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Curiosidades de los guiones de Outlander: capítulo 3.

Capítulo 2x03
Escrito por Anne Kenney
Gracias a Nuria por la traducción

Primero puedes leer la parte en inglés, e inmediatamente después, en español.
Gracias a screencapped.net por las capturas.


As Jamie heads for the door --

JAMIE (cont'd)
Give my regards to your ladies at

Jamie exits. Claire's not in a happy place, calls after him.

They're not my ladies.

But Jamie is already gone.


This scene went through a lot of iterations. We wanted to set up Claire feeling frustrated by a lack of purpose in Paris–despite the fact that she and Jamie are here on a Big Mission to stop the Jacobite rebellion. But, because of the era, and the place women were expected to occupy, most of the on-the-ground work would have to be done by Jamie. The trick was to give her that sense of rudderlessness without her seeming bored or whiny in the face of all that Jamie has to do. I think we found the balance we were looking for.

Esta escena se repitió muchas veces. Buscábamos mostrar a Claire frustrada por no tener un propósito en París – aparte del hecho que ella y Jamie están aquí en la Gran Misión de parar la rebelión Jacobita. Pero, precisamente por ser esa época, y el lugar que se esperaba que ocuparan las mujeres, Jamie tendría que hacer la mayor parte del trabajo sobre el terreno. El truco estaba en darle esa sensación de ir sin rumbo sin que pareciese aburrida o llorona afrontando todo lo que Jamie tiene que hacer. Creo que hemos encontrado el equilibrio que buscábamos. 


(defensive, to Louise)
Men don't do things like that where
I come from.

And where is that? The moon?

Seaford, in Sussex.

Claire suddenly FLASHES ON:


Claire looking over FRANK's shoulder, at the inside front cover of a LARGE BIBLE on the table.


I love this scene. It's one of those hybrid scenes where we took something from the book (Claire and Mary discussing what "men do in bed"), and added something to it, in this case, Louise. I like that Louise sort of articulates what Claire is actually feeling—but is too nice to express—about Mary's naïveté. We also needed to have Claire remember where she'd heard the name "Mary Hawkins" before, so we could tie it to Frank and Jack Randall. I was very pleased with how smoothly it all seems to come together in this scene.

Me encanta esta escena. Es una de esas escenas híbridas en las que cogimos algo del libro (Claire y Mary discutiendo sobre “qué hacen los hombres en la cama”), y añadimos algo, en este caso, Louise. Me gusta en cierto modo que Louise exprese lo que Claire está sintiendo realmente - pero es demasiado buena para decirlo – sobre la inocencia de Mary. También necesitábamos que Claire recordara dónde había oído antes el nombre de Mary Hawkins, y así pudiésemos relacionar a Frank y Jack Randall en esta escena. Estuve muy contento por la fluidez con la que se juntó todo en esta escena. 


As the carriage makes its way through the streets, Claire sits, rocking with the motion of the coach, trying to process what she's just remembered.

And in that case, Frank himself
would never exist. Perhaps I
hadn't allowed myself to think
about it until now... but I was
faced with the terrible knowledge
that Frank's very existence now
depended on Jack living for at
least another year. Was that why I
hadn't told Jamie the truth?
Because I was afraid if I did, he
would go back to Scotland and kill
him? Killing Frank as well...?

She closes her eyes as a new thought hits her.

And what of Mary Hawkins? How in
God's name could such a girl end up
married to such a monster?

She opens her eyes again, staring out at the Paris streets, her mind roiling.


As you see if you look at the script, this moment was conceived as a long voice over, with Claire explaining the significance of realizing who Mary Hawkins is, as Claire rides through Paris. There's A LOT of information in this speech. In the editing room, Ron added a montage under the voice over, as visual cues to help the audience follow what she was saying and who she's talking about. So helpful! (TV is a visual medium, after all!)

The other thing I love about the clips we chose for this montage is that they show Claire and Frank happy together. So many stories that involve a love triangle make one point of the triangle so obviously inferior to the other, it's hardly even a choice. I like that we were able to spend a little more time with Frank in the show, and while I'm still on Team Jamie, it wasn't a complete slam dunk!

Como puedes ver si miras el guión, este momento fue concebido como una narración, con Claire explicando la importancia al darse cuenta de quién es realmente Mary Hawkins, mientras Claire está en París. Hay mucha información en su discurso. En la sala de edición; Ron añadió una secuencia a la narración, como pistas visuales para ayudar a la audiencia a seguir lo que estaba diciendo y de quién estaba hablando. Ayudó! (La televisión es un medio visual, después de todo!)

La otra cosa que me gusta de los clips que escogimos para esta secuencia es que muestran a Claire y Frank felices juntos. Muchas historias que implican un triángulo amoroso hacen que una de las partes del triángulo sea obviamente inferior a la otra, apenas podemos hacer una elección. Me gusta que pudimos pasar un poco más de tiempo con Frank en la serie, y pese a que yo todavía soy del Team Jamie, esto no fue pan comido.


I give you permission to respect me
less. Now, how can I be of

Tell Prince Charles what you have
told me -- that King Louis has no
intention of funding the rebellion.

You want to discourage Prince
Charles from mounting your
rebellion? Why?

Scotland and her people canna bear
another failed rebellion. We must
not invade until we are certain we
have the resources and alliances to


One of the biggest challenges for me in Season 2 was communicating the sheer amount of information required by all the political intrigue. Trying to keep it concise and entertaining while covering the necessary ground. Again, the visual helps enormously–the affect of the actors underscores the words: Are they worried? Surprised? Excited? Even if you don't totally track the meaning of the words on the first viewing, you still grasp their significance to our characters and our story.

Uno de los retos más grandes para mi de la segunda temporada fue transmitir la gran cantidad de información necesaria por toda la intriga política. Intentando mantenerla concisa y entretenida mientras cubrimos el terreno necesario. De nuevo, lo visual ayudó enormemente - los sentimientos de los actores enfatizan las palabras. ¿Estás preocupado? ¿Sorprendido? ¿Excitado? Incluso si tú no sigues totalmente el significado de las palabras en el primer visionado, todavía podemos captar su significado en nuestros personajes y en nuestra historia. 


Claire is here when Murtagh ENTERS, tucking in his shirt. Claire shoots him a reproving look.

I'll no apologize for spending time
with yer lady's maid, if ye have a
mind to reproach me.

How you spend your time is your

Aye. It is.

But, don't you have anything else
to do? Suzette certainly does. It
is the middle of the morning, for
God's sake...


Function and fun – The plot requirements of this scene were to get Claire to tell Murtagh that Black Jack is still alive, and that she hasn't told Jamie. We also needed to get her from this scene to a scene with Master Raymond. AND it needed to be interesting/entertaining. Enter a relationship between Murtagh and Suzette! (At one point we'd also plotted out an unrequited love between Murtagh and Mary Hawkins! I loved the idea of this, but ultimately, for reasons I can't even remember now, we went away from that, although there is a kind of nod to it in a later episode.)

Función y diversión. El argumento de la trama de esta escena fue dejar que Claire dijera a Murtagh que Jack el Negro está todavía vivo, y que ella no se lo había dicho a Jamie. Además teníamos que trasladarla desde esta escena hasta la escena con el Maestro Raymond. Y necesitábamos que fuese interesante y entretenido. ¡Introdujimos la relación entre Murtagh y Suzette! (¡Por un momento también trazamos un amor no correspondido entre Murtagh y Mary Hawkins! Me encantaba esta idea, pero al final, por razones que no puedo recordar ahora, lo desechamos, aunque hay una pequeña alusión a esto en un episodio posterior. 


I believe she has... sugar

If Mother Hildegarde is impressed, she isn't showing it. Her face is unreadable.

And can you tell whether she will

(lowering her voice)
She won't. She may not last out
the month.

That is what Monsieur Parnelle
said. I have never seen a woman
who knew the science of urinoscopy.
Perhaps you could help Sister
Angelique dress the wounds of a
young boy with Scrofula?


The biggest challenge of the hospital sequences, from a writing point of view was condensation. It was an embarrassment of riches, in terms of what I had to work with from the book. Mother Hildegarde, Bouton, Claire proving her worth at the hospital, exotic illnesses, more primitive diagnostic methods, "doctors" who were butchers or chemists or hangmen in their everyday lives... There was a lovely case of full blown scrofula in the script, but it had to go by the wayside. At least we got the urine sample and infected sore that Bouton "discovers!"

El mayor desafío de las escenas del hospital, desde el punto de vista de la escritura fue la condensación. Fue un exceso de abundancia, en términos de qué es lo que tengo que trabajar del libro. Madre Hildegarde, Bouton, Claire, demuestran su valía en el hospital, enfermedades exóticas, métodos más primitivos de diagnóstico, “médicos” que son carniceros, o boticarios o verdugos en sus vidas diarias…Hubo un caso encantador de escrófula en caso avanzado en el guión, pero se quedó en el camino. ¡Al menos tuvimos una muestra de orina y una herida infectada de descubre Bouton! 


I want to offer ye a job, ye wee

Fergus stops struggling and looks at him.

A job? Doing what?

Exactly what ye've been doing.

Jamie grabs the screaming, flailing boy. He flips him upside down and gives him one good SHAKE. A variety of expensive trinkets fall out: silk handkerchiefs, coins, watches, and other miscellaneous items. Jamie puts the kid back down.

JAMIE (cont'd)
You can keep all this. But from
now on, you're going to do your
stealing for me.


Again, condensation required! Fergus' introduction to Jamie in the book involved Fergus helping Jamie elude two sailors who are trying to kill him. We couldn't fit that part of the story into our storyline, but of course still wanted a clever way to introduce Fergus and his pick pocketing skills. This scene was born. And Sawny gets a cameo appearance!! (We set up he was missing in the earlier scene – see how we did that?)

De Nuevo necesitamos resumir. La presentación de Fergus a Jamie en el libro implica a Fergus ayudando a Jamie a eludir a dos marineros que intentan matarle. No podemos ajustar esta parte de la historia en nuestro argumento, pero por supuesto necesitamos una manera inteligente de presentar a Fergus y sus habilidades de ladronzuelo. Nació esta escena. ¡Y Sawny hizo un cameo! (Establecimos que lo había perdido en la anterior escena – ¿viste cómo lo hicimos??


He canna trust anyone.

Neither can we.

I can trust you, and Claire, and my
sister Jenny, and Ian. I'd trust
the four of you with my life -- I
have, for that matter, more than

Aye, well, I suppose that's four
more than Charles Stuart has.


This whole scene was shot, but we ended up having to cut the middle part, where Jamie discusses who he can trust, for time in editing. But we often have time to revisit pieces like this in later episodes, so... who knows?

La escena completa se rodó, pero terminamos teniendo que cortar la mitad, donde Jamie discute en quién puede confiar, por duración en la edición. Pero a menudo tenemos tiempo para volver en partes como esta en episodios posteriores, así que…¿quién sabe? 

She gets up and looks through her bookcase. This name means nothing to Jamie, but Claire...

Johann Sebastian Bach?

Yes. I'm surprised you have heard
of him. He sends me things now and
again -- He calls them 'Inventions'
and they're really quite clever.


I loved this "time travel" reference from the book – that Claire knows who Bach is. Mother Hildegarde doesn't think his work will stand the test of time. Diana doesn't do this often, but it's fun when she does. I'm glad we were able to get it in here.

Me encantó esta referencia al viaje en el tiempo del libro – en la que Claire sabe quién es Bach. Madre Hildegarde no cree que su obra vaya a perdurar en el tiempo. Diana no hace esto a menudo, pero es divertido cuando lo hace. Me alegro de que fuésemos capaces de hacerlo aquí. 


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