Final production reported and layout by Brigitte Blanc

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



EPISODE 508   


Written by Danielle Berrow  



(Long episode: 1h03mns)


November 26, 2019

COPYRIGHT © 2019 Sony Pictures Television


LIST OF CHARACTERS November 26, 2019





Oxford University: Classroom / Fraser's Ridge: Brianna and Roger's Cabin Large House: Dining Room. Kitchen. Parlor



Fraser's Ridge: Family land. Brianna and Roger's Cabin. Large house: Porch Secluded place. Covered passage. Back porch. Under the Trees/ Alamance Creek: Hangman's Tree/ Forest Edge/North Carolina Wilderness: CampemenT. Near a dead tree. Cliff














DR. ROGER WAKEFIELD is about to give essays to his history students before the end of the course. There is always room for improvement and it is Roger's job to get the best out of them.

Roger flips through the essays (which are covered in red ink) giving them one last look. Students exchange glances, worried about their grades.

ROGER: "Don't be afraid, you don't risk your life. Just a little red pen. «

Roger distributes essays, stopping in front of a student with a lively look and wild hair: HENRY JONES (18 years old).

ROGER: "Or is that, Mr. Jones?"

This surprises Henry who did not expect it.

HENRY JONES: "Uh, excuse me, sir?"

At that moment, the classroom door opens and BRIANNA RANDALL enters. Discreetly, she nods to Roger and goes to sit at the back, trying not to disturb the very end of the class.

ROGER: "You think you're risking your life?"

HENRY JONES: "I don't think so, sir... «

ROGER (quoting from the essay): "But I was wondering what you mean when you write that so-and-so 'was finally able to bury the hatchet'? We all know that it means "making peace" in a way... But could you tell me why anyone would bother burying one? What is the origin of the expression, the true meaning of these words? «

Henry has no answer. Roger drops the copy on the desk...

ROGER: "Hmm... disappointing... «

Roger observes the students' reactions – and Brianna – carefully. They are surprised to hear him say this: it is out of context. Roger drops the essay on Henry's desk...

ROGER: "Maybe you should leave, then?"

Henry is surprised: did he hear right?

ROGER: "Unless you have one last word to say before you leave?"

Henry is stunned. But an arrogant student named CHARLES MORGAN (18) presents his essay to the whole class, clearly marked with the word "Remarkable" -- CHARLES MORGAN: "I came, I saw, I overcame."

Some stifle amused laughter. Roger fights back...

ROGER: "That's not quite what I expected, Mr. Morgan. And these were not, moreover, the last words of Caesar... even if it met a tragic end"

Roger now turns to Henry and explains

ROGER: "Stay, Mr. Jones. I wanted to see if you would agree with me... Because I really believe it's a matter of life and death... Your essays on the "last famous words" were insignificant. I wanted you to ask yourself why people say what they say, and maybe even imagine, in this situation, what your last words would be. «

Students are amused: he is a charismatic teacher they like, someone who is not afraid to use idiosyncratic methods.

CHARLES MORGAN: "What does it matter, sir? This is a history class, not a creative writing workshop" --

ROGER: "Because people live and die through their words: they shape our thoughts and actions. Often they define us. And like bullets, once fired, we can't take them back. Words have an impact, so choose them wisely. Let them make sense. Live a life worthy of them. Especially the last words. They survive us. «


Danielle Berrow: "We open with an unknown and unexpected show, especially after the heartbreaking ending of the previous episode: Dr. Roger Wakefield teaches a class at his university in Oxford. This effectively bases the story unfolding on Roger's perspective and his experience of the world around him, perhaps prompting us to wonder why he might remember this particular moment... and offering a glimpse of the different themes that will play out during the rest of the story, the episode.  

This "flashback" highlights Roger's strengths: his gift as a teacher and the relationship he has with his students, who respect and admire him. This is Roger at his best, in his "comfort zone", in his job. It's not something we've seen the same way before. Roger is a confident speaker and someone who teaches his students to think critically: to choose their words wisely and make sense of them – something he tries to experience. Roger offers students a valuable moral lesson: the words we choose shape our thoughts and, often, our outlook on life.  

Given what happened to him in episode 507, there is a certain poetry in the idea that as an academic, Roger would have studied the lives of historical figures, and especially those remembered for the words spoken on their deathbed, or their last words before execution, for example.  

He offers his thoughts on what his own words might be if he found himself in an equally traumatic situation. But this somewhat romanticized expectation rarely corresponds to the harsh reality, inevitably, as Roger, for his misfortune, discovers. On the grounds of Alamance, he does not have the chance to utter the "famous last words", which he once pronounced in the security of the university classroom.  

In fact, he has no opportunity to speak, oppose or protest. In this way, the scene also helps us understand why it is so painful for Roger to find himself speechless after Alamance. We also liked the idea that, while taking turns visiting each other during their long-distance relationship, Brianna might have wanted to "see Roger in action" on this occasion, and attend one of his classes. »  


CHARLES MORGAN: "What would be yours, sir?"

Roger clasps hands together as if to pray

ROGER: "This is my last wish, oh Lord, that my students write arguments in a structured way, supported by evidence, in legible writing. Amen. «

The students laugh. But Henry asks Roger again -

HENRY JONES: "No, really, sir... »

Roger thinks for a moment and remains serious for a moment –

ROGER: "I would say: let history forget my name, as long as my words and actions live in the memory of those I love... That's it for today! See you next week! « --

Students are starting to leave. Roger only has eyes for Brianna...

Brianna approaches him.

ROGER: "You're early" --

BRIANNA: "How could I resist the opportunity to see you in action? Also, if you want to see "The Flight of the Great Rapid", you have to hurry. «

Flattered, Roger kisses Brianna and puts his things away...

ROGER: "And you're sure you're going to endure a silent film marathon? Don't you do this just to please me? »

BRIANNA (the teaser): "If... But you put up with this whole conference on suspension bridges. So it's only fair. »

Roger kisses Brianna tenderly.

BRIANNA: "That would really be your last words?"

Roger thinks long and hard –





A projectionist installs a silent film on a projector and launches the reel announcing the title of the episode in a retro mode.







Jamie approaches the tree and orders his militiamen...

JAMIE: "Get him down"

He takes Roger's body against him and...

JAMIE: "He's breathing!"

Claire runs to help him. Roger's hood and gag are removed.

CLAIRE: "I have to open her airways"

What it does with the means at hand... Brianna is near Roger, still in shock, when she hears him breathing and literally relives herself...

BRIANNA: "Roger, can you hear me? It's Brianna"

Roger opens his eyes, to everyone's amazement.

JAMIE: "You're alive. You are safe. Everything is fine"







Roger sits on the bed while Claire examines the scars and bruises on his throat - a consequence of the hanging and then the cricothyrotomy he suffered in episode 507.

Brianna is nearby, waiting for her mother's prognosis.

CLAIRE: "Everything looks perfect. Your throat heals well. The scar faded. How are you feeling? «

A silent Roger can only shrug his shoulders. He feels broken and traumatized. Depressed. The reminder of Murtagh's death only intensified his deep grief. Claire feels Roger's throat for any problems or indications of swelling... CLAIRE: "You should really try to talk. You'll be hoarse at first, but that's perfectly normal. »

Roger hesitates. But Brianna wants to encourage him...

BRIANNA: "Or maybe just try to whisper... «

But Roger still doesn't want to. Brianna opts for humor...

BRIANNA: "Well, just know I'm going to teach Jem to say 'sweater' and 'alu.' It will not be "pull-over" or "aluminum".

Roger smiles. But the silence is deafening, overwhelming.

Feeling helpless, Brianna looks at him, turning her wedding ring, which Murtagh made for her [Episode 501], around her finger – She strokes Roger's hair.

BRIANNA: "Seventy percent of communication is nonverbal... So who needs words? We can pretend to play in one of those silent films that we were going to see in Oxford, or Kenmore Square... «

Knowing that Roger is physically fine, Bree is just trying to keep her spirits up.

CLAIRE: "Lord John brought us a trunk full of books and gifts. Do you want to come and see him at home? «

Roger shakes his head. He is not interested.

BRIANNA: "Okay, I'm coming with you. (To Roger) Maybe you can look at the plans I'm drawing for the attic while I'm away? They are on the table. «

Brianna gives him an encouraging look, then follows Claire to the door and they walk out.

Roger remains alone, completely lost... He relives the traumatic images of his hanging





We have access to a black and white sequence: some of the events in ALAMANCE, before the hanging when Roger was certain he was going to die. Moments we didn't see in episode 507.

"BUCK" MACKENZIE and his men, including the Regulator [of Ep. 507] dragged Roger away from the creek (where he met Morag). Roger, dazed, lies on the ground as Buck and the Regulator stand above him, deciding his fate -- The Silent Movie Classic "

Intertitle panels flash on the screen to display dialogue after a character has spoken.

REGULATOR: "What do we do? Leave him for dead? «

They have to make a choice. No time to lose.

BUCK MACKENZIE: "He deserves worse than that. He is a liar or a traitor and a coward no matter how you look at him –

Buck slaps Roger in the face to wake him up completely.

BUCK MACKENZIE: "You came to warn us, didn't you? You wanted to join us, huh? Well, fate is smiling at you today" –

Buck pins Roger's yellow cockade on his own coat –

BUCK MACKENZIE: "Stand up! »

The men put Roger back on his feet and push him on the path –



Buck, now posing as a member of the Militia (still wearing the yellow cockade stolen from Roger) calls out to COLONEL CHADWICK, who is busy with red tunics...

BUCK MACKENZIE: "Here's one for you, Colonel. I caught him near the stream. «

Barely glancing over his shoulder, the Colonel gives his order to a Redcoat.

COLONEL CHADWICK: "Put him with the other prisoners."

Stunned and weakened, Roger is too disoriented to protest, and Colonel Chadwick has not recognized him. Buck beckons to his two men who, in turn, throw Roger in the middle of a dozen other Regulator prisoners.

The white flag, [given to him by Jamie in episode 507] comes out of Roger's pocket: a cruel irony. He will not agitate it now.

At this moment, GOVERNOR TRYON approaches on horseback. A kneeling Roger, slumped in a pile with the other prisoners, turns his back on the governor.

COLONEL CHADWICK: "What do we do with them, Your Excellency?"

Tryon thought about this for a while. Then–

GOVERNOR TRYON: "Take three. Hang them and leave them there to serve as an example. »

Satisfied that his orders are being carried out, Tryon leaves – not having recognized Roger's face. Before he understands what is happening, Roger is chosen, along with two others. Their hands are quickly tied...

Having no opportunity to speak, Roger is gagged, hooded, a rope around his neck: deprived of his last words.

COLONEL CHADWICK: "A mere formality... But we are not cold-blooded murderers, so... «

As the three elected officials are quickly prepared for execution and forced to stand on a barrel, the Colonel proclaims...

COLONEL CHADWICK: "For your crimes of treason, you are condemned to be hanged by the neck until death. May the Lord have mercy on your souls. The red tunics barely wait until the colonel is finished to bring down the barrels of the "traitors" --



Claire and Brianna spend time together in the kitchen of the Big House, sitting at the table. Claire brings tea. She knows how worried Bree is about Roger and wonders if she should broach the subject, when Brianna suddenly breaks the silence...

BRIANN: "My roommate at MIT, Gayle... she had a boyfriend who had been to Vietnam. I didn't know him very well. His name was Don. But Gayle asked me to accompany him to see him sometimes, after he returned. «

War is always a difficult subject. Claire has a clear idea of where this will take us.

BRIANNA: "He had been back for almost a year the first time I went... I don't really know what I expected, but... It looked like a zombie. His eyes were empty of all life. Gayle called him her gaze lost in the distance."

Claire has unfortunately seen enough traumatized soldiers in her life to know what this means –

BRIANNA: "He had been hit by shrapnel. He was not seriously injured, but he had seen many other men die... «

CLAIRE: "Yes, it's called the 'war neurosis' of my time -- and the 'emotional shock' ... »

Now, Brianna makes the connection...

BRIANNA: "It's been months now... and you said Roger was fine physically. So, maybe it's a war neurosis -- it must be mental... psychological... «

They both know that we don't know how long Roger's condition will last, the scars will take time to heal, if ever...

BRIANNA: "It's like he's falling into silence... I see the same look lost in the distance. I'm afraid he's lost... «

CLAIRE: "But no matter how lost he is, you have to have faith, believe that you will find him."


Danielle Berrow: "In this scene, Brianna and Claire discuss their concern for Roger. " "Post-traumatic stress disorder" is not a term that Claire or Brianna are familiar with, but it is a topic on which they are both very knowledgeable, in terms of real, practical and lived experience, and in more ways than one.  

Claire was exposed to soldiers suffering from this disease during World War II, and here Brianna describes her meeting with her roommate's boyfriend who served in Vietnam. Roger is physically healing, but psychologically, he still has a long way to go.  

Claire wants to reassure Brianna and allay her fears as best she can. «   






JAMIE FRASER prays silently at the edge of a grave, trying to cope as best he can – he organized a remembrance ceremony for MURTAGH.

CLAIRE (voiceover): "People who don't believe in telepathy have never set foot on a battlefield or served in an army. Something invisible passes from man to man. What struck me was that it's the same thing at a memorial: shared grief, painful and tacit camaraderie... The agonizing realization that it's time to say goodbye. «

All present rise solemnly, heads bowed in mourning: CLAIRE FRASER, Brianna, FERGUS and MARSALI FRASER, LORD JOHN GREY, JOCASTA and ULYSSES – an intimate and private meeting.

Emotions run high because each of them suffers, each in his own way, the excruciating mental wounds inflicted by grief. Claire leans down to add a stone to the cairn Jamie built near the mound of earth under which Murtagh's body rests (where he had been buried a few months before).

CLAIRE: "Rest in peace."

Like Claire, a few other members of the group add stones to the cairn. Claire and Jamie exchange a look... then they take the lead -- indicating it's time to return to the Big House... Everyone except Jocasta –- and Ulysses.

There is a tacit agreement that Jocasta needs a moment, alone, to say his own goodbye. We notice that she is wearing the double-heart pendant that Murtagh gave her [Episode 506].

As the mourners begin to leave, we see ROGER MACKENZIE -- he looks at the memorial from a little further away...

After a while, Jocasta begins to sing a song of mesmerizing beauty. A complaint for Murtagh, the love of his life, now dead and buried.

Roger lingers, listening to Jocasta's song, sad for Murtagh and saddened not to be able to sing himself. He retreats to his house as Jocasta's voice blows to the wind –




A thick mist descends over the Ridge as the sun sets over the Blue Ridge Mountains.



It's early morning. Ulysses prepares the cart that is outside the house, preparing the luggage for the return to River Run.



Jamie is with Jocasta. Both are exhausted with grief and dread the inevitable farewell.

JAFFATA: "It seems that we are only meant to meet at weddings or funerals... «

Jamie does his best to lighten the mood with a few humorous touches, as far as it is possible given the circumstances.

JAMIE: "Since there is no one of marriageable age in the family, I hope I won't see you again soon, Auntie."

Jocasta finds the strength to smile at this joke. Then–

JAFFATA: "You built a cairn for Murtagh... «

JAMIE: "In time, I'll engrave his name, but for now... «

Jamie cannot make public the existence of Murtagh's tomb.

JORACASTA: "... I had thought of having a tombstone made. «

Jocasta guesses Jamie's hesitation –

JORACASTA: "I know it's not up to me to do it. Murtagh and I were not husband and wife... «


Danielle Berrow: "We thought it would be interesting to explore the idea of Jamie and Jocasta sharing their grief together – arguably Murtagh's two closest people, both harboring their own regrets. This scene gives an idea of how much time has passed since the tragic incident of Murtagh's death in Alamance, giving the Frasers time to return home with Murtagh's body and time for Jocasta to travel from River Run to the Ridge to say goodbye.  

A few months may have passed, but the pain is not there. We thought it was important for Jocasta to have the opportunity to openly express her feelings – something she is not usually able to do since, as she reminds us, she and Murtagh were "not husband and wife". As a woman at the time – married to another man – it would be inappropriate for her to make an ostensible gesture, such as buying a tombstone, as she suggests in a dialogue.  

Instead, in a previous scene, we saw that she could have some kind of private moment with Murtagh, at the "cairn" that Jamie built in her honor. The song was Jocasta's way to mourn the loss of the man she truly loved. Entitled "Flowers of the Forest", it is an old Scottish folk tune commemorating the defeat of the Scots at the Battle of Flodden in 1513. In today's Scotland, it is usually performed at funerals and memorial services.  

We hoped that the choice of song would give more nuance and color to the character of Jocasta, both illustrating her ties to the old country and highlighting a life marked by grief, as she sings a haunting lament of haunting beauty to a fallen soldier.  

Talented singer Maria Doyle Kennedy adapted the lyrics and melody especially for the series. «   


Jamie takes his aunt's hand and shakes her with empathy.

JAMIE: "We weren't father and son either. But it doesn't lessen the pain, it doesn't make it more bearable."

Jocasta shakes his hand gratefully...

JOCASTA: "He was as stubborn as your father. If only he had stayed by your side. «

JAMIE: "That's what he did. He kept his promise to me... and to my mother... »

JOCASTA: (smiles at this evocation) "He was loyal above all -- you can't blame him for that."

Ulysses approaches...

ULYSSES: "Your car is waiting for you, Mistress."

Jocasta nods in recognition, then turns to Jamie:

JOCASTA: "Thank Claire again for me, and kiss the McKenzies" –

JAMIE: "Goodbye, auntie."

Jamie hugs his aunt.

JORACASTA: "How attentive we would be if we knew which goodbye will be the last" ...

Jamie watches Odysseus guide Jocasta to the carriage.

JAFFA: "Do you think Murtagh is in heaven?"

ULYSSES: "I'm sure your song guided him there... and if he is waiting for you at the gates, none of your husbands will have a chance."

They are almost at the car...

JORACASTA: "Ulysses, if I could look back now... «

Odysseus looks at the porch, where Jamie is now sitting, overwhelmed by grief. In his hands is Murtagh's square of tartan (who had kept it since his stay in Ardsmuir in episode 303).

ULYSSES: "Then you would see your nephew, standing on the porch, strong and proud, saying goodbye."

Ulysses helps Jocasta get into the car.

At the end of this scene, in the final version, Jamie takes out of his pocket the piece of tartan, the one on which are sewn the two intertwined hearts that Claire had recovered after Murtaugh's death, in the military tent at Alamance Creek. Jamie is in tears.




Close-up of a letter marked with Tryon's seal. It is open.

LORD JOHN GRAY: "Forgive my delay in giving you this letter... even if I hesitate, even now... But the governor said was important. «

Brianna is there with Claire, Jamie and John Grey sitting around the table. She reads the letter. His face turned pale. She hands the letter to her father...

JAMIE (reads aloud): "I apologize for your son-in-law's injury. This was a most regrettable mistake. «

Jamie looks up, incredulous at what he reads as an outrageous understatement. He continues reading, then summarizes the rest...

JAMIE: "Governor Tryon gave Roger 2000,<> hectares in the backcountry."

Brianna is stunned – not what she expected to hear.

BRIANNA: "What... What for? »

JAMIE: "In compensation."

CLAIRE: "I guess he thinks he can buy your forgiveness."

BRIANNA: "What will we do with these two thousand hectares? »

LORD JOHN GRAY: "It won't take away what happened to Roger, but this land has value, and with time" --

BRIANNA: "Tryon can keep his land. I need my husband. »

Brianna gets up and walks out. Jamie gets up to follow her, but John Gray stops him...

LORD JOHN GRAY: "If I may... »

John Gray walks to the table and opens a box



Left alone, Roger gets up. Silence weighs heavily in the air... He paced a hundred times. He wants to experiment, to formulate sounds. He takes a deep breath. The air grates his trachea - his face twists as he struggles, coughs, clears his throat, but it's not okay. No sound will come out.

He prepares to try again. He chooses a word, a name: Brianna. His mouth makes the shape - but he still can't make a sound... And we see that Claire is right, there is a psychological problem that stands in the way: he is stifled by everything that is not said, all the things he wants to say: by fear of the consequences of his words.

Roger closes his eyes, trying to imagine Brianna's face, trying to erase heartbreaking memories...

We hear the roaring clicks of an old projector... like a silent film that starts to play in Roger's mind... partly his memory, partly the visual representation of his traumatized inner psychological state.

In the final version, Roger takes the plans drawn by Brianna (enlargement of the floor) and spreads them on the table to study them.

It is by taking out his toolbox and seeing the rope that serves as a handle that the images come back. In black and white...

An English soldier's voice: "For your crimes of treason. You will be hanged by the neck until death follows."

In the dark corners of Roger's mind, it is as if the same sequence is played in a loop. He's stuck on those final moments before the execution... only in micro-details now. The rough burlap hood on his head... He blinks furiously, his eyelashes rubbing against the material... a little light seeping in... And with eyes adapting to the dark, he can distinguish some details of the fabric - its threads. He observes her movement as he inhales and exhales... He feels manhandled, forced to stand on a barrel... He feels himself falling. An elevator ride from hell. He can feel the rope tightening, the force of the air having the slightest impact on the tissue with each breath...

And we see Roger slipping his hand (which he released) around his neck to relieve the pressure of the knot... And the white flag coming out of his pocket.



Danielle Berrow: "Reading the Croix de Feu, a particular description of Roger's wounds stood out: "The bruises faded quite quickly, from livid reds and blues to a dramatic range of purple, green and yellow that made him feel like he had just been exhumed when he had been exhumed for about a week. His vital signs were excellent. Its vitality was not. There is something fascinating about this contrast: the horrific and dark beauty description of Roger's physical wounds evoking color while at the same time he is pale and corpse.  

How, then, to give an idea of this through a visual support? At the same time, in thinking about how best to describe the psychological pain and trauma of a man whose gift is his voice and ability to use words, it made sense to contemplate what he was deprived of...  

Roger is, initially, physically and psychologically unable to express the pain he is experiencing – or even to accept it in the depths of his mind. It was ultimately from there that the idea of the "silent film" was born. There's something very visceral about seeing moments of Roger's horrific experience at the hanging tree of Alamance in black and white – and in silence. His mind is locked in a loop, reproducing his trauma over and over again, like a reel of film projecting images into his mind.  

And, as we see throughout the episode, those flashes of silent film change as Roger slowly accepts his ordeal, as he switches from black and white to color. «   



Lord John finds Brianna – who is still upset. He carries something -- an astrolabe and a book to accompany him (in the vein of Chaucer's Treatise on the Astrolabe).

LORD JOHN: "I brought something... for the Ridge... something that has always made me feel like I have the wisdom of heaven in the palm of my hand. But maybe you and Roger should have it... «


Danielle Berrow: "In the book, Lord John looks for an astrolabe, which is then sent to Jamie by William (from London), but we love David Berry's portrait of Lord John and were eager to find an excuse for him to come and pay tribute to him and offer his friendship and support to the Frasers.  

Instead, we decided to ask him to bring the astrolabe with him to the Ridge. «   


John gives the astrolabe to Brianna. She studies it carefully.

BRIANNA: "It's amazing" --

LORD JOHN: "The astrolabe is a model of the universe, in many ways. An instrument that can be used to find your position, whether on land or at sea, to find a particular star in the sky, even give the time " --

Brianna adjusts the instrument – holds it to the sky.

BRIANNA: "Finding your place in the world... »

LORD JOHN: "Perhaps we should start smallly."

BRIANNA: "So, find the time? So you would align the aiming arm here with the sun or stars to calculate time and distance? So, if the sun were here, it would mean... 17:30 p.m.

LORD JOHN: "17:35 p.m."

BRIANNA: "Yes. Well, we don't always have all the answers. Thank you John! » »

Brianna smiled. A moment of lightness and joy.


After a while, John Gray remembers...

LORD JOHN GREY: "When I was governor of Jamaica, people came to me with endless questions... as if I were Solomon the Wise."

Brianna looks at her friend curiously...

BRIANNA: "So... You can probably guess mine... Do you think Roger and I should take the field? «

LORD JOHN: "Well, that's the problem... When I was in Jamaica, I'm not sure it made much difference if I responded well or badly. I was the Governor, so as far as everyone was concerned, I was right. –

Brianna takes another look at the astrolabe...

BRIANNA: "(amused) I wonder why we're so concerned about measuring time?"

LORD JOHN: "Time is one of the most precious things we have."

BRIANNE (teasing): "That one was a rhetorical question... »




SCENE CUTS IN. THE FINAL VERSION (you can see it in the "cut scenes" of the DVD. NDLT) VERY NICE SCENE.


Jamie and John Gray went to the distillery and now find themselves rolling a cask of whiskey to the site of Murtagh's grave. This is made slightly more difficult by the fact that both also hold their respective drinks... and by the fact that they are both, now, completely drunk –

LORD JOHN: "Do you believe in ghosts?"

JAMIE: "Are you worried that Murtagh will come back to haunt you... For all these fierce political debates? «

LORD JOHN: "I may not have agreed with your godfather... But I'm afraid he was right about Tryon after all... »

Jamie positions the keg and taps on it with application –

JAMIE: "A drink for Murtagh. And for the other brave, who died at Alamance. It is high time. (Then, overwhelmed with emotion) I had to take him home to bury him. To give Jocasta the chance to join us" --

John Gray wishes he could do more: go to Jamie, put a comforting hand on his shoulder -- but he knows where the limits are.

LORD JOHN: "You were damn brave, Jamie, to wait so long... «

JAMIE: "I have to think about Claire, Brianna and Roger" --

LORD JOHN: "Poor old Roger... «

Jamie looks at John Gray -- a rare moment of vulnerability, reinforced by alcohol.

JAMIE: "He's not himself. Maybe it's a ghost... «

LORD JOHN: "No, no, no... Roger is not a ghost. (after a while) But there's something else that haunts you."

JAMIE: "Yes. Something that might come back to haunt them – Brianna and Roger. Even if they don't know it – "

LORD JOHN: (directing) "Bonnet... Capturing it is still a priority? «

JAMIE: "No. But killing him is. «

They both think for a moment about the seriousness of this threat.

LORD JOHN: "I guess Murtagh would drink from that... And I will do everything I can to help you. You know that. I'm glad we're toasting together one last time -- the three of us -- before we leave. Slàinte! »

JAMIE: "No, we can't say that... it means "Good health."

LORD JOHN: "Then say something else... »

JAMIE: "Murtagh, I hope you ascended to heaven before the devil knew you were dead."

Jamie and John pour whiskey on the floor for Murtagh.




Claire sits at the table and is sleeping. Jamie enters, staggering. Claire puts the book down, immediately sees that Jamie is drunk. Understandable, given the circumstances.

CLAIRE: "I'm glad to see you've found a distraction—It's been a tough few months."

JAMIE: "Do we have a cure for grief in your time? Some of your invisible critters that would devour it? «

CLAIRE: "Unfortunately not. I do not think there is ever a cure. Except maybe time -- it is said that time heals all wounds."

JAMIE: "Or maybe the weather makes them bearable?"

CLAIRE: "If there was a cure, I would give Brianna and Roger a big dose -- they are both in so much pain."

JAMIE: "You said Roger was better" --

CLAIRE: "I thought he would speak now. Time heals physical wounds, at least. »

JAMIE: "But not the disease in his soul."

Claire nods – Jamie may be drunk but he has diagnosed the heart of the problem.




In the morning at the Ridge.

We see Lord John Gray leaving in his carriage.

The work continues at a steady pace: the laundry, the candle factory, the grass to cut, the animals to feed, the railing to paint at the Grande Maison...



Claire and Jamie stand at the door and knock. Claire carries a basket of leftovers. They can hear a loud pounding. Jamie, who has a hangover, grimaces. Not good for his skull.... They are still hitting. Brianna finally opens the door...

CLAIRE: "Hello!"

Brianna is surprised to see her parents. Jemmy sits nearby, playing. The pounding in the background continues...

BRIANNA: "Hello!"

JAMIE: "What is Roger doing, damn it?"

BRIANNA: "He makes a staircase for the attic"

JAMIE: "Do you think he might stop for a little while...?"

CLAIRE: "We brought some leftovers."

Brianna forces herself to smile, touched by her parents' gesture.

BRIANNA: "I'll see if I can take Roger away from his newfound passion for carpentry."

Claire and Jamie enter, while Brianna walks towards Roger...




Roger helps Brianna prepare the food that Claire and Jamie brought. Meanwhile, Claire and Jamie take care of their grandson – and the kettle in the fireplace. As Jemmy reaches out to the kettle, Jamie stops the boy and pulls him away from danger –

JAMIE: "Watch out, shrank!"

CLAIRE: "A chuisle? This is new. «

JAMIE: Yes. It means "my blood." «

CLAIRE: "I thought it was 'm'fhuil.'"

JAMIE: "Yes, that's true, but it's the blood that comes out when you hurt yourself. A Chuisle is something you say to a child, mainly, someone from his family of course. «


Danielle Berrow: "Part of the beauty of Outlander is its ability to capture heartwarming moments in the family's daily lives. There's a beautiful moment in the book where Jamie calls Jemmy by the Gaelic term "a chuisle", explaining to Claire that this is a way of indicating that someone is related to you by blood, often a child. This scene offered a perfect opportunity to include that moment. «   


CLAIRE: "It's adorable."

At this point, Jamie and Claire are momentarily distracted: happy to see Brianna and Roger carrying plates of food across the room to serve, as well as cups and cutlery -- so much so that neither witness Jemmy's second attempt, lightning fast to reach the hot kettle --

But Roger practically jumps forward at this sight and roars!

ROGER: "Stop!"

Jemmy looks at his father, his hand inches away from the burning metal. His face crumples and he begins to scream in fear. Brianna rushes to Jemmy, her face pale in shock. Roger is shocked too. He puts his hand to his throat: it hurts, and in Roger's ear, his voice sounds quite grotesque.

BRIANNA: "Roger, you talked... Can you say something else? «


Danielle Berrow: "This scene also represents an important turning point in the episode. Claire and Brianna's suspicions are confirmed: Roger can talk physically but has trouble coping with his psychological trauma. He is afraid of the consequences of damage to his vocal cords and what it means for his long-term recovery. In his mind, the sound he makes is grotesque and squeaky. He knows he may be able to find his voice one day, but will he be able to sing? Will he be able to stand in front of a class and give a lecture or teach again?  

These questions are related to his deeper anxiety about his place in the world, his identity, his future life with his family, and how he might provide for them. »  


Roger shakes his head, horrified and ashamed of his hoarse voice. But Brianna is optimistic about Roger.

Roger is still upset. Claire and Jamie see that Roger and Brianna need time.

CLAIRE: "We're going to take Jemmy to play" –

Jamie and Claire walk out, taking Jemmy with them.

BRIANNA: "Does it hurt? Can you try again? Come on, try for me... »

But Roger can't answer and walks away.
Brianna is disappointed, once again.




Small wood chips fly from a log that Roger is sawing on the porch with great determination and sweat, while he works on the first steps of the stairs leading to the attic.

Behind him stands Brianna, holding Tryon's letter in one hand. And the astrolabe in another. We arrive in the middle of a conversation...

BRIANNA:... At first, it made me angry too. It was like... blood money. But the more I thought about it, it's the least he could do for what happened. That's 2000 hectares, Roger. How can we say no? «

But Roger, focused on the task at hand, simply shakes his head. Brianna sighs.

BRIANNA: "Can you please stop this and think about this offer?"

At this point, Jemmy arrives and interrupts both his parents with a request. He just says...

JEMMIE: "Daddy... Clementine sings. «

Roger looks pained. Brianna takes Jemmy's hand.

BRIANNA: "Dad works, honey. Come on, don't bother him. «

She brings Jemmy inside.

Roger starts sawing again, but he is distracted. He hears something... He stops and listens... From inside the cabin, Brianna sings, just as she promised she would, if he never came back [Episode 507].

BRIANNA: "Oh my darling Clementine.... "

Roger looks out the window, devastated. After a while, he picks himself up, picks up his tools and goes back to work.


Danielle Berrow: "Richard Rankin's ability to play without words Roger's emotional anguish was phenomenal, and we knew it would shine through in intimate moments like this with his wife and child. Here, Brianna echoes the promise she made to Roger in episode 507 that, in case something happened to her, Brianna would teach Jemmy to sing "Clementine" (another nod to the song referenced in the book). «   




Jamie and Claire play hide and seek with Jemmy in a secluded spot among a few trees. Jamie "hides" in some foliage and Claire and Jemmy count before finding him easily

CLAIRE: "Look for grandpa, find grandpa, Jemmy... «

Jamie smiled mischievously behind bushes. Jemmy looks around, then discovers it –

JAMIE: "You found me!"

Jemmy laughs with pleasure.

CLAIRE: "Shall we start again? Now cover your eyes... «

Jemmy does it and counts with Claire. Jamie goes to hide again, but as he approaches another bush, he notices something moving... The bush seems to tremble... Jamie's hair bristles... He stops for a second and takes out his knife... Remaining calm, but determined, he warns Claire...

JAMIE: "Claire, take Jemmy and go home. Right now. «


Danielle Berrow: "We tried to keep young Ian's return as close as possible to the time of the book by including the boar attack. In our adaptation, to make the scene both possible to shoot and safe for our actors, we chose to combine the return with Jamie and Claire playing a nice game of "hide and seek" with Jemmy. «   


Claire, seeing Jamie armed and feeling his concern, hugs Jemmy... Jamie prepares... Suddenly, a wild boar -- with sharp tusks -- charges Jamie.

Just as suddenly, an arrow, then another pierces the boar which falls, dead, a few steps from Jamie's feet.

It all happened so fast that Claire couldn't walk away -- Jamie's instinct is to protect Claire and Jemmy. He runs towards them, protecting them both with his body. After a while, Jamie looks up and sees – a male figure standing between the trees, bow in hand, a large wolf-dog at his side hurtling down the slope barking happily –

JAMIE: "Oh, Lord. It's Ian! «

Jamie and Claire can hardly believe their eyes – YOUNG IAN and ROLLO have returned from the Mohawks.

CLAIRE: "Ian... We thought we'd never see you again! » --

Claire and Jamie are stunned but delighted. But young Ian is reserved. He has changed. Not only does he look different -- he wears a Mohawk costume and with a partially shaved head -- but there is an air of sadness about him. A solemnity. He behaves differently: the weight of the world on his shoulders.

But Jamie's immediate concern is safety.

JAMIE: "Is anyone following you, boy?"

Young Ian gestures towards the boar.

YOUNG IAN: "No. Unless he has vengeful parents. «

JAMIE: "We'll eat well tonight. To celebrate. »

At this, young Ian nods soberly. Jamie hugs him but he feels that there is a problem in Ian...



Jamie, Claire and Jemmy return to the cabin with young Ian and Rollo accompanying them. He calls Roger and Bree.

JAMIE: "Bree! Roger!

The couple comes out of the house to see what it is. Roger stops dead in his tracks, disconcerted to see young Ian and Rollo approaches him.

Out of respect, Jamie, Claire and Jemmy are waiting a few steps behind. Roger and Young Ian look up and down: their first real encounter. Roger examines young Ian's clothes: the Mohawk parts – the wampum bracelet on his wrist. There is an immediate link: of understanding and survival – brothers in arms.

For Roger, it's one less burden of guilt to carry, one less cross to carry: young Ian is at home.

YOUNG IAN: "I knew you would forgive Uncle Jamie and me for what we did to you."

Roger nods, yes. He forgave Jamie and young Ian for selling him into slavery. The two hug each other for a long time. Roger cries and cannot let go of the boy-turned-man, who sacrificed himself for Roger's freedom.

But eventually, he does. Overwhelmed by emotion but devoid of words to express it adequately, he enters the house.

Jamie and Claire exchange a look – seeing Brianna watching him enter the house... Brianna turns to Ian –

BRIANNA: "It's so good to see you"

And Brianna and Ian hug each other.



Claire and Jamie stand proudly in front of the Big House, showing it to young Ian – and Rollo.

JAMIE: "Well, what do you think, boy?"

YOUNG IAN: "She's... Great »

JAMIE: "It took a lot of work" --

CLAIRE: "Blood, sweat and tears. Everyone helped. We are very grateful to the settlers. «

An awkward silence. After a while...

YOUNG IAN: "I can cut up the boar for us, if you want"...

CLAIRE: "Ian, you just arrived. Don't want to settle down? »

JAMIE: "You must be hungry, I'm going to ask one of the men to do it... or Marsali – you should see her with a knife. »

YOUNG IAN: "I killed him. I cut it out. »

There's something so neutral about Ian's tone. Claire notices this, but also glances at Jamie, seeing how happy he is to have his nephew at home –

CLAIRE: "Of course, as you wish. Come! ».

YOUNG IAN: "Don't you mind if I stay outside for a little longer?"

JAMIE: "Make yourself home, boy."

Jamie walks away, Claire on his arm. Ian, stares at the house, overwhelmed by events. Can he feel at home?




ANOTHER SCENE MOVED (see scene numbers)


Marsali sits at the table with Roger during a visit. She serves tea.

MARSALI: "I was thinking of the MacKenzies and the Frasers... We've been through wars, in many ways, and we don't know what's in front of us... So I had an idea... «

Marsali surreptitiously removes a tarot deck from the folds of her dress. As she walks through the game, we see cards: the magician, death, justice, etc.

She looks up at the sky, closes her eyes and says a little prayer first.

MARSALI: "(speak to God) I don't want to do any harm, Lord. A little game, that's all. If you want to hit me, then you'll have to hit Mrs. Bug too, because she's the one who gave them to me, even if she'll never admit it...

Marsali stops for a second and, aware of the irony, adds...

MARSALI: "And I'm not superstitious, that's why I beg you. Amen. «

Marsali opens his eyes.

MARSALI: (to Roger) "No shots yet. (Lowering his voice) And it was Claire who said that if he doesn't mind doing an 'autopsy', then I don't see why a few cards would bother him."

She mixes the game and closes her eyes again: this time in full concentration. Roger looks, a little bored, but he deals with it.


MARSALI: "What does my future hold?"

Marsali draws a card, delighted with the result: the lover.

MARSALI: "(laughing) This one is called the lover. But how many children is too many, Fergus Fraser! «

Marsali takes a look at Roger...

MARSALI (reshuffles the cards): "For Roger MacKenzie, now."

She concentrates again and draws a card: the hanged man. They both look at her. Marsali retreats in surprise. She retrieves the card, shuffles it and draws it again. To his horror, the same card reappears.

Roger watches, his eyes incredulous. Marsali is shocked and accidentally spills the cards all over the floor...


Danielle Berrow: "This scene is inspired by a passage from the Cross of Fire in which Brianna describes a dream she has about her friend Deborah. Deborah offers tarot card readings and Brianna dreams of a card called "The Hanged Man":  

"The Hanged Man represents the necessary process of surrender and sacrifice," she said.  

"This card has deep meaning," she said, and she looked at me and tapped on it.  

"But much of it is veiled; You must discover its meaning for yourself. Self-abandonment leads to personality transformation, but the person must accomplish his own regeneration. »  

In this case, we brought the dream to life, so to speak, and brought Marsali home to try to distract Roger from his grief and cheer him up.  

Originally, tarot cards were used for simpler decks of cards before taking on a more "occult" meaning. Various superstitions were still strongly entrenched in a large part of the population at that time, even among believers (who included almost everyone) - and card games were very popular - so it is not hard to believe that people would be curious to know how to use them.  

Here, however, Marsali offers a prayer of forgiveness before using the cards – her way of acknowledging that she is doing something she would not normally do. But it was interesting to consider the idea that everyone on the Ridge would be exhausted trying to entertain Roger with a one-sided conversation. For Marsali, the temptation to use cards as a way to break the silence is too strong to resist.  

In the book, Brianna has the advantage, in her dream, of being aware that the Hanged Man represents a "transformation" or "regeneration". As she observes in the book: "personality transformation." That's what I'm afraid of, okay. I liked Roger's personality as it was! This notion becomes key in adaptation. While the true meaning of the map itself – as a symbol of transformation (rather than death) – is never explicitly acknowledged by our characters in the dialogue, this is the conclusion Roger comes to as he slowly heals, with Brianna's support.  

Brianna wants her husband back, but he will never be the same again. The scene foreshadows, albeit on a more subconscious level, Roger's realization that in the end, he is a changed man. «   


MARSALI: "I was wrong, we'll try again."

But Roger grabs the card this time and knocks the others down. Marsali is trying to get out of this awful situation.

MARSALI: "At least you didn't have 'death' -- or the devil." It would be worse, wouldn't it?

Marsali shows an anguished Roger the other two cards –

MARSALI: "It's just a very small game as I said. It doesn't mean anything."

"But it means something to Roger." Suddenly, he feels that terrible feeling of darkness descending once more when he closes his eyes... We hear the old sounds of the movie projector: Click, click, click –

The images of the hanging still come back to him... A silhouette emerges in his waking nightmare...




Back with Marsali and Roger. That's when Brianna comes in. She sees the tarot cards and feels the tension in the room.

BRIANNA: "What's the matter? What is it? «

MARSALI: "Nothing. Just an innocent pastime" --

But Brianna sees the hanged man's card in Roger's hand. She is not happy. She joins Marsali towards the door.

BRIANNA: "I thought you came to try to cheer him up. What were you thinking?! «

MARSALI: "I didn't think he would draw the Hanged Man's card – twice! That's what it's like to have dabbled with the devil! «

BRIANNA: "It has nothing to do with the devil! Oh my god! They are just cards. «

MARSALI: "Yes, but perhaps it is better not to call on the name of the Lord in vain."

Marsali raises an eyebrow and walks out. A wave of guilt hits Brianna. It is not against Marsali that she is angry. She turns to Roger. He crumbles the map and throws it away.

BRIANNA: "They're just cards."

Roger doesn't seem convinced. Brianna's frustration finally erupts and she gets angry as she confronts him.

BRIANNA: "Talk to me, Roger. I know you can. I don't care about the quality of the sound. I know it's hard -- your voice is your gift. But you're still you. You are still the man I married and I want him back. Please.... (She gets angry) It's not just your silence, it's that you don't get involved -- with me, with Jemmy, with the world. «

Roger looks at her, mute.

BRIANNA: "I know how hurt you were and how much terror you must have felt. But I too experienced something horrible, something dark and ugly and believe me, all I wanted was to crawl into a hole and die. Sometimes it still happens to me. But I didn't – and I don't – because I have a husband and a son who need me. I fought for us! And now I need you. Jemmy needs you. I've been patient, but I need to know that you're not "lost and gone forever." Will you come back? Are you going to fight for us? «

But Roger has no answer...






Jamie and Claire fetch dishes and cutlery for young Ian's return dinner.

JAMIE: "It's a miracle -- Young Ian here, Sassenach."

CLAIRE: "That's right... but I'm not sure we can always call him Young Ian... I don't know who came back to us... «

Still overwhelmed by the happiness of having Ian at home, Jamie tries to suppress a lingering feeling...

JAMIE: "It doesn't matter" --

CLAIRE: "But why now? What brought him back to us? He doesn't seem to be in a hurry to tell us... or to talk about it... Or anything? «

A silence as Jamie fully realizes it –

JAMIE: "Yes... He and Roger Mac are more of a pair. «

Claire, in turn, realizes Jamie's pain – the realization that Ian has changed, that he is different in some way. She looks to the infirmary -- CLAIRE: "We could give him our bed in the kitchen... We can go to the living room until the floor is finished. «

Jamie is still reeling from what's happening...

JAMIE: "You're right, Sassenach. There must be a reason. He said no one would come to chase him... Something must have made him come home... Anyway, I'm glad he's here. Losing my godfather was hard to bear, finding my nephew is a blessing. «

CLAIRE: "I hope he's definitely back" --

Claire touches Jamie's shoulder, thankful that something has eased the pain of her grief.



It's the celebration dinner of young Ian's return and everyone is there to eat, drink and see young Ian -- who feels more like an exposed curiosity than a member of the family.

Jamie, Claire, Brianna, Young Ian, as well as Fergus and Marsali gather around the table for this meal -- there's certainly plenty of wild boar for everyone. Roger is not here.

At this moment, LIZZIE appears, her eyes shining. She always had a crush on young Ian. She brings a dish of food to serve first.

LIZZI: "I made you a special almond pork pie. I remember it was one of your favorite dishes."

YOUNG IAN: "That's right. Thank you, Lizzie. «

Lizzie blushed, happy that young Ian even remembered her name. Marsali and Fergus can't wait to interview young Ian.

JAMIE: "Lord, we thank you for this meal, but above all, we thank you for bringing young Ian back to us."

Everyone says "Amen", except Ian who looks at the scene, still in a form of shock.

FRIGUS: "You must have a lot to tell!"

MARSALI: "Start at the beginning and forget nothing" --

YOUNG IAN: "You already know the beginning. And the end is our dinner tonight."

MARSALI: "And what about the little in between?

Everyone is waiting for young Ian to speak. He doesn't know where to start. He shrugs.

MARSALI: "The Mohawks treated you well? How were they? «

YOUNG IAN: "They were... good people. «

An awkward silence sets in as everyone realizes that this will be young Ian's only answer. Jamie and Claire exchange a look: just what they thought -- something very dark about young Ian.


Danielle Berrow: "Family time is incredibly appreciated by the Frasers. This scene represents the first time that we, as an audience, have seen the dining room used for its intended purpose. The celebratory meal in honor of Ian's return was the perfect opportunity to explore the complex dynamics across the network of relationships. It was written to allow for awkwardness and pauses, and you can cut the tension in this scene with a knife.  

Much of this plays out through the tacit subtext, as well as in the actors' expressions and looks on screen. Like Roger, young Ian suffers. Both are coming to terms with each other's emotions and experiences and are tormented by the idea that they may have fundamentally changed or that they don't belong here. »  


FERGUS (teasing): "Have you forgotten how to speak English? Could we try it in French? The Mohawks speak a little French, don't they? «

Marsali kicks Fergus under the table.

FERGUS: "What? What did I say? «

MARSALI: "Sometimes it's better to be silent than to talk nonsense."

FERGUS (to Ian): "We are very happy to see you, that's all" –

YOUNG IAN: "Where else would I have come from?"

CLAIRE: "Are you planning to go back to the North? Return to the Mohawks?"

YOUNG IAN (quietly): "No.

Jamie tactfully decides to change the subject. He turns to Brianna.

JAMIE: "Bree, did you discuss the land given by Governor Tryon?"

Brianna nods, half-heartedly.

BRIANNE : "We are still thinking about it"

JAMIE: "If you have to conserve this land, you have to take the readings and record it as soon as possible. We cannot predict what is coming. There may be new unrest in the settlements."

BRIANNA: "I'm not sure Roger is capable of doing something like that yet."

JAMIE: "Maybe we could send one of our men. If Myers wasn't away to trade... Or, perhaps, Ian would be willing to go with him? (Turning to Ian) You know how to do it, boy, you helped us mark the Ridge when we arrived. Would you do it with your cousin? It would do Roger -- and us -- a great service. «

Young Ian is reluctant to get involved. Claire sees it and intervenes.

CLAIRE: "Let's give him time to think... (then to Ian) Alas, our guest rooms upstairs are not ready yet but you can sleep in the kitchen bed. »

YOUNG IAN: "Thank you."

Claire squeezes his arm with a smile, but he pulls back off instinctively. There is a mistrust that did not exist before.

The rest of the meal is spent in silence...




Roger is alone in the cabin. He goes to get his guitar and sits down, mentally preparing himself to try. He strums a few chords of Oh, My Darlin' Clementine, feeling a positive emotion for a moment or two... until he tried to sing...

ROGER (In a croaking): "In a cavern, in a canyon...... That's not fine. «

Desperate, Roger puts down his guitar, head in his hands.

The images of the hanging come back, again and again, haunting...



Danielle Berrow: "While the rest of the family is having dinner, it's heartbreaking to be with Roger, alone in the cabin. We wanted to show that, despite his difficulties and reluctance to fully engage with the world, Roger is trying. He experimented with his voice and, once again, chose the song that has now become so important in his relationship with Brianna and Jemmy: "Clementine".  

Richard has done a remarkable job bringing Roger's pain to life on screen in an incredibly palpable way. In fact, his character was so passionate on the day of filming that during the last take, he broke his guitar by slamming it on the bed with anguish! «   



Young Ian stares at the bed in the kitchen for a long time.



On the way to the kitchen, Jamie finds young Ian lying on the floor of the covered passageway with a blanket.

JAMIE: "Ian.... What are you doing here, boy? «

YOUNG IAN "I couldn't sleep."

JAMIE: "The bed doesn't suit you?"

YOUNG IAN: "I'm not used to having a bed in such a big house, uncle."

It's true. In the Mohawk village, he slept in a longhouse or under the stars while hunting. Jamie sits next to him.

JAMIE: "We're so happy to see you again. But you look disturbed... You are not yourself. What happened with the Mohawks? You can tell me about it if you want. «

YOUNG IAN: "Thank you, uncle... But I can't tell you the truth yet. I will not find the words. But there are things you hide from others, you and Claire, too. »

JAMIE: Yes. I understand. But I am heartbroken to see you so troubled. »

YOUNG IAN: "Don't worry about me"

JAMIE: "Well, maybe I'll sit here for a while, if you don't mind."

YOUNG IAN: "I don't mind"

JAMIE: "But if there's anything I can do for you"...

YOUNG IAN: "Just a little rest, uncle. I am... I am tired. «

Jamie looks at Ian and sees how exhausted he really seems. Like he hasn't slept in days. Jamie can't bear to leave him... While Jamie sits quietly, close-up on Ian as his eyes close and he finally lets sleep catch up with him.




Young Ian is sitting on the back porch, carving a piece of wood.

He turns, feels a look on him. This is little GERMAIN FRASER... Looking at him with the eyes of a curious and shameless child. Germain approaches Ian and touches his face and shaved face – fascinated by Ian's unknown character and Mohawk appearance, especially the dotted tattoos on his face.

GERMAIN: "They're hurting you?"

Germain shows young Ian a tiny circular bruise on his arm -- innocently liking it to Ian's tattoos --

GERMAIN: Mine hurts when I play. »

YOUNG IAN: "These are not bruises, boy. I chose them."


Danielle Berrow: "Little Germain is so cute and we loved the idea that he was curious – as children often are – about young Ian's appearance. Having never seen a tattoo like this before, Germain assumes that young Ian's marks are bruises. While it's only a short interaction between them, it's moments like this that help build the overall story arc of the series in its entirety and hint at some of the issues that might trouble young Ian... »  


Marsali, who returns to the Great House, rushes to reprimand his son. MARSALI: "Germain Fraser, what are you doing? (Then to Ian) I'm so sorry "-- YOUNG IAN: "I don't mind"--

MARSALI: "Sometimes it seems like an impossible mission... Two babies is already a lot, and the third on the way... I take care of the garden, sewing and I help Claire in the infirmary... Before noon, I can't take it anymore. But I wouldn't change for anything in the world." --

Young Ian looks nostalgically at Marsali's belly, it triggers something sad in him but he hides it.

YOUNG IAN: "Children are loaned to us by the Creator for a short time -- if we're lucky."

MARSALI: "I guess mine are lucky to have siblings, like the Murrays. I have only one little sister, Joanie. She didn't have the strong character of your Janet, I remember. «

YOUNG IAN: "My sister has always had a special character."

MARSALI: "Yes. She was doing a lot of nonsense. To tell the truth, I was always a little jealous of it, with only my mother and sister as company in Balriggan. You must miss your family. «

Young Ian nods – he misses them, but he feels like it was a lifetime ago. After a while, Marsali confesses...

MARSALI: "I miss my Joanie – Only, sometimes I feel guilty for being so happy here... and to feel at home, in this family. I feel like I'm part of it. Is it serious? «

YOUNG IAN: "No, that's a good thing."

But for now, that's Ian's problem. He doesn't feel like a family yet. Marsali touches his stomach again.

MARSALI: "The baby kicks – Maybe he'll be coming soon. I'm glad you're here to welcome him or her. «

Marsali returns to his chore, Ian looks at her, still feeling like a stranger to the family that was once his.



BEAUTIFUL SCENE BETWEEN JAMIE AND BRIANNA, CUT IN FINAL VERSION (she appears in the DVDs in scene + of episode 8)


Jamie and Brianna walk and talk. Brianna is concerned, she always thinks about how difficult it is to help Roger.

BRIANNA: "How do you bring someone back?"

Jamie knows exactly what she means.

JAMIE "Roger still doesn't speak."

BRIANNA: "It's like he's no longer Roger... He can talk. But he chooses not to. I was patient... But today I sent him to graze. »

Jamie's eyebrow rises in surprise at this expression –

BRIANNA: "I lost my temper"

JAMIE (smile heard): "It's the Fraser in you."

BRIANNA: "He finally agreed to do the surveys for the field."

JAMIE: "That's good news. I will ask one of our men to go with him. «

BRIANNA: "But what if he never comes back? I am not just talking about surveying. But what if he never comes back? I feel like I'm losing it."

Jamie sees his daughter's fear and wants to comfort her...

JAMIE: "How many nights in twenty years. How many hours I spent wondering if my wife was still alive and how she was coping. She and my child. «

It means a lot to Brianna to hear that. On so many levels.

JAMIE: "What if she hadn't come back to me... If you hadn't come, if I had never known... Then I would have lived and done what needs to be done. And so do you. «

Brianna understands that.

BRIANNA: "I know. And I will. But that doesn't stop me from hoping I won't have to."

JAMIE: "When two people love each other enough, nothing can separate them -- not pain, not war, not death, not time. One day I told your mother that nothing is ever lost, only changed. She told me it was the "first law of thermodynamics. I told him it was faith. (see episode 401)


BRIANNA: "Easier to say."

They both laugh.

JAMIE: "More difficult to put into practice. But that's what you have to do, leannan."

Brianna takes Jamie's hand, happy to benefit from her father's wisdom.




Roger prepares a few last articles before going on scouting. Brianna is at the table, folding a piece of paper carefully, with a goal in mind.

BRIANNA: "I'm glad Ian is coming to walk the land with you. Before you left, I wanted to give you something to take with you. You told me you had a small plane as a child. The paper was turned into a paper airplane.

I have not finished my bachelor's degree, but I have some notions of aerodynamics. A sheet of paper is not made to fly... But sometimes we have to review our expectations, bend and reorganize... There's a good reason why the first wedding anniversary is supposed to be paper, and after sixty years, it's diamond -- the hardest substance on earth. I want our marriage to become something as strong. I love you, Roger Mac"

Brianna throws the plane that floats across the room. Roger gives him a surprised look. He is moved by this farewell. He goes to get the plane, puts it in his bag after a hesitation and, after a while, goes out....




Roger and Young Ian -- and Rollo -- examine the 2000,<> hectares of land, adjacent to Fraser's Ridge, defining the issues and measuring the distances between them with a surveyor's chain (Gunter Range) and a surveyor's compass (circumferent), recording the results and drawing maps. They work in silence. It's hard work that also requires cutting through brush and trees to make a path –

At one point during the day, Roger taps Ian on the shoulder to thank him.

YOUNG IAN: "No need to thank me. I came alone"


Danielle Berrow: "Roger and Young Ian – and Rollo – inspect the five thousand acres of land adjacent to Fraser's Ridge. Detailed research was undertaken regarding the surveying process, as well as the tools and equipment involved. It was often an exhausting task under difficult conditions. Young men of the time could refer to books such as John Love's "Geodaesia" or The Art of "Surveying and Measurement Land Made Easy," but hands-on experience was essential. «   



Young Ian collects leaves to create a makeshift mattress under the shelter he created. When he's had enough, he covers the pile with his blanket. While Ian is doing this, Roger uses the astrolabe to take more measurements -- latitude, etc. -- using the sky (possibly looking at a very first quarter moon or the north star).

Young Ian watches, intrigued. Roger sees him and throws the astrolabe at young Ian so he can take a look.

YOUNG IAN: "Brianna gave you that, didn't she? And you trust me not to break it? «

Roger nods. He watches young Ian instinctively touch the wampum bracelet on his wrist. Roger approaches, feeling that this is important to Ian and he wants to know more. But Ian walks away, preventing Roger from taking a closer look. There is a painful memory connected to it.




Claire comes out of the infirmary and meets Marsali. Claire holds a half-empty jar of hemlock root... Only one piece of root remains.

CLAIRE: "Marsali... Have you prescribed hemlock to anyone? «

MARSALI: "No why?"

CLAIRE: "There are quite a few missing – there's only one root left -- and I was wondering if you had prescribed it for a migraine or... » --

MARSALI: "I wouldn't touch that, being pregnant... »

CLAIRE: "That's what I thought. It's so dangerous... »

Marsali examines the pot.

MARSALI: "I would swear we had at least 4 or 5 roots left... «

It definitely lacks the aquatic hemlock. And clearly, it was not Marsali who took it. Claire seems very disturbed.




Roger, young Ian and Rollo take a break from their work. Sitting quietly together, they listen to the birdsong. Roger plays with the paper plane Brianna gave him.

YOUNG IAN: "What is it? A paper bird? «

Roger shrugs his shoulders and nods halfway. He throws it and flies a short distance. Young Ian is intrigued.

YOUNG IAN: "He steals, but he doesn't sing."


Danielle Berrow One of the wonderfully magical things about Outlander is both the fantasy elements and the time travel. It is always fascinating to see characters in settings that are unfamiliar to them, or "out of time" so to speak: confronted with knowledge and ideas they could never have imagined.  

This scene was fun to write, because it allowed the surreptitious insertion of a "futuristic" object: the paper plane. The young Ian, who until now does not know about the existence of time travel, has obviously never encountered such an object, and despite the complex scientific principles governing the flight of the plane, it is built from a humble sheet of paper.  

Young Ian of course knows that there is something very unusual and special about his Aunt Claire – and he may have questions and suspicions about Brianna and Roger – but it is tempting to see pieces of the time travel puzzle potentially forming in his mind. «   


YOUNG IAN: "I couldn't always understand the Mohawks... So, sometimes I talked to the birds, so as not to feel so alone. «

Young Ian imitates some of the birdsong (or whistles) he learned on his own during his time with the Mohawks. Roger smiled, appreciating the talent "--

YOUNG IAN: "Have you ever wondered how they find their way when winter comes? They always seem to know. And they always seem to go together. I wish it were that easy for us. «

Roger gives young Ian a compassionate look – perhaps making a decision is one of the curses that comes with being human.

Suddenly, young Ian takes his bow and arrow and shoots another type of bird: a wild turkey.

YOUNG IAN: "It's a shame they can't tell us their secrets."

Roger watches, a little bewildered, given young Ian's comments. Young Ian goes to get the turkey.

YOUNG IAN: "But what do the birds know about life and death? Pain and suffering? (After a while) Do you think they have a soul? «

Roger has no answer to that. He struggles in thoughts of death and darkness... Ian, fighting his own.

YOUNG IAN: "We're going to eat it and put his bones back in the ground. That's where everything ends up disappearing, right? Unless you think differently? Maybe the earth is the only thing that really lasts."

Roger touches the earth and feels it crumble between his fingers –



Roger wakes up suddenly. He finds himself in the camp under a blanket. Roger's sudden movement woke up young Ian – and Rollo. Ian is now watching Roger closely. It takes Roger a second to get his bearings and understand that no one is trying to kill him. He drinks some water.

YOUNG IAN: "Were you dreaming?"

Roger nods. Young Ian takes the astrolabe and aligns it with a star... to determine its position.

YOUNG IAN: "Wherever you thought you were, we're always there, both of us."

The weight of these words permeates Roger -- strangely comforting.




While they finish the floor, Jamie and Claire have temporarily transformed (what will be) the living room into a bedroom. ADSO the cat is nestled on the bed, in Claire's arms.

JAMIE: "It looks like we have an intruder. Yes, little kitten, warm the bed for us. «

CLAIRE: "This room will definitely do well until we finish the floor" --

Jamie joins the cat in bed, playing with him –

JAMIE: "You can stay as long as you want if you promise never to reveal what's going on here... «

The cat obviously does not react. Claire smiled jokingly.

CLAIRE: "Ha. I think it's more likely that the mice will dance while the cat is not around... Sorry Adso. It's a good thing that walls don't speak."

JAMIE: "These ones are so green they have nothing to say... But we can put things in order. »

But Jamie's joke doesn't really have any effect: Claire is a little disturbed. Yet she joins Jamie in bed.

CLAIRE: "Hmm. They could talk about the choices we've made... and how we started building this house... «

Jamie reads doubt in Claire's hesitant voice. He wants to reassure her" --

JAMIE: "Everything we've done has been for those who live in this place... »

CLAIRE: "I don't want to sound too alarmed... but do you think Roger might not want to come home? «

JAMIE: "Why? Brianna is still worried? «

CLAIRE: "I lack medicinal plants at surgery... which are very toxic if not properly administered by a doctor... «

Jamie understands what Claire is getting at –

CLAIRE: "I'm afraid he's doing... When you were suffering all those years ago... «

JAMIE: "I didn't want to go on living... «

Close-up on Claire and Jamie's concern...



Another day of demarcation for Young Ian, Roger and Rollo. Roger and Ian have a good rhythm, a system that works.

Roger keeps the note registers while Ian uses the chains and compass, giving the dimensions that Roger picks up.

Today, they face an obstacle: they work on top of a cliff. Roger is busy jotting down the measurements but lacks space in his book. He goes to get a spare notebook among their belongings. He rummages through young Ian's bag and sees (unbeknownst to him) Otter Tooth's diary, among a few other notebooks. He takes it out of the bag and is about to look at it...

YOUNG IAN: "No, don't touch that."

Roger puts the diary down, surprised by Ian's harsh tone. Ian feels it.

YOUNG IAN: "We should rest. Everything will still be there when we wake up tomorrow."

Roger nods. He approaches the ledge, trying to measure the amount of work that remains to be done. Young Ian turns to leave. But Roger lingers at the edge. Annoyed that Roger hasn't moved, Ian grabs Roger by the wrist and pulls him away, looking over the edge...

YOUNG IAN: "What are you doing? What do you want to see? «

Roger takes one last look at the ground below... The prospect of the fall triggers Roger's memory...




For the first time, the scene switches from black and white....

We see again the scene where the barrels supporting the three condemned Regulators are pushed.

Nearby, English soldiers watch, alongside Colonel Chadwick. They laugh, as if to say, "Nice try."

Governor Tryon is heard: "Hang them and leave them to serve as an example"

... To the color...

Roger remembers... He relives everything and the words of Colonel Chadwick ... For your crimes of treason, you will be hanged to death. May God have mercy on your souls... » » ...

And we see the scene of the hanging in its entirety and with the "direct" sound and not the sound of the reel...

At the last moment, Roger's left hand breaks free and, reflexively, immediately goes to his throat -- a barrier between the noose and his neck. An attempt to save himself And while he is dying... the silhouette he has interviewed becomes clearer: it is Brianna who smiles tenderly.


Still at the edge of the cliff, Roger pulls himself together brutally, as when one emerges from a nightmare, rummages through his coat to catch the paper plane and sends it flying over the cliff, he looks at it... Still in conflict -- but finally ready to let go of some of the pain. And Brianna comes back, always smiling and reassuring (and we hear again the musical theme of Roger and Brianna...)


Danielle Berrow: "We loved the symbolism of Roger throwing the paper plane off the cliff: his worries are taking off as he lets go of some of the pain that has kept him from living over the past few months. However, young Ian's concerns remain unresolved. «   



The birds chirp happily when Roger wakes up early in the morning. He opens his eyes to discover Ian's empty bed – but he has left all his belongings behind. Rollo - usually free to walk in nature - is tied with a rope nearby. Very strange.

Roger looks around. He doesn't see young Ian anywhere, and decides to go look for him elsewhere. He detaches Rollo. He can't get rid of the feeling that something is wrong...


Danielle Berrow: "Seemingly small or insignificant visual cues can be very important in constructing a story. We wanted to include a small detail that would cause Roger concern. Specifically, he knows that Rollo is never attached... which indicates that there must be something wrong. «   




Young Ian respectfully places his tomahawk in the earth, laying down his weapon very ceremonially. He buries her... in the manner of the Mohawks. He doesn't need it anymore.


Danielle Berrow: "We come full circle and, true to Roger's lesson at the beginning of the episode, discover the meaning and origin of the expression 'burying the hatchet'. Traditionally, the Mohawks put away their weapons in peacetime or when peace was restored after a fight and buried them. That's where the expression comes from. Young Ian yearns for peace. He ends his quarrel with life and wants to stop fighting. Knowing the meaning of this phrase – and having spent time with the Mohawks himself – Roger is immediately suspicious and rushes to stop Ian from harming himself. «   


YOUNG IAN: "(in Mohawk) I pray for peace."

From a distance, Roger approaches. He sees young Ian and the strangeness of his actions, the burial of the hatchet... He stops and looks quietly. The "ceremony" ends and young Ian approaches a small campfire, where the water boils. Young Ian puts plant roots inside the pot: we recognize the white root (the same one that Claire lacked earlier).

Roger can't really say what it is – could it be mint? But he knows what it means to bury the hatchet since his time with the Mohawks – the symbol of stopping the fight. A symbol of peace, but also, in this case, of abandonment and renunciation.

He's seen enough. Roger approaches and kicks the teapot. Young Ian emerges, furious at this interruption.

YOUNG IAN: "What are you doing? You don't know what I'm doing."

Roger's face tells us he knows exactly what Ian is doing. His intention. Very softly, in an almost inaudible tone –

ROGER: "I know."

YOUNG IAN: "Why? You in particular, why would you want to stop me? I saw you looking at the precipice... I know what you were thinking. You have everything -- a woman who loves you -- a child -- and yet you still don't want to stay with them. «

Roger shakes his head, but young Ian squeezes him even more.

YOUNG IAN: "When that rope was around your neck and you were dying – what did you see? What did you see in the dark? What did you see? Tell me, what did you see?"

Roger does not answer, which angers young Ian.

After a while, Roger croaks the words, his voice still hoarse from his long period of silence –

ROGER: "I saw my wife's face."

Young Ian collapses, falling to his knees in grief...

YOUNG IAN: "So... There is no way out, even in death, I will see his face."

Roger assumes there must be a woman involved.

ROGER: "What was his name?"

Young Ian glances at him and then looks at the wampum bracelet: realizing that Roger has understood his pain.

YOUNG IAN: "It doesn't matter anymore."

ROGER: "Is she dead?"

YOUNG IAN: "No, but she's lost to me. I just wanted the pain to stop. Just stay in peace" –

Roger nods. Young Ian is silent. He can say no more now.

ROGER: "Who can say where your soul would go if... »

Roger closes his eyes – the thought is too horrible to formulate.

ROGER: "You could be separated forever. Not just from her, but from everyone who loves you."

This feeling overwhelms young Ian...

YOUNG IAN: "So what now? Do I have to go home? You can talk... You buried your weapon, your voice -- now you dare to use it against me? «

ROGER: "You're right. I did it. But I have to take it back. And fight. And you, you can? «

YOUNG IAN: "I don't know."

ROGER: "Then dig up your gun. And go home with me, until you know it. «




Roger and young Ian return from their expedition and arrive in sight of the Big House.

Young Ian's first stop is the Big House, but Roger desperately seeks to find Brianna.


Roger enters the cabin and finds Brianna, he joins his wife –

ROGER: "Brianna."

Brianna's eyes widen with joy and disbelief. He said his name. She is speechless... (!)

ROGER (smiling): "Don't tell me you can't find your words now" -- BRIANNA: "No, it's just... I was so scared. «

ROGER: "Me too. Because even if I were saved... Part of me died that day."

BRIANNA: "I know how you feel. Believe me, I know that. «

ROGER: "Everyone wants the old Roger back, but I'll never be the same again. I studied history, I taught it. Now I live it. (He pauses). When I saw this tarot card, I thought: this is who I am now. The hanged man. Maybe it's my destiny. My own ancestor tried to kill me. Maybe I wasn't supposed to exist. «

BRIANNA: "That's not true."

ROGER: "Maybe not. But I have changed. (Another silence) Do you remember when you asked me my last words? I thought I knew them. But what mattered was the last face I saw -- and it was your face. (Roger is very emotional and relieved)

BRIANNA (overwhelmed with emotion): "Roger.... «

ROGER: "I will always sing for you. Whatever happens, wherever you are... Whether or not you're here to hear my voice, even if my voice can't, I'll always sing for you."

Nothing is lost, only changed. They fall into each other's arms.


Danielle Berrow: "Although we find them in a slightly different context in the book, we were delighted to have a special place for those much-loved lines (with a slight modification) between Roger and Brianna, from the Croix de Feu: "I will always sing for you, my dear." He came up behind her, pulled her against him, so that his head rested on her shoulder, her hair fresh and alive against her face...  

"It doesn't matter," he whispered, "it doesn't matter where. It doesn't matter if you're there to hear or not, I'll always sing for you. «