OK, we start with a mysterious woman helping Jamie with his stock and scarf, but since I’m a book fan, I know that’s Madame Jeanne, not Jamie’s new love. Speaking of which, if you are not a book reader, this piece is chock-full of SPOILERS.
As usual, the details of the sets, locations, and costumes are phenomenal. Kudos to Jon Gary Steele and his team, and Terry Dresbach, and hers.
I also think Sam’s makeup is perfect. He looks older, but not too old. And in my opinion, he inhabits 40-something-year-old Jamie very well. I assume Wendy Forbes is responsible for this job well done, as she is his makeup artist. (More about Wendy in a bit).
The whole intro is fabulous, spot-on. We get an overview of Madame Jeanne, Jamie’s neighborhood, the smuggling, Geordie and his goiter, Jamie as a printer… and then
Claire walks in,
Jamie hears her voice, (plays this so well),
We’re caught up. And all before the opening song. Well done.
Caitriona had this to say about Sam’s fall: “Sam had to fall quite a lot, I remember,” Balfe said, laughing. “He can handle it. What’s the point of him having all those muscles if they’re not cushioning him when he falls?” Source: ELLE. In a recent Q&A with Sam, he said he fainted 15 to 20 times!! (that’s dedication. Any bruises, I wonder?)
So exciting to see John Bell and César Domboy’s names in the title sequence!
I’m struck by the beauty of the Skye Boat score. Bear is really so very talented, as is his wife Raya Yarbrough, who sings it.
I also loved the printed credits for Matt and the director, Norma Bailey, which, incidentally, were printed by Sam… (though the hands in this photo are definitely not Sam’s).
Excerpt: “The printed sheets in the title cards, by the way, were made by actor Sam Heughan himself on replica 18th-century typesetter presses. ‘That’s all me!’ he beamed, hoping he’d made his printmaker mother proud.” Source: ELLE
We get to see Jamie going through the printing process, and from what I know of Sam, I imagine he loved learning this new skill (I had forgotten that his mom is a printer -added bonus).
In Episode 306, writer Matt Roberts seamlessly picks up where Toni Graphia left off in 305, and we see Jamie’s POV (point of view). This is very similar to the transition between episode 108 – Both Sides Now (written by Ron D. Moore), where we see Claire’s POV of being captured and taken to BJR, and episode 109 The Reckoning, written by Matt in which we see Jamie’s POV of the same sequence of events. Both scenarios lead to that famous moment: Jamie in the window…”I’ll thank ye to take your hands _off_ my wife….” just as both episodes 305 and 306 lead us to the moment Jamie faints.
Matt had this to say about the printing scenes in his script notes: “During this scene, we see a little more of Jamie’s work at the print shop—we see the skill involved in what he’s doing as he sets out the type face, rolls out the ink, etc. This is important because we wanted the audience to be truly immersed in Jamie’s world: not only to get a feel for what he does each day and to have a true sense of what he’s been doing during Claire’s absence, but also, to show that, for Jamie, it’s just another ordinary day at the print shop. It’s with Jamie’s line “is that you, Geordie?” that we come to realize that we’ve seen this moment before, in the previous episode. We decided to show what had happened in Jamie’s world before Claire arrives, and to repeat this aspect of Episode 305, as we wanted to ensure that we captured both Jamie and Claire’s two different viewpoints and responses in depicting what is such a pivotal and iconic scene from the book—the moment we have all been waiting for. Jamie’s reaction is extreme because he’s had absolutely no warning of what’s about to happen, whereas Claire has had time to think carefully about the decision she has made, to anticipate the moment, and to savor the excitement and trepidation that comes with meeting a lost love after twenty years apart.”
Such a romantic, is our Matt Roberts!
I love the addition of Jamie wearing glasses, which according to an interview with EW, was Sam’s idea…
“It was my idea,” Heughan tells EW proudly. “… I sent an email to Ron Moore last year saying, ‘How about glasses?’ It’s not something in the books but I thought it would be a nice surprise. It’s a weakness of Jamie’s. He doesn’t have many. It’s nice, and it’s something we can play off. It’s kind of a disguise as well. He plays so many different characters and I felt when we first see Jamie, it would nice to see him as a completely different character, a gentrified Edinburgh man who has his own business.” Source: EW Interview
Costumes can really help an actor get into character, and I think the glasses help Sam play older Jamie. The glasses will also help to create a nice contrast between A. Malcolm, Printer, and Jamie Fraser, Smuggler. The inky fingernails are a nice touch too – of course he would have them.
For me, in this episode, Sam is the standout performer. His facial expressions, the depth of emotion, it’s all there. I’m a big Sam the person fan, and I loved Sam’s acting in Season 1. Season 2 lost a little something for me, due to multiple factors. But I feel Sam has come back with a vengeance in S3, and this was a stellar episode for him. I’m not sure what unique blend creates the winning combo, because there are so many factors that go into how a character is ultimately portrayed: the writing, the actor’s interpretation, interaction with scene partner, the director’s coaching, post production editing, limitations of physical surroundings, timing, etc.
Whatever the case, I’d say it’s in play…
And, in my opinion, Matt knows how to write Jamie Fraser. In this particular instance, he stuck very close to the book, which is never a bad idea, considering Diana is a genius.
I’m not sure, but I think the director probably has a big impact on performances. I imagine the director is like the coach. Looking back, for me, the exceptional performances have come under the direction of Richard Clark (109), Anna Foerster (107, 115, 116), John Dahl (101 and 102), Metin Hüseyin (201, 207), and then Brendan Maher has kicked ass all the way through S3 so far. I’m going to say that Norma Bailey is excellent with Sam. She directed 307, so I’m very interested to see that one.
Back to 306… Shock, and so many emotions coursing through Jamie, and then we see his naked, overwhelming desire to touch Claire, to kiss her…
And the restraint, while he asks permission
The music is breathtaking… beautiful moment…
For me, this shot is just… art.
Their first words, first kiss, all perfect. So moving. (Sam better get nominated for a freaking Emmy or a Golden Globe, BAFTA, or a something this year!!!!)
This bit is STRAIGHT from the book, I know, because I looked it up. The only differences are, before he kisses her, in the book he says “I havenae done this for a verra long time,” and Claire says “Neither have I,” and that’s how they tell each other they’ve not been with others. I decided to take a look at the script, so I could get an idea of the flow regarding some of the changes. I was surprised to find that Matt has literally taken almost this whole episode directly from the book, only changing the order here and there. The script reflects the book:
It would be interesting to know the choice(s) that lead to combining that line into we.
The “Dinna be afraid, there’s the two of us now” line was split between them in the script, and in the show, whereas Jamie says the whole thing in the book.
It’s interesting to note that there are certain nuances, and even lines added, that do not appear in the script. For example, in the scene where Jamie is taking off his pants, Sam adds the line “Do ye mind?” which does not appear in the script. When they play the scenes in reality, they have to say and do what feels authentic to the moment, and to the character, otherwise it will come off as forced, and farcical. In my opinion, that leeway is what enables the magic to happen, and what keeps it alive and interesting for the actors, and so, for us.
In the next bit, when Jamie tells Claire that she came to him whenever he needed her, we see and feel his heartbreak when he says, “you never touched me.” We know in that moment that he needed her to touch him, he needed to be touched, and he never was. That comes through in spades because of how Sam portrays that moment. When I read the book, I remember reading that line as Jamie explaining his visions of her over the years, I saw you, but you never spoke and you never touched me; I didn’t experience the heart break, but in the show it is real.
Anyway, my point is, it’s an actor’s prerogative to use his or her instincts to interpret his or her character in the most authentic way possible. Sometimes this will mean changing the script slightly or changing the feeling of a scene. It’s fascinating, really, this Outlander thing, to watch not only the characters, but the people grow. In fact, as Jamie becomes the man he becomes, I see Sam also changing. Here is a clip of my interview with Sam in NYC just before 301 aired, where I asked Sam and Cait how they prepared for playing older characters who are parents. Sam answered that for Jamie, and I’m guessing for Sam too, it’s about the experiences that Jamie goes through, that make him who he becomes. Makes sense, and it’s really how it happens in life. Someone who is 38 and single is quite different than someone who is 38 and has a husband and four kids, for example. Life experiences do really shape us. (The relevant part of this clip to my point here, ends at 4:41).
More about this in a moment.
Back to 306… at this point, Claire says “I can touch you now” and then “Do not be afraid…” and she waits, and Jamie answers, “There’s the two of us now.” Beautiful, really. This is the first moment they are saying to each other, “I still want this,” and “Me too.”
This beautiful scene is interrupted…
by the 18th century embodiment of a buzzkill, Goiter Geordie.
Geordie is ??.
In the back room, grandpa Jamie puts his specs on
and gets introduced to the concept of photography and to his daughter all in one go…
Now, there was a pretty extreme fallout on social media after this episode aired, surrounding the way this part of the story was portrayed. People assumed that the script departed from the book here, and there was a fair amount of Matt bashing on Diana’s Facebook page. When I looked, I was surprised to find that the script matches the book, exactly.
On Tuesdays, the writers take to Twitter to answer questions, and this one came up. The question was essentially why didn’t Jamie fall to pieces as it says in the book… Here is the script for that scene:
Toni Graphia and Maril Davis responded in lieu of Matt, who was absent due to Season 4 demands:
— Outlander Writers (@OutlanderWriter) October 24, 2017
As of this writing, the Podcast is not yet up (understandably, as they are fully tasked with Season 4 right now), but here is the link: Season 3 Podcasts (you might want to save that).
Apparently (and atypically, in my experience), Sam was following the conversation and got involved. Here’s what he had to say in response…
I use action lines as guide only "Falling apart" doesnt have to mean tears, can be internal. Was my creative choice. Plus felt melodramatic https://t.co/nHxny45uQy
— Sam Heughan (@SamHeughan) October 25, 2017
J hasn't met Bree. Has had relationship with Willie. Plus wonder at situation, new tech, never seen B etc.Way was written felt stalled scene https://t.co/m716jbEIiY
— Sam Heughan (@SamHeughan) October 25, 2017
— Sam Heughan (@SamHeughan) October 25, 2017
Way back when (Jan 2015, I believe), there was a Q&A panel with the Outlander cast, in which Sam made the statement, “He’s my Jamie too.” I can’t find that interview for the life of me, but I thought that was a pretty cool assertion, and it’s nice to know Sam is still sticking to it.
Sam has been speaking up more lately on social media too. When Popsugar announced their piece on “The 38 hottest pictures of Sam Heughan as hot Scot Jamie,” Sam replied…
Let’s do the best scenes instead. (Good for him).
Let's do the best scenes instead https://t.co/Vy9eiVQahs
— Sam Heughan (@SamHeughan) October 1, 2017
— POPSUGAR Ent (@POPSUGAREnt) October 1, 2017
They did do that piece, by the way. This thing is riddled with adverts and blinking things, but I’ll include it for positive reinforcement ? Popsugar 10 Best Jamie Scenes.
Just this week, EW released a piece about Sam’s makeup artist, which had a complete click bait title: “Meet the other woman who’s paid to touch Sam Heughan,” and he called them on it…
Not sure about the headline though @Lynetterice ?? ?
— Sam Heughan (@SamHeughan) October 26, 2017
OK, Back to 306, Jamie and Claire are looking at photos of Brianna in Jamie’s room…
Here are Matt’s notes about these scenes: “Jamie’s back room at the print shop is described as being “Spartan at best” and “lacking a woman’s touch”—these details are the things that Claire is noticing too as she takes in her surroundings, hoping to learn all she can about Jamie without prying too much. Both she and Jamie are haunted by questions to which they’ve been deprived of answers all this time—Claire is eager to find out if Jamie has moved on and whether or not he has made a life with someone else during her absence, while Jamie is desperate to know what became of the child they conceived together—not knowing the child’s name, whether it was a boy or girl, or indeed, whether he or she survived at all. Both are vulnerable in their mutual ignorance about one another’s lives.”
He gets it.
I assumed Matt put in the bit where Claire says Brianna has red hair, and Jamie says, “like her sister, Faith.” But it was actually Caitriona who is responsible for that addition to the script, which makes sense, as Faith was a significant episode, and I think, experience for her.
For Balfe, it was important that that they also talk about their stillborn daughter Faith, who died in season two, so she petitioned the writers to include a reference in this pivotal reunion scene. “I just thought that no parents would ever forget a child, even if the child didn’t make it to term,” Balfe said. “She’s still very much part of the family unit.” Source: ELLE
This was also a moment for them to connect again, about Faith, together, as much of Jamie’s scenes were cut from that episode. Faith, 207, Deleted Scenes.
My own personal bias about Show Jamie is that we don’t see fierce, protective 18th century Jamie. I think it has to do with the cultural climate surrounding women and men right now. I’ve written about this before, that healthy male aggression becomes vilified as the enemy of women’s progress, when, really, the two have nothing to do with each other. I first noticed this discrepancy in Season 2, when Claire appears in her low cut red dress; Jamie has a mild reaction and brushes it off rather quickly. Likewise, when the Minister of Finance is hitting on Claire, Book Jamie is more menacing. In 306, when Jamie sees Bree in a bikini, we see his shock, but we don’t see his protective, male aggression aroused. We don’t really see that aspect in Show Jamie. That part of his character is absent, both in the writing, and in Sam’s interpretation, in my opinion. This is an observation, not a criticism. I think that aspect of Jamie would be interesting to explore, especially in this day and age, when male aggression is viewed as negative, except in the narrow realm of sports. I would like to see Sam explore this aspect of Jamie, and bring it to Claire.
Another very controversial move is the introduction of Willie in this scene, by Jamie to Claire.
Here is what Matt says about that: “We debated this one in the writer’s room—a lot—with many varied opinions. But ultimately the powers that be decided to have Jamie tell Claire about Willie in this scene. Jamie fetches the small portrait of Willie—we wanted to make sure that he was clear with Claire from the very beginning that he fathered a son. At the end of the day, JAMMF is an honorable man. He’s keeping one secret—two felt a little much. And in keeping as faithful to the source material as possible, I borrowed “the telling” from later in Voyager. I felt that if we were going to do it, it should be in similar fashion to the novel.”
This reasoning, in fact, makes a ton of sense to me. In the book, the scene with Brianna’s photos is interrupted by the tavern bell, so in fairness Book Jamie really didn’t have the chance to tell Claire about Willie, and nor had his mind even gone there yet, most likely. In the show, it felt like a pretty natural segue.
This is interesting, to me. In the script, Jamie is meant to tell Claire that he was blackmailed into sleeping with Geneva (which he does not reveal in the book – always a source of irritation to me); but in the actual episode, he does not. I’m curious about the reasoning there too, as I feel quite sure it exists. I thought they both played this scene really well.
The bit about Frank does not take place in the book, but it makes sense to me here too.
God’s tooth! it’s 13:00, and, they’re off… they meet Fergus. César does a great job picking up where Romann left off as Fergus. I am especially impressed with the continuity of accent, inflection, and speech between the two. My guess is that’s Carol Ann’s (dialect coach) good work, along with César’s attention to detail. Nicely done. This scene with Claire feels so natural to me, he absolutely feels like the same Fergus.
And Fergus got a wooden hand instead of a hook. Or wait, maybe this is his go-to-market hand, and he also has a hook? ?
We got the politically correct version of Mr. Willoughby, which is not a surprise, although I would’ve liked to see him fly through the air in a little ball, knocking Sam to the ground. No foot fetish, elbow licking instead. Makes me wonder what will happen on Jamaica, hmmm.
Here are Matt’s notes about that meeting: “‘It was a pleasure Yi Tien Cho’. Claire shows respect for Mr. Willoughby throughout the season by addressing him by his given name—‘Yi Tien Cho’. We liked the idea that, also being an ‘outsider’ herself, Claire is known by the name ‘Sassenach’, and although it becomes a very affectionate nickname, it’s something that does serve as a reminder that she is an outsider. Continuing with the theme of identity then, we wanted to show that Claire is empathetic, sensitive and—having come from the future—does not harbor the kinds of prejudices held against people of different ethnic backgrounds that were so prevalent during the eighteenth century. She tries to make Willoughby feel accepted and essentially, less of an ‘outsider’, by using his given name.”
Sir Percival Turner, the exciseman, is played well by this guy who clearly went to the Duke of Sandringham school of sliminess.
And then, they’re back at the brothel. Move over Madame Jeanne… Mrs. Beauchamp Randall Malcolm Fraser is back in town!
Madame Jeanne – “Your…wife? Monsieur Malcolm…you bring her here? I thought… a woman… well enough, but to insult our own jeune filles (which means young girls) is not good… but then… a wife…?” Poor Madame Jeanne, like every other man, woman, child, and animal, she has a thing for Jamie.
In my piece, The Wedding Episode… Blueprint for The Print Shop?, I speculated about whether there would be ties between the wedding and this reunion, and indeed there are. The long undressing scene recalls us to the night of their marriage…(but I’m worried Claire’s homemade buttons are all going to pop off if they are treated like snaps instead of buttons! Careful guys!) Recalling that piece, I wonder how many hours Caitriona and Sam spent gazing at each other and undoing their buttons for this scene? 12? ?
In the same ELLE interview cited earlier, Caitriona talks about these scenes harkening back to the wedding episode- Excerpt:
The goal with the couple’s conversation, she [Caitriona] said, was to mirror their wedding night. Just as the three sex scenes in that season one episode took Jamie and Claire through different stages—from getting it over with, to exploring each other, to finally falling in love—the print shop reunion, too, has these three stages. Source: ELLE
I love the room at Madame Jeanne’s, it’s perfect. Kudos to Jon Gary Steele’s team. And the moaning when they first get there, ? I’ll have to look and see who the moaners are in the credits. I seriously hope they show up at a fan convention one day – would be so awesome.
The next scene is great. Although, again, Show Jamie is less insulted than Book Jamie by the suggestion that he’s a very good customer of the brothel. Book Jamie is very Catholic, and is offended by the mere insinuation. Show Jamie is made more uncomfortable than outraged by the suggestion, but still this scene works. There are a couple of changes from the book (which is fine, of course), and to be quite honest, I generally don’t compare the two regarding plot points. I do compare them regarding characters. In the book, Jamie makes it clear that he is grateful to Claire for coming with news that she and his daughter have survived and even thrived, and that all of his past suffering and longing was not in vain. He also asks her if she came because she wanted to or because she felt she must.
He says, “Sassenach, will ye take me- and risk the man that I am, for the sake of the man ye knew?”
Claire responds: “It’s a lot too late to ask that. Because I’ve already risked everything I had. But whoever you are now, Jamie Fraser- yes. Yes, I do want you.”
In the Outlander Writer Q&A, someone asked: “Will you risk the man I am…” beautifully reflects Jamie’s fears about his secrets. Why was it omitted?
And the answer was…
— Outlander Writers (@OutlanderWriter) October 24, 2017
I’d say this means we’ll be watching and hearing those lines later.
Where were we, ahhh yes, “Why?” (have you come back)…
Because I want you, you dumbass!
The build up, the brief kiss, and then the disruption by the chambermaid… all recollecting the wedding night, and the moment Rupert and Angus burst in.
And then dinner…
The music, the sound of the wine gurgling into the glasses. The looks between them. Like the wedding episode, they are getting to know each other again, letting their feelings build…
Claire looks older, but not by much, to me. Maybe that’s meant to be the difference of a cushy 20th century life vs living in a cave, in prison, and as an indentured servant for all those years. Makes sense, if so.
And then, Jamie asks Claire if she’ll go to bed with him, and she says “yes” (of course). They begin undressing each other. This is a parallel to the wedding night, beautifully done, with the shyness of not having seen each other for 20 years, and lack of familiarity, insecurities.
First they undo each other’s buttons,
and then Claire undoes Jamie’s stock.
The last time we saw this was in Episode 103, The Way Out…
Fair’s fair… and we are recalled to Jamie removing the delicate lace choker on their wedding night.
Another of Sam’s expressions… wonder, hunger… I would imagine these scenes are hard to shoot, for many reasons.
Same choreography as in 107… (note the bum roll made of mattress ticking)
with 20th century technology… (this is even more confusing than last time, damn it!)
Jamie meets the zipper
and we land here… “Will you bloody well say something…”
“Christ, Claire, you’re the most beautiful woman I’ve ever seen.” (that was pretty good!)
Beautifully expressed, Caitriona
“I want to see you…” Again, from the wedding night (In 107, she said, “I want to look at you.”)
We’ve seen this gesture throughout Jamie’s sexual history (see The Wedding Episode… Blueprint for The Print Shop? for more on that)
At last… and then…
In non-TV intimacy, these are some of the best moments, which lends a sweetness to these scenes, and comes from the book.
After some clumsiness, they get where they’re goin’…
“Do it now, and don’t be gentle”
And he does, and it’s not, and it’s a beautiful love scene.
When the camera pans down Jamie’s back, it’s a recollection to all the pain and scars they’ve both endured while apart, and still carry with them.
Sassenach, is that you? I cannae see ye properly wi’oot my spectacles ? (OK I added that line, he doesne really say that)
Matt’s notes about these scenes: “You may notice that this scene is long in comparison to other scenes—and deliberately so. In writing this episode we wanted to offer up a true portrait of a relationship—in this sense, the scene isn’t driven by plot, it is rather a chance for the audience to spend time with our hero couple as they (finally alone at last) get to know one another again. We allowed these moments to breathe—to play out almost in real time—to get to know them as a couple after having watched them lead separate lives over the course of so many years. Scene 12 is about 13 pages long—probably the longest single scene in the Outlander series to date.”
The pillow talk is sweet: Claire notices that Jamie is fit and has more chest hair, and he notices that she eats rrrrreguly.
I’m wondering, does Sam have chest hair augmentation now? Jeez, bedroom scenes must mean hours in makeup. He’s got the older Jamie makeup, the back scars plus the many other scars: the BJR one, the gunshot wound, the new thigh one, the one on his face; older Jamie is supposed to have darker skin (tanning cream?), and now a chest merkin? Poor Sam.
Speaking of makeup, in that piece I mentioned earlier, Wendy Forbes discusses Sam’s…
Excerpts: Forbes says it takes two hours and 20 minutes to do [Sam’s] hair, makeup, and back scars. “He’s a lovely man but none of them are that patient in the chair,” admits Forbes. “They don’t want to be in any longer than necessary.”
[For Jamie’s back scars,] Forbes created two silicone molds in season 1 that she still uses today… the scars haven’t changed — only the shading she applies after each silicone piece is adhered to Heughan’s back [changes].
“There was talk about changing the shape of the scars after 20 years, but we decided against that. We just keep coloring it lighter so the scars don’t look as red as they were 20 years previously. The mold comes to me already scarred. Then I color up,” adds Forbes. “This year I made it a bit lighter. Then I add a water-based paint. All the scars on his chest are hand-painted. I didn’t want to use too many mediums.”
Photo: Starz, Wendy adds dirt and blood for filming Episode 301, The Battle Joined.
Excerpt (cont’d): Since the process is a long one, Forbes does the first part with Heughan lying down so he can take a quick nap. “It’s usually half past 4 in the morning.” ?
She’ll complete the process with Heughan standing up so she can smooth out the pieces over his back. “He always says, ‘Wendy, you are the best,'” says Forbes.
Speaking of scars, Matt did leave the bit about Claire’s stretch marks in the script, which I, and probably any reader who’s had babies, always loved in the book.
My guess is this part was edited for time. But perhaps they decided not to take the time in makeup for stretch marks on Caitriona, which would have to be repeated from here to eternity for every intimate scene. Or, was it omitted as a creative choice by Sam or Caitriona? It would be interesting to know.
Jamie pinning Claire’s arms over her head during their sesh is also in the script, but missing from the show. Also included in the script, but absent in the show is “Jamie, don’t stop, for God’s sake don’t stop!” However, we did get, “Do you want me now?” “God, yes” which was pretty dang hot.
After some pillow talk, Jamie gets up to roam around and get some food while Claire guesses what he does for a living. I suspect this choreography was added for the female gaze. Let’s face it, while being a lovely person, Sam is also a beautiful man with a stunning physique (which he works hard to maintain).
I think Claire’s glad she came back.
After establishing that Jamie is a cafeteria Catholic,
and a smuggler, it’s established that Jamie does not do it with Madame Jeanne, and that it is Claire’s business to know that.
This very sexy exchange leads to their next love making session, which is beautiful and slow, and extremely emotional for Jamie, which makes sense. He is getting all of this awakening, grieving, rediscovery, etc. in the span of hours, where Claire has been going through it by degrees over months.
Phew, can’t imagine being this vulnerable in a room full of 15 people!
And, clearly, this sequence parallels the last time they made love in The Wedding Episode.
Afterward, Jamie tells her how he got his leg scar, at Culloden, and she promises never to leave him again.
I love this next part, where he tells her she’s a wonderful mother,
and her heart breaks, thinking about having left Brianna behind.
Damn, these guys can never just be like WOOOOOO HOOOO! Last time Frank was lingering back in the 20th century, and now it’s Bree. Ahhhh, the complications of life, and being married to an 18th century Highlander.
The exchange in the morning is superb, and comes directly from the book, about not knowing what it is between them, but it’s still there. Palpable. Cait is excellent in this scene, the way she slows it down and takes on a wondering, ethereal vibe, their hands performing an entwining slow motion dance.
Jamie is looking a little Frodo this morning – can’t be gorgeous every moment.
In the script, they talk about Claire being a surgeon, but that part didn’t make the show. Again, not sure why. I think it was filmed. Probably cut for time, I’d guess.
And then, Jamie starts to tell her about… Leg Hair… but she stops him. Get out of jail free card. That’s Matt hooking a brother up if you ask me!!
This will make for an interesting set up for later…
And then Claire says, “I just want to know one thing.” Yep, that’s what I would want to know too. This scene is very well done.
“Did you ever fall in love with anyone else, after I left?”
“No, Sassenach, I never loved anyone, but you.”
And soon enough, we’re back at the beginning of Episode 110, (ahem). But instead of Murtagh banging on the door, it’s that damn Pauline again. “Breakfast Mr. Malcolm.”
Jamie: “Come back later <kiss> <kiss> if you well <smack> <lick>”
Claire: “Don’t you want to eat?”
Matt Roberts! You dirty little thang. And look at Frodo-Jamie’s face here. Feral. Run for your life Claire!
I like Jamie bossy “You’ll stay here ’til I return” (Matt actually had this as a question in the script – go Sam!)
And then of course, we meet Young Ian, who is perfect.
I LOVE love love love the brothel breakfast scene. Wonderful, and straight from the book.
However, the priceless conversation about stopping a bairn from coming is all Matt.
In fact, my favorite line from this episode is in this scene…
What’s yours? Put it in the comments if you like ?.
If I’m being honest, I did not like that ending. That excise guy seems like someone from a James Bond movie, vs. someone in Jamie and Claire’s world. Spoiler: In the book, Mr. Willoughby comes to Claire’s rescue, we’ll see what happens next!
Hint: I won’t tell you, in case you don’t want to know, but the script goes on past the present ending. If you’d like to go see for yourself, the link is Script for Episode 306.
I am impressed with the way Matt was able to move the plot forward, and cover a lot of territory in this episode: catching us up on Jamie’s life, re-introducing Fergus, introducing Madame Jeanne, Mr. Willoughby, the excise man, Young Ian, AND to also give us the long, slow, intimate rediscovery moments with Jamie and Claire. He strikes a very nice balance here, in my opinion. In Season 2, there were so many political machinations and character introductions, that we had little to no moments like we enjoy in A. Malcolm. Well done, Matt and the whole team. And always, Caitriona and Sam.
Looking forward to 307.