The following is commentary on Episode No. 29 ("Clash by Night") from members of AFAMILYATWAR-LIST. If you wish to add your thoughts to what is being said on this page, become a part of our discussion group by clicking the "Join" button.
Richard Veit
This taut episode can be viewed as a companion piece to "Into the Dark." It is a very well crafted adventure, set aboard a train bound for London. A military nurse, known here only as "Sister," is responsible for the transporting of soldiers who are bound either for recuperative leave or medical discharge. Philip (temporarily sightless from shell fragments) is among them and so is his nemesis from the Spanish Civil War, Parker, who shot the disillusioned Philip in the leg for being a deserter.
Parker and Philip are assigned to the same compartment, though Philip of course cannot see who his riding companion might be. The voice sounds vaguely familiar to him, but he is unable to identify who he is--that is, until Sister calls the mysterious soldier by his surname. A dramatic confrontation ensues, with Parker threatening to physically harm Philip, who insinuates that he may report Parker as the murderer of Lieutenant Norton in the Pyrenees. Philip, we learn, had no real intention to do so, but Parker flees by jumping off the train during its final stop before reaching the capital.
An entertaining subplot deals with Sefton's "serious" illness, which draws Tony and Jenny to his side, there to assist Mrs. Foster with his care until the elder Briggs's life no longer is in danger--if, indeed, it ever was. Actually, the suspected tachycardia turns out to be an unrelated ailment originating in the stomach, and Dr. Willy is correct in his diagnosis, irrespective of Sefton's insensitive remark that he would rather have a plumber attending him than the old man. As in "Giving and Taking," we again are treated to an intergenerational battle of wits over what constitutes a proper sleeping arrangement in the Briggs household.
Some random comments about "Clash by Night"...
At two points, we fear for Sefton's life. This occurs when he experiences chest pain after his altercation with Mrs. Foster and again when he shouts at Tony not to turn his back on him. Much dramatic tension is generated in the process, and first-time viewers may suspect that we are about to lose the Briggs patriarch.
Parker (John Ronane) was thoroughly unlikeable in "To Die for Spain," but his reprise appearance reveals him to be more covetous rascal than Bolshevist ideologue. Now he has nothing but hatred for "Uncle Joe" Stalin, and his motives have become entirely self-serving, whether they be profits from cigarettes and hooch or a discreet indulgence with our shapely nurse.
The writers make effective use of a "vintage 1938" photograph to re-establish for viewers the connection between Parker and Ashton.
Sister (Ingrid Hafner) is an intriguing character, whose authoritative voice commands attention and obedience, but who proves to be not quite as unapproachable as she might at first seem.
Throughout this episode, the train scenes are very nicely mounted--utterly convincing.
As in "Into the Dark," the writing capitalises on the fact that one protagonist, Philip Ashton, is blind. We, as the audience, can see Parker's (and Grant's) reactions in their moments of stress, but Philip, of course, has no such advantage and must rely upon his own instincts and good judgement.
When "Jack" (that is, Parker) casually mentions that Philip has a university education, Philip wonders how he possibly could know that, pointing out that "I don't wear a badge." A funny bit of dialogue.
I like the way the writers utilise Todd to serve as what amounts to Parker's sounding board. Parker feels free to express his innermost thoughts to his deaf friend, and the effect is much like a soliloquy--only with none of the theatrical trappings of that archaic form.
I wonder what Parker was planning to do to Philip before being interrupted by Sister. He had a ruthless look in his eye that portended a tragic end.
There is an electrifying moment when Philip stops short upon hearing Sister referring to "Jack" by his proper name. This brings a subtle but powerful nuance by actor Keith Drinkel, just perfect for that instant of recognition.
It took great courage for Philip to turn his back on Parker in the train compartment, knowing full well that he was essentially defenceless against his predator. After all, another soldier who turned his back on Parker, Lieutenant Norton, was struck dead by a bullet, and Philip himself suffered a leg wound for his defiance of the party line. Here it is as if Philip rightly senses that Parker is not quite the same firebrand who fought for hollow ideals in the mountains of Spain.
