Dive deeper into this episode with exclusive sketches, production designs, and fun facts delivered directly from the Outlander crew.
In the book, the pistol belongs to Jamie. But since the Act of Proscription in 1746 has strictly reinforced the “disarming” of Scotland, we thought that the pistol should be hidden a little more, and discovered by the Lallybroch boys, who might not fully comprehend the consequences of what they are doing. We also wanted to use this great building—we noticed it on the left side of the entrance road to Lallybroch. It’s called a dovecote, used to house doves, and we always thought it was really cool and wanted to use it for something. It lent itself perfectly to the hiding of the gun.
Fergus’s speech at the end of this scene distinguishes him from the other boys at Lallybroch. He’s been to war (Prestonpans) and he’s seen things the other boys have not. We wanted to do justice to that—and also understand why Fergus is so disappointed by his hero Jamie’s reluctance to fight a bit later in the script. When we last saw Fergus, he was sent away from Culloden just before the battle. It’s our belief that it always haunted him that he wasn’t able to fight and thus we display his restless spirit here.
In the books, we hear of Ian Murray’s repeated arrests and releases by redcoat officers, though we never see it. We love portraying these parts in the books, mentioned but never seen, in our show (and book readers will know that these arrests have unfortunate repercussions for Ian in the years to come).
Corporal MacGregor is an addition that we came up with in the writers’ room. We wanted to put a face to the villain of the story—the Redcoats who terrorized the Scottish people in the years after Culloden—but not the face that you expect. MacGregor is a Lowland Scot who looks down on the Highlanders, and identifies with the British men that he serves. But to them, he is a still a dirty Scot, and to his people, he is traitor—as Fergus says.
We wanted the introduction of Jamie to reveal how much our hero has changed since we saw him last in Episode 301, 6 years ago. Not only the toll of hiding from the British, but the toll of his sacrifice in Episode 213, the last season’s finale. When we last saw Jamie in 301, it was hours after he left Claire and he was certain he was going to die. Now Jamie has lived for years without the love of his life and without knowing the fate of their child. And he has lived this torment in a cave in the wilderness, and become almost feral compared to the handsome young lover that Claire remembers in the next scene.
Both Claire and Jamie see each other in their separate timelines—as a fantasy, or a ghost, or a little bit of both. It will be a long, arduous journey before they see each other again, but they are still very much on each other’s minds. For Jamie, Lallybroch itself is full of echoes and memories of Claire, as they spent many happy days there. It’s a painfully sweet moment when he “sees” her smiling face in the herb garden.
Sam took lessons in butchering for this scene in order to properly butcher the deer and make it look realistic. The writers made a decision that he shouldn’t speak at all in his first scene with Jenny, to demonstrate how withdrawn he’s become. He’s like a feral animal.
This scene is adapted from a memory Claire has in Voyager when baby Bree turns over for the first time. But we came up with the idea to begin with Claire reading from a real article in an actual edition of the Boston Globe in 1949, about a rebellion against England that actually worked—the birth of the Republic of Ireland. This was a little Easter Egg we gave to Caitriona, who is from Ireland. And this piece of research was found by our researcher Emily Eslami who makes invaluable contributions which make our scripts authentic!
This is the first time Jamie speaks in the episode. In the book, it only takes Jamie a little while—and a good shave—to feel like a civilized man again. But we wanted to amp up Jamie’s “mountain man” qualities during his time in the cave. He’s so unused to human contact that even speech comes sparingly to him.
Of course, Fergus calling his hero a “coward” is a big moment for Outlander. This was another addition by the writers to highlight Fergus (and our audience’s) pain at seeing Jamie in this state. Also, this pulls together Jamie’s arc during this episode. By the end, Fergus could never see his father figure as anything but the hero he is.
In the book, Jamie shoots the raven with his pistol. We have Fergus doing it, because Jamie would be too careful to shoot the gun during the Act of Proscription, knowing that it would attract nearby redcoats. Also, it is a way to honor and remember Fergus’s experience of Claire losing Faith and the horrible aftermath in Episode 207. Fergus is afraid of Jenny’s baby dying and thus it sparks this somewhat reckless act.
Book readers know this birth marks the introduction of a very important character. Meet wee Young Ian, a character whom we will come to love in future episodes, when he’s a bit taller. ;)
In the writer’s room, it was brought up that this was probably the first time Jamie’s been close to an infant since he left Claire in 213. This proximity would bring up memories of the woman and child he longs to see—as well as memories of Faith, the baby he’s already lost, and Brianna, his daughter who he never got to hold.
Book readers will remember that Jamie hides in an armoire. This was a big debate in the writer’s room—whether or not our Jamie would believably fit in an armoire. And whether or not the redcoats would think to look inside. We decided to have Jamie hide in an anteroom off of Jenny’s room, and luckily our master bedroom at Lallybroch already had a door previously covered by a tapestry.
In the books, Young Jamie hears his mother tell the redcoats that his baby brother is stillborn, and his distress scares the redcoats off. Instead, we made Mary MacNab the hero here—she may know that as a woman, it’s likely the redcoats will let her off with a warning, but it’s still a big risk. We wanted Mary to have more of a presence in this episode—and for Jamie to notice her bravery, making the moment in the cave, where they find comfort in each other, more meaningful.
We added that Jenny tells Jamie to dig a grave for the supposedly stillborn baby, in case the redcoats follow up.
When Claire says, “I miss my husband,” of course, we know who she really means.
In the book, the redcoats stumble upon Fergus bringing a cask of ale to Jamie. The soldiers are more interested in the ale than anything else and do not suspect that Jamie is nearby. Since we’ve already established an antagonism between MacGregor and Fergus, we wanted MacGregor to be the one to cut Fergus’s hand off in a fit of rage.
The soldiers in the book are the ones who carry Fergus to Lallybroch. We thought it would be emotional and gut-wrenching to have Jamie carry Fergus himself.
When we added Millie to Episode 301, we didn’t initially think of putting her in the next episode. In 302, Claire and Frank were going to have dinner with the Hinchcliffes, the couple from the book. Then we realized that we’ve already established Millie and her husband as neighbors. The Hinchcliffes were a stuffy old couple—we loved the idea of putting the young, passionate, quintessentially American Nelsons at the dinner table to contrast with Claire and Frank’s British reserve. It’s heartbreaking to watch our couple juxtaposed to them, feeling a certain inspiration and adrenaline, like maybe their marriage could approach the same level of flirtiness and passion. But of course, things soon go off the rails for the Randalls, who will never fit this traditional mold after all they’ve been through. Anne Kenney chose Eton Mess, a deconstructed version of her own favorite Glasgow desert, Pavlova.
The inspiration for this scene comes from a later scene in the books with a one-armed character named Duncan Innes—he tells Claire about the pain in his “phantom limb.” We thought we’d move up this moment and give it to Ian, who knows what it’s like to lose a limb. Because of this, Ian can relate to Jamie’s internal pain in a way that no one else can. Claire is Jamie’s phantom limb which he still feels.
We wanted to show that Claire was genuinely trying to make her marriage work… but the closing of her eyes tips Frank off that he’s not the one she’s actually making love with—but it’s Jamie in her imagination. And unfortunately, this puts an end to their brief stab at trying to rekindle their romance.
In the book, the bayonet slash is actually in the painting of Jamie and Willie, not the clan crest tapestry. We haven’t shown the portrait of Jamie and Willie yet in our show so we couldn’t use that, but at the end of a long night with Fergus, we wanted Jamie to see a visual reminder of the redcoats that acts as a catalyst for his decision to turn himself in.
Jamie never exacts revenge on the nameless soldiers that hurt Fergus in the book, but with a villain like MacGregor, we knew two things: that MacGregor would never rest until he found Jamie and that Jamie would never let him get away with what he did to Fergus. We wrote the scene and it was filmed, but we edited it out of the final version for length.
It was a writer decision, not a directorial one, to reveal the twin beds only at the end of the scene.
We added Jamie closing his eyes to this touching scene from the books. We wanted to tie his storyline to Claire’s—though they are both with other people in this episode, they still share a lasting connection across the centuries. They still only want to be with each other. But we loved the scene with Jamie and Mary—not a romantic sexy encounter, but just one of human connection. This is why we see Mary several times earlier in the script, including the decision to have Mary confess to the Redcoats about the pistol. Jamie has seen her bravery and kindness and he’s more primed for this moment because we’ve seen the sweet friendship and caring between them.
We took Claire’s voiceover from a flashback in Voyager after a young Bree gets hit by a car. Bree is not badly hurt, but Claire is upset and wants to resign from medical school. Frank convinces her not to. We thought that with slight tweaks, these lines would provide the perfect transition to Claire’s decision to become a surgeon. She can’t have passion with Frank, but medicine was always another passion of hers and she embraces it now.
This is a bit of an Easter Egg for book fans. In the book, we never get to see Joe and Claire’s first meeting. So, we wanted to portray the beginning of this important friendship on screen. We had originally wanted to show each student with their own cadaver and about to cut into it on Day One of school. But we found an amazing location, this theatre in an old veterinary school. So we changed it to have only the professor cutting the cadaver while everyone watched. But we preserved our favorite line: “Gentleman, let’s begin.”
We don’t get to see Jamie’s capture in the books— just him telling Jenny his plan. So, we jumped at the chance to bring this emotional and dramatic moment to life in our episode. In the book, Joe Fraser turns Jamie in. We thought it’d be more dramatic for Jenny to be the one to do it. Of course, when Jenny tells her brother she’ll never forgive him, she’s play-acting for the redcoats. But there is true pain in her words, and anger at what Jamie has made her do, even though she understands the wisdom in it.
This moment was inspired by an experience that Toni Graphia had during the production of Outlander during Season 1. Toni was walking down Buchanan Street in Glasgow when suddenly she heard echoes from up the street of a familiar song—the very same song that played in the pilot (when Claire first goes through the stones and is running from the redcoats). Toni raced down to find Clanadonia, the street musicians who played the original song performing on the sidewalk. The song is “Hamsterheid,” a raucous tune of bagpipes and drums, and it gave her chills. We wanted Claire to experience that evocative moment of kismet as well, though with a different Scottish song, “Scotland the Brave” — transporting her in time nearly as magically as Craigh na Dun and juxtaposed with a brave Jamie giving himself up to the British to save his family.
“In this episode, we had to show Fergus’ hand being chopped off. The desire was not to shy away from showing it quite graphically, but put it right in the middle of frame. The audience should experience and share the unexpected shock of the sudden brutal act.
Obviously we can’t actually chop off a hand, and the feeling was a prosthetic arm would not respond believably so close to camera to the moment of being chopped through. So it was achieved and put together as a visual effect. The action of how we would stage it and indeed effective camera angles was rehearsed in advance so we could move quickly on the day’s filming on location.
We first shot the actor reacting to the chop, with his real arm in position as a reference for lighting and framing, and to give us an arm we could alter—but with no blade. We then had him move his arm to safety and repeated the moment, chopping into a green painted cast of his arm and hand. The green arm gave us a clean profile of the forearm where severed, for reference to how we would alter the real arm, and a safe target for the actual chop with a blade.
We then combined parts of both shots into one, to create the final composite. Adding blood as well as a little dying movement to the severed hand. For the rest of the scene, the actor did wear a prosthetic arm (with his real arm cleverly hidden), though visual effects were again used to add and enhance the blood pouring from the severed stump.”
–Richard Briscoe, VFX Supervisor
“Having looked at many locations for Jamie’s cave, it became apparent that we were not going to find a suitable cave that was accessible for the crew, provided enough space to film the scenes we required, and was safe to be filming in. We decide to build the entrance to Jamie’s cave by an overhanging rock face in woodland by Midhope Castle (Lallybroch) and the interior was built in the studio.”
-Hugh Gourlay, Supervising Location Manager
“This episode featured the first time we see Boston added to the end of the street of our Glasgow location, for the exterior of Claire and Frank’s Boston home.”
–Richard Briscoe, VFX Supervisor
““The Lecture Theatre was filmed in the old Anatomy Lecture Theatre of the former Edinburgh Veterinary School. Amongst other things, this location is now home to an award-winning gin distillery in the former dog kennels, and still has the old dog cages.”
-Hugh Gourlay, Supervising Location Manager
“When we prep the episodes (we shoot in two episodes blocks), because of our schedule (12 days per episode = a 24 day block) we have to find location where what we call: make a day. The above is the (Boston ha ha) view as Claire walks baby Brianna through the park. Just above from this spot in Glasgow University where we were shooting the INT. Scenes of Ep 301 and 302.”
–Matthew B. Roberts, Executive Producer/Writer
“Baby Bree (Lucy Maxwell) stole the show. Lucy was brilliant on almost every take. Smiled in action. Filmed in Kelvingrove Park, Glasgow.”
–Matthew B. Roberts, Executive Producer/Writer