It’s interesting to see how Bill’s moved more into the office this year (effectively replacing Avril as a – less attractive – buffer between Tom and Jack). Tom’s not a happy man – the production of Barracuda has been temporarily suspended and he’s convinced that Charles is pursuing a vendetta against him. Jack’s delightfully laid back about it all, as usual he’s quite happy that something will turn up to save them.
Tom and Avril have another confrontation. I have to confess that Avril’s puffy sleeves captured my attention for a few seconds, but once Maurice Colbourne started ramping up the drama I snapped back into following the plot. Tom’s paranoia continues to bubble away. Given the breakup of the catamaran it’s possibly no surprise that the Barracuda also has to be considered suspectl but he clearly doesn’t see it like that. Instead it’s obvious to him that Charles is interested in breaking him due to his relationship with Avril.
The thrusting wheeler-dealer that is Ken Masters has negotiated a deal with Robert McIntyre (Fraser Kerr). Mark isn’t happy though, he’s convinced that McIntyre’s boats aren’t the sort of thing they should be selling (suddenly Mark’s turned into a mini-Jack, concerned about quality and craftsmanship). Or does he suspect that his wife is embroiled with Ken? Hmm.
Jan effortless rise to the top continues apace. Anna’s father, Mr Lee (Burt Kwouk), seemed to be a potential problem – but he quickly agrees that his daughter can go and work for Jan. This seems all too easy – surely there must be a few roadblocks ahead? Compared to Tom, who seems to be on an equally effortless rise to the bottom, Jan is leading a charmed life at present. And then she spies an advert from Sir Edward Frere – offering venture capital for new businesses (her eyes light up at this).
There’s another brief insight into Gerald’s private life when he takes a call from a Dr Reynolds. Even before we hear what the call is, the soundtrack helpfully (or too obviously, depending on your point of view) makes it plain that it’s bad news. Polly hears the call (bad news about someone) but once again Gerald can’t – or won’t – share his worries.
But the tightly-wound Gerald can clearly not be wound any further. When he discovers that Polly’s been on yet another spending spree, he reacts by smashing her latest purchase. But this is only a pretext – it’s not her that he’s railing against, instead it’s his own internalised pain. To give her credit, Polly is concerned and wants to help, but at present Gerald still can’t let her in.
Gregory de Polnay, probably best known as DS Mike Brewer in Dixon of Dock Green or possibly D84 (“I heard a cry”) in the Doctor Who story The Robots of Death, pops up as the slightly shady businessman Werner Grunwald. His accent – I believe it’s supposed to be Swiss – is something to behold.
Do you remember the time when Avril wouldn’t even let Charles through her front door without a shudder? Maybe it’s the passage of time, but now she’s moved into a swanky new flat things seems to have changed. She accepts a housewarming present from him – an expensive picture – with an expression of delight (last year she probably would have smashed it over his head!) But the increasing closeness of Charles and Avril does serve an important plot purpose – it allows Charles to articulate the feelings he has (mainly bad) about his father.
The ever-optimistic Leo decides to set up in business by himself as a general boat handyman. And his first customer? Amanda, of course. Amanda is still madly keen on Leo, whilst he’d sooner just repaint her boat (he’s a strange lad). She tells him it’s such a lovely day they should be enjoying themselves (that’s stretching it somewhat – it’s typically overcast in Tarrant). So they go dry skiing – Amanda’s good, Leo’s not so good. But he seems to be smiling a little more – which suggests he’s slowly coming round to her charms, although he initially refuses her later invitation to kiss him (he doesn’t refuse for long though).
Dulcie Gray’s husband, Michael Denison, makes his first appearance as Admiral Francis Redfern. It’s only a brief appearance here, but he adds a touch of class to proceedings.
Tom’s moved out of The Jolly Sailor and is currently living in the paint store at the Mermaid Yard. This – along with his wild-eyed, unshaven appearance – is a good indication just how far he’s fallen. Jack knew about his problems but didn’t offer to give him a bed at his house. So it falls to Leo, so often the conscience of the family, to step in. He’s concerned about his father and wants to help – which leads into a nice moment of father/son bonding.