through the beautiful countryside, on hills and through shallow streams.


Luke Schelhaas: "That single reference ("through shallow streams") resulted in a pretty long production day. When you write, you have to be careful about what you want. It's easy to type "the Titanic is sinking". It's much harder to shoot. Fortunately, crossing a creek is much easier than sinking an ocean liner. «   


They stop near a cultivated field, where Jamie recruits two farmers, a father and son. Roger, as captain, adds their names to the register and Ronnie Sinclair hands them their 40 shillings, and Fergus shares whisky with them.

Meanwhile, Jamie reads his letter and casts a resigned glance at Claire.

The troop continues, the two farmers join them.



The company has just stopped to set up camp for the night.

JAMIE: "Ronnie, take Evan and fetch more firewood. The night promises to be cold... «

RONNIE SINCLAIR: "Yes, Colonel."

While men begin to unsaddle their horses - sleeping bags, pots and pans, etc. -- Jamie takes Claire aside for a private conversation. They tie their horses to a tree.

JAMIE: "I have something to say to you, Sassenach... I couldn't tell you at the wedding, and then I left with Knox, and I wanted to be sure... Stéphane Bonnet is alive. »


Luc Schelhaas: "I have to keep Stephen Bonnet in our minds (and those of the characters). Claire begins to think about everything – the pain this man has inflicted on her family is immeasurable. « 


CLAIRE: "But the explosion at the prison... »

JAMIE: "Lord John told me at the wedding that Bonnet's body was not found among the rubble... He did some other research."

He hands her the letter Fergus gave him.

JAMIE: "Bonnet was seen in Wilmington. It is confirmed. He traffics again...

Claire goes through the letter, but what she thinks of above all is...

CLAIRE: "Bree doesn't know, does she?"

JAMIE: "No."

CLAIRE: "That's it."

JAMIE: "Yes. To have thought Black Jack dead had brought me some peace... «

Claire can guess what Jamie is thinking.

CLAIRE: "Peace, instead of thinking about revenge?"

JAMIE: "Somehow, I hope I never see that Bonnet garbage again... «

CLAIRE: "You don't need to tell me what you're hoping for on the other hand, I can only imagine it too well myself... »

Jamie agrees.



Ronnie Sinclair and John Quincy Myers walk through the trees to a welcoming campfire, around which the militia troops and Claire are gathered. We made a fire. They sit on logs or sleeping bags and are wrapped in blankets. Claire and Jamie share a blanket.

JAMIE (to Roger): "We won't have time to train. So we have to teach them to fight like Highlanders: regroup and disperse to our order. «

JOHN QUINCY MYERS: "The surroundings are quiet, colonel. Freezing cold, on the other hand. »

Jamie looks up as Ronnie sits down to warm up, stretching out his hands towards the flames.

RONNIE SINCLAIR: "Fergus and Morton protect the wagon from bears and other animals." Myers shuddered.

JOHN QUINCY MYERS: "This is the coldest spring I can remember. I can barely feel my purses! «

JAMIE: "Yes - I went to pee but... Couldn't find it. »

Men laugh. Claire rolls her eyes. Typical. Ronnie wraps himself in a blanket and stands back by the fire.

KENNY LINDSAY: "Don't set foot next to the fire. Too close, you will scorch the soles of your boots. You see? «

He points to the bottom of his own boots, one of them obviously has a makeshift sole held by a lot of string.

RONNIE SINCLAIR: "It's better than burning your hair."

EVAN LINDSAY: "I don't think my brother needs to worry about it."


Luke Schelhaas: "A lot of that scene is essentially taken word for word from the book. So much fun. Such a concise and endearing way to introduce these new settler characters: Ronnie Sinclair, the Lindsay brothers, etc. «  


He lifts his brother Kenny's hat, exposing a bald head. Men laugh. As cold as it is, there is an atmosphere of camaraderie.

GEORGIA CHISHOLM: "MacKenzie on the other hand... He's hairy like a bear! «

ROGER: "Yes. I will give Fergus and Morton the fear of their lives. »

Laughter again.

GEORGIA CHISHOLM: "What do you say, Mac Dubh? Heads or tails? «

JAMIE: "Not worth it, guys. I'm going to sleep warm, no matter how. »

He smiled at Claire, his bedmate. She smiled happily.

CLAIRE: "That's what you believe!"

And she pulls the blanket to herself, wrapping it around her. The men are still laughing...



The fire went out. Men sleep soundly. Just then, there is a loud snap and –

Isaiah Morton chases someone in front of the trees, the 2 men running like two wild dogs in the forest.

ISAÏE MOTON: "To the thief! Thief! «

Jamie, Roger, Claire, others wake up and run towards the noise.



They find Fergus and Isaiah Morton near the cart, a campfire lit. Morton holds a skinny, shaggy boy by the arm. Food is scattered around the cart.

BOY: "No! No no! »

ISAÏE MOTON: "I caught him stealing provisions."


Luke Schelhaas: "This scene is an example of an excerpt from the book and its adaptation in a more appropriate version for television. Sometimes you just have to do that. « 


He pushes the boy towards Jamie, who grabs him... and realizes that the boy is Josiah Beardsley, the young hunter with whom he made a deal [Episode 501].

He's not wearing pants - just a long shirt. Claire goes to him.

CLAIRE: "Josiah? Is it the hunter? What are you doing here? Fergus, bring him a blanket! Josiah! What's wrong? «

Josiah does not answer. He looks confused, as if he doesn't recognize any of them – or doesn't understand them.

Jamie seems to see something deep in the woods. Without anyone noticing, he slips into the trees...

Fergus steps forward and Claire puts the blanket around the boy. Roger notices Josiah's right hand.

ROGER: "He didn't have a scar on his right hand?"

Claire looks at Josiah's hand -- the skin is clean and smooth: no "T" scar. CLAIRE: "Yes. The mark of thieves. «

ISAÏE Morton: "That's what he is."

They hear the cracking of branches and turn around to see Jamie standing with another young boy he just found in the woods - this one is clearly the real Josiah Beardsley.

JAMIE: "Speak, boy."

JOSIAH: "It's Keziah. My brother. «

Claire looks at the twins, stunned.



Josiah and Keziah, now dressed in ill-fitting change of clothes (or simply wrapped in a blanket), sit with Roger by a fire, and eat. Claire and Jamie stand a little further.

CLAIRE: "I don't think he's injured, but he's certainly not well fed. He is deaf - or almost. «

The boys eat voracious (even if it hurts a little to swallow) while Claire and Jamie join them.

JAMIE: "So, Mr. Beardsley, you came to join our militia?"

Josiah's eyes widen.

JAMIE: "What are you doing a day's drive from the Ridge with a brother I didn't know you? Listen, boy, we have an agreement. You are my tenant, you are under my protection. But I am entitled to the truth. »


Luke Schelhaas: "We knew from the beginning of episode 501 of this season that we had to get to this point, which is that somehow Jamie had to make Josiah his tenant in episode 501. We didn't do it exactly like in the book, but we knew we couldn't miss it. «   


Josiah pondered, then decided to tell the truth.

JOSIAH: "Kezzie and I are enslaved to a man who lives near here. I saved myself last year. »

JAMIE: "Without your brother?"

JOSIAH: "He is not safe in the woods with me; He doesn't hear anything approaching. I promised to come back for him when I recovered, which I do now, thanks to you. So, I went back to pick him up last night. We camped in the woods, and when I woke up, I got him back half starving, sir; and when he has seen your provisions... »

JAMIE: "You can eat, boy."

KEZZIE: "Jo, again!"

Kezzie is almost deaf and has been deprived of conversation for years. Kezzie speaks a little loudly, but he communicates easily with his brother. He gestures towards food.

JOSIAH: "He would like more."

ROGER: "Sure."

Roger brings them both food. Kezzie smiled at Roger. It is clear that Kezzie is intelligent, but he does not dare to interact with strangers. He continues to eat.

CLAIRE: "He was born deaf?"

JOSIAH: "Since we were five years old, Mistress. Our master hit him in the ears."

CLAIRE: "Can I watch? Can you ask him? «

JOSIAH: "He can read your lips when you speak, Mistress. And he knows the words, only... He does not dare to use them. »


Luke Schelhaas: "A lot of debate in the writers' room about Kezzie's level of deafness... not to mention the cause of it... if he could read lips... etc. Extensive research has been done. «  


Claire pulls out a mirror from her medical kit.

CLAIRE (to Kezzie): "Can I look at your ears?"

Kezzie reads on his lips and nods. Claire points the mirror towards the sun so that it reflects sunlight into Kezzie's ear canal.

 ROGER : « Pourquoi ne porte-t-il pas de pantalon ? »

 JOSIAH : » Il l’a enlevé dans la grange où il dormait - la chatte de la grange y avait mis ses chatons. Quand je l'ai récupéré hier soir... il a dit qu'il ne voulait pas les réveiller. « 


Luke Schelhaas: "We loved that moment in the book. So lovely. This says a lot about Kezzie – and a little about Josiah – in that he respected his brother's wishes. It's beautiful, tender and sad. «  


Claire looks at Kezzie with a sweet maternal smile. She stands back.

CLAIRE: "Perforated eardrums... I'm surprised they never healed. But... (to Josiah) I guess your master hit him in the ears more than once. »

JOSIAH: "Yes, Mistress."

JAMIE: "Do you have family, boy?"

JOSIAH: "No. We came by boat with our parents and four sisters... But all died of disease at sea. That's what I was told; there were only two of us – According to Madame, we only knew our first names. She was the first Mrs. Beardsley. «

ROGER: "Beardsley is the name of the man who bought you, then."

JOSIAH: "Yes. He is an Indian trader. The captain of the ship sold us for thirty years. «

Claire and Roger react. It's hard to imagine.

CLAIRE: "30 years?"

JAMIE: "That scar on your hand? Does it have anything to do with your escape? «

JOSIAH: "I stole a cheese in town and the milkmaid saw me. The sheriff marked me as a warning. But if Mr. Beardsley found out... «

Jamie knows a thing or two about excessive punishment and he has become attached to Josiah through the telling of this story.

JOSIAH (worried): "You're not going to send us home, Colonel Fraser? He beat us hard, starved us, as you can see. «

JAMIE: "I won't send you back. But I will have to buy back your contract so that it no longer has any rights over you. Do you know if he's home now? Or traveling for business? «

JOSIAH: "I don't know, but... I saw his horse in the barn while picking up my brother. Be careful, sir. «

Jamie nods, stands up and waves to Roger who is going to join him for a private conversation...

JAMIE (to Roger, gently): "Captain! Take these boys and the rest of the company, head back to Brownsville. Fill your recruiting register with as many men as possible. You know what's at stake. »

ROGER: "I know that. I will not disappoint you. «


Luke Schelhaas: "In every scene, we do our best to think about each character. What is the impact of the scene on Jamie... Clear... Roger? In the case of the latter, we wanted to reintroduce Roger's dilemma this season, being asked to be a militia captain, which he is not sure he is ready for. »  


Roger didn't expect it. Although nervous about his responsibility, he appreciates Jamie's apparent confidence.

JAMIE: "Claire and I are going to see this Mr. Beardsley."



Exterior of the big house.



Marsali cuts up a pig, drains blood into a bucket, removes joints, divides limbs - something about every 18th century woman knows how to do, but wow she's good.





Brianna and Mrs. BUG work at the table, chopping vegetables. Jemmy is leaning against a chair crying.

MURDINA BUG: "Tired, my daughter?"

BRIANNA: "Jemmy didn't sleep last night. «


Luke Schelhaas: "You'll notice that many of the 'back to the Ridge' scenes were cut from the final version of the episode. That's the hardest thing about editing an episode: you have all these good scenes, with objectively incredible performances, and yet the episode can't be longer than 60 minutes. So what do you do when the episode is 84 minutes long, other than blaming Luke for writing too much? You have to make cuts. You just have to do it. It's a painful decision to make: what can you discard to continue telling the story?   

But that's what we have to do. »  


Marsali enters carrying a canvas bag filled with pieces of pork. Ms. Bug looks up from her work.

MURDINA BUG: "Oh Marsali, you are as beautiful as an angel! God bless you!

Because Marsali arrives with pork for stew but Marsali does not stop.

MARSALI: "It's not for the stew. You'll have what's left later. »

She goes to the infirmary. Ms. Bug does not protest, but it is clear that she is intrigued.


18 EXT. LARGE HOUSE - EXTERIOR OF CLAIRE'S OFFICE - DAY (D4) LATER, Mrs. Bug is outside throwing away leftover food. She glances at the infirmary through a window and sees... Marsali with thread and needle, closing a gash in a cut pork leg, practicing sewing.

Mrs. Bug turns away, suspicious -- it's starting to look like witch territory around here (REFERENCE TO A FAMOUS SCENE FROM MACBETH)



Jamie and Claire ride along a path. Jamie thinks of something silently...

JAMIE: "I wonder how the milkmaid could have known that it was Josiah the cheese thief."

CLAIRE: "You think it was Kezzie? And what did Josiah assume? «

JAMIE: "And received the punishment? Yes maybe. He is a brave boy. You must take that mark away from him, Sassenach. We capture the thieves around here... Will you do it?" Like you did for me? »


Luke Schelhaas: "Always nice to avoid something from episodes that have been gone for a long time... something elementary for a character or a relationship. «   


CLAIRE: "Yes of course."

Claire understands that Jamie is trying to protect as many people as possible.

JAMIE: "If we have to buy it back... We need to make sure that he is truly free from his past... (they arrive in sight of the hut) Here we are."

With that, they stop in front of the hut which is shabby, dilapidated and scary. Many windows are broken and covered with muslin stained with rat droppings. A barn stands behind. Boards, shingles, wooden poles and barrels are scattered all around. It's like the setting of a gothic horror movie.

JAMIE: "Oh! The house! »

A common greeting to warn locals that you are approaching - so that they are not surprised and take a weapon. When they get no answer, they set foot on the ground, tie their horses to a pole and stand between the cabin and the barn... The place seems deserted, but a trickle of smoke rises from the chimney...

CLAIRE: "Do you think they went to get the boys?

JAMIE: "Maybe."

JAMIE: "Someone is here."

CLAIRE: "I'll go see in the barn."

He nods. She walks away.




Claire enters the barn. It's quiet and empty. The only animal is a lean and abused horse. Looking around, Claire sees where Kezzie must have slept: in the hay. To say that he slept here for fifteen years... She hears small meows and finds the barn and her litter of newborn kittens on Kezzie's pants, as Josiah had said. It's sweet and touching; and the pathetic of Josiah's story strikes her again.


Luke Schelhaas: "One of my favorite scenes from the episode."  



Jamie approaches the cabin. He hears a noise coming from inside - something harsh hitting the wood. Bang, bang, bang, then silence. Someone is definitely inside. Jamie tries to look through one of the windows, but it's too dirty. So he rips off the muslin that covers another window -- and covers his nose because of a foul smell.

He looks inside: the small room is strangely filled with various goods: barrels and crates of foodstuffs, bundles of blankets, furs and skins... A goat wanders among all these things. Hmm.... That's strange.


Luke Schelhaas: "Was it a strange moment? Or did you say to yourself: it's the 18th century; Goats probably lived in houses? »  


Jamie looks away – and when he looks back – surprisingly – there's a face at the window -- the face of a woman, a ghostly pallor. Surprised, Jamie sees the woman disappear from the window. A moment later, the door opens. «


Luke Schelhaas: "I hope this is the moment when you think for the first time: wait a second, this is not a normal episode of Outlander; It's a horror movie! « 



Jamie can see her now - a tall woman swaddled in clothes. It is FANNY BEARDSLEY, in her twenties, heavy, tired of the world. Her hair, skin and clothes are clean. She has a broken tooth, zezah, and a scar on her lip.

JAMIE: "Good morning, ma'am. I am Colonel James Fraser of Fraser's Ridge, I have to speak with your husband. «

FANNY BEARDSLEY: "My husband is dead."

JAMIE: "I'm sorry. I have to talk to you then. I myself find myself in possession of two of your slaves and I would like to redeem them from you. I'm sure we can organize a... «

FANNY BEARDSLEY: "Keep them. I have no use for it. «

And she shuts the door in his face. Claire comes out of the barn in time to see the door to the cabin close. Stunned, Jamie returns to the horses and begins to untie his mount as Claire approaches the barn.

CLAIRE: "Was it him?"

JAMIE: "Beardsley is dead. It was his wife. She told me to keep the boys, for nothing. (Something is wrong with Jamie.) It was too easy. «

CLAIRE: "That's good, isn't it?"

Jamie looks at the house. Damn he ties his horse up.

CLAIRE: "What?"

JAMIE: "I need their papers. If I don't have their contracts, she might change her mind. «


Luke Schelhaas: "Don't go into this house!" Again: a horror movie. The source material here is excellent. Diana placed a little gothic horror movie in the middle of book 5, perfect! I love it. ».  


CLAIRE: "This place is really strange, Jamie. We'd better leave? «

JAMIE: "I'll be quick."

Claire is really not reassured...



JAMIE: "I need these papers."

Claire and Jamie follow Fanny Beardsley through the mess of the front room. Fanny walks limping and mutters. Claire watches the fat woman turn sideways to squeeze between the crates and barrels, and the shelves of goods.

Fanny opens a door and enters. Jamie comes in after her. As Claire approaches the door, she sees notches carved into the door jambs in groups of seven – the way a prisoner can count the weeks. Many weeks. That's weird. Claire enters.


Luke Schelhaas: "I love that detail of the book.   



Claire enters. This room, on the other hand, is swept and simple, and almost entirely empty: a dining table, two chairs, a small desk, a wardrobe, dishes... That's all. Well, that and three goats.

Despite the cleanliness, the smell is worse. Claire covers her nose.


Luke Schelhaas: "Let me explain the goats. The goats are in the book... but in a different way. Same thing with the (later) birthing scene - it happens quite differently in the book, but it's there. And that's the bottom line. And it's fantastic. Basically, we took a number of elements that spanned a few days (chapters) and a few different places in the book, and we made sure that everything happened over the course of a night in a haunting place. »  


FANNY BEARDSLEY: "I don't know where Mr. Beardsley put their papers."

JAMIE: "Maybe in that office over there?"

She gives him a hostile look, but nevertheless begins to search the drawers of the desk, grumbling.

CLAIRE: "Why do you keep the goats inside?"

FANNY BEARDSLEY: "It's too cold in the barn."

CLAIRE: "Too cold for goats, but not for slaves?"

FANNY BEARDSLEY (looks at her): "Do you want the papers or not?"

JAMIE: "Yes. We want them. «

Jamie looks at Claire with a knowing look. She nods. Fanny makes a disdainful "pff" and continues to search. They look all around the strange room. Jamie notices a crucifix on the wall, and a decorated sword hanging carefully above the mantle of the fireplace. Claire has a bad feeling about this place... She wants to leave. Suddenly - a strong blow startles them - the same blow Jamie has already heard. His hand reflexively moves towards his gun.

JAMIE: "What was that?"

Fanny's eyes turn to a closed door at the back, under the stairs. –Bang! Bang! Jamie pulls out his gun and guns it. Fanny laughs, a child's laugh.

JAMIE: "Mrs. Beardsley! (To goats) "Out! Come on, ouste! »

FANNY BEARDSLEY: "Get out of there! it's just Billy. We keep it there, so that it does not go to fricot with the goats! «

Jamie (looks at Claire). "Fuck, who's Billy?

Another Bang! Cautiously, he walks to the door and opens it.


Luke Schelhaas: "I hope you think Billy was a human name. Sometimes we change things slightly in the book so that even avid readers of the books are surprised by a turning point in history. «   


There is a large goat inside the closet. He bleats loudly.

Jamie exchanges a look with Claire: it's really fucking weird.

Suddenly, Billy comes out of the closet. Goats disperse.


She makes the goats leave, but Jamie stops her.

JAMIE: "No. You stay here. Keep looking"

He walks out of the room.

Claire, observes the room, wishing to be anywhere but here...



The room is still unfinished, but some furniture has been placed. Brianna drops a sleeping Jemmy in a crib.

BRIANNA: "My God, make sure he doesn't wake up."

He doesn't wake up. She is backing down. She is exhausted. She sits on a chair and closes her eyes, yearning for a sweet sleep. A door slams somewhere.

Brianna opens her eyes and waits, dreading the inevitable, but... Jemmy doesn't wake up. She closes her eyes, but soon hears voices from outside coming closer and arguing: "My baby's beautiful hair!" "Dare to hit my son!" We just cut his hair! "Offspring of Satan! Look what they did! «

And now -- awakened by the noise -- Jemmy is screaming.



The door opens and Brianna goes out with Jemmy in her arms. In front of her are Mrs. Bug, Mrs. Chisholm her two sons, who are both crying, and Mrs. Aberfeldy and her daughter Ruthie, whose hair and face are covered in brown droppings and stinky thanks to the boys.

MRS. ABERFELDY: "They poured a bucket of pig on my Ruthie!"

BRIANNA: "Is she hurt?"

MRS. ABERFELDY: "Well, no, but it's terrible"

BRIANNA: "Wash her!"

MRS. CHISHOLM: "She hit my boys!"

MRS. ABERFELDY: "That's what she says, but my Ruthie is only a baby, look at her!"

MRS. CHISHOLM: "It's his word against mine... Well, what would Colonel Fraser say? «

Good question - Brianna wonders what he would say. But at this very moment, she doesn't care – she's in charge of the Ridge.

BRIANNA: "Would you even complain to my father about nonsense?"

The two women look at her in surprise.

BRIANNA: "I don't know what he would say. But forgive and forget, that's what I say. Think you'll sleep so much better tonight. »

They have little to complain about. Brianna smiled, it was easier than she thought.

BRIANNA: "I know I've already forgiven both of you for waking Jemmy up, and I plan to sleep really well tonight, with a whole bed all to myself... «

Brianna shows them the door.



The goats are now grazing outside...



Claire is still waiting while Fanny grumbles for the twins' papers. Jamie returns to the room – after tending to the goats outside.

JAMIE: "The papers were found?"

CLAIRE: "Not yet."

FANNY BEARDSLEY: (frustrated) "Maybe he lost the papers."

Claire covers her nose, as there is a strong stifling smell in the room. It's one of those smells you never forget when you've smelled it once...

LAIRE: "This smell doesn't smell like goats... «

FANNY BEARDSLEY (innocently): "I don't feel anything."

Claire scans the room for the origin, this smell, then notices a large stain on the ceiling. Small brown stalactites hang from the cracks between the boards. She realizes that it comes from the attic.


CLAIRE: "When did your husband die?"

FANNY BEARDSLEY: "A few months ago."

Fanny is distant; Claire has doubts. She looks at the stain, thinks of this smell...

CLAIRE: "What's upstairs?"

Fanny looks at her, then glances at the spot. A guilty expression runs through his face. Claire takes a candle and climbs the stairs to the attic.


Luke Schelhaas: "Can I just say... I had so much fun writing this episode. When I read this part of the book, I literally wrote in the margin of my book... "It's quite an episode!"   


FANNY BEARDSLEY: "Don't go up!"




Claire climbs, holding the candle high. She carefully crosses the attic, chasing flies into the air... There is a shape at the back of the room. She realizes with horror that it is a body partially wrapped under a sheet. She goes, certain that it must be Mr. Beardsley, dead. She raises the candle on the dead man's face - flaccid and waxy - and one of the eyes opens and looks at her.


Luke Schelhaas: "Sometimes there's a moment when you 'write' – which means you have a purpose all the time. That's what I was aiming for in this episode (and then there was a second moment that I was aiming for in the second half). «   


Claire steps back with a scream!



Jamie reacts and climbs the stairs.



JAMIE: "Sassenach!"

When he arrives near her, Claire has recovered from her fear. The man on the ground, clearly alive, did not move a muscle.

AARON BEARDSLEY, 50, was once a great man, although his chest is now sunk, his arms relaxed and skeletal.

What was once a powerful neck is emaciated. One side of his face grotesquely sags, with the drooping eyelid and cheek revealing far too much of what remains of the eye. The other eye is terrified and mobile behind the tangled greasy hair. He can't move or talk, even if he tries –

AARON BEARDSLEY: "Haaaaaaa... «

A silent and terrifying moan.

JAMIE: "What's the matter?"

CLAIRE: "I think we found Mr. Beardsley. In my opinion, he had a stroke -- a stroke if you will. «

He lies in his own filth, the source of the smell, that and the bedsores that have turned into pus.

CLAIRE: "He's lying in his droppings. Hold the light for me. (She gets down on her knees, and talks to Beardsley) Shhh, everything is fine, don't try to talk. We're here to help. »

Beardsley relaxes a little. A tear rolls down his cheek.

CLAIRE: "He's been lying here for weeks, or even months."

JAMIE: "It's God's judgment, you think?"

CLAIRE: "Not quite, no. Take a look. «

She noticed something: a bowl and a spoon. She touches it, the porridge still wet inside...

CLAIRE: "She fed him, just enough to keep him alive."

JAMIE: "And in misery. Can you do anything for him? «

CLAIRE: "Not for apoplexy, no. But to make a correct diagnosis, I need more light... «

A floor creak catches their attention: Fanny is there.

Aaron Beardsley groaned again. His only good eye stares at her and a murderous hatred marks his wife's face.

CLAIRE: "You said he was dead. (Outraged) How did this happen? When? «

FANNY BEARDSLEY: "He chased me. Beat me. He was enraged, as always, of course. «

Her tongue makes her zozoter and she has a broken tooth; Claire realizes that this is probably where her mispronunciation comes from: the husband's fist. Maybe the fact that she's limping too.

CLAIRE: "When?"

FANNY BEARDSLEY: "A month ago -- I went up to escape him, but he followed me. And then he fell and writhed. I couldn't move it. «

CLAIRE: "Go get hot water and sheets. We're going to take it down. «





Roger and the company stopped at a poor farm to recruit more young men. JOAN FINDLAY, 40, tells Roger about his sons HUGH, 18, and IAIN OG, 17. Joan's eyes pierce Roger's soul.

ROGER: "By order of Governor Tryon. All able-bodied men must join His Excellency's militia. »

JOAN FINDLAY; "The poor must bleed for the gold of the rich. It will always be like this, huh? «

She looks at her sons.

JOAN FINDLAY: "If their father hadn't found his reward in heaven, he would join you."

ROGER: "My condolences, Mrs. Findlay."

JOAN FINDLAY: "Is there a reward for my sons?"

RONNIE SINCLAIR: "Forty shillings each, from the governor's treasury. And two shillings a day, as long as they serve. »


Luke Schelhaas: "It's a real historical detail."  


JOAN FINDLAY: "What if they don't make it?"

ROGER: "I'll make sure they get home."


Roger immediately regrets making such a bold promise. Ronnie gives him an incredulous look.

JOAN FINDLAY: "Well, Captain MacKenzie, I'll take you at your word; If I lend you my sons, you will send them home to me safely. »


Luke Schelhaas: "In the book, this moment comes at the very beginning, at the Scottish gathering in the first 150 pages or so. We were so happy to find a way to adapt it to a different point in the series. «  


ROGER: "As much as you can"

JOAN FINDLAY: "Sign the book, guys."


Roger adds their names to the registry and the boys make an X to sign. Joan's eyes are moist as she prepares to say goodbye to her sons.

Close-up of Roger, overwhelmed by his promise.



Mr. Beardsley lies motionless on the dining table, partially covered with a warm blanket. Under Fanny's gaze, Claire examines Beardsley in a better light, washes him...

CLAIRE: "He's covered in bedsores, his muscles have melted... »

She finds maggots nesting in her bedsores. This makes Jamie cringe. CLAIRE: "At least the maggots cleaned up his wounds."

JAMIE: "The man was selling goods; there are barrels of food and bales of furs there; Yet he lay where he had fallen, frozen and hungry. Why didn't she just let him die? «

Claire noticed something. Something horrible.

CLAIRE: "To be able to do that."

She shows him what she saw: in addition to bedsores, there are many parallel gashes on her legs: cuts made by a knife - deep cuts that healed and were then reopened.


Luke Schelhaas: "A really scary moment. "   


FANNY BEARDSLEY: "Can we cure him?"

Fanny approaches, listening, feigning interest.

JAMIE: "You shouldn't be looking for those papers?"

He wants to get rid of her. Fanny makes noise pff, then returns to the kitchen, rummages through drawers and cupboards.

JAMIE: "She tried to bleed him to heal him?"

Inspecting further, Claire removes the cover from her feet.

CLAIRE: "No. Look at his feet... «

Mr. Beardsley's feet, ankles and toes were burned beyond the third degree. The right foot is gangrenous.

CLAIRE: "She burned them, again and again, she waited for them to heal to start again. She tortured him. «

Beardsley almost growls -- trying to communicate -- trying to confirm what Claire is saying.

JAMIE: "I think he can understand you, Sassenach. Can? Did your wife do this to you? Blink once to say yes. «

Beardsley blinks once with his only good eye, very slowly and deliberately -- "yes" -- confirming that Fanny, the abused, has become the aggressor. Claire's answer is scary –

CLAIRE (looks at Beardsley): "What you must have done to deserve this... »


Luke Schelhaas: "I love this moment."   


MEANWHILE IN THE KITCHEN -- Fanny Beardsley, left to her own devices, found something in a kitchen drawer: a piece of rope. She turns to Jamie and Claire, who don't notice that she is taking the string in her hands with obvious intent...


BACK AT THE DINING TABLE -- Claire and Jamie go out of reach of Mr. Beardsley's voice to speak privately, with their backs to the room. They whisper.

CLAIRE: "His right foot is gangrenous. I have to amputate it quickly otherwise it will spread and it will die. «

Behind them, Fanny Beardsley's great form moves slowly and ominously. They don't see it.

CLAIRE: "I have to find a saw and something to sterilize it. I can cauterize the wound but... «

JAMIE: "We don't have time, Claire. To operate it... and give him time to heal... I have to join the company and go to Hillsborough. «

Claire knows how much this "detour" weighs on her... protect his men, protect Murtagh, prevent war.

CLAIRE: "I know, but I can't give it up. If I can find a way to set it up comfortably enough, then we can take it to Brownsville and find someone to treat it, and maybe... «

Suddenly, they hear a wrestling sound behind them and turn to see Fanny Beardsley choking her husband with the rope!

Mr. Beardsley writhes faintly in despair – belching gurgling with protests. Jamie runs towards them - and pulls Fanny away. Claire rushes to try to loosen the rope that Fanny has managed to tie well. Fanny struggles and protests in Jamie's arms.

FANNY BEARDSLEY: "Why did you arrest me? She would have saved him. He must die, I want him to die! «

JAMIE: "You had plenty of time to kill him! Why on earth wait for witnesses? «

FANNY BEARDSLEY: "I didn't want him to die. I wanted him to die slowly. (To Mr. Beardsley) You dirty beast! Kind of dirty, nasty... I'm his wife, let him rot!"

Struggling, she nudges Jamie in the nose! Jamie throws her to the ground, where she lands hard and slides against a wall, out of breath. The crucifix falls to the ground. Fanny moaned in pain.

JAMIE: "A nighean na galladh!"

Jamie is holding his bleeding nose. Claire finally unties the rope. Beardsley breathes, whistles and tries to inhale deeply. Fanny groaned again. It's chaos here.

JAMIE: "Stop! Silence!"

CLAIRE: "She thought I would save him... «

Another moan - the woman suffers terribly, holding her belly, leaning forward. Another moan, louder.

JAMIE: "I said silence."

But when Jamie looks at Fanny - he sees water running between her legs. Lots and lots of water. Which can only mean one thing...


A baby??

Claire looks at Jamie. That's not possible. Or what if?

She kneels next to Fanny and removes her many layers of skirts to unveil... a very pregnant woman's belly. Fucking hell.


Luke Schelhaas: "Here we took a sequence that takes place a day later and elsewhere in the book and we said: what if this happens now, right here?"   


Close-up of Claire, incredulous.



Lizzie is on the porch. Brianna approaches, carrying Jemmy.

BRIANNA: "Lizzie, can you watch Jemmy for a little while? I'm so tired... «

LIZZIE: "Yes, of course. I'll take him to get rabbits. He likes it. Isn't it? «

BRIANNA: Thank you. «

Brianna smiles, grateful, and walks in.



Brianna sees her sketchbook under a pile of belongings. She has an idea and turns to Lizzie, still in the doorway.

BRIANNA: "Actually... Maybe I'll sit outside for a while... (his face lights up) I could draw you both. »

LIZZIE: "I'll sit still for you, Mistress, but I can't promise the same for your little boy!"

Brianna opens the notebook, looking for a blank sheet of paper, and we can see her sketches: Jemmy asleep, a landscape, a dead goose in the still life – and at the end, Stephen Bonnet's drawings. But she realizes that one of Bonnet's drawings is face down. She flips it over – that's the really dark image Roger held in episode 502 – made with black charcoal around the edges. The back of it shows a stained fingerprint. It is clear that someone hastily handed it over in this way.

BRIANNA: "Did you look at my sketches, Lizzie?"

LIZZIE: "Of course not, Mistress. Something's wrong? «

BRIANNA: "No, nothing. I'll be right there. »

Lizzie takes Jemmy outside.

LIZZIE: "It's a beautiful day. Imagine if you had oil paint, not just charcoal pencils. «

And then it hits Brianna: she remembers what Roger said about his drawings. It had to be Roger. Very moved, she grabs all the drawings in the notebook and throws them into the fire – the blank paper too. She watches a drawing of Bonnet burn...



Fanny screams in pain. Claire makes her sit on blankets, legs apart: she gives birth.

CLAIRE: "Push hard, go! You're almost there, come on! «

Claire does everything she can to help: proper positioning, pushing instructions, hot water at hand. Jamie helps, but mostly tries to stay away. Mr. Beardsley lies motionless on the table, hearing the delivery. Fanny screams and pushes - and the baby arrives.

Claire holds the crying baby, cuts the cord on the umbilical.

CLAIRE: "Jamie, help me. Clean it and wrap it in something warm. «

Claire has noticed something (although we don't do it yet): baby's skin is quite dark. She hands the baby to Jamie, who takes her to a counter to clean her with warm water.

CLAIRE: "And there you have it, little girl... That's it, nice work! Now, the placenta! We're pushing a little more, okay? There you go. It is ok. »

Claire takes care of Mrs. Beardsley for a while... then joins Jamie. Jamie noticed it too.

JAMIE: "Claire... the baby's skin... «

Claire glances at Mr. Beardsley quickly to make sure he can't hear. Then to Jamie, quietly...

CLAIRE: "It looks like the baby's father is black."


Luc Schelhaas: "In the book, the baby has dark spots on his skin that tell Claire that her father was black. We wanted it to be more definitive. «   


FANNY BEARDSLEY (faintly): "Let me see her."

Claire takes the baby, now wrapped, to Fanny, who holds her. Fanny also notices the baby's color and starts crying. But we quickly realize that these are tears of relief.

CLAIRE: "You have a pretty little girl"

FANNY BEARDSLEY: "She's not his... She is delighted. She screams... Do you hear that, old bastard? She's not even from you! «

Mr. Beardsley groans at that horrible groan – but this one has a definite note of anger and hatred.

Fanny laughs now, through her sobs. Jamie and Claire look at each other: what happened here?



View of the creepy hut and its surroundings at night.



Later that night, Fanny is half sitting in bed, nursing her newborn baby girl in silence. Mr. Beardsley is asleep on the table with his head bowed. Jamie sits alone by the fire.

CLAIRE: "Do you have family nearby?"

She makes her disdainful pff noise again.

FANNY BEARDSLEY: "No. He kidnapped me from my father's house in Baltimore. Until now. I miss Baltimore. «

She talks about this place as if it were the fifth circle of hell. But then, Fanny's behavior changes. Its shell softens.

CLAIRE: "How long was that?"

FANNY BEARDSLEY: "Two years, three months and five days."

Claire understands...

CLAIRE: "These are your marks on the door."

FANNY BEARDSLEY: "No. It was Mary Ann's, I think. «

CLARE (remembering Josiah's words) His first wife? «

FANNY BEARDSLEY: "No, Mary Ann was the fourth."

CLAIRE: "Are you the fifth?"

FANNY BEARDSLEY: "The others are buried in the woods under the mountain ash. I see ghosts sometimes, especially Mary Ann's. She tells me things. «


Luke Schelhaas: "Again, all of this came later in the book – another day, in another place. But we really wanted everything to happen in the cabin. And it wasn't primarily a budget or timing decision... It was about embracing the gothic horror of it all – that creepy, dark, claustrophobic cabin in the woods. Claire has had her own experience with ghosts; She still thinks about it it's probably the result of a traumatized mind. «   


FANNY BEARDSLEY: "He killed them all, you know, and he would have killed me too. None of us could give him children. «

CLAIRE (gently): "I can ask you who is the father?"

FANNY BEARDSLEY: "A good man."

CLAIRE: "He lives near here?"

Fanny nods. Claire does not insist. She sees another side of this woman - crazy, yes but broken, traumatized, lost and alone. Fanny looks at Mr. Beardsley on the table...

FANNY BEARDSLEY: "He beat me and the boys terribly. If I could find their papers, I would give them to you. They deserve a little bit of happiness, I think. »


Luke Schelhaas: "It was important for us to see this change in Fanny – to see a real human being in there: broken, damaged, lost and alone."  


CLAIRE: "You too, like your baby."

Fanny looks at the baby against her chest.

FANNY BEARDSLEY: "Even though she was born of her mother's sin?"

CLAIRE: "Yes. Fortunately, she was born of love. «

FANNY BEARDSLEY: "It will take more than love to get away with this world"

Claire tries to put a positive spin on things

CLAIRE: "You have the property... This house "

Fanny gives Claire a skeptical look - call it a house?

FANNY BEARDSLEY: "She is entitled to it by birth. But for me it's only ugliness and cruelty... «


Luke Schelhaas: "Birthright" was almost the title of this episode. »  


She looks at Aaron on the table.

CLAIRE: "We're going to take your husband to town. He can't hurt you anymore. You're a mother now."

FANNY BEARDSLEY: "Having a baby doesn't make me a mother, any more than sleeping in a stable makes someone a horse."

Claire doesn't really know how to respond to that.

CLAIRE: "Maybe when you give it a name... I'm so sorry, I forgot to ask you your first name. »

FANNY BEARDSLEY: "Frances. My mother called me Fanny. It's supposed to mean "free." Your name is Sassenach. «

CLAIRE: "Only for my husband. But call me Claire. «

And for the first time... Fanny smiled.



Fanny sleeps. So did Beardsley. Claire puts the baby in a crib made of a makeshift drawer, then joins Jamie by the fire, where he has made a bed of blankets and furs. JAMIE: "How long do you have to stay here?"

CLAIRE: "A day or two at least. You have to find someone to take care of them. I know you can't wait to leave... »

Jamie looks at Beardsley, asleep on the table.

JAMIE: "And what are we going to do with him?"

CLAIRE: "I don't know. As a doctor, I can't give him up, but in my opinion, you don't owe him anything. «

JAMIE: "These are our neighbors."

Claire looks around, sees the sweet baby sleeping...

CLAIRE: "What kind of world is it to give birth to a baby, Jamie?"

JAMIE: "The only world there is"

CLAIRE: "No, that's not true."


Luke Schelhaas: "It's one of my favorite moments/lines in the episode. And again, it brings the intense events of the episode back to intimacy... to what really matters - character, in particular: what is in Claire's mind. «   


CLAIRE: "Jamie... I want Roger and Brianna to go back to their time. As soon as they know if Jemmy can travel... It's safer there for them -- for Jemmy especially. Roger feels the same way: he wants to take them home. «

JAMIE: "Of course he wants to... Thanks to your penicillin, they'll be safer here, right? «

CLAIRE: "Only in case of infection."

JAMIE: "Maybe security would be better in your time. But they would be far from their families. Of their blood. «

It's a difficult thought for Claire to accept. She doesn't know what to say. She rests her head on his shoulder, tired.

JAMIE: "Come now. Come and sleep, mo nighean donn. Forget those thoughts... »



The fire in the chimney is weak. Claire and Jamie are sleeping. Fanny Beardsley's voluminous form fits into the frame. She looks at them. What is she thinking? It goes out of the frame.



A37 EXT. BEARDSLEY CABIN - DAWN - DAY (D5) the dawn of a new day.


Jamie wakes up. Did he hear anything? He is not sure. But something is wrong. Claire wakes up too. The baby cries.

CLAIRE: "What is this?"

They get up and see that Fanny is not in bed.

JAMIE: "Fanny?" »

Grabbing a candle, Claire looks around. Jamie goes to the front room, then comes back. It is not there either.

CLAIRE: "The baby?"

JAMIE: "Always there"

CLAIRE: "Where could she have gone?"

Worried, Claire looks -- but the baby is still there, asleep in his drawer.

JAMIE: "I'm going to look outside."

Jamie returns to the front room. He closes the door, leaving Claire alone. Claire throws a few logs on the fire. The baby makes a noise and Claire gently lifts and cradles her in the quiet morning glow. Looking down, she sees a document in the crib-drawer. The baby was lying on it. It is a deed of ownership: the deed of the Beardsley farm. Claire takes it and sees something else underneath... A moment later, Jamie returns.

JAMIE: "His horse is gone. She may have gone to seek help. «

CLAIRE: "She's not coming back."

She gives him the deed of ownership, reminding him of Fanny's words from the night before. CLAIRE: "She left that with the baby. The will. She wants us to keep her. She also left these papers. «

She hands him two other documents: slavery contracts, the papers of Josiah and Kezzie, the very reason they came.

CLAIRE: "She wants us to keep her."

Close-up of Jamie wondering what to do.




Brianna enters to find Arch Bug reading and Mrs. Bug cooking. BRIANNA: "Mr. Bug... Can you take me to Woolam's Creek? I need drawing paper and a few other supplies... Da left a list. «

ARCH BUG: "You are the leader. Very well. I will prepare the cart. «

BRIANNA: "Thank you. A change of scenery will do me good... »

She smiles and leaves. Mr. Bug gets up from his chair.

MURDINA BUG: "Going to Woolam's Creek just for drawing paper? (She shakes her head in disapproval) Really weird. »

ARCH BUG: "Remove the beam from your own eye before removing the straw from someone else's... »

Mrs. Bug looks around at all the moldy bread under the bells.

MURDINA BUG: "Have you ever seen anything like this? Medicine? Worse than any disease! And she and Marsali locked up twice every night since the death of poor Mr. Farrish.... Now she sews the skin of pigs! »


Luke Schelhaas: "So much fun. And so sad that it could not be included in the final cut. Why are my episodes so long? Grrr. "   


ARCH BUG: "Your gossip cost me my last job. Stop with that and help me prepare the cart. »

He walks to the door.

Close-up on Mrs. Bug: it is obvious that she will not be able to remain silent for long.



Jamie and Claire are ready to go. Jamie has the act and contracts of slavery.

Claire holds the baby warmly wrapped for the journey. Mr. Beardsley is now awake.

CLAIRE: "We will have goat's milk for the trip. Hopefully there will be a nanny in Brownsville.

JAMIE: "And we'll be looking for Mrs. Beardsley during the trip."

CLAIRE: "We won't find her. What do we do with him? «

Claire realizes Jamie has his gun.

JAMIE: "Take the baby outside. Don't come back until I call you. « : «

CLAIRE Jamie... »

JAMIE: "I would do it for a dog, Claire. Can I do less for him? Go ahead. Let him choose, accept his will. If yes or no... I'll call you. «


Luke Schelhaas: "I remember there was a lot of debate in the room about all this – is Jamie merciful here...? Avenger? Attentive? Lenient? Does Beardsley even deserve mercy, the opportunity to confess? And should he seize this opportunity or refuse it? Etc. »  


Finally, Claire nods in tacit agreement, knowing that this is the only option. She leaves with the baby. The door closes and Jamie approaches Beardsley... He replaces the crucifix fallen on the floor on the mantle of the fireplace.

JAMIE: "Blink once for yes, twice for no. Do you understand me? «

Beardsley blinks with his only good eye - once.

JAMIE: "Your wife is gone. You know the baby is not yours. «

Beardsley blinks again, once.

JAMIE: "My wife is a healer. She says you have apoplexy and you can't be cured. Your foot is gangrenous, if it is not removed, you will rot and die. You understand? «

Beardsley blinks again, once.

JAMIE: "Do you want her to take your foot off and heal you?"

Beardsley blinks twice, deliberately - "no".

Jamie then gathers his courage.

JAMIE: "Are you asking me to take your life?"

Beardsley flashes once, slowly and surely. Jamie looks at him carefully.

JAMIE: "Obviously, you're a bad man. But I don't want to send a soul to hell. Will you pray for your forgiveness?

Beardsley takes a beat then blinks, then blinks again... A provocative "no". JAMIE: "So may God forgive us both."



The goats graze outside while Claire waits outside in the cold, gently rocking the baby.

Claire remembers the simple sensations of a new motherhood and, with a touch of nostalgia, knows that she will probably never feel those sensations again. Suddenly – Bang! Claire jumps when a shot rings out from inside the cabin: Jamie has just killed Mr. Beardsley.

Thousands of carrier pigeons take flight from the surrounding trees, gathering in flight above it.

The baby begins to cry. The wind picks up and Claire turns to shelter the child from the bitter cold.


Luke Schelhaas: "We always knew we wanted to be with Claire when the shot went out. This single small mention of carrier pigeons taking flight led to the (later) idea of filling the screen with a herd of millions of pigeons at the end of the show. I presented the idea as a possible image of the title card, but better minds were inspired to play it as the final image of the episode, rather than the first one.  

A flock of carrier pigeons appears in the book, albeit in a very different section. We've always loved it and I'm glad we've been able to use it here. We decided to make it very disturbing in keeping with the tone of the episode (carrier pigeons are a naturally dark subject after all - a symbol of destruction, cruelty and pride... , loss of an entire species that has been hunted to extinction). At one point, these words were the last of the script: "Claire sheltering the baby from the sharp cold." But we decided to go further and do the next scene. In retrospect, this seems to be the obvious thing to do. The next scene (the new last scene) is such a great moment in the book. How could we not do it? «   



Jamie and Claire (carrying the baby) prepare to leave on horseback, accompanied by the four goats. Jamie is about to get on his horse, when he stops, something weighs heavily on him. Claire sees it.

JAMIE: "I thought apoplexy killed instantly. I never thought to ask Jenny if... My father had suffered."

CLAIRE: "She would have told you."

JAMIE: "Maybe."

CLAIRE: "She would have done it."

Jamie agrees with a nod... But he's not entirely sure. He rides his horse. Then...

JAMIE: "Swear to me Claire, If this ever happens to me as it happened to my father, then swear to me that you will have mercy on me as I felt sorry for this wretch."

CLAIRE: "I'll do what needs to be done."

They set off, finally freed from this place.

The camera shows a grave, that of Aaron Beardsley, freshly dug.