It's about the impossibility
of actually connecting

with another
human being,

because we're all wearing
these carapaces,

this casing,
this rubbish, really.

And the more
they hit and hit,

actually,
the less they impact.

It's-it's just...

really really moving,
actually.

Mm-hmm, wow.

- I'll see you later.
- Okay, see you later then.

See you later.

What was all that about?

Yeah, she's a bit
of a film nut.

You should hear her
when she's on about Fassbinder.

- Fassbinder?
- I've got a list

of the men
that fell--

92 died
that morning,

so your chap was lucky
to be alive.

I could fix up your lot
with real, accurate names,

and then they can shout out
their names to each other

in the heat
of the battle.

- What do we think?
- Thank you. That would be really--

Have you seen
"Cold Mountain"?

- Yeah.
- What do you think?

I thought
it was good.

I thought Nicole Kidman
was a bit old,

- but I thought it was a good film--
- No no, the battle scenes.

Oh, fantastic!
Very very good.

That explosion
and when he jumps down...

- That was the best one.
- It's shite!

Utter shite
from beginning to end.

Woefully inaccurate.

Right.

We wouldn't be interested
in participating

- in a pantomime like that.
- Right.

Splishy-splashy water.

Look at you go!

Ooh! Oh God!

Oh dear.

- Will you bathe me later?
- No, I won't,

though you could
do with one.

- Those are pheromones.
- Uh-huh.

Can you do
the cot up?

A lot of women
find that sexy.

Daddy's gonna put
your cot up.

Ooh ooh ooh...

What's this?

Bach.

It has a calming effect
on babies.

My parents never
played me Bach.

They played me
New Seekers.

I turned out fine.

You like Bach,
don't you?

Yes, it makes you happy.

- Jenny?
- Yeah?

Do you think I should have
my nose straightened?

Oh God!

Do you think I've got a character
actor's nose or a leading man's nose?

I think it's your nose.

I think when
the time comes

I'm just gonna have
a chin tuck

and then leave it
at that.

Shh!

He's just nodding off.

No, don't answer it.

- Hey.
- Hi.

Sorry to bother you,

but they're screening the rushes now.
When you're ready...

Okay, I'll slip into
something more comfortable.

- What is it?
- I've gotta go see the rushes.

- Sorry, baby.
- Do you have to?

Yeah, I won't be long.

At least I don't
smell anymore.

These bottles
are filthy.

Probably quite expensive.
You'd think someone would clean them.

- Hello.
- Hi, how are you?

- How are you doing?
- Okay.

- How are you?
- Good.

- How are the kids?
- Good.

- How many is it now?
- Seven.

- You've got seven children.
- Yeah, seriously.

One for every day
of the week.

See, now there's a good Groucho Marx
story about...

see, he meets a woman
with seven children

and says, "Why've
you got seven kids?"

And she says,
"Because I love my husband."

He says, "Well, I like my cigar,
but I take it out now and again."

Here's Mark.
Okay, let's sit. Great.

- Have you got the tape.
- Uh no...

Mark's put together

a rough assembly
of the battle scenes

and, as you all know, we had
very little money when we shot it.

We're all agreed that we have
a possibility of a very exciting film,

but with a slightly
small hole in it

where the battle should be,
which we need to reshoot.

But we can talk about that
after we've seen what we've got.

Okay, Peter,
I'll do the lights.

Mel Gibson's not
gonna lose any sleep.

The model is more
impressive than this.

Stand by cannons
to reload!

I am leading literally
tens of men.

- This is a pole vaulting scene?
- I think what we need

is a bit
of a score under it.

- Quite right.
- Who's the music composer?

We haven't made
any decisions about that.

That's great.

Well done, everyone.
Everybody, that's where we are now.

If anybody wants
to say anything?

I think that the--
that scene,

because it looks so cheap,
it actually makes it funnier.

It works 'cause it's funny.

Well, it's not
supposed to be funny.

Toby's supposed to be funny. The battle
is supposed to look like a battle.

You look really really good
in your costume.

- Yeah.
- Yeah, you looked great.

There's a problem
with that too

'cause some of the lead costumes
are out of period.

They're about
50 years out of date.

I think I saw a Roman centurion
at one point.

You either go for proper,
full-on "Braveheart"--

clearly,
that's not an option--

or you go for "silly man
in a comedy battle"

which is well within
our grasp.

The thing is
we need to reshoot it.

Gotta have the battle scene
or haven't got a whole movie.

Oh no, but wait a minute.
I was reading through

some of Joe's old drafts. There never
was a battle scene, was there?

- No.
- What about the chestnut scene?

Do you remember when you
asked us to finance the movie,

you acted out a scene
where you dropped

a hot chestnut
down your trousers.

I mean, that's why
we gave you the money.

Ahh.

Went well,
I thought.

Except it's not Walter
who does it, is it?

I mean, it won't be Steve
doing it in the film.

Wait a minute, Joe.
You're serious?

- It didn't matter though--
- I've been practicing that for weeks!

First I tried to
keep it small,

then I pushed the idea of him
struggling to control the pain.

Then I just went for
lots of energy.

That looks good.
We can try that.

Do you wanna try it
with a real hot chestnut?

Try it
with a real one.

Just an experiment to see
the general reaction.

Agh agh fuck!

Shit! You put--
fuck! Fuck!

Agh, get it out, please!

Get it out!
Please, please!

You've got your hand
on my fucking knackers!

Get off! Agh!
Get off! Get off!

Get your hand out!
Jesus, man! Fuck!

Ow! Fuck!

It's out.

Fuck...

- Do you want some water?
- Fucking hell!

I'm all right,
I'm all right.

Fucking hell.

Fuck. You had your fucking
fingers up my asshole!

I'm sorry,
I didn't mean to do that.

- I'm sorry.
- Fucking hell, man.

- I'm very sorry.
- It's-- you know...

Take me
to dinner first.

- Fuck.
- Sorry.

We've all seen
battle scenes before,

but how many times have
we seen a chestnut scene?

I think we need
more of Uncle Toby.

Uncle Toby's character is
the strongest character,

it's the heart and soul
of the piece,

the funniest character
in the book.

The battle scene
is Toby's scene, so...

That's irrelevant.
The bottom line is

how much will it cost
if you want to...

Well, we think we can
pull it down for 100,000.

See, I think the audience
that will come and see this film

is not interested
in big action scenes.

Anita, this is what
we don't have.

We don't have
the luxury of time.

These guys are out there now,
in uniform, loading up the muskets.

Don't try and hold us
to ransom about this.

We need to go and think
and talk about it...

Why don't you take
Anita and Greg off

and chat about the things
you need to chat about?

- See you, Steve.
- Go.

There's a shoe issue.

It is an issue of status.

Are you coming with us?

Turn the lights
out, please.

See, you can hardly
see the shoes.

I don't really see
what the problem is.

It's important characterwise
to see the height difference.

It tells the seniority
of the characters.

Is there anything
we can do about that?

- Um...
- Are you all right?

Yeah, we can um...

take an inch off
Rob's heel

and put a thicker sole
on Steve's shoe.

- You all right with that?
- That would be great.

- Okay.
- I'll do this. Thanks.

Let's get some lights on.

Steve, are you coming
to the meeting?

- Well, that was thrilling...
- Steve.

Steve, Gary's waiting
in there.

He's been waiting
for about 20 minutes.

I'll see you around.

Listen, I've got to
talk to this guy.

Five minutes
and I'll be up.

- Whenever.
- I want to talk to you.

Sorry, love.

Listen, I'm very sorry
about the other night, okay?

It was last night,
actually.

Oh, well--
since I was drunk.

Just so I know,

are you sorry
because you kissed me

or are you sorry
because you were drunk?

- Which is it?
- Uh... both.

Slightly less sorry
I kissed you

because it was
very nice,

but I don't think
it was, uh...

- Anyway, I'll leave you guys to it.
- Okay.

Hey!

All right,
buddy.

- How are you doing?
- You well?

Yeah, good
to see you.

Right, are we good?

I've gotta go
to a script meeting

and I've got to do this sort of
dad-kind-of- boyfriend thing.

Great. I'll take a picture of you
and the baby.

So can we postpone this
till tomorrow morning?

No, no--
you can.

But I've got to be
honest with you,

everyone at the office
wants to run the story about the girl.

You don't want that
because it's just weird stuff.

It's not weird,
just embarrassing.

She's saying some stuff
about me-- anyway--

I want to
play ball too.

All right,
so if you can give me--

Yeah, 7:00 A.M.
tomorrow morning.

I don't think
they're gonna go for that.

What do you
think's better,

the chicken
or the beef?

These rooms are fantastic,
aren't they?

- Yeah.
- Yeah.

I'm in the Charles I suite.

Apparently
he stayed in there.

Yeah, just before
he was beheaded.

- Is that true?
- Yeah.

Would you like
a drink, Steve?

Uh yeah, I'll have
a vodka tonic, please.

Can we please just talk
about the script?

Even if we get
the battle scene shot,

then we're still
going to be under.

It's a big book.
Plenty to choose from.

Think I'm gonna have
a lamb shank.

Given that the story's about
Walter's love for his son...

- Here, put this in.
-...I really think

that Walter should be there
at the birth.

It's the 18th Century.
Men just didn't do that.

You're a 21st-Century man,
but Walter can't be.

He talks to the fucking camera.
He can be emotional.

If you saw Walter for an instant
holding the baby in his arms,

then you would forgive him
all his flaws?

Yeah, but it would
look terrible.

It would be like the scene
in "Robin Hood"

where Kevin Costner
delivers a baby.

Because he's got
a stupid mullet haircut.

Remember all those scenes that you
pitched when we first talked about it?

Like the black page

when the good
Parson Yorick dies--

the book has
a completely black page.

I don't know how interesting a black
screen is going to be for an audience.

The original cover
for "Anarchy in the U.K."

was inspired
by that page.

- But Yorick isn't even in the film.
- He used to be.

Hardly anybody's in the film.
That's the problem.

I like the black page. That's one
of the arty bits I actually like.

Why do we want to spend
a year of our lives making this film?

- 'Cause it's funny.
- Is that all?

Is that not enough?

If it's genuinely funny,
that is enough.

It has to be
genuinely funny.

Well, what was
all that stuff Patrick told us

when we visited
Shandy Hall?

The theme of "Tristram Shandy"
is a very simple one--

Life is chaotic,
it's amorphous.

No matter how hard you try, you can't
actually make it fit any shape.

Tristram himself is trying
to write his life's story,

but it escapes him
'cause life is too full, too rich

to be able to be
captured by art.

And his father Walter
tries to plan every aspect

of Tristram's birth,
conception, childhood and so on,

and his plans
all go wrong.

Walter puts it this way...

Did any man ever receive
so many lashes?

Walter is indeed
the most unfortunate of men,

and if his life
could be celebrated,

then so too
can all of ours.

What about Widow Wadman?

I've been pushing for that
since the start.

Widow Wadman,
that's a romantic comedy.

- That's bollocks.
- Who do we have for the Widow Wadman?

She might be free.

Okay, Beth
and Sam?

- That's good.
- Gillian Anderson.

We know that
she loves the book

and Mark met her
in L.A.

- Did you, Mark?
- We couldn't afford Gillian Anderson.

She'd cost more than
the whole battle scene.

No, but Gillian Anderson
is an American film star.

I think, actually,
she's Canadian.

It would make it a real movie
if it had a real star.

Two stars.

I don't see myself
as a star.

I'm a craftsman,
like a medieval craftsman.

- With a Porsche.
- Plying your trade.

Yeah, I'm a medieval
craftsman with a Porsche.

Two stars--
I was just thinking

that's gonna be
the review.

"'Tristram Shandy,'
two stars.

Jonathan Ross.

If she needs
to meet--

We can't get her
something in time.

Well, I've only
written three drafts

with the Widow in it.

I've got to see Jenny.

- See you later, Steve.
- Yeah.

- Bye, Steve.
- See you later, Steve.

Jenny?

Hey... hey...

hey...

hey, aw, hey...

hey...

Oh, dear dear dear.

Oh, there you go.

Oopsie-daisy.

Fur ones, not the ones
full of polyester

'cause
they're shite.

- Ah, yes!
- Hey!

Hello!

Sorry, I was just changing
the baby's nappy.

We heard it all.

It was very lovely.

We'll do
a musical next.

Oh I see, you've been
eavesdropping on me.

We're celebrating.

Brilliant idea,
mates.

The money men
are lapping it up

- Gillian Anderson said yes.
- Really?

We only spoke about it
five minutes ago.

I know, but I phoned
her agent in L.A.

- Joanna, hi.
- Hi!

I'm calling about
"Tristram Shandy."

- We're in the middle of filming.
- Yes, I know.

I read the script.
I love it!

Great! I wanted to talk to you
about Gillian Anderson.

She's right here.

- Oh, hello! Mark's right here.
- Hi!

- Hi, Gillian? Hi.
- Hi, Mark!

Remember I was telling you
about "Tristram Shandy"?

Oh, I love that novel.

We've decided to include
the Widow Wadman in the story.

Yeah, I love
that character.

You know what a great fan
I am of yours.

Oh, that's so
sweet of you.

Obviously
it's a low-budget film.

- Oh, don't worry about that!
- That's fine.

Gillian's interested
in the quality of work.

She's not looking
for a payday.

- That's right.
- Great. We'll need you right away.

- I can fly tomorrow.
- Okay, bye.

- Okay, bye!
- Bye.

Oh yes.

Jesus,
that was easy.

Yeah, that worked well.

So she's coming
over tomorrow.

That's fantastic.

Is Gillian Anderson
the one in "Baywatch"?

That was Pamela Anderson.

We've already got
one blonde with big tits.

- I love you.
- Thanks, but just a bit too hard.

I love "The X-Files."

Do you know
Rasputin had a wart

on his penis?

Listen, thank you
so much for the champagne.

That was lovely.
Bye.

- Good night.
- Night to all.

Good night, just going to have
a bit of sexual intercourse.

Thanks for the details,
thanks very much.

I don't think
that's their baby.

I don't know,
it just seems so unreal, so perfect.

She's very good for him,
I tell you.

She is very grounding
for him, don't you think?

- Steve?
- Jesus Christ!

Sorry sorry. Can I have a very
quick word with you?

How long have you
been there?

I've just been waiting for you.
Sorry, Jenny.

Just two minutes.
I just need to talk about something.

- Sure, yeah.
- Fine.

Thank you.

Have you heard
the news?

They're trying to get Gillian Anderson
to play Widow Wadman.

I know.
That was my idea.

- Was it?
- Well, not the Gillian Anderson bit,

- but the Widow Wadman thing.
- You know how I feel

about Gillian Anderson.
I've got posters of her.

I think the woman's
an angel.

I've got all of
"The X-Files" on DVD.

- I don't understand.
- Do you want a drink?

Yes, please. I'll have
a vodka tonic, please.

- The thing is I can't act...
- I know that.

...with Gillian Anderson.

I have a proper sexual thing
for Gillian Anderson.

I covet her. If I have to do
a love scene with her,

I will blush.

But Toby would blush.

That's good. Channel that.
That's method acting.

Yeah, right.

- Cheers.
- Here you go.

I don't know
why you're worried.

You don't have that
many scenes with her.

They're putting the whole
of the love story in.

Steve, you've read the book.
It's 100 pages.

You have given me
a love story

with my favorite,
my ideal woman,

my perfect
10-out-of-1 0 actress,

and I am going to
be stammering

and stuttering
my whole way through it.

- Wait wait--
- Thank you.

Um... I've got to go
talk to Jenny.

Oh, listen, Jenny mentioned
about this stuff--

it's not been as good
since the baby and everything.

- What, did she?
- All men lose their libido.

I don't--
no, they don't--

Rob, I don't have
a problem with my libido.

I just don't have
the fucking time.

For fuck's sake.

"l have no problem
with my libido."

Have you seen
my book anywhere?

What book?

"Tristram Shandy."
Which book do you think?

Here it is.

What are you doing?

Come here!

Can you believe a book
as thick as that

hasn't got an index?

It's a novel,
not a cookbook.

It's Book Six.

How'd you know that?

And Book Eight
and Book Nine.

- So you knew before Rob did?
- What are you talking about?

Rob now has
a bigger part than me.

- Bet he hasn't.
- But he's got a battle scene

- and he's got Agent Mulder from...
- Scully.

And he's got big heels.

And you've got me
and you've got a baby

and you're playing
Tristram Shandy.

Yeah, I am playing
Tristram Shandy

in "The Life of
Tristram Shandy."

You know what? At the end
of the book, he's not even born.

- Who told me that? No one.
- Steve,

I have traveled 200 miles
by train with a baby

just to have sex
with you.

Look, honey, this is
not about my libido.

It's-- I've got to--

"Presently I hope I shall be
sufficiently understood

in telling the reader
my Uncle Toby fell in love."

- Fuck.
- She's a wealthy widow.

She sees Toby.

She falls for him, but she's
worried about his equipment.

"...has fallen in love,
deeply in love,

up to the ears
in love."

If it is not intrusive,
Captain Shandy,

I'm agog as to what actually occurred
at the Siege of Namur.

I have a model
just yonder

of the city as it appeared
to the besieging forces

on that morning
in 1695.

You interest me strangely.

The English and the Scots
came out of trenches on the right.

I'm quite perspiring
with anticipation.

You must know,
Captain Shandy,

that I have taken
an interest in you.

But before we go further
on that matter,

I must reassure myself

of your fitness
for marriage...

of the state
of your equipment.

Would you like
to see my model?

I must know exactly
where you were injured.

Madam, I'll show you
the exact spot.

Are you sure?

You can put
your finger on it.

- Just beyond the asparagus.
- Yes, quite right.

Out of the way.

I'm flattered,
Captain Shandy,

that you would take me so far
into your confidence.

I received my injury

at nine of the clock
right here.

That was great.

Thank you.

Rob, this is Steve
from "The New York Times."

Hey, I'd love
to do a piece on you.

That was a really
good job by the way.

You!

- Was it good?
- Yeah, it was great.

Where's Steve?
I really wanted him to see that one.

Steve's over there.

Hello!

Rob? Rob?

Did you hear my laugh?

I heard a laugh.

- Steve Coogan? Hi.
- Hello.

Very pleased
to meet you.

Sorry about this.

I didn't realize
you were so small.

A lot smaller than me.
Come and see how small he is.

This membrane looks like
it's about to burst.

Then there'll be
a huge muscular spasm.

Agh!

Oh my God!

It's the funniest thing
he's done for years!

It's just disgusting.

I don't know why
I'm so small.

- Neither do l.
- I didn't realize he was so small.

He really is small,
isn't he?

- He's tiny.
- Rob?

- Rob?
- That's his actual size.

Rob, I thought
you were a mate!

You should go to L.A.
and spend some time there.

I'd want to go. I'd want to meet
as many as I can...

You should. You're going to be hot
after this movie...

I just wanted to apologize

for the fact that this is a complete
historical cock-up.

And in order to make it
a bit more fun,

I'm gonna give everybody
a character name, okay?

- Yay!
- So, Eli Thrift.

Free Fornication Williams.

Feichmann,
have you got a mic?

Well, then you shouldn't be
wearing a gorget. Take it off.

Okay, Efrain Greenwillow,

- you can have that.
- Have you heard?

They're so chuffed
about Gillian Anderson,

they're going to give us some money
for the battle scene as well.

- That's great.
- And Joe has had an idea

for the birth scene, so you can go there
when the baby's born.

Oh, brilliant. That's great.

Where's your pretty wife,
Steve?

Come on!

- Hello.
- So they're going to have love story

and the battle scene.

That's great.

It's like some Hollywood version
of "Tristram Shandy."

Yeah, Fassbinder
would have never sold out like that.

You know Fassbinder?

- Mm-hmm.
- Wow!

Which is
your favorite film?

The whole...

the corpus,
the bloody work.

"Fear Eats the Soul."

Yeah.

There's more truth
in that title

than there is in most whole movies,
you know?

- Yeah.
- But the thing is

he's such like
a powerful writer.

You know
"Schatten der Engel"

That is my favorite.

- Do you know that one?
- Is it the one with all the sex in it.

No, it's the one where lngrid Caven
is this prostitute,

but the thing is
that she's so beautiful

she doesn't even need
to touch the punters.

They're just happy
to, like, sit in her room

and just look at her.

The thing is that
humanity is so disgusting

they kind of, like, invade
and pollute her with their problems

and their insecurities
so that in the end,

it's actually better for her
to just fuck them.

You know, it's cleaner
for her to fuck them

than it is
to listen to them.

You're watching the movie
and you're, like,

"Just fuck them, Lilly!
Just fuck them!"

- Do you know what I mean?
- Fuck them.

Fill me
with your babies.

What what what?
What did you say?

What did you
just say?

I don't know.
I think I said, "Fuck me."

- I think.
- The thing is--

no, you said
something else.

That's not
what you said.

It's what I meant.

Listen, um...

you are fantastically
attractive

and your knowledge of
German cinema is second to none.

But... I've got to
get back to Jenny.

I've got work
in the morning,

it's an early start.

6: 30 A.M. call,
I think.

Yeah so...
good night.

Yeah, good night.

I am Spartacus!

Push on!

I am Spartacus!

I am Spartacus!

Jennie, I am Spartacus.

I am Spartacus.

- I am Spartacus.
- I am Spartacus!

Where have you been?

You're freezing!

I had a nightmare.

I missed you.

I missed you.

I love you.

Steve, it's time
to get up.

Morning. Your car will be ready
in half an hour, okay?

Right, thank you,
Jennie.

- I'm sorry.
- He'll be okay for a couple of minutes.

God, you're
so lucky.

This morning's headlines--

Americans have conceded
that the insurgents in lraq

are as strong now
as they were a year ago.

More foreign terror suspects
are expected to be freed on bail today

as time runs out for the existing powers
under which they're detained.

And what Churchill
thought of lndia

and what lndia
thought of Churchill.

Today's newsreader,
Charlotte Green.

A senior American general

has said the insurgents in lraq
have lost none of their capacity

to launch attacks
on Coalition and lraqi...

- Morning.
- Morning.

- Morning.
- Hi.

Rob, did you want me
to get you some breakfast?

- Some coffee?
- I'll have a coffee.

- Okay.
- Everyone's here?

Yeah, they are, actually. Do you
want me to get you some breakfast?

No no, I'll go with you.
Been here for ages.

Top o' the mornin'
to ye.

-...but once I get the other sock...
- See you.

Morning, uh...

- Rr-r...
- Rob.

- Rob.
- That's it, well done.

It's the shoe business,
you know?

It goes on all day
between Steve and Rob.

I've got the shoes
for you.

They've been built up
so you'll feel a lot taller.

Be hard to see Jennie.
She's a bit... intense.

Very. Hard work.

Do you know
this shoe thing,

I think we're fine
as we are.

I spent all night
working on it.

- I think we've got spare ones.
- Sorry, love.

We got spare ones here.

- Okay.
- Sorry, love. Thank you.

- Um, Steve.
- Well handled.

This is the coat, Steve,

for the scene where
you take your wig off.

- Want to just try it on for me?
- Sure.

- All right, love.
- Take your wig off with the right hand

and pull your handkerchief
out of your right-hand pocket...

- This is actually weird.
-...with the left hand.

- I mean, that's--
- You look like Lee Evans.

It looks like
the pockets are too low.

It looks like they've been placed there
for comic effect.

Shall we say it looks
like a rain suit?

"ln the latter end
of Queen Anne's reign,

and the beginning
of King George l,

coat pockets were cut
very low down

- in the skirt."
- The pockets can be built

technically accurate
and still look contrived.

It's historical,

but it's not
hysterical.

Yeah.

- Hey, Joe!
- Hello, Steve.

Listen, I'll see you
tomorrow.

I'm going to
get the kids

- to see the battle.
- Brilliant.

How'd the
birth scenes go?

- All done, yeah.
- Fantastic.

Trying to get the impact of having
a baby on Walter,

your physical
and emotional impact.

- Yes!
- You all right?

- Yes, very well.
- Listen, we've gotta get a shift on.

I need to do something.
Hiya.

I'll need to get a train,
so can we just find somewhere--

I'm gonna need
five minutes for Gary.

- 10 minutes.
- Sorry.

Does Mark know
about this, Steve?

He doesn't know.
Tell him not to worry.

I just wanna do
a really general piece,

you know, the type of thing
I'm sure you've done before.

- Yes.
- Steve Coogan the actor,

Steve Coogan
the family man.

And with the novel
being called

"The Life and Opinions
of Tristram Shandy,"

I thought we'd call the piece
"The Life and Opinions of Steve Coogan."

- Great. Tidy
- Yeah.

Just a sort of tidy...
exactly.

But really, obviously
you've just become a father.

- Yeah.
- So let's do a little bit

about the family to start off.
What does it mean to you?

Well, it's everything to me.

- Hi, babe.
- Hiya.

- How is he?
- He's a bit... grumpy

- this morning.
- Sorry.

Sorry.

Steve, we've got
your other baby next door

if you'd like to come and say hello,
do a bit of bonding.

That's Walter's
little baby.

- I'll explain later.
- It might take a minute.

Okay.
See you later, love.

See you.

I've got the new sides
from Joe...

- Good.
-...for the scene as well.

He spoke to me
this morning.

- He's very pleased with it.
- Great, I'm pleased.

- This is Rachel.
- Hi.

And little Tristram.

- Oh...
- I'll catch you later.

Okay, right. He's got a better
hairline than me.

She's a girl, actually.

I hope that's not
going to be a problem for you.

No, I'm very in touch
with my female side.

Everyone miked up?

Yeah, with
the time we need.

Okay, all right.

- Ed?
- Yes, sir.

Let's get it
all locked up.

Yeah, okay. Byron, can we just get
this moving now? Thanks.

She likes you.
She's very happy.

Hey! Aw...

She's so small.

- Steve?
- Yeah?

They're ready for you
on the set.

Oh...
that's Mommy.

Okay, I've just got to
say goodbye to Jenny,

just say goodbye.

Three days in a row
you've been screaming.

It's only one more day.

It finishes today.

- Good morning.
- Good morning. How are you?

Hello.

Could we get Steven?

Thank you.
I'll try to stay awake.

Joe has written in
this part of the scene

where Walter's there
at the birth of Tristram.

- It's really important.
- It's fine.

Steve, there waiting
for you on the set.

Okay, all right.

Listen, have
a safe journey.

- I'll see you on the weekend.
- Okay.

Would you have had
a baby with me

- if I'd really had a nose like that?
- No.

I'll give you a call
when we get there.

Okay, I love you.

- It doesn't seem right.
- No, it's wrong.

Okay, sorry about that.

I'm just a bit confused.
Are we supposed to--

It's not continuous.
We've jumped in time.

We've jumped in time.
We're going to take that moment

where the kid's
about to be born...

- Right.
-...from here.

So this is
the very end of it.

Very end of it.

- Okay?
- Right.

Hi. Um...
all right.

Hold the work, please.

Hold the work.

- So, Steve?
- Yeah?

We'll have about
40 seconds of...

effort before
your entrance, okay?

Say, what's
happening?

All right,
his head's here now!

We're just about done.

Okay, Steve.

A little more, ma'am.
A little more.

That's it.

That's it, ma'am.

That's it.

He's handsome, ma'am.
He's a handsome... boy.

He's a big boy.

Thanks very much,
everybody.

There's a drink
through there,

so... if you'd like
to go on through.

- What happened?
- Um...

So what do you think
about that?

- Can you tell that's not me on horse?
- Yes.

- Do you ride a horse?
- Yes, I rode a horse.

You look like you'd never
been on a horse before.

You were funny,
you were charismatic...

- Charismatic?
- You looked so dashing.

- I looked so dashing?
- You did.

I was dashing.
I dashed.

What happened to
the whole Widow Wadman story?

How much did you do?

I shot like two weeks.

I mean, the house is
way too big for Shandy Hall.

Well, that's what they wanted to make
the film look sexy.

I thought you look fantastic,
by the way.

- And you.
- For what it's worth.

- Yeah.
- All right.

See you in a bit.

- Great, just great.
- Ah, yes.

Thank you,
rather good on that.

I thought we were gonna get
the big emotional scene

with Walter
and his baby.

Yeah, well,
the 18th Century...

- it didn't work.
- We thought the scene

with Steve and the baby playing
young Tristram would give us the emotion

and still be true
to the original story.

I always forget
how short I am.

I can't believe that was
the whole fucking movie.

I think we look like
a nice couple, don't you?

Where is
the battle scene?

Yeah, where's the battle?

It wasn't funny.

So how many drinks
do you have a day?

I have-- I don't know--
a number.

And I purposely have
a pay-to-go,

and I only keep
L10 on it

so that I can't stay
on the phone long.

That way I'm just
quickly off.

- How does the book end?
- The book's got a great ending.

- Parson Yorick.
- Mm?

Why are we so delicate
about the subject of passion?

Why do we put a candle out
when we try to make a child?

I'm not sure.

Everyone does put out a candle,
Sir Walter.

Though you see, Walter,
not everybody does put the candle out.

I have on occasion asked for the candle
to be left, but...

Be that as it may,

why do we glorify the act of killing
that's destroying a man?

We honor the weapons
with which we do it.

We write about them.

We paint them.

- Obadiah.
- Good evening, Parson Yorick.

Has that cow of yours
calved yet?

Well, that's just it.

My cow has not
calved yet.

Will thou have this woman
to thy wedded wife,

to live together...

It so happened that
Obadiah was married

on the same day my father's bull was
introduced to his cow.

Now the custom was
that my father's bull

served all the cows
in the parish.

But the truth was,
the parish was so large

my father's bull
was not equal to the task.

But as he went about
his business

with a grave face,

my father regarded him
very highly.

When the baby was born,

Obadiah hoped
the cow would calf.

- She didn't.
-...both water and wine.

May not a cow
be barren?

- Never happen.
- My bull is as good one as ever pissed.

If you attack his character,
you attack his life.

Good Lord, what is
this story all about?

Cock and a bull story.

Cock and a... bull.

- Mm.
- Cock and bull tale.

Cock and bull's tale.

- Cock and bull.
- Cock and bull.

- Brother.
- Sorry.

And the best of its kind
I ever heard.

I like it.

I thought
it was good.

That's the area,
that's the area.

- Right there.
- Okay okay.

What do you think?
A little piece?

- A piece?
- Rob, I've seen enough.

It's registered
logged.

- But how big is it?
- There is hair,

- but it's very thin hair.
- I know, I know!

Just trace
with your finger

- the actual area.
- You're actually asking me to do that?

- Fuckin' hell, mate.
- Just trace the area.

All right,
I'll just trace it,

from like that.
I'm just tickling the area.

Oh, I can feel that.
That's good.

Can you arrange the hair
that's there

- to cover it?
- No no no!

'Cause I'm working
in the dark.

Well, I'm not going to talk to
your fucking head, Rob.

Did I do more
Al Pacino

in the car scene?

- I remember.
- You did a lot more.

You remember me
doing a lot more?

- I have to say I'm...
- Sad to see it go.

It served as a counterpoint
to the stuff Naomie was doing.

- It did?
- I'm in the dark.

I do a good Al.
"Shylock is my name."

- Did you see him in that?
- Yeah.

I do a good
Al Pacino too,

but I don't do it in front of people
all the time.

Because you don't have
the confidence.

- I understand.
- I do.

- I feel I can get up there and do it.
- I can do Al Pacino.

I can do like Al Pacino
in "The Godfather."

That wasn't great.
My friend...

When the Godfather
speaks like this,

"You disrespect
the family."

- The Godfather talks like this.
- The Godfather speaks like that.

You have no depth
to the way you speak.

Because there was no depth
in those days, in those days--

You know, you sound
like a cartoon now.

That's not what I'm doing.

- With respect--
- The Godfather--

- Let me do Pacino.
- That's the way I do Pacino.

- Just let me do Pacino.
- That's the way. I was fucking loud!

Like that!
It's real fucking loud!

A big sound like that
all the fucking time.

That's Columbo.
I-l-l-l-- I'm very open.

I model myself on Pacino.
You can see it on the screen.

You see it, in fact,
when I lean against a wall.

Tha-- that's Pacino.

When I do a look of shock,

that's Pacino.

Are you being serious now
or are you joking?

We're in the same business.

I'm not showy.
That's the last thing I am.

I look for truth, and that's why
I go to Pacino,

that's why
I go to Hopkins.

But no, I go
to actresses as well.

I go to Streisand.

I go to Streisand.
I regularly go to Streisand.

I say,
"What can you give me?"

and I look at
her body... of work,

so I have a little bit
from "Hello, Dolly!"

I'm going to take
a little bit from "Yentl,"

and put them together,
a whole...

she would say in Jewish,
and off I go.

So I've got Streisand
underneath me,

I've got Hopkins,
I've got Pacino.

You tell me
where I can't go.

What do you think?
I've had them done.

- I know you have.
- What do you think?

Feel that one.
Look, no crevasse.

- Feel it.
- Don't ask me to feel your teeth.

- Just close your eyes and feel it.
- No.

It's your
fucking teeth. Christ.

You've got a thing about-- whenever
there's a hint of something gay--

What? This has nothing to do
with "gay."

That's what it is. You don't want
to touch another man's teeth

because you're worried you might
be attracted to me. Just touch my teeth.

- It's good, it's good, it's good.
- Thank you. Thank you.