Tom, tinkering with the Barracuda, is approached by a journalist called Michael Hanley (Michael Loney). Michael’s an Australian (if this wasn’t obvious by his accent, then the fact his first word was “G’day” might have been a not terribly subtle clue). He wants to write the story of Tom’s life and Tom – desperate for any good publicity – is happy to agree.
There’s anger in the air at Leisure Cruise. Ken’s more than a little miffed about the way Sarah spoke to a potentially important client and he makes his feelings plain – firstly through snarled comments and then with a raised fist. Stephen Yardley’s certainly not holding back in this scene, although had Ken not been wearing a stripey jacket which looks something like a deckchair then possibly it might have been a little easier to take him seriously. Sarah-Jane Varley’s ramping up the histrionics too – Sarah gives Ken a slap and as he walks away she collapses into a contrite, sobbing heap.
A tear-stained Sarah decides not to sell out to Relton after all (she still looks gorgeous through the tears) whilst Ken is dignified and stoic, telling her that they both have to live with the guilt of Mark’s death. Is it wrong of me to suppose that this guilt weighs much less heavily on Ken than it does on Sarah?
Avril’s very much the hard-headed businesswoman these days. Colin Linsdale (Peter Penry-Jones) has been a key member of Relton Marine for some time – but not any more after Avril fires him with very little ceremony. Had he really fallen down on the job or can his removal be partly explained due to Avril’s increasing closeness to Charles? (i’s tempting to ponder whether she’s beginning to think and act like Chares Frere). Although Colin’s featured regularly from series two onwards he’s never been a central character, so losing him won’t impact the series in any way. But he serves a purpose as a handy sacrificial lamb, illustrating the back-stabbing world of big-ish business.
Here’s something I thought I’d never see, Ken and Tom shaking hands and acting friendly. Ken wants the Mermaid to build him a boat, although Jack (when he learns it’s a speedboat) isn’t interested. But when Ken mentions that he’d like it built in wood, Jack perks up somewhat! Jack Rolfe seems to be somewhat more kindly disposed to Jan these days – she’s still hanging around the office and he’s not raging about it, so that’s progress of a sort.
It’s interesting to record that although the previous episode had seen Jan mentioning she’d be something of a sleeping partner – her own business interests being so plentiful – that’s not been the case so far. The fact she’s suggested a new design possibility for Tom to look into (a lightweight craft, able to be towed behind an ordinary car) supports this. It’s slightly hard to believe that on her first day she could pinpoint a lucrative gap in the market that neither Tom or Jack had previously considered, but this is fiction after all ….
An unshaven and ghastly looking Gerald staggers home. It’s yet another tour-de-force scene for both Ivor Danvers and Patricia Shakesby. Gerald finally confirms what most of the audience would have suspected for some time – James, who has just died, had been suffering from AIDS. Maybe it’s Gerald’s bitter grief which makes him turn on Polly somewhat, acidly reassuring her that she’s in no danger (suggesting that their loveless marriage has never been consummated).
When Gerald confirms that he’s in the clear, Polly expresses heartfelt relief, although he fails to understand why. This is another fascinating character moment which asks us to reassess what we’ve learnt about these two characters during the last few years. Gerald has always appeared to be an affable, dutiful husband (never able to give Polly much time or any love, but still content to keep his side of the bargain) but his recent diatribes suggest that his true feelings towards his wife are much bitterer ones.
In contrast, Polly has tended to treat both Gerald and Abby with disdain and indifference, although – again – this isn’t the whole picture. She tells him that “through all these years, through our wreck of a marriage, you have never wanted me. But I need you, Gerald. I love you”. Polly’s always been an isolated character, but this year her disconnect has been total (not even Jan, her best friend, has spent any time in her company).
Tempers are fraying at the Mermaid with Jan and Jack (an odd couple) keen to take Ken’s commission and Tom opposing them. Tom wonderfully taunts Jack that he’s only interested in the job since it’s made of wood. “This yard might stand a better chance of surviving if everything you built didn’t look like the Mary Rose”. Hah! A great line. The notion that Jan and Jack would be on the same side is a delicious one, although they’ve got very different motives – Jack just wants to work in wood whilst Jan (facing the prospect of her fashion business dwindling to nothing now that her designer’s gone AWOL) spies a money-making opportunity and Jan loves money ….
Just when you think things can’t get any better, the door opens and Leo and Amanda walk in. Howards’ Way is certainly firing on all cylinders at the moment – witness the nonplussed reactions of Jack, Tom and Jan after Leo breaks their happy news.
Is it just a coincidence that Emma looks very similar to Avril? Given that Emma and Tom are becoming increasingly closer – and he’s only just broken up with Avril – possibly not. She’s been keen to take their relationship further but he (thanks to his chaotic recent life) has been reluctant to commit. But since they’re staring into each others eyes as the romantic, slow version of the HW theme plays, it’s fairly obvious that a lock of the lips is only a few seconds away.
I love Kate’s greeting to Amanda. “You are Amanda? Well you’re very pretty”. This is delivered in the no-nonsense way that Dulcie Gray excelled at. When Amanda’s father, Mr Parker, makes an appearance, stormy waters seem to lie ahead – but Tom is neatly able to direct him into a safe harbour when he suggests they both go off for a drink. Tom’s good humour is nice to see. After having been something of a haunted, wretched figure for the first half of S3 it’s pleasant that he’s finally sparking back into life.
Jan has to come clean to Sir Edward about her missing designer. Manhandling a big cigar, he’s very much playing the businessman, which seems to discomfort Jan, who was probably hoping that Edward – the man – would have made an appearance. He does make a good suggestion though (find another designer) which given the way Anna fell into her lap does sound a reasonable one. I wonder why Jan hasn’t considered it?
Tom and Jan present a united front over the marriage of Leo and Amanda. They may both have doubts, but they also both realise that the young couple have to find their own way – Leo and Amanda will either sink or swim, but they’re the ones who have to steer their course from now on (sorry, that’s the last nautical metaphor, I promise).
There’s a decent cliffhanger as Jan opens the door to … someone. We don’t see who it is for a few seconds, but her shocked expression makes it plain that it’s an unexpected visitor. Anna’s back ….