“Moving Heaven and Earth”: A recap of season 3 episode 10 by your Aussie Blogging Lass

Outlander Homepage originals by Susie Brown 

There is an anonymous saying which goes, “Convince a man of what he wants, and he'll move heaven and earth to get it.” This quote is particularly apt for episode 10, which is full of characters who are attempting to do just that. From Jamie and Claire, to Fergus and Marsali, to Captain Leonard, Elias and Annekje on board the Porpoise, a depth of feeling runs throughout this episode that leaves no one unaffected - not even the viewers! 

As the episode begins, Jamie is sitting on the deck of the Artemis, sharpening a knife. His eye is on the British man-o-war, as he watches and waits for Claire. In contrast to the sickness on board the Porpoise, the mood on the Artemis is more relaxed. Jamie notices Fergus talking with the cook and walking away with a pouch of something. When Jamie questions him, Fergus says that it is a potpourri of sweet herbs - he wants to impress Marsali, but also wants to improve the smell in the cabin, which is starting to smell of bilge. 

Jamie comments that he feels it is him whom Fergus is actually trying to impress. The younger man doesn’t answer but points at the other ship, which is now preparing to sail away. 

Spurred into action, Jamie takes the eyeglass off one of the crew and looks onto the deck of the Porpoise, where he can see Claire arguing with the captain. “They have my wife,” he calls and immediately starts shouting orders, telling the crew to make sail. They begin to do as he commands, until Captain Raines belays the order. He gives different instructions, ones that will not allow the Artemis to maintain the speed they need to keep pace with the Porpoise. 

Raines tells Jamie that it is as fast as they can safely go in the wind and that the other ship has sick and dying men on board. They need a surgeon and so Claire is to remain there for the duration of the voyage. Raines tells Jamie of Captain Leonard’s promise to deliver Claire back to them on arrival in Jamaica. Jamie is furious that this deal has been struck and when Raines says, “I have more than your wife to think about, Mr Fraser”, he loses his temper and grabs hold of the older man. Knives and pistols are drawn: Raines’ crew defending their captain; Jamie’s men defending him. Raines tells Jamie to order his men to scabbard their blades, which he does, but tells the captain somewhat desperately, “Just keep me in sight of her, man.” 

But Raines is not to be ordered about. He says that they will sail at their own pace and promptly orders Jamie taken below. The crew obey and a slightly dazed Jamie is led away, his gaze on the ship that is taking Claire away from him. From the opening minutes, we can see the despair of yet another separation. 

Alone on the ocean now, the healthy men of the Porpoise are cleaning the decks, while the sick continue to vomit and groan down below. Claire is taking charge, insisting that enough space be created for the men to sleep without touching each other. 

The healthy men must sleep wherever there is room. She tells them that typhoid fever is spread by hands or contaminated food, so every surface must be clean. When one of the men complains about being given orders by a lady doctor, he is swiftly put in his place by young Mr Pound, who reminds him that the Captain has ordered that they do as Claire says and pay her every respect.  

Claire continues her orders. A bucket of grog is being held by another crewman. She dips her hands in it and instructs Pound to do the same. When he asks why, she answers that it is because they don’t have any pure alcohol. Everyone must dip their hands when entering or leaving the area where the sick men are. 

Pound dutifully does so, but when Claire turns around she catches him licking his fingers, in order to have a “taste of grog”. As patiently as possible, she tries to explain the purpose for the dipping. While it is obvious that Pound doesn’t truly understand the importance, he nevertheless follows her instructions. This sets the scene for the relationship that is to develop between the two: Pound already trusts Claire and will do whatever she says without question. 

On deck, Claire looks out to sea, shielding her face from the glare of the sun and allowing herself a brief moment of despair. She has been on the Porpoise for less than a day, her voiceover says, and although there can only be about 50 miles between herself and Jamie, it feels almost as far as 200 years. At the same time, she is relieved, as Jamie would not have been immune to the typhoid fever on board. Pound appears with a hat for Claire, to protect her from the unforgiving sun. 

It is a thoughtful gesture and Pound soon shows that he has been thinking about other things as well: two of the men on board know how to distil pure alcohol from rum, he says and asks if he should set them to work in building a still. Claire agrees, adding that it will not be a popular decision, particularly as it will involve men being put onto half rations of grog. 

The still is swiftly set up, but one of the officers, Mr Overholt is complaining to Claire as the next scene begins. The men will not like it, he says. But Claire is blunt: would the men prefer to die instead? The alcohol might help stave off the fever, she explains and suggests that perhaps a guard can be placed on the two still makers, to ensure that they don’t drink the proceeds. Grudgingly, Overholt comments that it might be managed and asks Claire how many casks she needs. Again, she is blunt: how many men would he like her to save?

Claire and Pound walk amongst the sick, administering simple food and water. Claire explains to Pound that while he may touch the ill men, he must not touch his own clothes, hair or face until he has dipped his hands again. She asks how old he is and is stunned to find out that he is only 14. Perhaps it is his youth that immediately prompts her to ask his first name - Elias - and whether she may call him that. When he hesitates that it is “not very navy” and the Captain mightn’t approve, she replies that if they are to work together it would be easier to call him by name. Elias then shares a bit of his history - he has been at sea since he was 7 years old, as his uncle had been a commander on the Triton, which allowed him a berth on board. He has only joined the Porpoise for this voyage, he tells her. Perhaps Claire is reminded of her own childhood travelling to exotic places with her uncle, or perhaps it is his extreme youth, but she smiles at Elias and calls him a very impressive young man. He blushes and smiles sweetly back. But as they continue their walk checking the sick, Elias’ face changes. One of the men is dead and it is a friend of his, Jim Quigley, from his home town. Claire is called away to deal with 3 new patients, but Elias leans closer to Jim, closing his friend’s eyes.

In the captain’s quarters, Claire asks Leonard for the surgeon’s journal, as she needs to know the first reported case of the disease. Leonard tells her it was 4 weeks ago and shows her the record. Claire notes the similarities of symptoms of a number of the men, as well as the similar notation of “carpenter’s crew”. Realising that all the infected men came from one part of the ship, Claire asks to speak to the surviving crew from that area. They check the records. Claire queries the notation “D.D”, as it appears on all records save one. When told it stands for “Discharged, Dead”, she realises that the one exception is the only living man. He has since been reassigned to the galley and is now working with the cook. 

In the next scene, Claire is remonstrating with two men: Cosworth, the obviously annoyed cook and the disease source, Joe Howard. Claire explains that although still healthy himself, Howard can still spread the disease to other men, particularly if he is involved in serving their food. Cosworth tells Captain Leonard that he will not give up his one remaining galley hand on account of a “cursed woman’s foolish notion”.  

But Leonard responds that even though it is beyond their own comprehension, they must believe Claire.  Howard is promptly put into isolation, but as he leaves, Leonard comments to Claire that she had better be right with her claims. 

Back on the Artemis, Fergus is collecting food for the still imprisoned Jamie, putting his pickpocketing skills to good use by getting some extra bread while no one is looking. Without access to Willoughby’s acupuncture needles, Jamie’s seasickness has returned and he sits miserably next to a bucket as Fergus passes the food under the bars and comments on the closeness of the air. The younger man tries to reassure Jamie: Claire will be fine, he says, as she is unable to catch the disease. But Jamie is not so much concerned with the disease as he is with the 300 men on board. The despair is written on his face as he tells Fergus, 

“I lost her once. I can’t lose her again.”  He tells Fergus to steal the keys from Captain Raines and set him free, so that he can take the ship and make sail to find Claire. But Fergus reminds Jamie that mutiny will not work. The crew is not Jamie’s and will not follow him. Jamie argues, listing the men who will, but it is still 7 against 20 and Fergus tells Jamie he will lose. Even if Fergus were to convince more men, he says, the Porpoise is now a day of them and cannot be caught. Jamie’s desperation is increasing. They will abandon the wine, he suggests, as an empty ship will run faster. “And then what?” asks Fergus. Jamie is angry now. He doesn’t know yet, he replies, but will work it out when they catch the Porpoise. 

But Fergus is no longer a child and will not automatically do Jamie’s bidding. He loves Claire too, he says, but refuses to do as Jamie asks. Launching himself at the bars, Jamie calls Fergus a damned fool, asking what good he is. He adds that he was right to refuse to give his blessing to Fergus and Marsali, as Fergus obviously doesn’t know what love is. Fergus is hurt. He asks Jamie how he can possibly say that to him. 

Jamie replies that if Fergus did, he would move heaven and earth, risk arrest, death, even hell itself and would do it as easily as a prick of a pin. He would set Jamie free from his cell so that Jamie could rescue Claire. “Until you risk all,” Jamie says bitterly, “you can’t speak of love.” But then he has one final idea: if Fergus will get the keys, he will give his blessing for Fergus’ marriage to Marsali. 

The imagery in this scene is clever: Jamie, his hair hanging mane-like around his face, is prowling around his cell like a caged lion, growling and spitting in anger and lunging at through the bars. He is a desperate man and in this desperation, he is hurting another of the people he loves. It is all the more ironic that he accuses Fergus of not understanding the emotion. Of course, this whole scene is a written-for-tv one, as in the book Jamie is not imprisoned in the brig. Some fans have argued that, like the lie told to Ian in episode 7, this treatment of Fergus is out of character for Jamie. Fergus is like a son to him, but he is using emotional blackmail to try and get what he wants, without any regard for Fergus’ feelings. However, it can also be argued that the scene serves to show just how much desperation is affecting Jamie, to the point where he is no longer the honourable “King of Men”, but the enraged “King of Beasts.”

Back on the Porpoise, viewers are greeted with the sobering sight of multiple bodies being stitched into shrouds. One of these bodies is Elias’ friend. As Claire watches, Elias explains that the last stitch must go through the man’s nose, to ensure that he is truly dead. Taking the needle from the other sailor, Elias finishes the job, saying that it is always done by a friend. Shortly afterwards, a mass funeral is held on deck. As everyone on board removes their hats, Captain Leonard recites a prayer. The bodies are released from underneath Union Jack flags into the ocean below, marked by a drum roll and the firing of rifles. The Lord’s Prayer is recited and Claire joins in, looking over at Elias, as tears roll down his cheeks. 

It is night and Claire is looking out to sea. But in an uncomfortable parallel to the previous episode, where Jamie and Claire shared a quiet conversation about Brianna, this time Claire is joined on deck by Cosworth. He quotes the ship’s death statistics to her, saying that they are growing all the time. He implies that Claire is doing nothing except boiling water and washing hands and states that there had better be fewer deaths in the days to come. This is a fairly menacing threat, but Elias appears on deck at this point and dismisses the man with a curt, “As you were, Mr Cosworth.” Left alone, Elias asks Claire if there is a secret to remaining calm in the face of so much death. Claire admits that there is: compartmentalising. She must separate areas of her life, she says, so that she can do her work. If she allowed herself to be affected by every death, she would never save a life. But, she acknowledges, Jim Quigley was not her friend. She tells Elias that there will be more burials at sea for the Porpoise, but with any luck they will get through it. Elias is immediately complimentary. He has watched her for three days, he tells her, and he doesn’t think it will come down to luck. But then he pulls out a rabbit’s foot from inside his coat. His mother had given it to him when he had joined the Triton, for luck and health. 

He hands it to Claire, just in case luck should be needed, and overcome with emotion, she accepts it. She asks Elias when he last saw his mother, and he replies that she is dead. Their conversation is interrupted by the announcement that another man has been taken ill, the husband of the woman who tends the goats that provide milk to the men. 

This scene serves to highlight why Claire is faring better than Jamie in this enforced separation. She has, by her own definition, compartmentalised her life: putting her worry and thoughts of Jamie on hold while she tends to the business of saving the men’s lives on board the Porpoise. However, she is still able to recognise and appreciate the strength of feeling in others, showing understanding towards Elias and his grief over Jim Quigley. By contrast, Jamie is consumed only with the loss of Claire and cannot show understanding for Fergus’ concern for Marsali. 

On examining Mr Johansen, Claire discovers that he is not ill with typhoid fever like the others. Rather, he has poisoned himself, by drinking the distilled alcohol. This is too much for Claire at this point and she lets loose a torrent of exasperated curse words. Elias and the other sailor, Jones, are shocked, and Claire apologises, but the men are shocked not at the language, but at the fact that it comes from a woman! Claire reassures Johansen’s wife, Annekje, that her husband will be fine and thanks her for the goat’s milk, which is keeping the men alive. Annekje is relieved. 

“I keep do?” she asks and Claire replies, “Yes. Keep do.” On her way back upstairs, she notices a flag and is reminded of Jared’s comment before they set sail, that only one ship was on record as travelling under a Portuguese flag. Claire asks where the flag has come from and is told that they had boarded a Portuguese ship two weeks earlier, to press men into service. Immediately thinking of young Ian, Claire asks if the ship was the Bruja. Jones doesn’t know, but says that the Captain would remember. 

Claire heads to the Captain’s quarters. She finds it empty, so begins her search. She reads the name of the Portuguese ship - unfortunately not the Bruja - in the Captain’s journal, but then finds other evidence as well, in the form of a record of a report that Jamie Fraser and Alexander Malcolm are one and the same man. Suddenly the door opens and Claire is discovered by Cosworth, who accuses her of trespassing. 

He has come, he says, to fetch the Captain’s pipe and refuses to let Claire pass as she tries to leave. Cosworth tells her that he neither likes nor trusts her. Claire responds that the Captain does trust her and asks Cosworth what Leonard would think were she to tell him that Cosworth had attempted to violate her on his dining table. She orders him to get out of her way, or she will scream and after a long moment, he does. Claire now has a new motivation: she must find Harry Tompkins, the man who has made the report. 

Back on the Artemis, Fergus and Marsali are discussing Fergus’ conversation with Jamie. Confirming that Jamie will give them his blessing if Fergus helps him take the ship, he says that is a risk he is willing to take to be with her. Marsali comments that should he fail, she will be left alone on board, with no one to protect her. They kiss and emotions escalate. 

Marsali tries to convince Fergus to make love to her, but he refuses. He has given his word to Jamie, so they must wait until they are married. Marsali comments that Fergus is just like Jamie : he is stubborn and once he has given his word, he will never break it. 

Claire is cleaning her instruments when Elias comes to join her, to tell her that Johansen is improving. She asks if he knows Harry Tompkins. He doesn’t, but says that is hardly surprising, as they had been 400 men strong when they began the voyage and he wouldn’t know every name. Elias comments that there have been four new cases of typhoid fever and he thought that finding the carrier would have stopped them. Claire reminds him of the incubation period and this gives her an idea. She lies, telling Elias that Harry Tompkins might be a second carrier and this spurs the young man into action, promising to tell the crew that Claire needs to see Tompkins as soon as possible. Elias looks exhausted and she instructs him to get some sleep.  

Fergus is creeping down the corridor leading to the Captain’s quarters and overhears Raines with some of the men. They are talking about how they don’t trust Jamie, even though he is locked up. One jokes that the supercargo is now cargo himself and that Jamie is lucky he wasn’t thrown overboard. Fergus can see the keys that Jamie wants, as Raines confirms that he won’t release Jamie. The talk shifts to Fergus himself and how, as a cripple, he is viewed as no threat. But then one of the sailors mentions wanting a taste of Fergus’ “wee lassie” and how if she hasn’t lost her virginity already, she certainly will have by the time he has done with her. Raines cuts the conversation short, but it has been enough for Fergus. He strides back down the corridor, his mind made up.

Claire is pouring distilled alcohol when a commotion outside soon heralds the arrival of Mr Tompkins. Elias says that he had ordered the man not be beaten, but Tompkins is sporting a bloodied lip, courtesy of his trying to hide. Tompkins says that he has nothing to do with the fever, his face lighting with recognition as he sees Claire. 

Viewers recognise him too, as the man Young Ian disturbed in the print shop just before the fire began. Once the other men have been dismissed, Tompkins wastes no time in telling her that he knows who she is. He was the one who rowed Captain Leonard over to the Artemis and recognised Jamie on deck. He knows that Claire is his wife. While he speaks, Claire is running her hands over several knives, as if about to choose a weapon for a duel. She finally turns towards him with a cleaver, but he is not frightened. In fact, he dares her to kill him. He would welcome it, he says. Thanks to his job working as an exciseman for Sir Percival, he had had hot lead thrown in his face at the print shop and although he escaped he was scarred for life. On reporting treason to Sir Percival, instead of being promoted, he was pressed into service on the Porpoise, which was full of disease. He bares his neck, telling Claire to put him out of his misery. Claire tells him that perhaps she will: Jamie can’t be arrested on words alone. But Tompkins has more news for her. There are warrants for murder out for Jamie, as the body of the brothel intruder has been found in a cask of creme de menthe.

Claire says that Jamie did not murder the man, but Tompkins tells her that the warrant says otherwise. Captain Leonard is going to write a report on arrival in Jamaica and Tompkins doubts that Claire will succeed in talking him out of it, given the Captain’s ambition and his wish to be given command of his own vessel. Delivering Jamie as a prisoner would certainly further his cause. As soon as Jamie arrives to collect Claire in Kingston, Tompkins says, he will be arrested by the authorities and likely hanged. Claire’s eyes are bright with angry tears as she takes the only revenge she can. Declaring him the second carrier of the typhoid fever, Claire orders Tompkins locked away with Howard. Her final words to him are triumphant, warning Tompkins not to get too close to Howard, as he actually is the source of the disease. A horrified Tompkins backs away into the shadows as the scene ends.

Claire meets Annekje Johansen, who is feeding the goats. Making small talk, Claire says that she has heard Annekje’s husband is doing better. 

Annekje agrees, thanking Claire and presenting her with a pat of goat’s cheese. She notices Claire’s distress and Claire explains her fear: Jamie is going to be in trouble and she is to be used as bait. Immediately, Annekje promises to help, saying that her goats need grass. Claire is confused, but thanks the other woman for her kindness. 

Jamie is looking up at the full moon when Fergus comes to his cell. Taking the cup that Fergus hands him, Jamie asks if he has brought the keys. But Fergus admits that he does not, adding that he didn’t try to take them in the first place. As Jamie’s anger grows, Fergus tries to explain: Jamie hasn’t heard the talk of the men on deck. If he frees Jamie and they fail, which they would be sure to do, then they would be killed. He will not leave Marsali alone, he says, nor will he send Jamie to his death. He realises that he will not get Jamie’s blessing now, but he will move heaven and earth for the woman he loves, even if it means he cannot marry her. “I do this for you as well, Milord,” he says and makes to leave. Jamie calls his name and he turns back, commenting that perhaps he loves too much. He does go this time, leaving an enraged Jamie calling after him.

Claire and Jones are downstairs with the sick men. For the first time in days, there has been no groaning or vomiting, only sleeping men. They are over the worst and the two share a brief smile. Claire takes out the rabbit’s foot and sighs in relief. She goes up on deck where the healthier men are recovering alongside the rest of the crew. The mood is much lighter. A fiddle is being played and another man is smoking a pipe as Claire moves amongst them, smiling. She spies Elias sleeping in a hammock and goes over to him, but finds him covered in the red rash of the typhoid fever. He is close to death and delirious, asking Claire if she is his mother. “Yes, Elias,” she replies, “it’s time for you to come home now.”

The death of Elias is one that Claire can’t easily compartmentalise. As he is being sewn into his shroud, she places the rabbit’s foot into his hand. “Your mother would be so proud,” she says, her voice breaking. When it is time for the final stitch, the sailmaker hands the needle to Claire, reminding her that it should be done by a friend. The tears flow freely as she performs this final task. Elias has been more than a friend: he has been like a son. The relationship throughout the episode has been portrayed beautifully by Caitriona Balfe and Albie Marber and it is a shame that it has come to such a tragic end so soon. 

That night, Leonard interrupts Claire’s grieving on deck. She is blaming herself, telling the captain that she had missed the signs of the illness, believing Elias to merely be tired. But Leonard tells her that her efforts have been heroic. As sad as Elias’ death has been, it is also the only death of the day and no new cases have been reported. But Claire is defeated: it doesn’t matter, she tells him. They are nearly out of drinking water and the sick will not survive without constant liquid. Leonard though, is more positive. They will both do their best, he says, and will reach Jamaica safely. After expressing both his sorrow for her loss and his gratitude for her help, he leaves her to her thoughts. But she is not alone for long before Jones and Annekje find her. There has been a whiff of land, Jones says and they will reach the Grand Turk before noon the next day. There will be water for the men and grass for Annekje’s goats.

At last, Claire understands what Annekje had meant. While helping Annekje tend to the goats, she will be able to escape on the underpopulated side of Grand Turk Island. Annekje promises to take care of the men and tells Claire to go and warn Jamie. Thanking her friend, Claire hurries away. But, reminiscent of a scene from season 1 as she headed back to the stones, she is stopped by redcoats and Captain Leonard. The captain has been making rounds to check that none of the men have visited a nearby brothel. He comments that he didn’t expect her, as the ship’s doctor, to disobey the orders not to wander. 

Claire playacts confusion, saying that she was only gathering herbs, but Leonard is not buying her story. He tells her that he is sincere in his gratitude for her help, but that he cannot allow her to warn her husband. He knows that Claire has seen the log book and he does not relish the task, but says that he is duty bound to report Jamie’s crimes to the Jamaican authorities.  Claire begs him to look the other way, but he refuses, saying that he would be breaking an oath if he did so.  He looks truly regretful, but orders the marines to escort Claire back to the ship. 

Jamie is looking at the photos of Claire and Brianna when Raines comes to the cell. He expects them to be in sight of land by dawn and the passage between the islands is hazardous. He needs all able bodied men if he is to navigate the shoals. 

“So I’m good and able now, am I?” asks Jamie. He turns when Raines doesn’t answer, to see Marsali standing there. Jamie asks what she is doing there and Raines says that Marsali has persuaded him that Jamie will not rebel. Marsali tells Raines to ask Jamie for his word, adding that once he has given that, he will never break it. Jamie asks again what she is doing and she goes over to the bars. “Give him your word,” she says, “and he’ll set you free.” When he shakes his head, she continues, “You can’t see what he’s done for you, can you?” Jamie thinks she means Raines, but it is Fergus that she is talking about. Jamie tells her that what Fergus did was done for her. “If you believe that,” Marsali replies, “you don’t deserve to be let out of here.” Jamie looks after her, deep in thought. 

Moments later, Raines allows the now freed Jamie a few minutes alone with Fergus and Marsali before being put to work. Jamie promptly gives his blessing to the couple, telling them that they can be married in Jamaica, by a priest. He tells Fergus that the young man needs to prove himself to Marsali as much as Jamie. Raines calls for him and Jamie leaves the young couple to embrace.

Meanwhile Annekje is motioning Claire to the edge of the ship. She points out the approaching land and tells Claire she should jump. Claire is stunned. 

She can’t jump into the ocean in the middle of the night, she tells her friend: she will drown. But Annekje explains that Claire won’t drown, uncovering a raft and telling her that the water will move her to the land. Annekje is insistent: Jamie will hang, she says. This is Claire’s only chance. She hands Claire a purse full of money and helps her to remove her shoes and skirt. They tie the bundle together and put it on top of the makeshift raft. Uttering a terrified “Jesus H Roosevelt Christ”, Claire jumps into the water below, making the ultimate leap of faith as the episode ends. 

If episode 9 was about trust, episode 10 is about love and what people are prepared to do for the people closest to them. Many of the characters do indeed attempt to move heaven and earth in this hour. Chiefly, the honour belongs to Fergus, who risks the permanent disapproval of the man he loves like a father in order to keep both Jamie and Marsali safe. But Elias also gives his all (and ultimately, his life) to help Claire, as does Annekje Johansen, who comes up with not just one, but two escape plans, so that Claire can try and warn Jamie. Both Jamie and Claire are reminded of the force of the love between a parent and a child, even though the “children” in each case are not their biological offspring. Elias spends his last moments calling Claire “Mother” and Jamie refers to Fergus as Mon Fils - “my son.” Brianna is still ever present in their thoughts though, represented by Jamie’s photos and Elias’ rabbit’s foot.  Finally, the episode shows the raw love that is borne out of desperation, as both Claire and Jamie try to reach each other. It will certainly take more monumental effort on their part to do so.

This recap was written by Susie Brown, a teacher-librarian and writer who lives in Australia. She enjoyed the episode - even the added bits - but did wonder why Jamie didn’t hurry to hide the photographs when Raines entered? If Raines was suspicious of Jamie before, what would he have thought of the photos?!

Bear McCreary and the changing Sky Boat song.

Have You Noticed That Outlander's Theme Song Keeps Changing?
November 20, 2017 

by KAMRUN NESA

For full article 

https://www.popsugar.com/entertainment/Outlander-Theme-Song-44279684

If you find yourself humming along to Outlander's hauntingly beautiful and timeless theme song during the opening credits, you're not the only one. Each season of the show has distinct themes that have been organically reflected in the credit sequence and score; Celtic instruments are played in season one's rendition, while the viola de gamba and French lyrics heard in season two give off the Parisian vibe. In season three, the music completely changes to fit the Caribbean theme after episode nine, "The Doldrums," in which Jamie and Claire begin their journey to the region to find young Ian after he is kidnapped. While the opening montage usually changes to the fit the season and setting, the true essence of the score "The Skye Boat Song" remains the same.

Originally an 18th century old Scottish folk song by Sir Harold Boulton, and later a 19th century poem by Robert Louis Stevenson titled "Sing Me a Song of a Lad That Is Gone," the tune tells the story of Bonnie Prince Charlie's escape from Scotland to the Isle of Skye after the Battle of Culloden. It has been adapted by renowned composer Bear McCreary and sung by Raya Yarbrough to tell the story of Claire's disappearance. Showrunner Ronald D. Moore told Town & Country that they changed the lyrics to fit the show by replacing "lad" in the original song with "lass."

In an interview with Mashable, McCreary explained that in "The Doldrums," he used "Afro-Cuban percussion" as a means of setting the scene for viewers of what's to come for the characters in the rest of the season. However, he reassured them that "the bagpipes and the Scottish and Celtic musical influence is very much rooted in Jamie and Claire. That will always be their sound. They could go to Mars, and I'll still use the penny whistle or the uilleann bagpipes or the fiddle. It's like a blanket for us, we get to wrap up in it." It can be argued that, in a sense, through the transformation of the song each season and the juxtaposition of Scottish undertones with the varying instruments, McCreary is able to convey the transformation of Jamie and Claire's characters as well, who are forced to adapt with their setting. It is dynamic and evolves as the show and characters do, all the while staying true to its roots.

If you want to closely examine the theme song for how it ties into Claire's story, check out the lyrics to the the adapted version of "The Skye Boat Song" below:

Sing me a song of a lass that is gone
Say, could that lass be I?
Merry of soul she sailed on a day
Over the sea to Skye

Billow and breeze, islands and seas
Mountains of rain and sun
All that was good, all that was fair
All that was me is gone

Sing me a song of a lass that is gone
Say, could that lass be I?
Merry of soul she sailed on a day
Over the sea to Skye

“A Lyrical Life” - An interview with Outlander’s John McLarnon by your Aussie Blogging Lass

Outlander Homepage originals by Susie Brown 

If you had no choice but to fight in a battle that would probably cost you your life, chances are that you’d want some loyal people around you, like the men of clan MacKenzie. In the opening episode of season 3, viewers got to witness the action and aftermath of the Battle of Culloden. Although facing certain death, none of the surviving MacKenzie clan would leave the others to their fate. One of these survivors was the written-for -TV character of Killick, portrayed by Scottish actor and musician John MacLarnon. Amidst preparing for the upcoming launch of his EP, John kindly agreed to chat to us about his Outlander experience. 

First of all, we wanted to know more about John and how his acting journey began.

“I was born and raised in East Kilbride, a town just outside of Glasgow,” John said, “but I’ve been living and working in London for the last 6 years. I actually got into acting quite late on. I was involved in many productions in Glasgow’s amateur theatre scene in my early twenties, however I never really dreamed of making a career out of it.  I then lived in Australia for a year and when I returned I decided to give it a go and audition for drama school. I got in and all of a sudden I didn’t want to do anything else!

So I went to drama school in Glasgow and actually studied Musical Theatre.  After graduation I moved to London and worked for the next 3 years predominantly in musical theatre in West-End shows such as  We Will Rock You and  The Commitments.  After I finished in  The Commitments  I decided I wanted a new challenge and began focusing on more television, film and straight theatre work.  In the last couple of years I’ve been lucky enough to be part of the 40th anniversary company of Mike Leigh’s  Abigail’s Part  with Sherlock’s Amanda Abbington and most recently in  Apologia  in the West-End with Stockard Channing.  Outlander marks my first screen role and hopefully it’s the first of many.”

So how did John come to join the Outlander production?

“Well, first off I was a fan of the show,” John told us. “I had watched both seasons and knew a few actors who had appeared in it, so it was a real privilege to be offered this role.  

When I read the full episode script for the first time, I remember thinking how beautifully written it was, especially the scenes post battle in the cottage.  I knew the character of Killick was written for this episode and didn’t feature in the books therefore I felt the best way to prepare was to do some research into the Battle of Culloden to try and understand the plight of these men and women of that time.  Also I drew upon my favourite Robert Burns poem  The Lovely Lass O’ Inverness which is a lament for those who fought and died at Culloden and describes the effect is has on a woman who has lost all the men in her family. I kept in the back of my mind, whilst preparing, as it always reminded the extraordinary lengths these men were willing to go to for what they believed in.  If you have never read the poem I highly recommend it. 

(And if you’re as curious as we were after hearing that, you’ll find the poem here: http://www.cobbler.plus.com/wbc/poems/translations/498.htm)

So with Burns’ inspiration fresh in his mind, we asked John how he found the experience of filming an episode that dealt with that very battle.

“It was quite surreal filming it actually,” John said. “The cast and crew on the show are truly some of the nicest people I have worked with, so standing outside the cottage waiting for the shots to be setup, there was a really lovely friendly atmosphere. There was a lot of laughing and joking.  

Then when we walked into the cottage, you could hear a pin drop. There were men littered all over the floor and it all became incredibly real.  My scenes with both Grant and Sam were a joy to film. It can be quite nerve wracking turning up to an established show that has been extremely successful and having to dive in at the deep end.  Both of them however were such gents and gave so much, which immediately put me at ease and I am really proud of the outcome of those scenes.  

They were very long days. I had to be in make up by 5.30am to get a grizzly prosthetic leg wound applied - however I noticed in the episode that it didn’t make the cut, so I could’ve been an extra hour in bed!”   

It seems impossible to imagine that amidst such dramatic scenes there could be any humour, but John admitted that he actually had a hand in one of the more lighthearted times, albeit unintentionally!

“There was a particularly moment in the cottage where they had set up a beautiful panning shot which went from a highlander being shot, to Rupert, to Jamie then round to me and a view of the soldiers reloading,” John explained. “We rehearsed it and got ready to film.  Just before we started, Brendan the director asked me to slump against the door at the last moment. He asked if I wanted to rehearse it and I confidently assured him I’d be fine.  The guns were loaded, the stunt actor fitted with squibs, cameras set, actors set and he called action.  The shot went beautifully as planned and then the camera arrived at me and I dutifully slumped against the door frame - which of course completely gave way and fell to the ground in a heap!  It had to be rebuilt and everything set again, but at least we had a laugh.”   

Given the amount of research he did to understand the time period for his character, we asked John where he would like to go, if he had the opportunity to travel through the stones to another time.

“As a musician and huge music fan, I’d love to have travelled through the stones to 1969 and go to Woodstock,” John answered.  “The idea of seeing these unbelievable bands and artists who have stood the test of time all in one place is crazy and I think it would just have been an unbelievable experience.  Maybe that’s an idea for season 5?” he joked. “I’d love to see hippy Jamie and Claire! Ha!” 

So with his time on Outlander over, we asked what’s next for John - and the answer is pretty exciting! 

“I’m actually just about to release my debut EP on Monday November 20th,” John told us.  “It consists of four brand new songs I have written and recorded.  I have been working on them for a while now and I am so thrilled with the finished product and can’t wait to release them and let people hear them.  The EP is entitled ‘Thirty Two Winters’ and will be available to buy and stream on all major music platforms.  I am also playing two launch nights to celebrate the release, one at Drygate Brewery in Glasgow on Nov 23rd and a second at Above The Arts Club in London on Nov 24th.”  

So you don’t miss out, tickets are available now from the links below.  

Glasgow: https://www.drygate.com/whats-on/events/john-mclarnon---thirty-two-winters-ep-launch

London: https://artstheatrewestend.co.uk/whats-on/john-mclarnon-thirty-two-winters-ep-launch/

We’d like to thank John for his time and for giving us a glimpse into the season’s opening episode. We wish him every success with the launch!

This interview was conducted by Susie Brown, a teacher-librarian and writer who lives in Australia. She thinks of John as a fellow Aussie now, given that he lived here for a year - and is looking forward to downloading his album! 

Vindictive Vixen or Misunderstood Maiden - The Tale of Laoghaire MacKenzie! An interview with Nell Hudson by your Aussie Blogging Lass

Outlander Homepage originals by Susie Brown 

Every story has to have its good guys and bad guys. It is the conflict between the two that makes a story exciting, an excitement that keeps the reader turning the pages, or the viewer tuning in each week. In the world of Outlander, the ultimate villain is, of course, Black Jack Randall. But arguably, the next character in line would be Laoghaire MacKenzie. From ill wishes that she put under beds, to trying to ensure Claire’s death on a pyre, to ultimately shooting Jamie, Laoghaire does everything she can to thwart the true love of our hero and heroine. As a result, both book and tv fans are very vocal about their dislike of Laoghaire, often giving her the less than flattering name of “Leghair” on forums! So what was it like to portray this character? Was she truly manipulative and vindictive, or was she simply misunderstood? Luckily for us here at Outlander Homepage, Nell Hudson agreed to chat to us and give us her opinion.

Interestingly, Nell described her decision to become an actor as a process of elimination. 

“I was choosing what to study at A-Level,” she explained, “and I asked myself, ‘What do I like doing? Theatre. Which part of that excites me the most? Acting.’ So I got into The Oxford School of Drama straight out of high school - when I was 18 - and went through quite an intense, classical training. I graduated, did a couple of small tv things and then Outlander came along. It was my first ‘big’ job.”

Since Laoghaire is such a controversial character, we wondered how Nell would choose to describe her tv persona.

“Controversial is a nice way of putting it!” Nell laughed.  “I would describe her as ‘the antagonist’ or ‘the spanner in the works’. If I’m defending her, I’d say that she’s incredibly headstrong, loyal, and brave, and will do anything for love. But I also openly admit she’s a villain.”

So does Nell feel protective of Laoghaire?

“I do feel a little protective of her, I suppose,” she agreed, “yet any actor will tell you they relish playing a character everyone loves to hate. So I don’t mind too much when people can’t stand her, because it means I’ve done a good job.”

By the time Laoghaire is seen in season 3, she is a middle aged woman. Given that she herself is still young, we wondered how Nell approached playing a character who had aged 20 years between appearances.

“I think it was all in the voice,” Nell replied. “Not only has a lot of time passed, but she has also raised two spirited, intelligent daughters, which I imagine would have involved a lot of yelling! Fortuitously, I also had a cold during some of the time we were filming Series 3, which added a nice bit of husk you just can’t fake! The make up team did a great job on me, too, as I look pretty rough!”

Laoghaire was given very few lighthearted moments on screen, so we asked whether she actually got to have fun on set! 

“I had so much fun working with James Parris, who played Young Simon in season 2,” she replied. “In the scene where Laoghaire is trying to ‘charm’ him, we just kept improvising more and more obvious euphemisms into the scene. By the end I was telling him I liked his ‘sword’, and he replied by saying it was a shame it ‘had no sheath’. We were basically just trying to ruin each other’s takes. 

“I’ll also never forget my first kissing scene with Sam - no, not just because I got to kiss Sam - but because it was my first ever on-screen kiss, and I was so nervous. But Sam was very kind and made the whole thing less embarrassing.”

So did Nell get to keep a memento of your time on set?

“The best memento is the friends I made,” Nell answered. “Lauren Lyle, who plays my daughter, Marsali, lives just up the street from me and we hang out a lot. James Parris runs a really fun club night that I always go to - you have to come as a bride and he plays cheesy wedding music.” 

It is probably fortunate for Claire that Laoghaire wasn’t able to time travel, but we wondered where Nell would go if she could go through the stones.

“I love this question!” Nell enthused. “I reckon I’d go to the 70s. The music was so good, I love the fashion, and the whole “Peace and Love” phenomenon seems gorgeous.” 

Given that Laoghaire was last seen running away from Lallybroch and Claire and Jamie have left Scotland behind, it is probably safe to assume that Nell’s involvement with the story is over for now. So we wondered - what’s next?

“I’m currently shooting a series for the BBC/Amazon called The Informer”, she said. “It’s a bit like Scorcese’s The Departed but set in working class East London. (And there are no corsets - yay!) After that it’s back for Season 3 of Victoria. I also have a couple of passion projects in the pipes, so watch this space...”

We’d like to thank Nell for being so generous with her time and can’t wait to see what she’s involved in next!

This interview was conducted by Susie Brown, a teacher-librarian and writer who lives in Australia. She was never a fan of Laoghaire, but thinks that Nell did a wonderful job portraying her! 

"Superstitions, Jonah's and a life story told" -a recap of season 3 episode 9, by your Aussie Blogging Lass!

Outlander Homepage originals by Susie Brown 

From the moment the opening music begins, we know that the story is moving forward. Bear McCreary has added new Caribbean rhythms to the melody and there are new images in the credits. In the same way that France was left behind for Scotland mid season 2, so too Scotland is being left behind at this point in season 3. The new destination is the West Indies, where the rest of the drama will play out. Changes are ahead!

Claire is watching the preparations of a ship about to sail, as Jamie and Jared approach. Jamie is to act as supercargo on board the Artemis, but Jared notes the changing weather and comments that Jamie is lucky to have a physician at hand for when his seasickness takes hold. Jamie says that he will manage, as the main concern is for Young Ian. Jared says that the records show there is only one ship sailing under a Portuguese flag, the Bruja. 

With a home port of Jamaica and the fact that it was sailing low in the water, the men surmise that the ship is on its way home. Jared tries to reassure them, commenting that a healthy male will sell for 30 pounds in Jamaica, so as long as Young Ian hasn’t been making trouble, he will be unharmed. Thanking Jared for his help, Jamie and Claire bid him farewell. 

Jamie comments that it was ill luck having to pay Laoghaire and that perhaps he is being punished for wanting to be with Claire. 

Claire replies that she can’t believe any God would take away a man’s nephew simply because he wanted to be happy. Again, Jamie asks for reassurance: will they actually be happy? While he believes they are mated for life, he offers to return her to the stones if she truly wants to leave. But Claire deflects the question, saying that the most important thing right now is that they find Young Ian. 

Lesley and Hayes (aka the new Rupert and Angus) appear, arguing with each other about tides. It is clear that no one is really looking forward to the journey ahead, but the men are always willing to help Jamie, so are coming along. They tell Jamie that Willoughby and Fergus are already on board, together with some “baggage from Lallybroch”. (This is a set-up joke for a revelation that is to come in the next scene.) As they walk towards the ship, Claire and Jamie briefly discuss Jenny and Ian. Not enough time has passed for them to be worried yet, so Jamie has sent them a letter explaining everything. 

The voyage begins and the seas already look choppy, but Jamie hasn’t noticed his stomach yet, he tells Claire. He is sadly watching the Scottish landscape disappear, vowing that he won’t set foot on Scotland’s land again without Young Ian. The sailors begin their superstitious routine, touching a horseshoe and politely addressing Jamie. Yet no-one speaks to Claire and she begins to wonder if she is invisible. Jamie explains the superstition - both women and redheaded men are considered bad luck on a ship. To ward off misfortune, the sailors always speak to Jamie before he speaks to them; do not address Claire at all and everyone -Claire included- must touch the horseshoe. 

Fergus appears on deck, and is greeted warmly by Jamie, until it is revealed that Marsali is with him. They are married, the couple say, handfast that very morning, after a courtship that had begun the previous August. Since the two young lovers have not yet consummated the marriage, Jamie says that the handfasting is not binding and demands that Marsali return home, as the voyage is too dangerous.

But Marsali is every bit Laoghaire’s daughter. After calling Claire an English whore and rolling her eyes at Fergus’ admonishment that she must not address Milady in such a fashion, Marsali says that she has sent her mother a letter informing her of the handfasting and if Jamie forces her to return home, she will lie and say that Fergus has bedded her. She will, she adds, either been married or ruined. Painted into a corner, Jamie has no option but to agree, but demands that the two are not to share a cabin. He will share with Fergus and Marsali with Claire - a decision that results in unison cries of “What?!” from both women. Claire tries to change his mind, but it is no use. He must protect Marsali’s virtue, he tells a frustrated Claire. When she stalks inside, saying “Mine too, it would seem”, Jamie mutters under his breath that now he is going to be sick!

This certainly seems to be the case as the next scene begins. An obviously nauseous Jamie is being fed ginger tea by Claire. Trying to distract himself, he talks of Fergus and Marsali’s deception. Claire comments that she doesn’t think the two have thought through what a lifetime of commitment will mean, but neither had they when first married. She notices a chest in the corner and Jamie tells her it is some of their things from Lallybroch. 

Confused, Claire opens the chest, to find her gowns from Paris inside. Jamie had kept them, he says, as memories of her, but had also allowed Marsali to make use of them. He is becoming more seasick by the minute, prompting Claire to make him drink more tea. She muses that the sea may be calmer the next day, but Jamie says he will be dead by then and asks her to ensure that he is buried at Lallybroch. There is a knock on the door and Claire is called away, Lesley telling her that she is needed.

Claire tends to a sailor who has been injured on deck. It is an unexpected injury and the captain has come below to see what has happened. The sailor, named Manzetti, is asked if he touched the horseshoe. He assures everyone that he has, but it is being taken as an ill omen nonetheless. Someone has not touched the horseshoe, it is mused, something which is extremely bad luck. Claire comments that accidents happen, but this logic is not well received. The Captain quotes Shakespeare in his explanation to her and invites Claire and Jamie to dine with him that evening. Claire accepts, but says that Jamie will probably not feel like food, a comment that brings a brief chuckle from the captain.

Meanwhile, Jamie is trying to talk sense to Fergus, telling the young man that he hardly knows his bride. Fergus counters that Claire and Jamie hadn’t known each other well when they married either. Jamie tries to say that he and Claire had been forced to marry, but Fergus isn’t buying this argument for a minute. 

If Jamie and Claire had been forced to marry, he says, then his own heart is forced to beat; he is forced to breathe. He knows the story and also knows that Jamie had wanted Claire from the moment he saw her. Jamie didn’t need time and neither does he. Fergus expresses disappointment that Jamie isn’t happy for him. Jamie asks why Fergus hadn’t told him beforehand. Fergus answers that it is for the same reason that Jamie had kept Laoghaire a secret from Claire: he was a coward. Jamie asks if Fergus has lied to Marsali too. No, Fergus says, he and Marsali have no secrets. She is aware of his birth in a brothel and his life as a pickpocket. He is forced however, to admit that he hasn’t told Marsali about his previous liaisons with women, but stresses that he has not yet bedded Marsali, nor any other woman since their courtship began. He has waited: a fact which must mean something. But Jamie says that it doesn’t mean anything if Fergus cannot be honest with his bride.

Captain Raines and Claire are dining in the captain’s quarters. Raine expresses his regret that Jamie’s seasickness has prevented him from joining them, but Claire comments that she believes that she is the one he had wanted to dine with anyway, as she had questioned his authority in front of the men in regards to the horseshoe. 

Raines replies that he merely wants to help: to gain the respect of the men she must put herself in their shoes. He reminds her that her mere presence on the ship is ill luck and that by rights, she and Marsali should be bare breasted, as it is believed that a woman’s bare breasts calm an angry sea. It is the reason why the ship’s figurehead is a bare breasted woman: to keep the ship safe from curses. The captain adds that a horseshoe is more difficult, as there is no substitute. Claire expresses disbelief that touching a piece of iron will bring better luck, but Raines tells her that every ship has its own superstitions. Anything that provides the crew with assurance is to be encouraged. Claire counters that the men can also lose faith just as easily, if the portends indicate disaster, but Raines says he would rather have them make their own luck than give up hope. His own beliefs about touching a piece of iron are immaterial: the men believe in it. Believing something doesn’t make it real, Claire tells him, but the captain disagrees. “On this ship, it does,” he replies, before quoting Shakespeare once again. “There is nothing good nor bad, but thinking makes it so.”

The next scene begins with the extremely unpleasant sights and sounds of Jamie vomiting into a bucket. Interviews about this scene revealed that Sam Heughan actually had to “vomit” up a mixture of egg whites on cue - and it is a mystery how he wasn’t actually sick in the process! 

This is a very realistic - even nauseating - sight! Mr Willoughby enters, asking how long Jamie plans on continuing this farce, but Jamie says he must allow time for Claire’s ginger tea to work. Willoughby argues against waiting, telling Jamie that the retching he is experiencing can cause more damage, by tearing muscles and even twisting his testicles to the point of requiring removal. He tells Jamie that if Jamie truly wants to wait it is his choice - but it is obvious that he has another plan in mind. 

Meanwhile, Marsali and Claire are choosing beds. Marsali comments that Claire should take the bigger one, so that she won’t bump her head when she gets up. Claire misinterprets this as an attempt by Marsali to get into her good graces so that Claire will put in a good word with Jamie, and tells the younger woman that she doesn’t need to do this, as the situation with Marsali and Fergus is none of her business. 

In a retort worthy of both her mother and Jenny, Marsali responds with dripping sarcasm. Claire has dropped out of the clear blue sky, she says, sticking her nose in and ruining her family, but now she has suddenly decided to mind her own business. Jamie may think Claire a wise woman, but Marsali still thinks she’s a whore. Abruptly, Claire abandons any pretence at friendship and takes the bigger bed! This scene is fabulous comic relief by Caitriona Balfe and Lauren Lyle and it is hoped the two will share many more scenes in the future!

The next morning, Claire comes across a much improved Jamie having breakfast and she is pleased to see him looking so much better. Marsali and Fergus appear and Marsali tells Jamie that Fergus has told her everything. 

She’s not naive, she says, she knows Fergus has been with lasses, but now they only want to be with each other. Fergus asks for Jamie to bless their union. Claire speaks up in support, which causes a brief look of disbelief to cross Marsali’s face. Claire takes Jamie aside, telling him that if he allows the infatuation to continue, it may well fizzle out. Jamie’s response to her is amusing, if for no other reason than it turns the word fizzle into a double entendre, but he will not change his mind, telling the young couple that he simply cannot allow it. 

Up on deck, Mr Willoughby is painting characters onto the boards with a brush and water. Claire, who has finally ditched her coat and has repurposed her outfit into a more casual “African Queenesque” ensemble complete with loosely tied ponytail, sees him and asks what the characters are. 

Willoughby replies that it is a poem and takes papers from his pocket. Claire assumes this to be more poetry, but Willoughby tells her that he has been scribing his life in China so that it will not be forgotten. The water characters start to fade as Willoughby says that a story told is a life lived. Claire asks if he will tell the story to her. But Willoughby refuses, saying “Not yet”. If he tells the story, he will have to let it go. He leaves her on deck and she watches the last of the characters disappear as she looks out to sea. 

Time passes. Claire immerses herself in her job as ship doctor, treating injuries and making medicines. She likes the life at sea, as it reminds her of a simpler time. 

A bawdy sea shanty is in full swing as she walks back to the cabin, where she discovers Mr Willoughby treating Jamie with acupuncture needles. It is his treatment, not her tea, that has cured his seasickness. Willoughby apologises, saying that Jamie hadn’t wanted the treatment but he himself had insisted. Jamie tells him it is all right and Willoughby leaves the cabin. Claire asks why Jamie hadn’t told her about the acupuncture and Jamie replies that he didn’t want to hurt her feelings, given that they haven’t been on the most stable ground recently. He didn’t want Claire to see the failed tea as more proof that she didn’t belong. And at last, there comes some affection and reconciliation between the two.

Claire tells him that while her return has been confusing and frustrating, there has never been any question that she loves him. Their arms go around each other and she teases him, saying that he looks like a pin cushion. He feels like one too, he tells her, but he hasn’t vomited in weeks. They kiss briefly, before Jamie looks quizzically above, commenting that they are not moving. 

It is true. The ship has stopped. The sailors are checking the instruments, but even though they are on course, they have lost the wind. Jamie comes up on desk and asks what is going on. 

The acupuncture needles are still in his face and Raines asks about them. Willoughby explains, saying that it is a Chinese treatment for sea sickness.  Jamie asks if it is usual to lose the wind in these latitudes and the rumblings about ill luck begin again, as well as some comments about who might be responsible. Claire tries to stop this, by suggesting that everyone line up and touch the horseshoe then and there, so that the ship’s rules are complied with. Hayes agrees that this is a good idea but the sailors dismiss it: it is too late to touch the horseshoe now - it must be done at the start of a voyage. Raines tells everyone not to worry: the wind will return and they must be ready when it does. 

It is night and Claire and Jamie share a moment alone on deck, marvelling at the fact it is just them at last. “And the man in the moon,” adds Jamie, kissing her. Wrapping herself in his arms, Claire tells Jamie that before she left Boston, men had just flown to the moon. Jamie wonders what it looks like and she tells him of the photographs she has seen. It is rocky and barren and lifeless, but beautiful. She tells him that the craters can be seen, pointing out the dark spots. 

Jamie refers to them as the Man in the Moon’s face and says that the moon looks close enough to speak to. Claire begins to quote from “Goodnight, Moon”, explaining emotionally to Jamie that she used to read the book to Brianna and that Brianna could recite it to her toy bunny before she could even read. ”You miss her,” says Jamie. “Terribly,” she whispers in response and he pulls her closer to him. This is a beautifully tender scene, acted spectacularly as always by Sam Heughan and Caitriona Balfe. 

Another day dawns and still the ship is not moving. A clock is heard ticking in the background, as Claire’s voiceover announces that the days have turned into weeks. Sailors are trying to keep busy with various tasks, but the tension is building. The ship is becalmed in the middle of a vast ocean and even the most experienced sailors are starting to fear the worst. And indeed, it appears as if the worst has happened: the drinking water on board has started to go bad, spoiled by the bilge water. Raines instructs the men to save what they can, and to boil the rest. On top of that, they must go to half rations. He tells them all to pray for rain and leaves. 

But the sailors have another suggestion: to find the Jonah who has brought them ill luck and throw the man overboard. A close up on Hayes’ worried face indicates the possible identity of the “Jonah” as the scene ends.

Raines, Claire and Jamie discuss the situation. There are only five unspoiled barrels left, which will not be enough. They could normally wait for the wind to return, but not without water or ale. Raines asks who they should blame. Claire says that the bilge water spoiled the barrels, but Raines says that is not what he asked. A scapegoat is needed and Raines is going to allow one to be chosen. Indeed, Raines says he may not be able to stop the sailors. They must believe that he is doing everything he can on their behalf or there will be a mutiny. Jamies states that none of his men will be thrown overboard.

Meanwhile the sailors are going through a list of people they have seen touch the horseshoe. All of Jamie’s party have done so, except for one: Hayes. They start to openly call him Jonah and Lesley leaps to his friend’s defence, but when the two are left alone in the cabin, Hayes admits that he doesn’t think he touched it.

The threats and uncertainty have gotten to Hayes: drunk now, he has climbed to the top of the mast and the others are encouraging him to jump. Lesley explains to Jamie what has happened: the sailors have accused Hayes of not touching the horseshoe and he can’t remember if he did so or not. The men had planned to throw him overboard, so he had climbed up high to escape them, but is now thinking they might be right. And so Jamie, ever MacDubh to his men, promptly climbs the rigging to reach Hayes and talk him down. 

Jamie reminds him of Ardsmuir, encouraging Hayes to listen to him and not the others. “It was us versus them and it’s the same now.” If the men are going to throw Hayes overboard, Jamie says, they will have to throw him, Lesley, Fergus and Willoughby (who has just noticed a sea bird flying low over the water) overboard first. Jamie tries another approach: if Hayes jumps, he will be forced to go in after him and Claire will kill them both! He promises Hayes that he won’t let any harm come to him and holds out his hand. Hayes takes it finally, but loses his balance and a few anxious moments pass until he manages to catch hold of the rigging. The two men climb down and face an angry mob below who chant “Jonah”, as knives are drawn and threats are made. 

But it is Willoughby who saves the day. Ringing the bell for silence, he begins to tell his own life story. Willoughby tells them how, in his own country, he was a poet. His poetry came to the attention of the Emperor’s second wife, and she asked him to join her household. This was a great honour, but with the condition that as a member of the household of the Emperor’s wife, he must be a eunuch. It was dishonourable to refuse; a death sentence, in fact. But, an emotional Willoughby explains, he had fallen in love with women; the taste of their breasts, the scent of their navels, the feeling of their warm mounds like peaches. He is winning over the crowd with his erotic descriptions, and Claire and Jamie share an amused smile! Willoughby fled on the Night of the Lanterns, he says. He left his house and came to a place where the golden words of his poems are taken for the clucking of hens and his calligraphy for bird scratchings. The women now call him Yellow Worm and even the lowest of whores will not lie with him. By not surrendering his manhood, he has lost everything else: honour, livelihood and country. 

Sometimes, he says, he thinks it is not worth it. Dramatically he stands on the edge of the ship and throws the papers of his life story overboard. But instead of sinking, they float into the air: the wind has returned!  The sailors spring into action, preparing the boat to set sail once again. Hayes approaches Willoughby and makes a guarded apology, by way of saying that he has heard worse stories. Claire asks Willoughby how he knew the wind was about to return and he draws her attention to the low flying bird. When birds fly high, he says, the air is dry, but when they fly low, the air is heavy and rain is coming. Calling Willoughby by his true name, Claire makes a heartfelt thank you. Overcome, the man turns away. Rain patters onto the deck, erasing the last of Willoughby’s letters. 

The mood is jubilant as the rain falls. Barrels are filled, men stand with their mouths open, drinking in the rainwater. Below deck, Jamie and Claire giggle as the rolling of the ship knocks them into each other. Aroused, they rush into a storeroom and make love as quickly and as quietly as they can. Claire tells Jamie that others will hear them, to which Jamie responds “Let them!” Afterwards, Claire lies with her head on Jamie’s chest, as he strokes her hair, telling her that he likes the grey that is returning. The way the light hits it, it is like a piece of silver moonlight. Claire comments that it is impossible not to love a man who says such things. 

With a clever nod to the fandom’s name for Jamie, she tells him that were he to say that in the 20th century, he would be the King of All Men. Seriously now, she tells him that she had always known, when she decided to return, that they would have to get used to each other again. “No matter what troubles happen around us, Sassenach,” Jamie says, “This, what it is between us, never changes.” They kiss tenderly - and the fans rejoice to see them happy again. 

And so, of course, this must mean that the happiness is destined not to last. The ship is being pursued by a British Man o War, which is signalling that they want the Artemis to heave to. Raines says that the pursuing ship may be short handed and will need men. There is no choice but to heave to. Hastily Claire and Jamie discuss what may happen. Jamie tells Claire that by law, they can press any British subject into service, which amounts to over half the crew, Jamie included. 

Jamie tells Claire that if he is taken, she must continue on to Jamaica to find Young Ian. She agrees. But when the very young acting captain of the Porpoise comes aboard, it is not men that he wants, but a surgeon. The ship has suffered an outbreak of infectious plague, Captain Leonard explains. Claire tells him that she is the surgeon, but that he shouldn’t have come on board, nor should he touch anyone while there. Leonard says that he had no choice: the captain and 2 lieutenants are dead, as well as the surgeon and the surgeon’s mate. He himself is not experiencing symptoms, but hundreds of others are. He is not there to press men, as he doesn’t want more mouths to feed. What he does want is medical assistance. Claire asks what symptoms the men are experiencing and is told griping pain, vomiting, diarrhoea and a rash on their stomachs.  Claire says she knows what it might be, but she will need to examine the men first. Leonard asks if she will come aboard, and Claire agrees at precisely the same time as Jamie refuses. The two retire to discuss the situation. Jamie tells Claire she can’t set foot on a plague ship, but Claire says that she cannot catch what is on board. It is not plague but typhoid fever, which she has been inoculated against.

She can show the men what to do, she says and she has an obligation to help, due to the oath she swore to become a doctor. Jamie understands oaths. He rubs his finger over her wedding band, remarking that he has taken an oath or two himself and none of them lightly. Jamie remarks that he knows there is no talking her out of it, to which Claire replies that they must both be older and wiser. Jamie says he will not take his eyes off the ship until she returns and they kiss. 

Jamie watches as Claire is rowed over to the Porpoise. She is greeted formally on her arrival by the healthy men who remain. She is taken below to where the sick men are and the sights and sounds are horrific (to the viewer as well!) Covering her mouth and nose, Claire takes stock. The conditions are deplorable. Examining the stomach of one man, she sees the tell tale red rash. 

In the captain’s quarters, Claire tells Leonard that the disease is called typhoid. The methods of containing it are different to other diseases and she knows how to do this. She relays the instructions, but warns Leonard that most of the sick men will still die. What is important is containing the spread, but it will get a lot worse before it gets better.  Claire offers to stay for a while to help them organise themselves and Leonard responds that he will be grateful for any assistance. Claire says she will need a dozen healthy crewmen and is promptly introduced to the first of them: a very young man, known as Mr Pound. Claire says that she will work fast, as Jamie and Captain Raines will be anxious to get underway. Leonard tells her that she will inform the ship that she will be a little while longer.

But while Claire is below in the galley fighting with the cook for boiled water, a sudden surge indicates that they are underway.  

Claire goes to confront Captain Leonard. He has no choice, he says, as they are desperate. Since both ships are travelling to Jamaica, he has sent word that accommodation will be provided until Claire is able to rejoin the Artemis. Mr Pound reappears to tell Claire that they are ready to move the men. With one last despairing look at the Artemis, she turns to begin her work. There is nothing else she can do.

This episode focuses a lot on the concept of respect. First and foremost, superstitions on ships must be respected and are ignored at peril. Character wise, Willoughby earns the respect not only of Jamie and Claire for his skill with acupuncture, poetry and calligraphy, but also from the men at large for seemingly returning the wind and breaking the curse. Claire and Marsali are yet to earn each other’s respect and in turn, Marsali and Fergus are waiting for Jamie to respect and approve their wish to be married. The captains of both ships respect Claire’s skill, but this is not enough to prevent yet another separation for Jamie and Claire. Now viewers and readers are left to respect the storytelling of the episodes to come - and trust that the Frasers will soon be reunited! 

This recap was written by Susie Brown, a teacher-librarian and writer who lives in Australia. She hated the realism of the vomiting scenes, and although she doesn’t suffer from seasickness, started to turn green along with Jamie!