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Tuesday, April 21, 2020

Making the Heroic Choice: A recap of season 5 episode 9 by your Aussie Blogging Lass


Outlander Homepage Originals by Susie Brown 


What qualities make a hero? Is heroism measured by a character’s ability to charge into battle regardless of the danger, of staying true to their word, even if it costs them their life? Or is a true hero the person who, when faced with two choices, can bring themselves to pick the harder option? No character escapes soul searching in this, the ninth episode of season 5, and we certainly witness plenty of heroism during the hour. 

As the opening credits conclude, we find ourselves looking at a rural scene. Everything is peaceful enough, with animals grazing in the field - although for book readers, the realisation that these animals are buffalos is a definite clue as to part of the plot line to come. 


Claire is examining Marsali, who is now in the advanced stages of pregnancy. Everything is going beautifully and Claire comments that Marsali, having already had two children, would be quite capable of delivering this one herself. Marsali though, is glad, that Claire will be there - not just because Claire is her physician, but because she will be able to share it with her “as me Ma.” 


It’s often the simplest moments in Outlander that have the most impact and this is the first such moment for the episode. It is expertly played by Lauren Lyle and Caitriona Balfe, and indicates just how close the two women have become. Even so, Marsali, can’t quite express her true feelings to Claire’s face, waiting until Claire is standing behind her to use the term of endearment. Claire, mindful of this, doesn’t say anything in return, but we certainly see her joyful response. Lauren Lyle portrays the perfect amount of vulnerable young woman hidden underneath all of Marsali’s usual sassiness, while Caitriona Balfe hits exactly the right mixture of doctor, friend and maternal figure.

The scene leads into another “life at the Ridge” montage, as Claire comments on the marking of time and the shift of the seasons. As Claire’s voiceover says, the colours of everyone’s lives are changing.  It is now Autumn, which has brought with it russet tones, the brown hues of harvest and the blue-violet shades of indigo dye. There is a hive of activity at the Ridge and a harmonious atmosphere abounds. This is a brief but effective love note to Scotland itself, which is certainly beautiful when Autumn is in full swing! (Or so it was when this reviewer visited last October!) 

In Bree and Roger’s cabin, the mood is equally harmonious - or rather, amorous. But any plans that Roger and Bree have of some quality time together are quickly dashed - firstly by Jemmy, who Roger inadvertently also manages to teach a new cuss word and then by Jamie, who knocks on their door and leaves the young couple with little time to look presentable. (Sam Heughan does a wonderful job of portraying a parent’s uncomfortable expression, as Jamie realises precisely what he has just interrupted!)  Game has been sighted west of the Ridge and Jamie is looking for more people to join the hunt. He is thinking of Brianna, but Bree has her sights set on helping to dye the cloth with the women and immediately volunteers Roger for the task. Jamie, after a moment’s hesitation, says that all able bodied men are welcome and with perfect deadpan humour and a slight look downwards, proclaims Roger to indeed be “able bodied.” 


A short time later, Jamie, Roger, Josiah, young Ian, Fergus and a couple of the other men from the Ridge are tracking buffalo. Jamie gives instructions for the other men to spread out while he and Roger drive the herd towards the group. The men are to take what they can and to meet back at the Ridge at the end of the day. It is a sound enough plan, but one that goes horribly wrong very quickly. Jamie and Roger do indeed come across the herd without difficulty, and Jamie fires a shot. Roger moves ahead to try and get a shot of his own while Jamie reloads, when disaster strikes. Jamie is bitten on the leg by a venomous snake and although he kills it quickly, the fact remains that this is a serious situation. After Jamie douses his knife with alcohol from his flask, Roger cuts his leg and sucks out as much of the venom as he can. He binds Jamie’s leg and asks if his father-in-law can walk, given that there is no sign of anyone nearby. But even standing is too painful, so Jamie tells Roger to go and find the others on his own. Roger leaves, taking the snake’s head with him and Jamie slides back down the tree trunk to wait.


Back at the Ridge, the women are preparing the cloth, while Lizzie remarks that it is “a good day for dying.” Unaware of the possible prophetic nature of her words, Claire and Brianna laugh at her turn of phrase. As they stir the dye, Brianna and Claire begin a serious conversation about career. Brianna asks her mother if she had always wanted to be a doctor. Claire replies that it wasn’t something that she had thought about initially, as when she was Brianna’s age, nursing was the closest that she could get. Brianna remarks that Claire had certainly been singleminded about it later on and Claire agrees, adding that she had to be, given that no-one was going to open the door for her willingly. Still, Claire says, she had been lucky enough to know what she wanted to be. 


Brianna has another question: “What if you know but can’t do it?” she asks. 
Claire replies that for most people the life they find is the life they lead. She asks whether Brianna is speaking of herself or Roger, and Brianna admits that it is both. They have talked about teaching, she says, but the trouble is that Brianna doesn’t know how to apply her calling in the 18th century. Claire replies that the label itself doesn’t matter - whether she is called doctor, healer, or witch, she is still what she was born to be. If she were to lose Jamie or Brianna, she would still have her profession, despite never feeling quite whole again. “You’re an engineer, Bree,” she says. “Whatever it is they call that here, you just have to find a way to be that.” 

Brianna asks if Jamie knows what he is, and when Claire says that he does, Bree wants to know if Jamie is truly content to be a “laird.” Claire adds a couple of professions to this list, adding that laird, husband and father are no small things to be. Finally, she gives Bree a piece of maternal advice, telling her daughter to be patient. If travel back to their time isn’t possible, both Brianna and Roger will find their purpose. Bree smiles in response, but we can see that she doesn’t completely believe this. 

Roger has been looking for the others, but is having no luck. We see his frustration - as well as not being a hunter, he is also not a tracker. His voice has not recovered enough to allow him to yell, so he fires his rifle and pistol into the air, hoping that someone will overhear.


The rest of the party return to the Ridge, empty handed. Marsali asks how they have gotten on and Josiah explains that the herd of buffalo had moved off faster than they had thought they would. Ian asks if Jamie had had more luck, but Claire explains that neither Jamie or Roger have returned. The group had gone as far as to the boundary of Bree and Roger’s land, the implication being that the other two men should have returned by now, but Fergus suggests that perhaps they have made camp instead.

This is precisely what Jamie has done, and he has begun to cook the snake when Roger returns. He is obviously not well though, his face already an unhealthy colour and sheen. He still has his sense of humour, saying “Fair is fair” as he holds up a piece of snake meat. Jamie asks Roger if there was any sign of the others and Roger is forced to admit that there wasn’t. Hoping that they will see the smoke from the fire, he starts to pile it higher with sticks. He asks how Jamie is, and Jamie admits that he now has pins and needles in his fingers and his lips are numb. He asks Roger if that is usual and Roger tries to joke in response, asking if his father-in-law has drunk too much whisky. Jamie asks what would be done in Roger’s time for snake bite and Roger replies that a dose of anti-venom would be given. He is concerned, but tells Jamie to get some rest. 


Later that night, Jamie calls out to Roger asking if he knows the last rites. Roger says that he doesn’t, telling Jamie that he doesn’t need them anyway, as he isn’t going to die. He reminds Jamie of the obituary that Bree had found, but Jamie responds that while he knows he is meant to die in a fire, he is already burning up as they speak. The best Roger can offer is a prayer for the sick, that he only knows in English, not Latin. He encourages Jamie to get some more rest, but Jamie wants to talk. 

The conversation turns to Stephen Bonnet. Jamie tells Roger that Bonnet is alive and that if he can’t kill Bonnet himself, Roger must do it for him. He begins to share details of the plan, but Roger is uncertain whether he could kill another person, even one as evil as Bonnet. Jamie lists the litany of crimes that Bonnet has committed since Jamie had helped him escape his original fate at the gallows: murdered his friend, attacked his wife and violated his daughter. It is obvious that Jamie blames himself, but Roger reminds him that he cannot change his past actions. Jamie muses that perhaps his current situation is penance, something that is doubly unfortunate for Roger, as it means that “the son must pay for the sins of the father.” Roger tells Jamie that he has chosen a hell of a time to get philosophical, but Jamie replies that there is no time like the present. His condition is deteriorating and he tells Roger that if he dies, Roger must look after Claire and the people of the Ridge. Again, Roger tells him that he doesn’t need to worry, as he will live, but adds that vengeance is a dangerous path to go down. Jamie argues again that they are merely defending their family, reminding Roger of Jemmy’s inheritance of River Run and the fact that Bonnet has waged war against them. Jamie believes that Bonnet will try and claim Jemmy as his own, and will bring witnesses from the tavern to say that Brianna had lain with him willingly for Claire’s silver ring. Bonnet’s crimes are unforgivable and Jamie says that it will be better to rid the world of him, so that he cannot harm another being. “There is a fine line between a monster and a hero,” he says. 

Facing his own mortality, Jamie tells Roger that despite initially blaming him for taking his time to return to the Ridge, he is glad that Roger is there. “We have to have faith that the Lord has a plan,” he says, laying a hand on Roger’s arm. Again Roger tries to be lighthearted. He tells Jamie that if Jamie wants him to face Bonnet then Jamie will have to teach him how to fight. 
“I will,” Jamie says, exhausted, “if I live.” 
The scene ends on Roger’s worried face, as he keeps vigil by the fire. 

It is early morning and Young Ian is shocked to see Jamie’s horse returned to the Ridge. He looks around, but there is no sign of his uncle anywhere.


Meanwhile, Roger is dragging Jamie on a makeshift sled. Jamie is barely conscious, but is able to give Roger some tracking advice, in order to lead them home. It is slow going. Roger is exhausted and Jamie is getting weaker. When Roger stops to give Jamie some whisky, Jamie is intent on giving Roger some “last instructions.” If he dies, he tells Roger, he wants them all to return through the stones, once they have confirmed that Jemmy can travel. His sword is to be given to Jemmy, he wants Bree to know that he is glad of her and that Claire should be told that he meant it. Roger is overcome with worry and finally does what he has so far refused to do: pray. Putting his hand on Jamie, he asks God to hear his prayer and to not let Jamie die.  At last, he hears the calls of Ian and Fergus, who have come in search of them. His voice still too hoarse for yelling, he bashes a large stick against the trunk of the closest tree. The noise echos in the forest and brings Ian, Fergus and Rollo to his side, the latter rousing Jamie by licking his face.  In short order, Jamie is loaded onto the horse and taken to Claire.

Claire examines Jamie’s leg, which is red and inflamed. She has never seen anything like it, she says. As a surgeon, she didn’t see many snakebites, other than to observe the autopsy of someone who had been bitten by a King cobra. She shares this information without thinking, then quickly checks herself when Jamie reacts to the word autopsy. Leaving Brianna with Jamie, Claire draws Marsali aside and puts the young woman in charge of a maggot gathering party, to try and stop the infection. Privately, she shares her fears. Jamie’s condition is bad and with the venom already in his bloodstream, his body will need to fight it. Onion poultices and oral penicillin broth will only do so much. Marsali laments the loss of Claire’s syringe, but tries to be positive. Jamie has stopped vomiting and was making snide remarks to Fergus and Ian, both of which are good signs. Claire agrees, but is worried about the leg becoming gangrenous. Marsali offers comfort, promising to have the whole Ridge out looking for the maggots that Claire needs. This is done immediately, with everyone pitching in to help save their laird.


Bree is sitting with Jamie, who rouses briefly to ask if any of the men had brought back the buffalo he shot. Bree tells him that they haven’t and that Josiah was angry at himself for letting them get away. Claire administers more penicillin broth and sends Bree out to join the others gathering maggots. While the two women are talking, Jamie notices the amputation instruments on Claire’s table. 

Returning to Jamie’s side, Claire asks if he is feeling any better. Jamie comments that he had thought he was, but is now unsure, given that Claire has not scolded or reproached him since his return. If she had done so, he says, he would have known that he would be all right, but her “tender as milk” approach has him worried. Jamie asks if she thinks he is dying. Claire dodges the question, calling him a fool for not watching where he was going. She adds that they can’t both be scared at the same time and that currently, it is her turn. As she turns away, Jamie tries to wriggle his toes. 


A short time later, a crash brings Claire back to Jamie’s side. He has managed to grab the amputation saw, telling her that he knows what she is thinking and he won’t have it. He would prefer to die than be without a leg. He demands her word, which she refuses to give. Still he persists: he has made his choice. 

Bree and Roger have joined the maggot search, Bree reassuring Roger that he did everything he could to help Jamie. She declares that Jamie will be fine, that he is too stubborn not to be. But there is more upsetting Roger. He tells Bree of the plan to kill Bonnet, including the fact that Bonnet may well be able to claim Jemmy as his own son. The fact remains that there were no witnesses to their hand fasting ceremony and a school of thought in the 18th century indicates that Jemmy’s birth proves that Brianna was a willing participant, rather than a victim of a rape. Moreover, Roger reminds her, Bonnet cares little for the law and what is right. It is a worrying situation, exacerbated by the fact that they also can’t find the maggots they want to help Jamie. Luckily, Josiah has had more luck and the scene ends with his triumphant cries.


Back at the Ridge, Lizzie is hanging up the dyed cloth and minding Jemmy, when suddenly a buffalo appears close by. Her screams alert Brianna  (a possible continuity error here, as she was just searching for maggots in the woods). Brianna immediately tries to distract the buffalo and draw it towards her and away from Jemmy. She succeeds and the buffalo begins to charge at her. She is flung into the air, but is fortunately - and somewhat unbelievably - unharmed. Claire appears on the porch with a rifle and succeeds in shooting the animal dead. Crisis averted, the women scoop up a distraught Jemmy, as Jamie drags himself outside, also wanting to help. It is distressing to see how weak he is.


The next scene sees Claire simultaneously admonishing Jamie for coming outside and packing his leg with the maggots. Roger comes to ask how Jamie is faring, telling his father-in-law that the maggots will not hurt, only tickle. With a wry smile, Jamie declares Roger to be a great comfort. Brianna smiles briefly at Roger. Despite the seriousness of the situation, the relationship between the two men has obviously taken a huge turn. 

Watching the buffalo being cut up for meat, an image that is uncomfortably similar to the appearance of Jamie’s leg, Claire and Brianna discuss the situation honestly and Claire allows her fear to show. While Jamie’s body is fighting the venom, the infection in his leg is bad. It is too deep for the maggots to make any difference and without the syringe, Claire has no way of getting the penicillin into his bloodstream. The thought of amputating Jamie’s leg makes Claire feel ill. Brianna suggests waiting a little longer to see if the maggots can have an effect. Claire nods, but time is running out. If there is no improvement, she will not have a choice, she says, other than the fact that she had promised Jamie that she wouldn’t do it. Brianna replies that at least Jamie would be alive to be mad at her, but Claire counters that every time Jamie looked down, it would be a constant reminder that she didn’t keep her word to him. This is the most vulnerable that we have seen Claire for a long while, with Brianna immediately taking on the role of comforter. It is another brief and beautiful scene between Sophie Skelton and Caitriona Balfe. 


Inside, a seriously ill Jamie has asked Roger to help him. He wants to sleep in his own bed, he says. Joking that ferrying Jamie about is becoming an everyday occurence, Roger begins to lift Jamie up, but needs help. Help comes with the arrival of young Ian, who tells Jamie that he should stay where he is, so that Claire can heal his leg. Jamie tells the two men that Claire feels that the only way to do that is to amputate, adding that he would be no good with one leg. Ian asks if Jamie had ever said anything similar to Ian Murray senior, or to Fergus. Jamie tries to argue that Fergus’ situation is different, as he was only a boy when he lost his hand. 

Young Ian immediately takes Jamie to task, saying that it makes no difference and that perhaps the real difference between Fergus, Ian and Jamie is that the other two were not as proud or as stubborn. Roger looks at Ian, impressed at his willingness to take his uncle to task. Jamie argues that it is a matter of honour, but Ian will not accept this either. 
“They lost a hand and leg in battle,” he counters. “There’s nothing honourable about being bitten by a snake.” 
Uncomfortable, Roger offers to go, but Ian wants him to stay. He wants someone else to hear what he has to say. He had always felt guilty, he tells Jamie, for secretly wishing as a young boy, that Jamie had been his father, and for following Jamie to Edinburgh in order to be with him. Now he has realised how courageous his own father truly is. 
“I never thought the day would come when I’d be ashamed of you, Uncle,” he says, before striding out. But his words have had an effect. 

Claire comes inside to see an empty bed where Jamie had been lying. She hurries to their bedroom, where she finds Jamie and Roger, who quickly excuses himself. Jamie is obviously gravely ill, his breathing laboured. He tells her that he won’t have Claire sleeping on the surgery floor. He wants her there with him.

Fergus has arrived to see Jamie, but is stopped by Ian, who suggests that this isn’t a good idea. Ian tells Fergus about the possibility of amputation and Jamie’s stubbornness at not wanting to lose his leg. “He’s acting like it’s the worst possible thing that can happen to a man and I didn’t want you to be upset,” Ian says. 


But Fergus has his own perspective to share. He tells Ian about the “man of leisure” saying and how he had said that to Jamie when he had lost his own hand. It was a teasing bargain he had made, he explains, that Jamie would always be there for him if he were to lose an ear or a hand in Jamie’s service. Rather than thinking about what he lacks, Fergus and Marsali have always focused on what they have. “You and I have a father and an uncle,” Fergus says. “We should be there for him when he needs us. That’s all we can do.”


Jamie’s breathing is shallow. He calls Claire to his side, asking her to sleep beside him. She strokes his face asking how he feels and he replies that he feels like a pile of mouldy tripe with maggots. It is an attempted joke, but Claire can see how grave the situation has become. Her eyes shine with tears as she asks Jamie if it hurts much. He says that he is tired and asks her not to leave him. She moves closer, declaring that she could never leave. Jamie is cold and asks Claire to touch him before he sleeps. He slips into unconsciousness and Claire realises that he Jamie is dying before her eyes. Desperately, she kisses him, pleading with him to stay with her as she removes her shift and lies on top of him. “Don’t leave me,” she whispers, touching him as he had asked and begging him to stay with her. Whether it is the desperation of her intimate touch, the power of the love between them, her skill as a healer that Master Raymond had recognised in her years before, or a combination of all three, Jamie, with a long gasping sigh, returns to consciousness.  Still lying in each other’s arms, Jamie releases her from her promise not to amputate. When the time comes, he tells her, she can take his leg.


The chemistry between Sam Heughan and Caitriona Balfe is nothing new, but this scene ranks as one of the best between the two actors in the entire dramatisation of Gabaldon’s novels so far. Caitriona Balfe is perfect here and we feel every moment of Claire’s desperation and fear as she fights to keep the man she loves alive. The scene plays very true to the novel and many fans have commented on how much it affected them to see it onscreen. 

Roger and Brianna are eyeing the snake’s head. Roger tells Bree that he still isn’t sure why he took it, other than the hope that if Claire knew the species it would help somehow. He is about to throw the head into the fire, when Bree stops him. She has noticed something, her fingers touching the creature’s fangs.


Fergus, Marsali, Germain and baby Joan are in the woods. Fergus and the children are smelling and picking flowers, when Marsali goes into labour. Fergus says that he will go and get Claire, but there is no time. Marsali tells Fergus he is not going anywhere. Despite her plans, she will need to do as Claire said that she could, and deliver her baby herself. 

The time has come. Claire is preparing for the surgery, with Ian to assist her, although Claire wants to know where everyone else is, commenting that she will need more than one pair of hands. Ian apologises to Jamie for his harsh words, saying that he hadn’t meant them. But Jamie reassures him, telling Ian that he had been right to say what he did. Jamie tells Ian that he needs to take the leg afterwards and bury it, but not tell him where it is. With one final look down at his toes, which he flexes for one last time, he declares that he is ready. Claire tells Jamie that if he is inclined to pray, now would be the time. Jamie crosses himself and Ian hands him a cloth to bite down on. Jamie puts it between his teeth and grabs onto Ian’s hand. Claire begins to sterilise the knife, trying to steady her hands for what she has to do. 


At the last moment, Bree and Roger burst into the surgery. Bree proclaims pit vipers to have beautiful engineering. Their fangs are connected to a venom sac in their cheek, so that when they bite down, the cheek muscles squeeze the venom out of the sac, down through the fang and into their prey. Claire doesn’t understand at first. Bree explains that the fangs are hollow, handing her mother a handmade syringe. 

Jamie asks Roger if it is the same snake. 
“Fair’s fair,” Roger replies. 


Claire and Brianna test out the syringe, pouring in some of the penicillin. It squirts out the top of the fang. It will work. Jamie kisses Brianna’s hand, as Claire tells him to brace himself. She begins to inject the penicillin directly into the infected leg. 
“Beautiful engineering indeed,” she says to Brianna, who looks across at Roger with relief. 


Some time has passed. Claire and Brianna have come to Marsali and Fergus’ cabin, to greet their new baby daughter. Claire apologises for missing the little girl’s arrival, but is happy to see her healthy and safe. Kissing his daughter’s forehead, Fergus announces her name: Felicité.


Roger is sitting by Jamie’s bed, when Jamie wakes and sees him there. Roger says that he wants to point out that Jamie is in fact alive and Jamie responds that he didn’t think that Roger would be one to gloat. Roger chuckles, saying that he wasn’t going to pass up the opportunity, given that he may never get another one. Jamie tells Roger that he is now no longer under any obligation to fulfil his dying wish. Roger knows this but he has decided that he wants to go with Jamie to Wylie’s landing after all. He wants to be there, he says, when Jamie meets Stephen Bonnet. 

At last, Jamie is recovering. He is sitting reading when Claire comes into their room. 
“You tried to die on me, didn’t you?” she says. 
Jamie agrees that it wouldn’t have taken much effort, and that not dying was harder. Continuing, Jamie explains that while he had resigned himself to die, that had been before he had made his choice. He had felt his heart begin to slow, he tells her, and both pain and fever had faded. Then he had seen a passageway of sorts, that he could go through if he chose. He wanted to, but knew what lay behind and realised that he had a choice  - to go forward or turn back. 
“That’s when you asked me to touch you,” Claire says and Jamie agrees, saying that he knew that she was the one thing that could bring him back. Claire asks why he chose to stay. “Because you need me,” he replies. 
“Not because you love me?” she asks.
“Whether I’m dead, or you, whether we’re together or apart, I will always love you,” he replies. There is a war coming, Jamie says, and he has a duty to do, no matter the cost.
Claire is tearful. Whatever the reason, she tells him, he made a wise choice. They kiss gently and the episode comes to an end. 


Indeed, the central theme of this episode has been one of choice and of finding the courage to do something undesirable. Throughout the hour, Jamie had to find the courage to allow for the loss of his leg; Claire had to find the courage to actually carry out the surgery; Ian had to find the courage to speak the harsh words to his uncle that would make the difference, while Marsali and Fergus had to find the courage to deliver their own child. Brianna had to find the courage to save lives: first Jemmy’s by confronting a buffalo and then Jamie’s, by discovering how to become an 18th century engineer, and create a syringe. Finally, Roger had to find the courage to agree to assume the mantle of head of the house should it be required, even if part of that mantle involved vengeance. 

By the end of the episode, every character has faced some sort of adversity and has emerged the stronger for the experience. Given that a confrontation with Stephen Bonnet grows ever closer as this season heads towards its conclusion, this is a good thing - no doubt plenty of strength will be needed! 

This recap was written by Susie Brown, a writer and teacher-librarian who lives in Australia. She was thrilled to see so many of Diana Gabaldon’s words enacted in this episode - and equally thrilled with the brilliance of the actors who brought them to life.

Wednesday, April 15, 2020

Meet Craig McGinlay, Season Four's Rabble Rouser!


Outlander Homepage Originals by Nancy McGehee Fontenot



Die hard Outlander fans are unlikely to forget the riveting, and heartbreaking, season four episode “Do No Harm”.  Craig McGinlay won’t forget it either, after playing the most unpopular character, plantation owner and local magistrate Andrew MacNeill. (He leads the lynch mob that shows up at Jocasta’s house to hang the injured slave, Rufus).



Craig is a Scottish actor, also known for his role in King Arthur: Legend of the Sword, as Sir Percival. He recently took some time to chat with Outlander Homepage about his career and experience on the set of our favorite STARZ series, Outlander.


Outlander Homepage: Hello Craig, thank you for chatting with us, and answering a few questions about your Outlander experience.  First, we want to know a little more about you and your acting career. When and how did you get started in the entertainment industry?

Craig McGinlay: I was a sport scientist, strength and conditioning coach for professional athletes in the likes of soccer and rugby, as well as Olympic athletes.  As I was their strength and conditioning coach, I was asked to do an Olympic lift in a major campaign film for the games. I was spotted by a short film director. He cast me to play the lead actor in a short film called Bloodloss, which won best thriller/horror at the likes of  LA and Calgary. I joined a small agency in Scotland off the back of this, and was then cast in a major commercial alongside David Beckham and directed by Guy Ritchie. I was so grateful to be then cast to play a knight of the round table in Guy’s epic movie, King Arthur: Legend of the Sword. Playing Sir Percival alongside a great cast and crew was an incredible experience, and one that has pushed me to try to keep striving in the industry. I love stepping on set every day, and hope the journey continues. I am so grateful for every opportunity.



OH: You played Andrew MacNeill, in Outlander S4 episode two, Do No Harm.  In the novel, Drums of Autumn, that season four is based on, your character is described as a well- respected Cape Fear plantation owner, a local magistrate, as well as a peer of Jocasta Cameron.  In the episode, MacNeill shows up at River Run with a noose, and a mob, determined to hang the injured slave Claire is caring for. How would you describe your character, Andrew MacNeill, in three words?

CM: Aggressive. Evil. Disgraceful.



OH: MacNeill was an intense role! How did you prepare to play that character?

CM: When playing a character like that you have to go to a darker place you aren’t used to, and pull out a character from your armory that you aren’t used to generating day to day. I like the challenge as an actor to get across on screen what the director and audience expect from you. Hopefully we did that, but MacNeill was certainly a horrible character. Not that I was a horrible character on the rugby pitch, but like anyone else I would pump myself up, and psyche myself up, so I was ready for battle on the pitch. You have to show some form of controlled aggression on the pitch, and in many other sports, to get the adrenaline flowing. I think by using these experiences, it has helped me to be ready when marching onto set as if I am marching into the arena, or onto the rugby pitch.

OH: What was your most memorable moment on the Outlander set?

CM:  Arriving with the mob for the hanging was memorable for all the wrong reasons. It was a difficult scene. Seeing the crew behind the scenes, some upset and in tears watching it all come to life was difficult, and I was leading the storm that day. It wasn’t nice to film, but we were telling a story, and I believe the Outlander family told it in the correct way to emphasize how bad it was.


OH: It was a pivotal episode, and that scene was a powerful statement. Beautifully done! Now, let’s turn to something hopefully lighter, and more positive. If you could travel through the stones, which time period would you travel to and why?

CM: 2022, because I hope by then Covid-19 will be over. I hope we can all look back on it all by then, although I’m sure it will be much sooner. It’s not an easy time for any of us… but what I will say is we are all fighting the same war, and are in the same trench across the world. 
This distance we are having to maintain from our families and friends is heartbreaking, but the positive in all this is that by maintaining distance, you are protecting them. You are saving lives. Find comfort in that. Allow the superheroes in the health care sectors to function without being overwhelmed, and they can save many, many, lives. 
Everybody is afraid. Everybody is nervous. Everybody is confused. This is a new virus, but we WILL get through this. We have to collectively realize this, not only as countries in our own bubbles, but as a collective group of people on this planet. We will get through this. Happier times to come! Stay healthy. Stay safe. Stay positive. We will get through this. 


OH: Yes! We will get through this and come out stronger for it! Thank you for such a positive message, and for sharing your time with us. Stay safe, and take care! 




Nancy McGehee Fontenot is a writer who lives in Baton Rouge Louisiana, who loves her weekends on Dauphin island.... 



Monday, April 13, 2020

“Lost For Words” A recap of season 5 episode 8 by your Aussie Blogging Lass


Outlander Homepage Originals by Susie Brown 



How would you want to be remembered? What words would you want to leave behind as advice to those who come after you? What words would you regret having said? What words would you like others to say about you? Or, at the final moments, do words really matter at all?

The eighth episode of the season opens on a classroom, with Professor Roger McKenzie returning essays to his Oxford students of 1969. Tasked with writing about famous figures’ last words, the class hasn’t done as well as Roger had hoped. As Brianna sneaks into the back of the room, Roger brands their efforts “forgettable”. He had wanted his students to consider why people say what they say, he tells them, as well as considering what their own final words would be, given the chance. One student, Morgan, suggests that it doesn’t matter - they are studying history after all, not creative writing. But Roger explains that people live and die by their words. Words shape individuals’ thoughts and deeds, in ways that define people. Words are like bullets, Roger says. They have impact - once fired (or spoken) they can’t be taken back. Words have impact, so need to be chosen wisely. “Make them meaningful,” Roger advises the group. “Live a life worthy of them, especially your last words. They outlive us.” 

The students ask what Roger’s last words will be. He jokes at first, praying a mock dying wish for his students to write structured arguments, with supportive evidence and legible handwriting, but he is pressed to answer seriously. After a moment’s consideration, he says that history should forget his name, so long as his words and deeds are remembered by the people he loves. This is perhaps an illusion to the title of the previous episode - The Ballad of Roger Mac, which seemed to imply that Roger would indeed be historically remembered, but the comment also links specifically to his 18th century life. Roger’s most recent words and deeds, whilst noble in their intention of trying to protect those he loves, have also seen him left hanging at the end of a rope, with the hood over his head effectively making him nameless and unimportant in history. If Roger is in fact dead, his last words would have been to his ancestor, Buck MacKenzie: “You let me go, Sir, and I’ll not speak against you, for your wife’s sake” -  and one wonders whether he would have considered them to be sufficiently meaningful… 



The class ends and Brianna explains her early arrival, as her wish to see him in action. Indeed, she has been impressed by his gift for words. Ironically, they are now heading out to a silent movie marathon, an outing that excites Roger far more than Brianna. But before they go, Brianna wants to know if Roger had meant what he had said: would his wish to be forgotten by history as long as his loved ones remembered his words and deeds, really be his last words? The scene ends - and the opening music starts - with Roger unable to answer. 



As the movie ends, we see a projection screen set up and a silent movie, entitled, “Famous Last Words” begin. Quickly we realise that this is no movie, but the continuation of the action from the end of the previous episode. The sequence is in black and white, with no sound other than the ticking of the film. As Roger’s body is lowered down to Jamie, we see Jamie’s shocked face and a single line of dialogue appears on the screen: “He’s breathing!” Claire and Brianna rush over, and Claire performs an emergency tracheotomy in order to open Roger’s airway. Brianna is kneeling over Roger, and her own dialogue appears on the screen:” Roger, can you hear me? It’s Brianna.” A close up shows us Roger’s eyes opening, and Jamie’s words “You’re alive. You’re whole. All is well” come straight from Diana Gabaldon’s novel. The movie ends on a tight close up of the group - Brianna, Claire and Jamie all laying their hands on Roger for reassurance. In this, at least, his 20th century wish has been partially granted - those he loves are certainly surrounding him. 


But all is most definitely not well. The next scene returns us to colour and a close up of Roger’s face. Three months have passed and Claire has come to Bree and Roger’s cabin to examine his throat. She is encouraged by what she sees, telling Roger that everything looks good. His throat is healing and the scar has faded. When she asks how he feels, Roger replies with a shrug and a raise of the eyebrow. Claire tries to encourage him to speak, reminding him that it will sound croaky at first but that this is perfectly normal. Roger swallows, but stays silent. Brianna suggests whispering, but Roger still refuses to try. Brianna switches to a lighthearted approach, telling Roger that she will teach Jemmy all the American pronunciations of words - jumper will be used instead of sweater and the word “aluminium” will have the American 2nd syllable emphasis instead of the British third. But when this doesn’t work either, Brianna speaks more softly, telling Roger that since 70% of communication is nonverbal, they don’t need words anyway. 
“We can pretend we are in one of those silent movies we used to see in Oxford or Kenmore Square,” she says. 
As a last ditch effort, Claire and Brianna try to get Roger to accompany them back to the Big House, as Lord John has come to visit with a trunk of books and gifts. But Roger shakes his head and the women leave him alone.


Immediately, Roger tries to clear his throat. He swallows painfully and closes his eyes as “one of those silent movies” begins unbidden. It is a continuation of what had happened to him from the time that he had been knocked unconscious. In black and white once more, complete with dialogue captions, we see Buck and the others dragging Roger’s body over to Governor Tryon and one of his colonels, telling the men that Roger had been found down by the creek. Roger is beginning to regain consciousness as he is dumped down next to a group of regulator prisoners. The Colonel asks Tryon what he wants done with the men and Tryon tells them to pick three men, hang them and leave their bodies there as an example. Before he knows what is happening, Roger is chosen as one of the three. He is hauled to his feet, a gag put in his mouth and a sack placed over his head. We see his eye frantically looking around as a caption appears, “May the Lord have mercy on your souls.” A barrel is kicked away from under his feet and a visibly shaken Roger is jerked back into the present day as the movie ends.  


At the Big House, Brianna is talking to Claire. She tells Claire of her old roommate’s boyfriend, who had returned from the Vietnam War a shadow of his former self.  He hadn’t been seriously injured, Brianna says, but even after 12 months, seemed like a zombie, complete with a “thousand yard stare.” Claire replies that in her time, the condition was known as war neurosis or “shell shock”. Turning the conversation to Roger, Brianna comments on the fact that it has been months, asking Claire to confirm once again that Roger is physically fine. (This is a change from the book, as in the novel, there are long lasting physical effects for Roger, with his voice permanently damaged.) When Claire nods, Brianna muses that perhaps Roger too has war neurosis. It must be psychological, she says, adding that Roger has the same thousand yard stare in his eyes and seems to be drowning in silence. Brianna is scared that he is lost and Claire replies gently that Brianna has to have faith that however lost Roger is, she will be able to find him. 


A tearful female voice is singing a lament and we see Jocasta, accompanied by Ulysses, standing in front of Murtagh’s cairn. Jocasta has come to mourn, with Murtagh’s gift of the silver brooch hanging on its ribbon around her neck. The song is beautifully sung by Maria Doyle Kennedy and perfectly highlights Jocasta’s desolation at his loss. Later, Jocasta stands on the porch of the house, with Jamie by her side. She had thought to make a headstone made, she tells Jamie, but knows that it isn’t her place, as she and Murtagh had not been husband and wife. Jamie comments that neither had he and Murtagh been father and son, but it doesn’t make the pain any less or easier to bear. Jocasta strokes Jamie’s arm, as she tearfully remarks that Murtagh had been as stubborn as Jamie’s father. “If only he had stayed by your side,” she says. 
“He did,” Jamie replies. “He kept his vow to me, to my mother.”
The news brings Jocasta some comfort, and she nods. “He was loyal above all,” she says. “We can’t fault him for that.”

Ulysses announces that it is time to go and Jamie bids his aunt farewell. In an echo of Roger’s caution to his students about choosing their final words wisely, Jocasta strokes Jamie’s face and remarks, “How careful we would be if we knew which goodbyes were our last.” Perhaps she is regretting her own final words to Murtagh: “Please go. I have to rest for tomorrow.” The two share share a brief embrace, united in their sorrow. As Jocasta and Ulysses walk to the carriage, Jamie sits down on the front step. He pulls out the piece of Murtagh’s tartan with the twin of Jocasta’s brooch pinned to it and the tears well up, his own grief raw once again. 


Lord John has brought a letter from Governor Tryon. In an attempt to apologise for the “regrettable error” that saw Roger’s hanging, Tryon has granted Roger 5000 acres of land in the back country as compensation. The group discuss the offer. Claire muses that perhaps Tryon seeks to buy Brianna’s forgiveness. Lord John adds that while 5000 acres won’t undo what has happened, it is nonetheless a valuable tract of land. But Brianna isn’t interested. “Tryon can keep his land,” she says. “I don’t need land. I need my husband back.”

In their cabin, Roger is trying to distract himself by spreading out the plans for the proposed loft. He reaches down for the sack of tools, but as he runs his fingers over the rough fabric, the sensation triggers another flashback. We see with Roger’s eyes, viewing the redcoats from inside the hessian sack, as a caption speaks of the men’s “treasonous crimes”. Roger manages to slip one hand out of the rope that binds his hands, and the next caption announces that the men will be hanged by the neck until dead. When the support underneath him is kicked away, Roger manages to slide his hand between his neck and the noose, but we see his eye becoming bloodshot and he begins to lose consciousness. Roger is jolted back to the present time, but this time certain parts of the movie continue to replay on a loop. It is clear that Roger is in torment.


Brianna too, is in torment, as she stands on the porch of the Big House. Lord John comes to join her. He tells her that he has brought something, an object that has always make him feel as if he had the wisdom of the heavens in the palm of his hand. It is an astrolabe, which he describes as a model of the universe. It is an instrument that can be used to find one’s position on land or sea, or to tell the time. We see Brianna’s relief at holding something tangible in her hand - something that can actually give her some control. Instead of finding her place in the world, Brianna begins, at 
Lord John’s suggestion, with something smaller - telling the time. Using her engineering background to help her, Brianna has an answer swiftly - 5:30. She is close but not completely correct, as Lord John tells her that it is actually 5:35. 
“I guess we don’t have all the answers,” Brianna replies. 
“No,” John replies, “Sometimes we must have patience.” 
Brianna thanks him and the scene ends. 

The relationship between these two characters is, as always, lovely to witness. John seems to be able to reach Brianna in a way that others can’t and in this scene, he once again comes to her aid, providing both comfort and understanding. David Berry and Sophie Skelton do a great job, and have developed, in just a handful of scenes since season 4, a strong bond between the two characters. 

It is night and Claire sits reading when Jamie comes in. He has been drinking, in an attempt to deal with his emotions. Claire comments that it has been a difficult few months and Jamie asks if there is a cure for grief in Claire’s time, wondering if there are any “invisible beasties” that can gnaw away at it. Claire replies that there will never be a cure for grief, but adds that there is a saying that “time heals all wounds.” 


And time is indeed passing at the Ridge. The people are going about their regular business - washing clothes, making candles, tending the livestock. Jamie and Claire have come to Brianna and Roger’s cabin, hearing the sound of hammering as they arrive. Brianna answers the door and explains that  Roger is working on the stairs for the loft. We see the result of Jamie’s drinking from the night before - the hammering is not agreeing with his hangover! 


Inside the cabin, Jamie is talking to Jemmy, who is swinging a stick. Jamie tells him to be careful, using a Gaelic term that Claire is unfamiliar with. As Jamie explains to Claire the difference between the two phrases for blood, one meaning a wound, one meaning a familial bond, they are distracted by the boiling of the kettle. Brianna announces that the tea is ready and Claire and Jamie turn towards her. Only Roger notices Jemmy, who is approaching the hot kettle, hand outstretched. Roger utters a strangled cry of “Stop!” and lifts a startled Jemmy out of harm’s way. Claire and Jamie quickly take Jemmy outside, leaving Brianna and Roger alone. Brianna is thrilled - Roger has spoken! She asks him to say something else, but Roger shakes his head. She tries again, asking if it hurts, asking if he will try again, for her. For a moment, it looks as if Roger will do as she wishes, but it is too much. He stands and moves away from her and we see the despair on both their faces. Later, Brianna is singing “Clementine" to Jemmy, while Roger works outside. Brianna looks out towards Roger, and when she reaches the line, “You are lost and gone forever”, we see Roger break down, sobbing. 


Claire and Jemmy are playing Hide and Seek with Jemmy down by the creek. A delighted Jemmy runs to find “Grandda” and having done so, runs back to Claire’s arms to try again. Jamie runs towards the bushes, but hears noises. His mood abruptly changes, telling Claire to go back to the cabin with Jemmy. A wild boar emerges and Jamie draws his knife, but before he can attack, the boar is killed with an arrow to the head. Looking in the direction of the arrow, Jamie and Claire see a Native American standing above them on the hill. They begin to approach cautiously, when a dog comes running towards them. It is Rollo, meaning of course that the man is none other than Young Ian, now dressed in Mohawk clothes, complete with hair ornaments and facial tattoos.  Claire and Jamie are overjoyed to see him. Jamie asks Ian if anyone will be coming after him, and Ian replies, “Not unless he has vengeful kin.” They greet each other with a hug, Jamie saying that they will have a feast of celebration that evening, but it is obvious that there is more to this story than a simple homecoming. Like Roger, Young Ian also has the “thousand yard stare.” 


Jamie, Claire, Jemmy and Ian head back to Roger and Bree’s cabin. On seeing Young Ian, Roger walks towards him and the two men embrace. We can see that Roger is trying hard to find the courage to speak, but he is ultimately unable to do so. Finally, he pats Ian on the shoulder and walks away. Brianna too, hugs Ian and she does speak, telling her cousin how good it is to see him. 

Ian stands looking at the house and Jamie asks him what he thinks of the place.
“It’s …big,” Ian replies. 
Jamie and Claire comment on the blood, sweat and tears that have gone into its creation, with Claire adding that all the settlers helped. 
As if wanting to make his own contribution, Ian offers to butcher the boar for them. Saying that he should settle in instead, Jamie comments that he will get one of the men to do it, even suggesting that Marsali’s prowess with a knife would also be up to the task. 


But Ian stands stony faced. “I killed him, I’ll do the butchering,” he says. Claire quickly agrees, but asks him to join them inside. Ian hesitates, wanting to stay outside a bit longer. Jamie replies that he should make himself at home, but this is just the problem. Ian does not feel at home. Like Roger, he is being tormented by something that he refuses to speak about.

Inside the cabin, Marsali has a set of tarot cards. Roger sits opposite her, watching as she turns over cards for herself. She has drawn “the lover” and jokingly suggests to an absent Fergus that they already have “too many bairns.” But when turning over cards for Roger, Marsali is horrified to see the hanged man appear. Swiftly, she clears the cards away and redeals, but the result is exactly the same: the hanged man card sits on the table between them.  Roger picks it up, as Marsali stammers that it has been her mistake and offering to try again. But Roger sweeps the cards off the table, as a brief loop of the black and white hanging sequence plays again in his mind. 

Brianna enters the cabin, immediately wanting to know what is going on. Marsali dismisses it as harmless fun, but Roger will not let go of the Hanged Man card. Uncomfortable, Marsali leaves. Brianna reminds Roger that they are just cards, but Roger is obviously not convinced. Brianna’s patience is quickly slipping. Again, she asks Roger to talk to her. She doesn’t care how he sounds, she tells him. She knows how hard it is for him, that his voice is his gift. Brianna is desperate now. She reminds Roger that he is still the man that she married, and tells him that she wants him back. A silent tear rolls down Roger’s cheek as Brianna begs, her pleas quickly giving way to anger. Brianna wants to know why Roger won’t even engage with her. She reminds him that she too went through something awful, dark and ugly. She too had wanted to crawl into a hole and die, she tells him, adding that sometimes she still does. The fact that she hasn’t done so, she says, is because of Roger and Jemmy, and the fact that they need her. “I fought for us,” she cries, “and now I need you. Jemmy needs you.” 


Roger still will not look at Brianna and resignation crosses her face as she stands up from the table and moves away from him. She has been patient, she says, but needs to know that he is not lost and gone forever, like Clementine. “Are you coming back?” she pleads. “Are you going to fight for us?” Still, Roger will not answer, merely crushing the Hanged Man card between his fingers.

This is heartbreaking, beautiful stuff from both Richard Rankin and Sophie Skelton. In particular, Rankin’s ability to portray total despair with just his facial expressions is award worthy in itself (and bears comparing to Sam Heughan, who also possesses this skill!)

A formal family dinner, minus Roger, is taking place at the Big House. Ian is clearly the guest of honour, Lizzie even curtseying to him when he thanks her for the special dish she has made in his honour. Jamie prays before they all begin to eat, thanking the Lord for bringing Ian home to them. But the young man sits stiffly at the table, a fact that everyone seems determined to ignore. Fergus and Marsali try to engage him in conversation, commenting on the tale Ian must have to tell. Marsali asks him to start at the beginning and not to leave anything out. 
“You know the beginning,” Ian replies , “and we’re eating the ending for supper.” 
Marsali presses further, about “the bit in between”, asking if the Mohawk were good to him. Ian replies only that they were good people. 


It is clear that Ian is not going to say any more. Looks are exchanged around the table, before Claire finally asks if Ian has plans to return north to the Mohawk. 
“No,” Ian replies. 
There is obviously much to tell, but now is not the time, so Jamie changes the subject. He asks Bree if she and Roger have made any decision over the land that Tryon has offered them. When Brianna replies that they are thinking about it, Jamie comments that it would be useful to have the land properly surveyed and registered. Brianna remarks that this is probably not a job that Roger is ready for just yet. Jamie laments the fact that Myers is away trading, but thinks he can send one of the men, before suggesting that Ian could go with Roger, seeing as he knows how the job is done. Again Ian is silent. Claire suggests that he needs time to think and offers Ian the bed in the kitchen, given that the guest quarters are not yet ready. Ian thanks her and the meal continues in uncomfortable silence.


Alone in the cabin, Roger is playing Clementine on the guitar, attempting to sing in a croaky whisper, while the silent movie plays yet again in his head. The images repeat over and over, making concentration impossible and Roger puts the guitar down in frustration and despair.  

Ian is also alone, looking at the bed. When Jamie walks outside in the early dawn light, he finds Ian lying on the porch. Jamie asks why he is outside and Ian replies that he couldn’t sleep, adding that he is not used to a bed in a grand house. Jamie replies that they are overjoyed at his return, but that Ian seems out of sorts and is not himself. Ian sits silently, as Jamie asks what happened with the Mohawk, reminding his nephew that Ian can talk to him about it if he wants. 


“I can’t give you the truth of it now,” Ian replies. “I don’t have the words.” He goes on to say that there are things that Jamie and Claire also keep hidden from others and it is an observation that Jamie cannot deny. He sits down nearby Ian, saying that he is heartsick to see him so troubled. Ian replies that Jamie needn’t worry, but Jamie responds by saying that he will just sit there for a while, if Ian doesn’t mind. A hint of vulnerability creeps across Ian’s face, which immediately makes him look years younger, like a boy wanting to be comforted. “I don’t mind,” he replies. 

Later that day, Ian sits on the front steps, whittling a stick with a knife, when Germain approaches him, touching his facial tattoos and asking if they hurt. The young boy has mistaken the tattoos for bruises, like the ones he has on his hand from rough play. But Ian tells Germain that the marks aren’t bruises: he chose them.  Marsali appears to chase Germain away, but Ian tells her he doesn’t mind the question. 


So Marsali begins her own conversation, observing how busy she already is trying to do all her chores with two children, let alone adding in the third that they are expecting. Ian replies that children are only lent to people for a short time by the creator, if they are lucky. After a long look, Marsali sits down next to him. She draws a comparison between her children being lucky to have siblings and Ian’s own brothers and sisters. She mentions her own younger sister, Joanie, observing that Joanie is not as strong willed as Ian’s sister, Janet. Ian half smiles, agreeing that his sister always had a mind of her own. Commenting that she had always been a bit jealous of Ian, having only had her mother and sister for company, Marsali asks if he misses his family. The mask returns, as Ian barely nods. Marsali says that she misses Joanie, but that at the same time she feels a bit guilty for how happy she now is and how at home she feels as one of the Fraser family. “I feel I belong,” she says, turning to Ian and asks if that is terrible. 
“No,” Ian replies. It is a good thing.” But his expression hardens once more. The baby begins to kick Marsali. She comments that it will soon be time for the birth and that she is glad that Ian will be there to welcome him or her. 


Roger is preparing to leave for the survey and Brianna is pleased that Ian is going along with him. She has a gift for Roger, she says, as she folds a piece of paper. While she wasn’t able to finish her degree, she tells him, Brianna knows something about aerodynamics. A sheet of paper is not made to fly, but sometimes expectations need to be adjusted, bent and reshaped. There is a reason, Brianna muses, that the first wedding anniversary gift is paper, whereas the 60th is diamond. The pressures of 60 years is represented by the hardest substance on earth and Brianna wants their own marriage to grow into something as strong as a diamond. She tosses the aeroplane towards him, saying “I love you, Roger Mac”, before leaving the cabin. Roger looks after her. He finishes packing his satchel and after a moment’s hesitation, places the paper aeroplane inside.

Roger and Ian are measuring the boundaries of the land. Ian calls out the measurements and Roger writes them down. As Ian passes him, Roger claps the younger man on the shoulder in a gesture of thanks. Ian comments that he doesn’t need thanking. He has chosen to come of his own free will.


That night, Roger is checking the astrolabe, before passing it over to Ian. Ian asks if Brianna had given it to him and Roger nods. “Do you trust me not to break it?” he asks. 
Roger indicates a beaded bracelet on Ian’s wrist, the implication being that it was also a gift from someone important, but Ian pulls away. Whether the bracelet’s story, Ian is not prepared to share any information. 

At the Ridge, Claire calls out for Marsali. Some water hemlock is missing from the surgery and Claire asks the younger woman if she has prescribed any to treat migraines. But Marsali replies that she wouldn’t touch the dangerous root whilst pregnant. Both women are concerned: only one root remains from the handful that they had. 


Roger and Ian sit under a tree, Roger twirling the paper plane between his fingers. Ian asks what he is holding and Roger passes it across to him. Planes are, of course, unknown to Ian, so he describes the object as a paper bird. It is a definition that works just as well, and Roger demonstrates how it flies. Ian makes a poignant observation, saying that while the bird flies, it doesn’t sing. At last, he begins to share a bit of information about himself. Not always able to understand the Mohawk, Ian had talked to the birds instead, so that he didn’t feel so alone. He asks Roger if he ever wonders how birds know which way to go when the winter comes. They always seem to travel together and Ian wishes that it was as easy for people to do the same. He mimics a bird call, as Roger looks up through the branches of the tree at the glinting sunlight. 

The tree morphs into the black and white tree of Roger’s nightmare flashbacks and once again, Roger is drawn back into his memories. When he returns to the present, we see that some time has passed as it is now night time and he has woken by the fire. He sits up and sees Ian looking at him. “Were you dreaming?” Ian asks, as Roger clears his throat. “Wherever you thought you were,” Ian continues, looking at the astrolabe, “we’re both still here.” 


Jamie and Claire are in bed back at the Ridge and Claire asks Jamie if he thinks that there is a chance that Roger doesn’t want to come home. She explains that poisonous herbs are missing from the surgery and tells Jamie that she has been reminded of the time when, years before, he had been suffering. Jamie understands, finishing her thought for her: “I didn’t want to go on living,” he says. 


Roger walks to the edge of a rocky cliff, with Ian watching silently behind him as he peers over. The flashback returns and we see Roger sway as he prepares for the terror once again. But this time, things are different. The flashback is no longer in black and white, but colour. This time, we hear the characters speaking, we hear Roger’s heartbeat slowing and his desperate gasps for air getting weaker. But then we see something else: the smiling face of Brianna. Roger comes back to the present and, taking the plane from within his coat, tosses it over the edge, watching as it disappears. Brianna’s smiling faces appears once more and he turns away from the cliff.

The choice of the silent movie montages to express Roger’s agony has been the topic of much discussion by fans since the episode aired, with opinions fairly evenly divided between loving the technique and hating it. Interestingly though, comments from people who have suffered from PTSD themselves have been fairly universal in their praise. Attacks can come without warning, triggered by an image, a touch or a sound. Certain parts of a traumatic event can spiral on a loop from which there is no escape. Given that the television series does not have the descriptive paragraphs of the novel, a device needed to be found to allow the viewer into Roger’s mind and the silent movie technique did just that.The black and white presentation added to the unreality, with the slow return to colour and regular dialogue signalling Roger’s ability to begin the healing process. For what it’s worth, this reviewer found the whole concept brilliant!


The next time that Roger wakes at the campsite, he hears Rollo whining. The dog has been tied up to a stake and Ian’s belongings have been meticulously folded and left on the camping mat. Ian himself is nowhere to be seen. But we soon see him nearby, burying his ax in soft ground and covering it over with leaves. It is a symbolic gesture, accompanied by words in the Mohawk language. A pot is boiling on the fire behind him and Ian tosses the missing hemlock roots into it. We realise: it is not Roger who was planning on using the poisonous herbs, but Ian. But at the last moment, the pot is kicked away, spilling its contents. Ian looks up to see Roger standing there. 


Angrily, Ian knocks Roger to the ground, demanding to know why Roger of all people would try to stop him. Ian knows that Roger had been contemplating something similar, telling Roger that he knew what Roger had been thinking as he looked down from the cliff. 
“You have everything,” Ian says, “a wife who loves you and a bairn, and still you don’t want to be with them?” He presses further, wanting to know what Roger saw as death approached him. “What did you see in the darkness?” he demands, his voice increasing in desperation as Roger starts to clear his throat again. “What did you see? Tell me!” 
Roger pushes Ian away and sits up. Finally, in a painful, cracked voice, he speaks, telling Ian that he saw his wife’s face. 

It is not the answer that Ian had wanted to hear. If that is true, then there is no escape, he says, even in death, as he would still see his wife’s face. At last we know a little of what is tormenting Ian. Roger asks what Ian’s wife’s name was, but Ian, touching the beaded bracelet, says that it doesn’t matter. Roger asks if Ian’s wife is dead and Ian replies that she isn’t, but that she is lost to him. Ian had only wanted the pain to end, he says, brokenly. He wanted to be at peace. 

Roger whispers that no-one can say where Ian’s soul might go if he took his own life. “You could be parted for ever,” he muses. “Not only from her, but from all who love you.” 
Ian is angry, asking what he is meant to do now. “You’re a fine one to talk,” he says. “You buried your weapon, your voice, and now you dare to use it against me.” 
Roger doesn’t argue with him. It is true, he says, but now he has to pick it up again and fight. He asks Ian if he can do the same.  Ian replies honestly that he doesn’t know.
“Then pick up your weapon,” Roger says, “and come home with me until you do.” 


Richard Rankin and John Bell deserve many accolades for the way in which they have portrayed the suffering of Roger and Ian in this episode. While their circumstances have differed, the pain for both men is raw and all encompassing. While Roger seems the stronger of the two for now, we can see that both characters have a long fight ahead of them.

Roger and Ian return to the Ridge and Roger goes to the cabin where Brianna is waiting, smiling at him as he enters. 
“Brianna,” he says softly and she stares at him in shock. He smiles, commenting that he hopes that she isn’t lost for words too.

Brianna confesses that she has been scared and he tells her that he has been too. Even though he had been saved, he says, part of him died on the day he was hanged. 
“I know how that feels,” Brianna answers, moving towards him. “Trust me, I do.” 
While he knows that this is true, Roger still hesitates, moving away from her, after briefly touching her face. There is more to say and finally Roger is finally able to share what has tormented him throughout his months of silence. He tells her that while everyone wants the old Roger back, he will never be that man again. He studied and taught history, he says, and is now living it, but he had feared that Marsali’s tarot card had represented a new identity for him: that of the hanged man. 


Maybe it had been his fate, he tells Brianna. His own ancestor had tried to kill him, so maybe he wasn’t meant to exist. 
“That is not true,” says Brianna. 
“Perhaps not,” Roger replies, “but I have changed.”  He reminds her of their conversation back in 
Oxford, where she had asked him about his last words. He had thought he knew what they would be, but what mattered, he discovered, was not what his last words were, but the last face that he saw. “That face was yours,” he says. They embrace and Roger continues. “I will always sing for you,” he says, “No matter what, no matter where, whether you are there to hear or even if my voice isn’t able. I will always sing for you.” They kiss again, and the credits begin, to the strains of Clementine, sung as a duet by none other than Richard Rankin and Sophie Skelton.


This scene is a powerful way to end the episode. It ties together the fates of three of the primary characters from the latest section of the storyline, one which has dealt primarily with oaths and obligations. The concept of a man’s word being the manner by which he is defined, has now been challenged by Roger’s experience. It suggests that while oaths and obligations are made and valued by the living above all else, at the point of death, the words no longer have the power that they once did. Instead, it is the final face a person sees that becomes the most important. For Roger, the sight of Brianna’s face gave him the strength to fight. For Murtagh, a man whose oath remained important until his last moments, the sight of Jamie’s face gave him the peace to die. Ian has yet to experience his “final moment”, and is therefore still unsure as to whether he has the strength to face whatever his fate may be. But regardless of his final decision, he has chosen, for now, to be with the people who love him. And now, two thirds of the way through the season, we are left with this thought: whatever words, oaths or obligations are made by the characters in the future, it may well be the power of love that will outlast them all. 



This recap was written by Susie Brown, a writer and teacher librarian who lives in Australia. She is full of admiration for Richard Rankin, Sophie Skelton, John Bell and the director’s vision in crafting this episode!