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<p><strong><span style="font-size:14.0pt;font-family:"Calibri",sans-serif;color:black">Episode No. 48, "Coming Home"<o:p></o:p></span></strong></p>
<p><strong><span style="font-size:12.0pt;font-family:"Calibri",sans-serif;color:black"><img width="371" height="281" style="width:3.8645in;height:2.927in" id="Picture_x0020_1" src="cid:image001.png@01D4D005.FD655F00"></span></strong><strong><span style="font-size:12.0pt;font-family:"Calibri",sans-serif;color:black"><o:p></o:p></span></strong></p>
<p><strong><span style="font-size:12.0pt;font-family:"Calibri",sans-serif;color:black">Three distinct story lines, each continued from previous episodes, coexist to good effect in this nicely crafted script by John Wiles.</span></strong><b><span style="font-size:12.0pt;color:black"><br>
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<strong><span style="font-family:"Calibri",sans-serif">The title, “Coming Home,” refers to the return to Liverpool of Peter and Janet, children of David and Sheila Ashton, following the sudden death in Wales of Mrs. Thomas. As it happens, the timing of their
move could hardly have been worse, for Trevor Howells has informed David that his services as a commissioned salesman no longer will be needed. When David finally works up the courage to tell his wife the bad news, Sheila lets it be known that it was she who
secured that job for him in the first place. His confidence shattered, David irresponsibly decides to “try his luck” in London, leaving Sheila alone with the children in the new house—with no visible means of support.</span></strong><br>
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<strong><span style="font-family:"Calibri",sans-serif">A dilemma of quite a different sort confronts poor Doris Jackson, left pregnant and abandoned by her latest American boyfriend. Freda is determined to come to her friend’s aid, naïvely believing that good
intentions are all that are needed. Doris’s father is inhospitable to the uninvited visitor, alleging that it is her kind that led to his daughter’s problem. As for Doris herself, Mr. Jackson hatefully snarls, “She’s gonna drop somebody’s pig. That’s what
she is, a bloody sow.” Initially, Doris appreciates Freda’s concern, but then she too rebels against her friend’s well-intentioned but patronising attitude, spitefully contending that the Ashtons are not so “la-di-da.”</span></strong><br>
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<strong><span style="font-family:"Calibri",sans-serif">Still bristling from Tony’s apparent betrayal, Edwin resolves to quit his position as manager of the works division of Briggs & Son. He is tired of being told what to do for the past thirty-five years,
and he resents the precious little recognition that he has received from Sefton. He enters the office of his new boss, Eric Fraser, with a letter of resignation in hand. That is when Fraser deftly convinces him to remain with the firm. There are to be exciting
changes in the printing business, future projects that will require the services of an experienced manager.</span></strong><br>
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<strong><span style="font-family:"Calibri",sans-serif">Some random comments about “Coming Home”…</span></strong><br>
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<strong><span style="font-family:"Calibri",sans-serif">Again, as in Episode No. 46 (“The Sensible Thing”), a noble portrayal by Donald Pickering inspires trust in and admiration for the character of Eric Fraser.</span></strong><br>
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<strong><span style="font-family:"Calibri",sans-serif">In stark contrast, businessman Trevor Howells is eerily reptilian in his dealings with David. Leonard Sachs delivers a memorable performance in an unsavoury role.</span></strong><br>
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<strong><span style="font-family:"Calibri",sans-serif">I have always liked the character of Ian Mackenzie, who is blessed with both practicality and civility. Here he gives the idealistic Freda his judicious perspective on offering assistance to others: you
must have a positive solution to do any good. It is his view that pity, much worse than charity, “makes the giver feel good and does nothing at all for the victim.” Though initially skeptical, Freda soon comes to realise that her consultant husband knows whereof
he speaks. Freda, of course, has many admirable qualities of her own, not the least of which is her determination to help Doris, even at the risk of appearing to be a condescending busybody.</span></strong><br>
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<strong><span style="font-family:"Calibri",sans-serif">I feel sorry for the well-meaning Freda when her expectant friend berates her in the café, but Mrs. Ian Mackenzie really cannot begin to fathom the depths of deprivation in which Doris finds herself on
a daily basis. Once, this pair could accept each other as virtual equals, but now, with Freda’s marriage, the social gulf between them is too great to surmount.</span></strong><br>
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<strong><span style="font-family:"Calibri",sans-serif">What a lonely existence it must have been for Mrs. Jackson, who tells Freda, “Friends is for children. We know better.” She confirms that life is nothing more than being born, growing up, and dying. This
servile woman, while rather sympathetic to Freda’s efforts, clearly is afraid to challenge her husband’s despotic control of the household.</span></strong><br>
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<strong><span style="font-family:"Calibri",sans-serif">Tony Briggs continues to have some of the funniest lines in "A Family at War." Here he sarcastically explains to Fraser that the liquor in his flask came from “the ever-flowing spring behind Father’s bookcase.”</span></strong><br>
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<strong><span style="font-family:"Calibri",sans-serif">Colin Campbell gives an especially strong performance in this episode. Notice his subtle response of hurt when Janet says, “It doesn’t look much like home.”</span></strong><br>
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<strong><span style="font-family:"Calibri",sans-serif">One of my favourite scenes of the entire series is when Edwin tears up his letter of resignation after hearing Fraser's plans for the printing works. This dramatic moment is superbly acted, and I want to
stand up and cheer for these two men of high character and integrity.</span></strong></span></b><o:p></o:p></p>
<p class="MsoNormal"><span style="font-size:14.0pt"><o:p> </o:p></span></p>
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