Arthur, shrewd businessman that he is, is always happy to turn his hand to anything. Repossess a bull for a couple of farmers? No problem, especially when the fee is more than generous. But when it turns out that Terry and Arthur were duped into a spot of bull rustling, Terry insists they reunite the bull with its rightful owner ….
Leon Sinden and Derek Benfield play Smith and Brown, the two farmers who ask Arthur to arrange the bull repossession. I’ve a feeling that they’re using false names (something which also seems to strike Arthur – although it doesn’t stop him from doing the deal).
As ever, Arthur’s optimism is a wonder to behold (he tells Terry that the bull in question is a totally domesticated beast). Further amusement can be derived from the cross-cutting between Arthur ‘s visit to a gentleman’s outfitters (in which he’s obtaining the best country clothes) and Debbie’s striking performance at the striptease club.
Before Terry and Arthur’s adventures in the countryside, Terry’s called upon to help Debbie (Diana Mallin). She’s concerned about a punter who’s been threatening the girls at the strip club where she works. With Penny (Ginnie Nevinson) also making an appearance, Terry’s cup seems to be running over – although at present it’s plain that Penny’s the girl for him.
As Terry doesn’t spot anybody hassling Debbie, this part of the story doesn’t seem to be going anywhere, although it’s not not too surprising that we’ll come back to it later.
Despite Arthur’s claims to the contrary, you just know that he’s going to be totally adrift in the country (having to help herd a bull doesn’t help of course). Some of the comedy might not be terribly subtle – Arthur stepping into a cowpat – but it still raises a smile, thanks to George Cole’s supremely wounded dignity.
It’s interesting to learn that Arthur’s slip-up was unscripted, but George Cole’s cowpat (or possibly bullpat) encounter was deemed to be far too good not to include. If it hadn’t, then presumably it would turned up on numerous editions of It’ll Be Alright on the Night.
The first time we see the bull, it’s shot in close-up (and a touch of ominous incidental music helps to ramp up the tension a little more). Arthur, supreme coward that he is, suggests that it would be best if he stayed in the lorry (the country air isn’t doing his chest any good) but Terry’s adamant that he’s not getting the bull by himself.
It’s therefore ironic that Terry ends up doing all the work anyway whilst Arthur simply blunders about and then falls over (getting even muddier than he was before).
If you want to pick holes in the plot, then it’s strange that the bull was simply standing unprotected in a field, waiting for Terry and Arthur. Since there was nobody about, why didn’t Smith and Brown take the bull themselves? If they had then it would have saved them having to pay Arthur four thousand pounds. And it’s very unlikely that the story of the stolen bull would have made the front page of the Daily Mirror, even if was a very, very slow news day. Also, Terry and Arthur manage to track down Smith and Brown with embarrassing ease (the countryside’s a big place after all). And it’s odd that we never meet the bull’s owner (although had the subplot of Debbie not been included then there might have been time to do so).
Dave can always be called upon for a dry comment. When Arthur and Terry find out the bad news about the bull, Dave tells them that he still thinks rustlers can be hung ….
When Terry gets back to town, he finds Debbie in hospital. She looks pretty bad, although luckily the damage to her face is only superficial. Diana Mallin plays this scene well (Debbie’s more concerned that her cat gets fed than she is about her own welfare). Terry’s distraught. He promised to mind her and he blames himself for her injuries. Justice therefore demands that he catches up with Debbie’s attacker (and justice is served).
A Lot of Bull and a Pat on the Back revels in the seedier side of life, so there’s a number of scenes at the strip club where bare breasts are on display. Unsurprisingly this has to led to the episode being somewhat cut whenever it turns up in the daytime schedules.
It’s a fairly simple story, but Cole and Waterman are on fine form, especially Cole. Arthur’s misadventures in the countryside are the highlight of another entertaining script from Tony Hoare.
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