Jamie’s voice is low: “So we cannot stop it?”

The single video file is titled: FRASERS_RIDGE_BURNING.libvpx They play it. The image is blocky—motion vectors failing, artifacts crawling like fireflies. But recognizable: the Big House in flames . A date stamp flickers: June 12, 1776 . Three years from now. And inside the inferno, a woman’s silhouette. Not Claire. Bree . Holding Jemmy. Trapped.

Bree, alone in the study, stares at the frozen last frame of the video. She realizes: the flames in the libvpx file are not orange. They are a specific shade of —the same dye Jamie bought last week from a Loyalist trader. The same dye now stored under the Big House.

Later, by the embers, Roger holds Jemmy. His whisper is barely a breath: “We changed it. The keyframe was me. The moment I chose to go back in.”

“Or,” Claire says slowly, “the keyframe is not the fire. It’s something else. Something we haven’t done yet.” Skanawati returns. He demands the chip back. When Jamie refuses, the Tuscarora warns: “That star-vision shows a truth. But truth is a river. You can dam it, but the water remembers.”