[Afamilyatwar-list] Episode 37

[Veit, Richard]

Episode No. 37, "You Can Choose Your Friends"

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Following the death of her husband, Helen Hughes comes back to Liverpool from Australia, and her arrival is ample reason for Sefton Briggs to request that the family gather for a "welcome home" celebration in her honour. By this point in the series, we know Sefton well enough to suspect that there is more to his invitation than social motives alone. Soon it becomes clear that he wishes to exploit the occasion for his own purposes, as an opportunity to convince others to support his sale of the printing works to Dennis Pringle.

The writers (John Foster here, and of course series creator John Finch) have instated a clever mathematical device that brings considerable suspense to this and subsequent episodes. What it all boils down to is that Sefton’s son will cast the deciding vote, his ten shares sure to tip the scales one way or another. And so, though Tony Briggs never actually appears in this episode, his presence is keenly felt.

The stage is set for David Ashton’s return home on forty-eight-hour leave, and his inability to handle money makes him vulnerable prey for his crafty uncle. Before long, Sefton has taken advantage of the lad's financial straits and acquired his five percent share in the business, leaving Edwin with a precarious future. David, who finds it difficult to see much beyond today, learns too late that his desperation to settle his own petty debts has derailed his father's prospects for the years ahead.

Some random comments about "You Can Choose Your Friends"...

This episode marks the initial appearance of the refreshingly outspoken character of Helen Hughes. It also proves to be the final appearance of Philip Ashton, who returns to the war and its tragic aftermath. I have read that it was Keith Drinkel's own choice to be written out of the story line during the final season.

A developing sub-plot, adding a welcome touch of sweetness to the mix, is the relationship between Freda Ashton and Ian Mackenzie, who are becoming openly serious about one another.

There is a funny sequence in the Ashton home when John is seen ironing his trousers and discussing the pipe dream of starting his own business. It is only when he ascends the stairs that director Bob Hird widens the shot to reveal that Margaret's hubby is in his underwear from the waist down. This is so incongruous with the serious nature of what has been discussed that it brings a smile to the face.

How sad it is to see David's gloomy expression when Peter Bryant asks him for assurance about the cheque he has just written: "I suppose it won't bounce, will it?" This cheque, by the way, serves an important purpose, elevating the sense of urgency that David feels in satisfying his creditors. At this point, he will do nearly anything to save face among his compatriots—namely, Peter Bryant himself and "Gregson in the mess hall."

The two scenes with David and his uncle are starkly contrasted. At first, Sefton is on his best behaviour, warmly receptive to his nephew's needs and yet slick enough to make David think that it was his own idea to sell the shares. "You've twisted my arm, young man," are his unctuous words. But then, after Edwin's stormy confrontation with his son, David again approaches his uncle and tries to buy back the shares. Suddenly, Sefton is all business and coldly refuses to consider doing such a thing.

There is some very fine writing when David first greets his wife—a bit of revealing dialogue that might easily go unnoticed. This occurs when he tells her, "I haven’t even been home yet. I came straight here." Perhaps unconsciously, David has as much as admitted that the place where he and Sheila have lived does not represent "home" to him. Rather, that rarefied term is reserved for the house where he spent his childhood. In a sense, he has not yet fully grown up. Sheila lets the candid statement pass without comment, but it surely must have hurt.

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