Most of the crew have decided to throw their hand in with Silver. Most, but not all. One whose loyalty remains undecided is Tom (Derrick Slater). He knows and respects Silver of old, but will he elect to join the others in mutiny?
The question of Tom’s allegiance brings the character of Silver into sharp focus. Silver is fond of Tom and seeks to win him over – to this end, along with some of the others they make for the island (leaving Smollett, Livesey and the others aboard the Hispaniola, guarded by a small number of pirates). Silver believes that away from the ship he’ll be able to talk Tom round.
Given all the quality character actors seen throughout the serial, it’s slightly surprising that the relatively undistinguished Slater was given this role. True, Tom’s screentime is very limited, but since the confrontation between Silver and Tom allows us – and Jim – a chance to witness Silver’s ruthless side, it’s therefore a pity that Slater’s performance is on the lifeless side.
Tom tells Silver that “you’re old and honest too, or has the name for it. And you’ve money, which many a poor sailor hasn’t. Brave too, or I’m mistook. You tell me why you let yourself be led away by that kind of mess of swabs.” During this monologue Silver has lain a friendly arm on him, but pulls away once he realises that Tom won’t be won over. With a horrified Jim watching from his hiding place close by, Silver stabs Tom to death. Given that the battle seen later in the episode is fairly bloody, it’s interesting that Tom’s murder occurs off camera. We see Silver stabbing something, but we never see what it is.
Captain Smollett and the others make their way ashore. Smollett really begins to take charge (Richard Beale is first class during these scenes) and they elect to use Flint’s old stockade as their base. But even before they’ve secured it there’s a brief battle and Squire Trelawney’s loyal servant, Tom Redruth (Royston Tickner), lies dying.
Tom’s barely had a handful of lines, but he does get a good death scene. Up until now it seems as if the Squire hasn’t really grasped the reality of the situation – it’s been little more than a game to him (finding a ship, employing a tailor to make him the grandest uniform, etc). It takes the death of a loyal family retainer, someone uprooted from his settled life in Britain and fated to die a lonely death on a distant island far away from his family, to bring him back to reality. He asks Tom to forgive him (and is insistent that he does so). Tom, loyal to the last, insists there’s nothing to forgive and, as Trelawney recites the Lord’s Prayer, Tom gently slips away. Beautifully played by both Tickner and Thorley Walters.
We meet Ben Gunn (Paul Copley). He’s Irish and speaks in a remarkably high pitched voice, which is a little odd. But then Ben Gunn’s supposed to be odd (what with his cheese fixation) and after a while his voice lowers a little, so a little bit of normality is restored. His cave – a studio set – looks very good (another design triumph for Graham Oakley).
John Dearth was one of those utility actors who was always worth watching, even in the smallest of roles. He was a regular during the first series of the ITC Richard Greene Robin Hood’s, playing a different role each week (and sometimes two in the same episode!) Various personal problems meant that he later sometimes found work hard to come by, but he was lucky to have several loyal supporters – one of whom was Barry Letts. Both Briant and Letts had directed him in Doctor Who, so like many of the cast it’s not unexpected that he turns up here. Dearth’s character (Jeb) mainly seems to exist in order to stress how dangerous Silver is – Jeb states that the only man the vicious Captain Flint ever feared was Long John Silver.
I’ve already touched upon how good Richard Beale has been and he’s never better than in the scene where Smollett and Silver face off. Both have their own set of demands and neither is prepared to give the other any quarter. Alfred Burke switches from smiling affability to snarling disdain in a heartbeat. This then leads into the sequence where the pirates attempt to storm the stockade. It’s slightly jarring that the outside is on film whilst the stockade interior is on videotape – the rapid switching between the two is a slight problem.
But no matter, Michael E. Briant still manages to choreograph a decent action sequence with a liberal dose of blood (nothing explicit, but it still manages to create the impression that a short – and brutal – battle has taken place). The pirates are beaten back, which infuriates Silver – so he elects to send for reinforcements from the ship ….