Curiosidades de los guiones de Outlander: capítulo 1

OUTLANDER

Capítulo 2x01

Escrito por Ron Moore

Primero puedes leer la parte en inglés, e inmediatamente después, la traducción de Nuria en español.

Comentario 1

She glares up at the large standing stone in the middle of the circle for a long beat, then looks down at her left hand -- something's wrong! Her wedding rings are both there, but something's missing. She searches frantically in the grass for a moment.

CLAIRE
No... no --

Then she finds it --

CLOSE ON
A MAN'S RING.

CLAIRE
Reacts -- something is still not right.

ECU -- RING
The ring used to have a gemstone set into it, but now there's just the empty spot where it once was.

RON MOORE ANNOTATION

Initially, this scene was planned to be the tag of episode 116, the finale of season one. That show would have ended with the audience realizing that although Claire & Jamie planned to change the future, it had clearly failed and Claire somehow returned to the future. When we decided not to do that for 116, this scene became the teaser for 201.

The sequence with Claire realizing she'd lost the ring was added and shot much later as we worked out some of the mythology regarding time-travel.

Inicialmente esta escena se planeó para cerrar el episodio 16, el final de la primera temporada. La serie habría terminado con el público dándose cuenta de que a pesar de que Claire y Jamie planearon cambiar el futuro, habían fracasado claramente y Claire de alguna manera había regresado al futuro. Cuando decidimos no hacerlo en el episodio 16, esta escena se convirtió en el teaser del primer episodio de la segunda temporada.

La secuencia con Claire dándose cuenta de que había perdido el anillo fue añadida mucho más tarde, una vez que habíamos resuelto algunas cosas sobre la mitología en relación a los viajes en el tiempo.

Comentario 2

The door OPENS and a pair of men's SHOES come striding through the doors and we FOLLOW them as they click along the WAXED LINOLEUM FLOOR. Whoever he is, he’s in a hurry. The feet dodge other people and equipment, finally stopping at a counter.

RON MOORE ANNOTATION

This image of Frank's shoes walking down the corridor would have been the opening of the entire episode.

Esta imagen de los zapatos de Frank caminando por el pasillo habría sido el inicio del episodio.

Comentario 3

REV. WAKEFIELD
So many questions. She's been back
nearly a week. Don’t you think
it's time she gave you some
answers?

FRANK
I believe she will. When she's
ready.

REV. WAKEFIELD
You're not the only one with
questions, ye know.

FRANK
Devil take the press.

REV. WAKEFIELD
Not likely. Even the Devil has
standards.

He EXITS. Once The Reverend is gone, Frank finally puts down the folio and goes to the window...

RON MOORE ANNOTATION

My first draft had Frank immersed in a folio of the Hawara Illiad. At the time I was reading "Why Homer Matters" by Adam Nicholson and wanted to work in a reference. My scripts are often influenced in ways big and small by what I happen to be reading for pleasure at the time. The idea here was that Frank was trying to focus on academic research as a way of giving Claire more space and time. The Reverend's lines were much the same, but he was frustrated both by Claire's non-responsiveness since her return and by Frank's willingness to just wait her out. When the Reverend left the room, we would have seen that Frank was still actually worried about Claire. 

En mi primer borrador Frank estaba inmerso en un folio de la Ilíada de Hawara. En ese momento yo estaba leyendo "Why Homer Matters" de Adam Nicholson y quería hacer una referencia. Mis guiones están a menudo influenciados en mayor o menor medida por lo que la casualidad hace que esté leyendo en ese momento por placer. La idea aquí es que Frank estaba tratando de centrarse en la investigación académica como una forma de dar a Claire más espacio y tiempo. Las frases del reverendo eran igual, pero se sentía frustrado de igual manera tanto por la falta de respuestas de Claire desde su regreso como por la disposición de Frank a esperarla. Cuando el reverendo salió de la habitación, habríamos visto que Frank todavía estaba realmente preocupado por Claire

Comentario 4

A PAIR OF USAF F-80 JET FIGHTERS roar overhead. Claire flinches.

CLAIRE
Must they do that every day?

MRS. GRAHAM
People say there might be war with
Russia soon. Stalin's trying
to block access to West Berlin and the
Americans are sending more --

CLAIRE
There's always another fucking war.

RON MOORE ANNOTATION

I wanted to remind the audience that we were in 1948 in this scene, so I had the jet fighter fly-by and Mrs. Graham's references to West Berlin and Stalin. I wanted to hit that pretty hard because the Reverend's house feels almost timeless and visually it could have easily still been 1945. I also wanted to emphasize how much Claire had missed since she left. 

Yo quería recordar a la audiencia que en esta escena estábamos en 1948, por eso tenemos los aviones de combate sobrevolando y las referencias de Mrs Graham sobre Alemania Occidental y Stalin. Quería recalcarlo seriamente porque por la casa del Reverendo parece que no ha pasado el tiempo y visualmente podríamos estar fácilmente todavía en 1945. También quería enfatizar en cuánto ha perdido Claire desde que se fue. 

Comentario 5

But I can...
accept them. Accept that you did
feel that way... that you had this
experience with this man... and
that leaving him broke your heart.
I can accept it.

CLAIRE
Can you really?

I love you,
Claire. Unconditionally. No
matter what. And right now, here,
in this time, I am your husband and
you are my wife, and we can still
have a life together.

RON MOORE ANNOTATION

In all versions of this story, I wanted Frank to be willing to welcome Claire back no matter what. I liked the idea that in 101 he had declared he would love her no matter what and that in this moment he would try very hard to live up to those words right until he heard that she was pregnant by another man. It was important to believe that Frank was worthy of Claire and that he was worthy to raise Brianna in Jamie's absence. I loved writing this scene and to me it was the heart of the entire episode.

En todas las versiones de esta historia, yo quería que Frank estuviese dispuesto a dar la bienvenida a Claire sin importar cómo. Me gustaba la idea de que en el episodio uno de la primera temporada él había declarado que la amaría incondicionalmente y que en este momento él intentaría con todas sus fuerzas revivir esas palabras hasta que oyó que estaba embarazada de otro hombre. Era importante creer que Frank era digno de Claire y que era digno de criar e Brianna en la ausencia de Jamie. Me encantó escribir esta historia y para mi fue el alma de todo el episodio. 

Comentario 6

FRANK
That's the first time I've heard
him call you father.

REV. WAKEFIELD
He's been doing it more of late.
Children accept the world as it is
presented to them. He does know
I'm not his father, but that's how
he sees me, so I've decided not
to correct him anymore.

FRANK
You're about to connect your nephew
to my situation. The words, "God's
plan" are about to escape your
lips.

REV. WAKEFIELD
At the risk of fulfilling your
worst expectations, I will say
this: A child without a father and
a man without a child have been
given a chance to find one another.

RON MOORE ANNOTATION

Early versions of this scene ran much longer and dealt with things like Frank talking about his shock at finding out that his ancestor (Jack) was actually a brutal, sadistic rapist, and the Reverend trying to discover more about what happened to Claire than Frank was willing to reveal. Roger's appearance in the scene was an addition in later rewrites to help make the transition between Frank grappling with his feelings and the Reverend's advice.

Las primeras versiones de esta escena se hicieron durante bastante tiempo y trataron de cosas como Frank hablando de su shock al saber que su antecesor (Jack) fue un brutal y sádico violador, y el Reverendo intentando descubrir más sobre qué le sucedió a Claire que Frank no está dispuesto a revelar. La entrada en escena de Roger se añadió en reescrituras posteriores para ayudar a hacer la transición de Frank lidiando entre sus sentimientos y los consejos del Reverendo. 

Comentario 7

Then goes to the WINDOW and looks down into the backyard --

CLAIRE'S POVFrank is BURNING the 18th century CLOTHES, putting them one by one into the pyre.

RON MOORE ANNOTATION

In my first draft, Mrs. Graham was the one burning the clothes in the yard, but someone gave me the idea that it would be more powerful if Frank was the one destroying her past.

En mi primer borrador, Mrs Graham fue quien quemó las ropas en el patio, pero algo me dio la idea que sería más potente si Frank fuese el único destruyendo su pasado.

Comentario 8

She stares down for a moment, then hears something behind her and moves away -- REVEAL THAT SHE'S LOOKING OUT THE WINDOW OF AN AIRPLANE

RON MOORE ANNOTATION

In the outline, this transition was much more mundane. Claire and Frank drove away in his car with the Reverend and Mrs. Graham waving goodbye, then we just cut to the ship arriving in Le Harve. Chris Albrecht (president of Starz) pushed me for something more cinematic and dramatic and I started thinking about what would be a good transition to the ship. My first thought was to do an ocean liner leaving England, and we did some initial scouting for possible locations with a dock, but then I realized that an airplane drew an even bigger contrast to the 18th century.

En el borrador, esta transición fue mucho más tediosa. Claire y Frank se alejaban conduciendo su coche con el Reverendo y Mrs Graham diciendo adiós, después nosotros cortamos con el barco llegando a Le Havre. Chris Albrecht (presidente de Starz) me empujó a algo más cinematográfico y dramático, y empecé a pensar sobre cuál sería una buena transición al barco. Mi primer pensamiento fue hacer un transatlántico dejando Inglaterra, e hicimos una exploración inicial de posibles localizaciones con un muelle, pero luego me di cuenta que un avión dibujaría un contraste mucho mayor con el siglo dieciocho.

Comentario 9

CLAIRE
I don't know the tactics. I don't
know the strategy. I don't know
where the armies were, or why they
won, or why they lost. All I know
is that eventually, both sides end
up on Culloden Moor, and the
Jacobites are wiped out. And then
the British destroy the Highland
culture in retribution. That is
the sum total of my knowledge of
the war.

CLAIRE
Well, I know. That's why I think
we need to stop the rebellion from
happening in the first place.

RON MOORE ANNOTATION

In the first draft, most of the information in this scene was actually in the previous scene, on the dock. Jamie and Claire had an extended walk & talk along the docks and finally found some place to talk privately. I gave Claire a much bigger speech about why she thought the only way to change history was to stop the war before it ever started.

En el primer borrador, la mayor parte de la información de esta escena estuvo en realidad en la escena anterior, en el muelle. Jamie y Claire tienen una larga conversación mientras caminan por el muelle para finalmente encontrar un sitio para hablar en privado. Le di a Claire un discurso mucho más largo sobre por qué ella pensaba que la única manera de cambiar la historia era para a guerra antes de que empezase.


CLAIRE
Even if I knew how to win the Battle of Culloden, there's no way of knowing what would happen after that. The war could grow and metastasize into something even bigger and more horrific than we can imagine here today.
(beat)

The war I saw was actually the second world war. The first one started with the assassination of a man in the streets of Sarajevo. And when it began, everyone believed it would be over in a matter of weeks. But it lasted four long years, and when it was over, millions were dead, the map of Europe was remade and the seeds of a second, even more devastating conflict were sown in its ashes.
(beat)

Trust me, Jamie -- the only way to be sure the Jacobite rising will not end in disaster is not to fight it in the first place.

RON MOORE ANNOTATION

Ira Behr gave me a note that the WWI analogy was too far off point and not as emotionally loaded as I wanted it to be and that the speech was just too long. I took another look and decided that he was right.

Ira Behr me hizo ver que la analogía a la Primera Guerra Mundial quedaba muy alejada del momento y no estaba tan cargada emocionalmente como yo quería que estuviese y que el discurso era muy largo. Tomé otro punto de vista y decidí que él tenía razón.

Comentario 9

He grabs a water glass and fills it.

JARED (cont’d)
(lifts drink)
To our new association, and to His
Majesty... over the water.

RON MOORE ANNOTATION

The toast to "the king over the water" is an actual ritual from the era. I ultimately had to cut it for time in the final episode with some regret.

El brindis “por el rey sobre el agua” es un ritual real de la época. Al final tuve que cortarlo por tiempo en el final del episodio con cierto pesar.

Comentario 10

The Sailors are listening to the authority in her voice and obeying her orders, but the Captain steps in.

CAPTAIN
Stop that! Pay no attention
to this woman! Back to the
ship with the lot of you!

CAPTAIN
Damned witch, may the Devil
take her!

PORT OFFICIAL
(to St. Germain &Captain)
I am sorry, but the news will
be all over the docks by now.
The law is clear and I have
no choice: I must arrange for
the destruction of the ship
and its cargo.

CAPTAIN
(wailing)
This will ruin me! I am
ruined!

RON MOORE ANNOTATION

The French dialog went through several changes, both on the set and then in post-production, and varies from the aired episode. We recut the scene in editorial for clarity and time and that forced us to then reorder some of the lines. I also found that while the characters are clearly identified in the script, I had neglected to identify the harbor master and the captain in dialog, so I rewrote the lines in post to make their positions clearer to the audience.

El diálogo en francés pasó por varios cambios, tanto en el set como en post producción, y varios en la emisión del episodio. Cortamos la escena en la edición para mayor claridad y por tiempo y nos forzamos a reordenar algunas de las líneas. También me di cuenta que mientras que los personajes están perfectamente identificados en el guión, había omitido identificar al capitán del puerto del capitán en el diálogo, así que reescribí las frases para dejar sus posiciones más claras para la audiencia.

Comentario 12

JAMIE
Another country, another enemy.
Life with you is certainly never
dull, Sassenach.

CLAIRE
If you wanted dull, you should have
married Laoghaire.

RON MOORE ANNOTATION

Cait persuaded me to cut her final line about Laoghaire. I thought it was funny, but she thought it wasn't appropriate in the moment.

Cait me persuadió sobre cortar su frase final sobre Laoghaire. Pensé que era divertido, pero ella pensaba que no era apropiado en el momento.

Todas las capturas son de screencapped.net


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