Trainspotting Trainspotting Lyrics

RENTON
(voice-over)

Choose life. Choose a job. Choose a career. Choose a family, Choose a f___ing big television, Choose washing machines, cars, compact disc players, and electrical tin openers.

RENTON(v.o)

Choose good health, low cholesterol and dental insurance. Choose fixed-interest mortgage repayments. Choose a starter home. Choose your friends.
RENTON(v.o)

Choose leisure wear and matching luggage. Choose a three piece suite on hire purchase in a range of f___ing fabrics. Choose DIY and wondering who you are on a Sunday morning. Choose sitting on that couch watching mind-numbing sprit-crushing game shows, stuffing f___ing junk food into your mouth. Choose rotting away at the end of it all, pishing you last in a miserable home, nothing more than an embarrassment to the selfish, f___ed-up brats you have spawned to replace yourself. Choose your future. Choose life.
Renton is hit straight in the face by the ball. He lies back on the astroturf. Voice-over continues.

But who would I want to do a thing like that?

RENTON(v.o)

I chose not to choose life: I chose something else. And the reasons? There are no reasons. Who need reasons when you've got heroin?

SICK BOY
Goldfinger's better than Dr. No. Both of them are a lot better than Diamonds are Forever a judgement reflected in its relative poor showing at the box office, in which field, of course, Thunderball was a notable success.

RENTON(v.o)

People think it's all about misery and desperation and death and all that s___e, which is not to be ignored, but what they forget -

is the pleasure of it. Otherwise we wouldn't do it. After all, we're not f___ing stupid. At least, we're not that f___ing stupid. Take the best o_____ you ever had, multiply it by a thousand and you're still nowhere near it. When you're on junk you have only one worry: scoring. When you're off it you are suddenly obliged to worry about all sorts of other s___e. Got no money: can't get pished. Got money: drinking too much. Can't get a bird: no chance of a ride. Got a bird: too much hassle. You have to worry about bills, about food, about some football team that never f___ing winds, about human relationships and all the things that really don't matter when you've got a sincere and truthful junk habit.

SICK BOY
I would say, in those days, he was a muscular actor, in every sense, with all the presence of someone like Cooper or Lancaster, but combined with a sly wit to make him a formidable romantic lead, closer in that respect to Cary Grant.

RENTON(v.o)
The only drawback, or at least the principal drawback, is that you have to endure all manner of c___s telling you that -

BEGBIE
No way would I poison my body with that s___e, all they f___ing chemicals, no f___ing way.

TOMMY
It's a waste of your life, Rents, poisoning your body with that s___e.

FATHER
Every chance you've ever had, you've blown it, stuffing your veins with that filth.

--------
GAV
Get off that stuff, Rents and get a job. It's not as bad as it looks. While you're here, you don't fancy buying a cooker, do you?

--------
RENTON(v.o)
From time to time, even I have uttered the magic words.

SWANNEY
Are you serious?

RENTON
Yeah. No more. I'm finished with that s___e.

SWANNEY
Well, it's up to you.

RENTON
I'm going to get it right this time. Going to get it set up and get off it for good.

SWANNEY
Sure, sure. I've heard it before.

RENTON
The Sick Boy method.
They both look at Sick Boy

SWANNEY
Yeah, well, it surely worked for him.

RENTON
He's always been lacking in moral fibre.

SWANNEY
He knows a lot about Sean Connery.

RENTON
That's hardly a substitute.

SWANNEY
you'll need one more hit.

RENTON
No, I don't think so.

SWANNEY
To see you through the night that lies ahead.
Freeze Frame on Swanney.

RENTON(v.o)
We called him the mother superior on account of the length of his habit. He knew all about it. On it, off it, he knew it all. Of course I'd have another shot: after all, I had work to do.
INT. RENTON'S FLAT ROOM. DAY

The door opens and Renton enters carrying shopping bags. He empties them on to a mattress beside three buckets and a television.

RENTON

(v.o)

Relinquishing junk. Stage One: preparation. For this you will need: one room which you will not leave; one mattress; tomato soup, ten tins of; mushroom soup, eight tins of, for consumption cold; ice cream, vanilla, one large tub of; Magnesia, Milk of, one bottle; paracetamol; mouth wash; vitamins; mineral water; Lucozade; p___ography; one bucket for urine, one for feces, and one for vomitus; one television; and one bottle of Valium, which I have already procured, from my mother, who is, in her own domestic and socially acceptable way, also a drug addict.
Renton swallows several Valium tablets. Voice-over continues.

And now I'm ready. All I need is a final hit to soothe the pain while the Valium takes effect.
--------

INT. SWANNEY'S FLAT. DAY

Swanney, Sick Boy, Spud and Allison and Baby all lie inert while the telephone rings.

--------

INT. CALL BOX. DAY

Renton curses as he slams down the receiver. He dials again.

RENTON

Mikey. It's Mark Renton. Can you help me out?
INT. MIKEY'S FLAT. DAY

Renton holds two opium suppositories in the palm of his hand.

RENTON

(v.o)

This was typical of Mikey Forrester.
(on screen)

What the f___ are these?
(v.o)

Under the normal run of things I would have had nothing to do with the c___, but this was not the normal run of things.
MIKEY

Opium suppositories. Ideal for your purpose. Slow release, like. Bring you down gradually. Custom f___ing designed for your needs.
RENTON

I want a f___ing hit.
MIKEY

That's all I've got: take it or leave it.
Renton sticks his hand down the back of his trousers and sticks the suppositories into his r_____.

Feel better now?
RENTON

For all the good they've done me I might as well have stuck them up my a___.
He smiles.

EXT. STREET. DAY

RENTON

(v.o)

Heroin makes you constipated. The heroin from my last hit is fading away and the suppositories have yet to melt. I am no longer constipated.
He looks around the local amenities. He is in discomfort, clutching his abdomen and falling to his knees.

He notices a betting shop.

INT. BETTING SHOP. DAY

Renton walks through the crowded, smoky betting shop towards a door marked 'toilet' with a bit of card.

RENTON

(v.o)

I fantasize about massive pristine convenience.
He stumbles through.

(v.o)

Brilliant gold taps, virginal white marble, a seat carved from ebony, a cistern full of Chanel No. 5, and a flunky handing me pieces of raw silk toilet roll. But under the circumstances I'll settle for anywhere.
INT. HORRIBLE TOILET. DAY

This is the most horrible toilet in Britain.

Alone, Renton makes his way through the horrors to a cubicle.

INT. HORRIBLE TOILET CUBICLE. DAY

Renton locks the door.

He looks into the bowl and winces with disgust, even in his state.

He pulls the chain. The chain comes off.

He drops his trousers, sits on the bowl and closes his eyes.

--------

MONTAGE

A lorry on a building site dumps a load of bricks, B52's shed their load on Vietnam, the Blue Peter elephant, etc.

--------

INT. CUBICLE. DAY

Renton has his eyes closed. They snap open.

He looks down between his legs.

He drops to his knees in front of the bowl and rolls his sleeve up.

With no more hesitation he plunges his arm into the bowl and trawls for the suppositories.

It seems to take ages. He cannot find them. He sticks his arm further and further into the toilet, moving his whole body close. He strains to find it.

His head is over the bowl now. Gradually he reaches still further until his head is lowered into the bowl, followed by his neck, torso, other arm, and finally his legs, all disappearing.

The cubicle is empty.

INT. UNDER WATER. DAY

Renton, dressed as before, swims through murky depths until he reaches the bottom, where he picks up the suppositories, which glow like luminous pearls, before heading up towards the surface again.

INT. HORRIBLE TOILET CUBICLE. DAY

The toilet is empty.

Suddenly Renton appears through the bowl, then his arms as he lifts himself out. Still clasping his two suppositories, he walks out of the toilet.

INT. RENTON'S ROOM. DAY

The mattress, buckets and supplies are laid out as before.

The door opens and Renton enters, still soaking and dripping.

The suppositories are in his hand. He holds them up, and they twinkle in the light.

RENTON

Now. Now I'm ready.
INT. RENTON'S ROOM. DAY

The cans of soup, the bottle of water, and the carton of ice cream are empty, the bottle of pills spilt, the magazines well thumbed.

--------

SICK BOY

You Only Live Twice?
RENTON

Nineteen-sixty-seven.
SICK BOY

Running time?
RENTON

One hundred and sixteen minutes.
SICK BOY

Director?
RENTON

Lewis Gilbert.
SICK BOY

Screenwriter?
RENTON

Eh - Ian Fleming?
SICK BOY

f___ off! He never wrote any of them.
RENTON

OK, so who was it, then?
SICK BOY

You can look it up.
Sick Boy throws across a worn copy of a film guide.

Renton cannot be bothered to pick it up.

How are you feeling since you came off the skag? For myself, I'm bored.
RENTON

Who wrote it?
SICK BOY

But you're looking better, it has to be said. Healthier. Radiant even.
RENTON

You don't know, do you?
SICK BOY

And I wondered if you'd care to go to the park tomorrow.
RENTON

The park?
SICK BOY

Tomorrow afternoon. Usual set-up.
RENTON

Who wrote it?
SICK BOY

Roald Dahl.
RENTON

Roald Dahl. f___ me.
--------

EXT. PARK. DAY

Typical weather, neither good nor bad. The park is nondescript arid green with a few bushes. This is not Kew Gardens. Renton and Sick Boy appear, dressed as before but for the addition of cheap sunglasses.

Renton is carrying a battered old cassette player and a carry-out in a plastic bag.

Sick Boy is carrying a small, tatty suitcase from Oxfam.

They scan the horizon and give each other the nod. They walk towards the bushes.

RENTON

(v.o)

The down side of coming off junk was that I knew I would need to mix with my friends again in a state of full consciousness. It was awful: they reminded me so much of myself I could hardly bear to look at them. Take Sick Boy, for instance, he came off junk at the same time as me, not because he wanted too, you understand, but just to annoy me, just to show me how easily he could do it, thereby downgrading my own struggle. Sneaky f___er, don't you think? And when all I wanted to do was lie along and feel sorry for myself, he insisted on telling me once again about his unifying theory of life.
EXT. PARK. DAY

Seen through the telescopic sight of an air rifle that wanders over various potential targets (children, pensioners, couples, gardeners, etc.).

SICK BOY

It's certainly a phenomenon in all walks of life.
RENTON

What do you mean?
SICK BOY

Well, at one time, you've got it, and then you lose it, and it's gone for ever. All walks of life: George Best, for example, had it and lost it, or David Bowie, or Lou Reed -
RENTON

Some of his solo stuff's not bad.
SICK BOY

No, it's not bad, but it's not great either, is it? And in your heart you kind of know that although it sounds all right, it's actually just s___e.
RENTON

So who else?
SICK BOY

Charlie Nicholas, David Niven, Malcolm McLaren, Elvis Presley. -
RENTON

OK, OK, so what's the point you're trying to make?
EXT. PARK. DAY

Sick Boy rests the gun down.

SICK BOY

All I'm trying to do is help you understand that The Name of the Rose is merely a blip on an otherwise uninterrupted downward trajectory.
RENTON

What about The Untouchables?
SICK BOY

I don't rate that at all.
RENTON

Despite the Academy award?
SICK BOY

That means f___ all. The sympathy vote.
RENTON

Right. So we all get old and then we can't hack it any more. Is that it?

SICK BOY

Yeah.
RENTON

That's your theory?
SICK BOY

Yeah, Beautifully f___ing illustrated.
RENTON

Give me the gun.
EXT. PARK. DAY Through the sight again. This time a Skinhead and his muscle-bound dog are in view.

Sick Boy and Renton talk like Sean Connery.

SICK BOY

Do you see the beast? Have you got it in you sights?
RENTON

Clear enough, Moneypenny. This should present no significant problem.
The gun fires and the dog yelps, jumps up and bites its owner (the Skinhead).

SICK BOY

For a vegetarian, Rents, you're a f___ing evil shot.
EXT. PARK. DAY

Renton loads up again.

RENTON

(v.o)

Without heroin, I attempted to lead a useful and fulfilling life as a good citizen.
INT. CAFÉ. DAY

Two milkshakes clink together.

Renton and Spud and seated at a booth, dressed in their own fashion for job interviews.

RENTON

Good luck, Spud.
SPUD

Cheers.
RENTON

Now remember --
SPUD

Yeah.
RENTON

If they think you're not trying, you're in trouble. First hint of that, they'll be on to the DSS, 'This c___'s no trying' and your Giro is f___ing finished, right?
SPUD

Right.
RENTON

But try too hard --
SPUD

And you might get the f___ing job.
RENTON

Exactly.
SPUD

Nightmare.
RENTON

It's a tightrope, Spud, a f___ing tightrope.
SPUD

My problem is that I tend to clam up. I go dumb and I can't answer any questions at all. Nerves on the big occasion, like a footballer.
RENTON

Try this.
Renton unfolds silver foil to reveal some amphetamine. Spud dips in a finger and takes a dab. He nods in appreciation as he tastes it. Renton leaves the packet in Spud's hand.

SPUD

A little dab of speed is just the ticket.
--------

INT. INTERVIEW OFFICE. DAY

A Woman and Two Men (1 and 2) are interviewing Renton. His job application form is on the desk in front of them.

MAN 1

Well, Mr. Renton, I see that you attended the Royal Edinburgh College.
RENTON

Indeed, yes, those halcyon days.
MAN 1

One of Edinburgh's finest schools.
RENTON

Oh, yes, indeed. I look back on my time there with great fondness and affection. The debating society, the first eleven, the soft know of willow on leather --
MAN 1

I'm an old boy myself, you know?
RENTON

Oh, really?
MAN 1

Do you recall the school motto?
RENTON

Of course, the motto, the motto --
MAN 1

Strive, hope, believe and conquer.
RENTON

Exactly. Those very words have been my guiding light in what is, after all, a dark and often hostile world.
Renton looks pious under scrutiny.

MAN 2

Mr. Renton --
RENTON

Yes.
MAN 2

You seem eminently suited to this post but I wonder if you could explain the gaps in your employment record?
RENTON

Yes, I can. The truth -- well, the truth is that I've had a long-standing problem with heroin addiction. I've been know to sniff it, smoke it, swallow it, stick it up my a___ and inject it into my veins. I've been trying to combat this addiction, but unless you count social security scams and shoplifting, I haven't had a regular job in years. I feel it's important to mention this.
There is silence.

A paper clip crashes to the floor.

--------

INT. OFFICE. DAY

The same office. The same team are interviewing Spud.

SPUD

No, actually I went to Craignewton but I was worried that you wouldn't have heard of it so I put the Royal Edinburgh College instead, because they're both schools, right, and we're all in this together, and I wanted to put across the general idea rather than the details, yeah? People get all hung up on details, but what's the point? Like which school? Does it matter? Why? When? Where? Or how many O grades did I get? Could be six, could be one, but that's not important. What's important is that I am, right? That I am.
MAN 1

Mr. Murphy, do you mean that you lied on your application?
SPUD

Only to get my foot in the door. Showing initiative, right?
MAN 1

You were referred here by the Department of Employment. There's no need for you to get you "foot in the door", as you put it.
SPUD

Hey. Right. No problem. Whatever you say, man. You're the man, the governor, the dude in the chair, like. I'm merely here. But obviously I am. Here, that is. I hope I'm not talking too much. I don't usually. I think it's all important though, isn't it?
MAN 2

Mr. Murphy, what attracts you to the leisure industry?
SPUD

In a word, pleasure. My pleasure in other people's leisure.
---------

WOMAN

What do you see as your main strengths?
SPUD

I love people. All people. Even people that no one else loves, I think they're OK, you know. Like Beggars.
WOMAN

Homeless people?
SPUD

No, not homeless people. Beggars, Francis Begbie -- one of my mates. I wouldn't say my best mate, I mean, sometimes the boy goes over the score, like one time when we -- me and him -- were having a laugh and all of a sudden he's f___ing gubbed me in the face, right --
---------

WOMAN

Mr. Murphy, {leaving your friend aside,} do you see yourself as having any weaknesses?
SPUD

No. Well, yes. I have to admit it: I'm a perfectionist. For me, it's the best or nothing at all. If things go badly, I can't be bothered, but I have a good feeling about this interview. Seems to me like it's gone pretty well. We've touched on a lot of subjects, a lot of things to think about, for all of us.
MAN 1

Thank you, Mr. Murphy. We'll let you know.
SPUD

The pleasure was mine. Best interview I've ever been to. Thanks.
Spud crosses the room to shake everyone by the hand and kiss them.

RENTON

(v.o)

Spud had done well. I was proud of him. He f___ed up good and proper.
--------

INT. PUB 1. DAY

Renton and Spud meet up after the interviews.

SPUD

A little too well, if anything, a little too well, that's my only fear, compadre.
RENTON

Another dab?
SPUD

Would not say no, would not say no.
INT. OFFICE. DAY

The Woman and Two Men sit in silence.

--------

INT. PUB 2. NIGHT

It is Saturday night in a busy, city-centre pub on two levels. On a large upper balcony, overlooking the bar and floor downstairs, sit Spud, Gail, Renton, Sick Boy, Tommy, Lizzy and Begbie.

Begbie's story overlaps with the subsequent depiction of the incident.

BEGBIE

(v.o)

Picture the scene. Wednesday morning in the Volley. Me and Tommy are playing pool. No problems, and I'm playing like Paul f___ing Newman by the way. I'm giving the boy here the tanning of a lifetime. So anyway, it comes to the final ball, the deciding shot of the tournament: I'm on the black and he's sitting in the corner, looking all biscuit-a___d. Then this hard c___ comes in. Obviously fancied himself. Starts looking at me. Right f___ing at me. Trying to put off, like, just for kicks. Looking at me as if to say, 'Come ahead, square go.' Well, you know me, I'm no looking for trouble but at the end of the day I'm the c___ with the pool cue and I'm game for a swedge. So I squared up, casual like. So what does the hard c___ do, or so-called hard c___? s___es it. Puts down his drink, turns around and gets the f___ out of there. And after that, the game was mine.
INT. POOL HALL. DAY

The events in the pool hall, as described by Begbie.

Begbie and Tommy are playing pool.

Begbie is playing like a wizard.

Tommy looks defeated.

Lining up for the final ball, Begbie is distracted by a large Hard Man standing at the bar staring at him.

Begbie stands up and walks slowly towards the Hard Man.

They stand, eye to eye, for a moment.

Begbie swings the pool cue slowly into his palm.

The Hard Man turns and leaves.

Begbie drinks the Hard Man's pint, then pots the black with a brilliant shot.

INT. PUB 2. DAY

Begbie, his story complete, finishes his pint. The others continue to stare at him, frozen as though expecting something more. Begbie smiles and throws the pint over his head.

Freeze-frame: the glass in mid-air and Begbie's smiling face.

RENTON

(v.o)

And that was it. That was Begbie's story. Or at least that was Begbie's version of the story. But a couple of days later I got the truth from Tommy. It was one of his major weaknesses: he never told lies, never took drugs, and never cheated on anyone.
INT. TOMMY'S FLAT. DAY

Renton's hand flicks through a long row of videos on the floor while the sound of weights being lifted (by Tommy) emanates from nearby.

Most of the videos are feature films or comedy shows, some with t__les written in Tommy's hand, but two catch Renton's attention.

They are 100 Great Goals and Tommy and Lizzy Vol. 1, the latter a handwritten t__le.

Renton looks from the video round to Tommy, who is engrossed in lifting weights.

TOMMY

Well, sure it was Wednesday morning, we were in the Volley playing pool, that much is true.
INT. POOL HALL. DAY

Tommy's account over a depiction of his version.

TOMMY

(v.o)

But Begbie is playing absolutely f___ing gash. He's got a hangover so bad he can hardly hold the f___ing cue, never mind pot the ball. I'm doing my best to lose, trying to humour him, like, but it's not doing any good: every time I touch the ball I pot something, every time Begbie goes near the table he f___s it up. So he's got the hump, right, but finally I manage to set it up so all he's go to do is pot the black to win one game and salvage a little pride and maybe not kick my head in, right. So he's on the black, pressure shot, and it all goes wrong, big time. What does he do? Picks on this specky wee gadge at the bar and accuses him of putting him off by looking at him. Can you believe it? I mean, the poor c___ hasn't even glanced in our direction. He's sitting there quiet as a mouse when Beggars gubs him with the cue. He was going to chib him, I tell you, then I thought he was going to do me. The Beggar is f___ing psycho, but he's a mate, you know, so what can you do?
The events are as follows:

Begbie and Tommy are playing pool.

Begbie, furious, miscues, goes in off, etc.

Tommy deliberately misses sitters and tries to look annoyed.

Begbie lines up to play the black. It is unmissable.

At the bar beyond sits a harmless young Man, wearing the same clothes as the Hard Man in Begbie's account except that they are now baggy rather than taut. He is clearly not staring at Begbie but drinks a half-pint and eats some crisps.

As Begbie plays, the Man bites a crisp.

Begbie miscues, rips the cloth and the ball flies off the table.

Tommy catches it and looks up to see Begbie a__aulting the young Man.

Tommy cautiously restrains Begbie and he reaches into his jacket for a knife.

Begbie turns and for a moment looks as though he might attack Tommy.

INT. TOMMY'S FLAT. DAY

Tommy puts down his weights.

Renton holds up 100 Great Goals.

RENTON

Can I borrow this one?
INT. PUB 2. NIGHT

The freeze-frame of the glass in mid-air and Begbie's smiling face.

RENTON

(v.o)

Yeah, the guy's a psycho, but it's true, he's a mate as well, so what can you do? Just stand back and watch and try not to get involved. Begbie didn't do drugs either, he just did people. That what he got off on: his own sensory addiction.
The glass falls into the crowd.

Screaming starts. A Woman is bleeding from a wound in her head. The Men beside her turn furiously around to look for the source of the glass.

Up on the balcony, Begbie stands up. The screams and shouting continue below.

Begbie appears at the bottom of the staircase down from the balcony.

He strides towards the bleeding Woman and begins shouting.

BEGBIE

All right. Nobody move. The girl got glassed and no c___ leaves here until we find out which c___ did it.
A man stands up from one of the tables.

MAN

And who the f___ do you think you are?
Begbie kick the Man in the groin. Another moves towards him but is blocked by the Men surrounding the girl. Soon the whole mass dissolves into a brutal scrum, in which Begbie plays a prominent part.

Up on the balcony, the rest of the gang watch in silence.

INT. RENTON'S FLAT. DAY

The empty cover for 100 Great Goals lies on the floor.

Sick Boy and Renton sit dispassionately watching Tommy and Lizzy in their home-made soft-p___ video.

RENTON

(v.o)

And as I sat watching the intimate and highly personal video, stolen only hours earlier from one of my best friends, I realized that something important was missing from my life.
INT. CLUB. NIGHT

A mass of dancing bodies fills the floor. The music is very loud.

At the side of the dance floor sit Tommy and Spud. The look rather gloomy. There is an empty seat beside each of them. Spud is drinking heavily.

Tommy turns and speaks to Spud. His lips move but nothing is audible. Spud is not ever aware that Tommy has spoken.

Tommy bellows in Spud's ear.

Tommy's words and all subsequent conversation in the dance area of the club appear as subtitles, the character's communications somewhere between speech and mime.

TOMMY

How's it going with Gail?
SPUD

No joy yet.
TOMMY

How long is it?
SPUD

Six weeks.
TOMMY

Six weeks!
SPUD

It's a nightmare. She told me she didn't want our relationship to start on a physical basis as that is how it would be principally defined from then on in.
TOMMY

Where did she come up with that?
SPUD

She read it in Cosmopolitan.
TOMMY

Six weeks and no s__?
SPUD

I've got b____ like watermelons, I'm telling you.
INT. NIGHTCLUB, WOMEN'S TOILET. NIGHT

Gail and Lizzy are smoking and talking.

GAIL

I read it in Cosmopolitan.
LIZZY

It's an interesting theory.
GAIL

Actually it's a nightmare. I've been desperate for a s___, but watching him suffer was just too much fun. You should try it with Tommy.
LIZZY

What, and deny myself the only pleasure I get from him? Did I tell you about my birthday?
GAIL

What happened?
LIZZY

He forgot. Useless m_________er.
INT. NIGHTCLUB. DANCE AREA. NIGHT

Tommy and Spud seated as before. Their words are subtitled.

As they are speaking Gail and Lizzy return and sit down.

TOMMY

Useless m_________er, that's what she called me. I told her, I'm sorry, but theses things happen. Let's put it behind us.
SPUD

That's fair enough.
TOMMY

Yes, but then she finds out I've bought a ticket for Iggy Pop the same night.
SPUD

Went ballistic?
TOMMY

Big time. Absolutely f___ing radge. 'It's me or Iggy Pop, time to decide.'
SPUD

So what's it going to be?
TOMMY

Well, I've paid for the ticket.
GAIL AND LIZZY

What are you two talking about?
TOMMY AND SPUID

Football. What were you talking about?
GAIL and LIZZY

Shopping
Standing nearby but apart from them is Renton.

Renton notes Spud and Tommy with their partners, and across the other side Sick Boy and Begbie are engaged in flirtatious conversation with Two Women.

RENTON

(v.o)

The situation was becoming serious. Young Renton noticed the haste with which the successful, in the s__ual sphere as in all others, egregated themselves from the failures.
Begbie and Sick Boy with the Two Women.

Renton standing among a group of lone nerds.

Renton wades on to the dance floor, looking at countless women, all whom either turn away or are spoken for.

RENTON

(v.o)

Heroin had robbed Renton of his s__ drive, but now it returned with a vengeance. And as the impotence of those days faded into memory, grim desperation took hold in his s__-crazed mind. His post-junk libido, fuelled by alcohol and amphetamine, taunted him remorselessly with his own unsatisfied desire dot.
Renton notices one girl (Diane) walking on her own towards the door.

A Man carrying two drinks catches up with her and walks backwards, talking to her.

She says nothing. He blocks her way.

She takes one drink and downs it, then the other, handing him back the empty glasses. She steps past him and walks on towards the door.

(v.o)

And with that, Mark Renton had fallen in love.
EXT. STREET. NIGHT

The Girl walks away from the club, scanning the street for a taxi, and hail one which stops just as Renton calls out.

RENTON

Excuse me, I don't mean to harass you, but I was very impressed by the capable and stylish manner in which you dealt with that situation. I thought to myself: she's special.
DIANE

Thanks.
RENTON

What's your name?
DIANE

Diane.
RENTON

Where are you going, Diane?
DIANE

I'm going home.
RENTON

Where's that?
DIANE

It's where I live.
RENTON

Great.
DIANE

What?
RENTON

I'll come back if you like, but I'm not promising anything.
Diane halts abruptly as a taxi pulls up.

DIANE

Do you find that this approach usually works, or, let me guess, you've never tried it before. In fact, you don't normally approach girls, am I right? The truth is that you're a quite, sensitive type but if I'm prepared to take a chance I might just get to know the inner you: witty, adventurous, passionate, loving, loyal, a little bit crazy, a little bit bad, but, hey, don't us girls just love that?
RENTON

Eh-
DIANE

Well, what's wrong, boy? Cat got your tongue.
RENTON

I think I left something back at the -
The girl has disappeared into the back of the taxi.

Renton looks around.

TAXI DRIVER

Are you getting in or not, pal?
EXT. ROAD. NIGHT

The taxi motors along.

INT. TAXI. NIGHT

Renton and Diane are kissing passionately in the back.

EXT. STREET. NIGHT

Spud is pushed against the wall held by his lapels. He drinks from a bottle of beer in one hand.

GAIL

Do you understand?
Spud nods drunkenly.

Gail releases her grip.

Our relationship is not being redefined; it is developing in an appropriate, organic fashion. I expect you to be a considerate and thoughtful lover, generous but firm. Failure on your part to live up to these very reasonable expectations will result in swift resumption of a non-s__ situation. Right?
Spud drinks from a bottle in the other hand and says nothing but he does not look too happy.

INT. TOMMY'S FLAT. NIGHT

Tommy and Lizzy kiss while Tommy unlocks the door.

INT. DIANE'S HOME, HALLWAY. NIGHT

In a darkened suburban hallway, the door opens and two figures enter.

RENTON

Diane.
DIANE

Ssshh!
RENTON

Sorry.
DIANE

Shut up.
They walk through another door and close it behind them.

INT. TOMMY'S FLAT. NIGHT

Tommy and Lizzy kiss against the inside of th door, taking their outer clothes off.

INT. DIANE'S BEDROOM. NIGHT

By a pale bedside light, Diane and Renton undress.

INT. GAIL'S BEDROOM. NIGHT

Spud is lying unconscious on the bed. Gail stands over him.

GAIL

Wake up, Spud, wake up. s__.
She kicks him. He moans.

Casual s__.
She kicks him again. He moans again.

You useless b______s. So, let's see what I'm missing.
She begins undressing him.

INT. DIANE'S BEDROOM. NIGHT

Renton lies on his back while Diane rides above him.

INT. GAIL'S BEDROOM. NIGHT

Gail throws Spud's clothes to the floor and throws a blanket over him.

GAIL

Not much.
She switches out the light.

INT. TOMMY'S FLAT. NIGHT

Tommy and Lizzy now lie on the bed in a state of semi-undress.

LIZZY

Tommy, let's put the tape on.
TOMMY

Now?
LIZZY

Yes, I want to watch ourselves while we're s_______.
TOMMY

f___, OK.
Tommy gets up and reaches into the row of videos on the floor. He lifts out Tommy and LIzzy, Vol. 1 and hastily shoves it into the video.

Tommy sits back on the bed with the remote control and presses 'play' as Lizzy kisses him.

His face registers consternation.

On the television, Archie Gemmill scores his famous goal against Holland in 1978.

INT. DIANE'S BEDROOM. NIGHT

Renton and Diane climax together.

Diane immediately climbs off and wraps herself in a robe.

RENTON

Christ, I haven't felt that good since Archie Gemmill scored against Holland in 1978.
DIANE

Right. You can't sleep here.
RENTON

What?
DIANE

Out.
RENTON

Come on.
DIANE

No argument. You can sleep on the sofa in the living room, or go home. It's up to you.
RENTON

Jesus.
DIANE

And don't make any noise.

INT. TOMMY'S FLAT. NIGHT

The lights are full on now. Lizzy sits on the bed clutching a blanket around herself.

Tommy hops around in his underwear, searching desperately.

All the videos are opened and scattered everywhere.

LIZZY

What do you mean, it's 'gone'? Where has it gone, Tommy?
TOMMY

It'll be here somewhere. I might have returned it by mistake.
LIZZY

Returned it? Where? To the video shop, Tommy? To the f___ing video store? So every punter in Edinburgh is jerking off to our video? God, Tommy, I feel sick.

INT. DIANE'S HOME, LIVING-ROOM. MORNING

Renton lies submerged under a blanket.

The sounds of a normal morning travel from a room nearby: whistles, radio, voices.

Renton peeps over the edge of the blanket, then covers his head again.

INT. GAIL'S BEDROOM. MORNING

Spud opens his eyes. With his fingers, he feels crusted liquid around his mouth.

Abruptly he turns around: the bed is soaked in vomit.

He looks under the cover and drops it again in revulsion.

INT. DIANE'S HOME, LIVING-ROOM. DAY

Renton pulls himself up off the sofa and dresses as quickly as possible.

INT. GAIL'S BEDROOM. DAY

Spud wipes the vomit from his chest with a pillowcase, which he dumps in the middle of the sheets before gathering the whole lot up as a bundle.

INT. DIANE'S HOME, HALL/KITCHEN. DAY

The door swings open. A Man and a Woman, about Renton's age, sit at the kitchen table. They look up to see Renton in the doorway.

MAN

Good Morning.
WOMAN

Come in and sit down. You must be Mark.

Renton walks to the table and sits down.

RENTON

Yes, that's me.
WOMAN

You're a friend of Diane's?
RENTON

More of a friend of a friend, really.
MAN

Right.
RENTON

Are you her flatmates?

The couple exchange a look and laugh.

WOMAN

Flatmates. I must remember that one.

The Man and Woman look beyond Renton. He too turns and follows their gaze.

Diane stands in the doorway.

She is wearing school uniform.

INT. GAIL'S HOME, HALL/KITCHEN. DAY

The door swings open to reveal the kitchen. Gail, her Father, and Mother are seated around the table, eating breakfast. They look towards Spud, who carries the knotted bundle of sheets as he approaches the table.

GAIL

Good morning, Spud.
SPUD

Morning, Gail. Morning, Mrs. Houston, Mr. Houston.
MOTHER

Morning, Spud. Sit down and have some breakfast.
SPUD

Sorry about last night -
GAIL

It's all right. I slept fine on the sofa.
SPUD

I had a little too much to drink. I'm afraid I had a slight accident.
FATHER

Oh, don't worry, these things happen. It does everyone good to cut loose once in a while.
GAIL

This one could do with being tied up once in a while.
MOTHER

I'll put the sheets in the washing machine just now.
SPUD

No, I'll wash them. I'll take them home and bring them back.
MOTHER

There's no need.
SPUD

It's no problem.
MOTHER

No problem for me either.
MOTHER

Honestly, it's no problem.
SPUD

I'd really rather take care of it myself.
MOTHER

Spud, they're my sheets.

She takes hold of the bundle.

Spud does not yield.

She pulls harder. Spud holds on. She tugs powerfully.

The bundle bursts open with an explosion of vomit and excrement that covers everything in the kitchen.

Only Spud remains untouched.

---------

SPUD

I guess this means I'll never get to have s__ with Gail.

INT. TOMMY'S FLAT. DAY

Tommy sits alone, watching

100 Great Goals

---------

EXT. STREET. DAY

Renton paces briskly down the street, followed by Diane.

DIANE

I don't see why not.

RENTON

Because it's illegal.
DIANE

Holding hands?
RENTON

No, not holding hands.
DIANE

In that case you can do it. You were quite happy to do a lot more last night.
RENTON

And that's what's illegal. Do you know what they do to people like me inside? They'd cut my b____ off and flush them down the f___ing toilet.

They stop at the school gates.

DIANE

Calm down. You're not going to jail.
RENTON

Easy for you to say.
DIANE

Can I see you again?
RENTON

Certainly not.

Renton walks away.

DIANE

If you don't see me again I'll tell the police.

Renton turns and walks back to her. They stand for a moment, then Renton walks away again. Diane smiles.

(to herself)

I'll see you around then.

EXT. VIDEO STORE. DAY

In the cold light of morning, Tommy and Lizzy wait, not speaking, outside the still-closed video store.

---------

EXT. RAIL BRIDGE. DAY

A train speeds across.

INT. TRAIN. DAY

Sick Boy, Tommy, Spud and Renton sit drinking from an extensive carry-out.

SICK BOY

This had better be good.
TOMMY

It will be. It'll make a change for three miserable junkies who don't know what they want to do with themselves since they stopped doing smack.
SICK BOY

If I'm giving up a whole day and the price of a ticket, I'm just saying it had better be good. There's plenty of other things I could be doing.
TOMMY

Such as?
SICK BOY

Such as sitting in a darkened room, watching videos, drinking, smoking dope and w___ing. Does that answer your question?

They sit in silence.

---------

EXT. STATION. DAY

The station is in the middle of a moor. There appears to be no habitation around. In the distance are some hills.

The train stands at the station.

As it pulls away, Renton, Spud, Tommy and Sick Boy are left standing on the platform, looking around.

SICK BOY

Now what?
TOMMY

We go for a walk.
SPUD

What?
TOMMY

A walk.
SPUD

But where?

Tommy points vaguely across the moor.

TOMMY

There.
SICK BOY

Are you serious?

They step across the tracks toward the vast moorland. They stop.
All but Tommy sit down on rocks or clumps of heather.

TOMMY

Well, what are you waiting for?
SPUD

I don't know, Tommy. I don't know if it's... normal.

A group of three serious Walkers trudge past from the other end of the platform, decked out in regulation Berghaus from head to foot. They tramp off towards the wilderness. The boys watch them go.
Spud opens a can.

TOMMY

It's the great outdoors.
SICK BOY

It's really nice, Tommy. Can we go home now?
TOMMY

It's fresh air.
SICK BOY

Look, Tommy, we know you're getting a hard time off Lizzy, but there's no need to take it out on us.
TOMMY

Doesn't it make you proud to be Scottish?
RENTON

I hate being Scottish. We're the lowest of the f___ing low, the scum of the earth, the most wretched, servile, miserable, pathetic trash that was ever shat into civilization. Some people hate the English, but I don't. They're just w___ers. We, on the other hand, are colonized by w___ers. We can't even pick a decent culture to be colonized by. We are ruled by effete a___holes. It's a s___e state of affairs and all the fresh air in the world will not make any f___ing difference.

The three serious Walkers are receding into the distance.
The boys troop back towards the platform.

(v.o)

At or around this time, we made a healthy, informed, democratic decision to get

back on drugs as soon as possible. It took about twelve hours.

INT. SWANNEY'S FLAT. DAY

Renton hands over money to Swanney.
Renton then begins cooking up.
Also present and cooking or shooting up are Spud, Swanney, Allison and Baby, and Sick Boy.

RENTON

(v.o)

It looks easy, this, but it's not. It looks like a doss, like a soft option, but living like this, it's a full-time business.

He injects.

---------

INT. SHOP. DAY

Renton, Spud, and Sick Boy are stuffing objects into their shirts and pockets.

---------

INT. SWANNEY'S FLAT. DAY

Renton lies back, narcotized.

EXT. STREET. DAY

Renton and Spud are running along the street.
Two uniformed Store Detectives are running after them.
Sick Boy stands in a doorway. As the Detectives run past, he strolls away in the opposite direction.

INT. SWANNEY'S FLAT. DAY

Renton lies back as before.

SICK BOY

Ursula Andress was the quintessential Bond girl. That's what everyone says. The embodiment of his superiority to us: beautiful, exotic, highly s__ual and yet unavailable to everyone but him. s___e. Let's face it: if she'd s___ one punter from Edinburgh, she'd s___ the f___ing lot of us.

INT. SWANNEY'S FLAT. LATER

Spud cooks up, watched by Swanney.
Nearby lie the drugged forms of Renton, Sick Boy and Allison and Baby.

INT. RENTON FAMILY HOME, LIVING-ROOM. NIGHT

Renton's Mother and Father sit reading the paper and a magazine.

INT. RENTON FAMILY HOME, PARENTS' BEDROOM. NIGHT

Renton trawls through drawers and any containers (shoe boxes, make-up boxes, under the mattress, etc.) until he finds some cash/jewelry.

INT. SWANNEY'S FLAT. DAY

Renton lies back, staring vacantly ahead.
Tommy flops down beside him. Renton shows barely a flicker of awareness.

TOMMY

Lizzy's gone, Mark, she's gone and f___ing dumped me. It was the video tape and that Iggy Pop business and all sorts of other stuff. She told me where to go and no mistake. I said, is there any chance of getting back together, like, but no way, no f___ing way.

INT. HOSPITAL WARD SITTING-ROOM. DAY

A few elderly patients sit in armchairs watching daytime television.
Renton and Spud jump and climb through an open window. Watched by the helpless patients, they calmly disconnect the television and take it with them as they leave by the same route.

INT. SWANNEY'S FLAT. DAY

Renton and Tommy slumped side by side as before.

TOMMY

I want to try it, Mark. You're always going on about how it's the ultimate hit and that. Better than s__. Come on, I'm a f___ing adult. I want to find out for myself.

Renton huddles up and leans away from Tommy.
I've got the money.
Tommy produces ten pounds from his pocket.

EXT. STREET. DAY

Renton and Spud run along the street.

INT. SWANNEY'S FLAT. DAY

Tommy lies drugged on the floor.

---------

INT. FLAT TO BE BURGLED. DAY

The door of an ordinary flat is kicked open.
Begbie walks in, crowbar in hand, followed by Sick Boy and Spud.

INT. SWANNEY'S FLAT. DAY

SICK BOY

Honor Blackman a.k.a. p____ Galore, what a total f___ing misnomer. I wouldn't touch her with yours. I'd sooner s___ Col Kreb. At least you know where you are with a woman like that. Not much to look at, like, but personality, that's what counts, that's what keeps a relationship going through the years. Like heroin. I mean, heroin's got f___ing great personality.

Sick Boy opens the heel of a his shoe to reveal a syringe.

---------

INT. SWANNEY'S FLAT. DAY

Swanney hands over a small bag of heroin in exchange for ten pounds from Renton.

---------

INT. FLAT TO BE BURGLED, KITCHEN. DAY

Spud checks the fridge and pulls out a large chunk of deep-frozen meat.
He hits with the crowbar until it fractures and splits. Inside there is some jewellery.

---------

INT. CAR. DAY

The car is empty. A window is broken and the door opened.
The car alarm goes off.
Renton reaches under the seat and finds the radio/cassette. He then pulls the bonnet release.

EXT. CAR. DAY

The car alarm rings on until Renton calmly produces a pair of wire cutters and a spanner to cut free and release the battery.
The alarm is silenced.
Renton walks away with the battery and the stereo.

INT. GP'S SURGERY. DAY

RENTON

(v.o)

Swanney taught us to adore and respect the National Health Service, for it was the source of much of our gear. We stole drugs, we stole prescriptions, or bought them, sold them, swapped them, forged them, photocopied them or traded them with cancer victims, alcoholics, old age pensioners, AIDS patients, epileptics and bored housewives. We took morphine, diamorphine, cyclozine, codeine, temazepam, nitrezepam, phenobarbitone, sodium amytal dextropropoxyphene, methadone, nalbuphine, pethidine, pentazocine, buprenorphine, dextromoramide chlormethiazole. The streets are awash with drugs that you can have for unhappiness and pain, and we took them all. f___ it, we would have injected Vitamin C if only they'd made it illegal.

The GP examines Renton's chest and smiles.
The GP turns to wash his hands. Renton pulls on his shirt and steals a prescription pad off the desk.

---------

INT. SWANNEY'S FLAT. DAY

Renton lies back with his eyes close. A football enters the frame to bounce off his head and out again.
He opens his eyes and it happens again.
Opposite him, Spud, Sick Boy and Tommy stand looking down on him.
Tommy throws the ball again.

---------

INT. PUB I. DAY

It's the first day of the Edinburgh Festival.
Renton, Tommy, Spud, Sick Boy and Begbie sit drinking.
They observe a young male American Tourist walk in in a bulky red anorak and glasses. He goes past them towards the toilet.
Begbie stands up.

INT. PUB I, TOILET. DAY

The American Tourist turns from the urinal to see Begbie, Renton, Sick Boy, Spud and Tommy approaching. Begbie punches and kicks the Tourist and pulls out a knife.

---------

INT. TAXI. DAY

The door of the taxi opens, Begbie, Tommy, Spud, Sick Boy and Renton get in, carrying the red anorak and glasses.
As the taxi pulls away they study the photograph in the passport. They look at one another in agreement.

EXT. TAXI. DAY

The taxi motors along.

---------

INT. PUB I. NIGHT

A man at the bar is now wearing the red anorak.
Begbie divides up the money among Sick Boy, Tommy, Spud, and Renton.
Renton takes his share.

BEGBIE

And remember, Rents: no skag.
RENTON

Aye, OK, Fr.
RENTON

(v.o)

But the good times couldn't last for ever.

INT. SWANNEY'S FLAT. DAY

Renton lies as before. Around the room are Swanney, Allison, Tommy, Spud and Sick Boy.
Allison begins screaming and wailing.
Slowly, the others rouse themselves to varying degrees.

RENTON

(v.o)

I think Allison had been screaming all day, but it hadn't really registered before. She might have been screaming for a week for all I knew. It's been days since I've heard anyone speak, though surely someone must have said something in all that time, surely to f___ someone must have.
SICK BOY

What's wrong, Allison?

Allison points toward the bundle of dirty blankets in which her baby is wrapped. Sick Boy follows her directions.

SPUD

Calm down, calm down. It's going to be all right, everything's going to be just fine.

RENTON

(v.o)

Nothing could have been further from the truth. In point of fact, nothing at all was going to be just fine. On the contrary, everything was going to be bad. Bad? I mean worse than it already was.

Sick Boy stands over the bundle. The baby is dead.

SICK BOY

Oh, f___. Sick Boy reaches out to Allison.

RENTON

(v.o)

It wasn't my baby. She wasn't my baby. Baby Dawn. She wasn't mine. Spud's? Swanney's? Sick Boy's? I don't know. Maybe Allison knew. Maybe not. I wished I could think of something to say, something sympathetic, something human.
SICK BOY

Say something, Mark, say something --

RENTON

I'm cooking' up. There is a silence.
Renton begins scrambling around through the works.

ALLISON

Cook one for me, Renton. I need a hit.
RENTON

(v.o)

And so she did, I could understand that. To take the pain away. So I cooked up and she got a hit, but only after me. That went without saying.

EXT. STREET. DAY

Renton, Spud and Sick Boy cross the road to approach the shop.

RENTON

(v.o)

Well, at least we knew who the father was now. It wasn't just the baby that died that day. Something inside Sick Boy was lost and never returned. It seemed he had no theory with which to explain a moment like this.

---------

INT. SHOP. DAY

Renton, Spud and Sick Boy are stuffing their pockets, as seen before.
Renton's theft is interrupted by Diane's voice.

DIANE

Hello there, Mark.

Diane is standing just beside him.

What are you doing?

Renton is speechless, but a few stolen items fall from inside his jacket down to the floor.
Diane looks down.
Spud and Sick Boy start to snigger.
One of the Store Detectives become aware of the group. He starts walking towards them.

You didn't tell me you were a thief.
SPUD

Hey, go easy, lady. The boy's got a habit to support.
SICK BOY

Opium doesn't just grow on trees, you know.

A few more items fall from Renton's jacket as the store Detective closes in.
Renton looks at Diane.

---------

EXT. STREET. DAY

Renton and Spud are running, pursued by the Two Store Detectives.

RENTON

(v.o)

Nor did I. Our only response was to keep on going and f___ everything. Pile misery upon misery, heap it up on a spoon and dissolve it with a drop of bile, then squirt it into a stinking purulent vein and do it all over again. Keep on going: getting up, going out, robbing, stealing, f___ing people over, propelling ourselves with longing towards the day it would all go wrong. As seen in the opening scene, Renton is nearly hit by a car that screeches to a halt as he crosses a road.
He looks at the driver, at Spud running away and the Store Detectives approaching.

(v.o)

Because no matter how much you stash or how much you steal, you never have enough. No matter how often you go out and rob and f___ people over you always need to get up and do it all again. Renton smiles and waits.

(v.o)

Sooner or later, this sort of thing was bound to happen. One of the Detectives runs straight past him, after Spud.
The other Detective crashes into Renton with a mighty punch in the stomach.

INT. COURT. DAY

Spud and Renton stand in the dock. Renton's Mother and Father, Sick Boy, Begbie, and Spud's Mother (Mrs. Murphy) are among those in the gallery.
The Sheriff delivers his sentence.

SHERIFF

...because shoplifting is theft, which is a crime, and, despite what you may believe, there is no such entity as victimless crime. Heroin addiction may explain your actions, but it does not excuse them. Mr Murphy, you are a habitual thief, devoid of regret or remorse. In sentencing you to six months' imprisonment my only worry is that it will not be long before we meet again. Mr Renton, I understand that you have entered into a programme of rehabilation in an attempt to wean yourself away from heroin. The suspension of your sentence is conditional upon your continued cooperation with this programme. Should you stand guilty before me again, I shall not hesitate to impose a custodial sentence.
RENTON

Thank you, your honour. With God's help, I'll conquer this affliction.

The Sheriff and Renton stare at one another for a moment. Renton turns to look at Spud, then back towards the Sheriff, who is now leaving the court.

(v.o)

What can you say? Well, Begbie had a phrase for it.

INT. PUB I. DAY

The pub is crowded. Around Renton are his mother, Father, Begbie, Sick Boy and Gav.

BEGBIE

It was f___ing obvious that that c___ was going to f___ some c___.

There is a round to nodding and 'poor Spud'ing. Everyone begins to talk at once.

FATHER

I hope you've learned your lesson, son.
MOTHER

Oh, my son, I thought I was going to lose you there. You're nothing but trouble to me, but I still love you.
BEGBIE

Clean up your act, sunshine. Cut that s___e out for ever.
MOTHER

You listen to Francis, Mark, he's talking sense.
BEGBIE

f___ing right I am. See, inside, you wouldn't last two f___ing days.

SICK BOY

There's better things that the needle, Rents. Choose life.

He winks.

MOTHER

I remember when you were a baby, even when you would never do what you were told.

BEGBIE

But he pulled it off, clever b______, and he got a result.

They laugh, then fall silent.
Renton turns around. Behind him stands Spud's mother.

RENTON

Mrs Murphy, I'm sorry about Spud. It's wasn't fair, him going down and not me --

Tears in her eyes, Mrs Murphy turns and walks away.
Renton watches her go. Behind him Begbie shouts.

BEGBIE

It's no our fault. Your boy went down because he was f___ing smack-head and if that's not your fault, I don't know what is.

Begbie turns back to Renton.

Right. I'll get the drinks in.

He moves towards the bar.
Renton slips away.
Renton walks through the bar towards the toilets, then out of a back door.

EXT. YARD. DAY

Renton emerges into a narrow yard surrounded by a high wall. He looks around. The steel back gate is locked.

RENTON

(v.o)

I wished I had gone down instead of Spud. Here I was surrounded by my family and my so-called mates and I've never felt so alone, never in all my puff. Since I was on remand they've had me on this programme, the state-sponsored addiction, three sickly sweet doses of methadone a day instead of smack. But it's never enough, and at the moment it's nowhere near enough. I took all three this morning and now I've got eighteen hours to go till my next shot and a sweat on my back like a layer of frost. I need to visit the mother superior for one hit, one f___ing hit to get us over this long, hard day.
Renton climbs the wall. He stands on top, then dives off the other side, executing a somersault in mid-air.

INT. SWANNEY'S FLAT. NIGHT

Swanney is cooking up. Renton lands on the floor behind him like a gymnast.

RENTON

What's on the menu this evening?
SWANNEY

Your favourite dish.
RENTON

Excellent.
SWANNEY

Your usual table, sir?
RENTON

Why, thank you.
Renton sits on his usual cushion on the floor.

SWANNEY

And would sir care to settle his bill in advance?
RENTON

Stick it on my tab.
SWANNEY

Regret to inform, sir, that your credit limit was reached and breached a long time ago.
RENTON

In that case --
He produces twenty pounds.

SWANNEY

Oh, hard currency, why, sir, that'll do nicely.
He swipes the notes underneath a UV forgery checker.

Can't be too careful when we're dealing with your type, can we?
Renton begins his search for a vein.

Would sir care for a starter? Some garlic bread perhaps?
RENTON

No, thank you. I'll proceed directly to the intravenous injection of hard drugs, please.
SWANNEY

As you wish.
He hands Renton the syringe. Renton inject, then lies back on the dirty, red, carpeted floor. He lies completely still. His pupils shrink. His breathing becomes slow, shallow and intermittent. He sinks into the floor until he is lying in a coffin-shaped and coffin-sized pit, lined by the red carpet. Swanney stands over him.

SWANNEY

Perhaps sir would like me to call for a taxi?
An ambulance siren becomes faintly audible.

INT. SWANNEY'S STAIRWELL. NIGHT

The siren is a little louder. Swanney holds Renton under his arms and drags him backwards down the steps.

EXT. STREET. NIGHT

As Swanney emerges, still dragging Renton, the siren grows louder and then an ambulance speeds by without stopping. Swanney drags Renton across the pavement and into the open door of a waiting taxi. Swanney then steps out of the taxi's other door, pausing only to tuck a ten-pound note into Renton's pocket before closing the door.

INT. TAXI. NIGHT

Renton lies on the floor of the taxi, as Swanney left him, rolling slightly as the taxi takes a corner.

EXT. HOSPITAL/TAXI. NIGHT

The taxi is stationary. We do not see the driver's face but his hand opens the door and then drags Renton out on to the pavement by his ankles before taking the ten pound note, getting back in the cab and driving away. Renton lies on the pavement. Two Porters life him by arms and ankles on to a trolley. We do not see the Porters's faces as they wheel Renton into the hospital.

INT. HOSPITAL ACCIDENT AND EMERGENCY DEPARTMENT. NIGHT

Renton is wheeled through the department, then into a bay surrounded by a white nylon curtain.

INT. TROLLEY BAY. NIGHT

The Porters lift Renton from one trolley on to another, then leave him alone in the bay surrounded by the curtain. Renton lies alone. His breathing is still shallow and erratic. Around him is the usual accident and emergency paraphernalia: blood pressure machine, oxygen tap, bandages, etc. A Doctor comes in and gives Renton an injection, then leaves.

DOCTOR

Wake up. Wake up.
Renton breathes more easily.

---------

The Two Porters return with another trolley. They lift Renton roughly on to it and wheel him away.

INT. HOSPITAL CORRIDOR. NIGHT

The Porters wheel Renton along.

INT. WARD. NIGHT

The Porters lift Renton off the trolley and dump him on the bed. A nurse sticks a thermometer in his mouth.

INT. WARD. DAY

Renton's Father and Mother lift Renton, now fully conscious, off the bed and dump him in a wheelchair.

INT. HOSPITAL CORRIDOR. DAY

Mother walks ahead. Behind her, Father pushes Renton in the wheelchair.

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INT. TAXI. DAY

Mother and Father sit on either side of Renton.

INT. RENTON'S BEDROOM. DAY

Father shoves Renton on to the bed, then walks out past Mother, who looks at Renton for a moment before closing the door.

INT. OTHER SIDE OF RENTON'S BEDROOM DOOR. DAY

Renton's Father's hand slides three bolts across to lock the door.

INT. RENTON'S BEDROOM. DAY

Renton lies on the bed.

RENTON

(v.o)

I don't feel the sickness yet, but it's in the post, that's for sure. I'm in the junky limbo at the moment, too ill to sleep, too tired to stay awake, but the sickness is on its way. Sweat, chills, nausea, pain and craving. Need like nothing else I have ever known will soon take hold of me. It's on the way.
The door opens. Renton's Mother walks in with a bowl of soup and a piece of bread. Father watches from the doorway.

MOTHER

We'll help you, son. You'll stay with us until you get better. We'll beat this together.
RENTON

Maybe I could go back to the clinic.
MOTHER

No. No clinics, no methadone. That made you worse, you said so yourself. You lied to us, son, your own mother and father.
RENTON

At least get us some Tempazepam.
MOTHER

No, you're worse coming off that than you are with heroin. Nothing at all.
FATHER

It's a clean break this time.
MOTHER

You're staying where we can keep an eye on you.
RENTON

I do appreciate what you're trying to do, I really do, but I need just one score, to ease myself off it. Just one. Just one.
Mother retreats past Father, who closes the door. The bolts go home again. Renton lies back and closes his eyes. His forehead is damp with sweat. He begins to shake. He tosses and turns, becoming wrapped up in a swathe of blankets. As he unravels them, he is astonished to find a fully clothed Begbie in the bed with him.

BEGBIE

Well, this is a good laugh, you f___ing useless b______. Go on, sweat that s___e out of your system, because if I come back and it's still there, I'll f___ing kick it out.
Begbie laughs and covers himself up. Renton rips away the blankets, but Begbie has gone. Renton looks up. Baby Dawn is crawling across the ceiling. Renton looks down to see Diane sitting on the end of the bed. Diane sings 'Temptation' by New Order.

DIANE

'Oh, you've got green eyes, oh, you've got red eyes, and I've never met anyone quite like you before.'
Renton looks back up. Dawn continues her slow crawl, leaving behind a thick rail of unidentifiable slime. Renton looks down. Sick Boy sits on the end of the bed, holding a cup of tea and a chocolate biscuit. Mother stands behind him.

SICK BOY

It's a mug's game, Mrs Renton. I'm not saying I was blameless myself, far from it, but there comes a time when you have to turn your back on that nonsense and just say no.
Sick Boy takes a bit of his biscuit. Dawn crawls on. She has fangs now. Spud sits on the end of the bed, in a caricature prison uniform with arrows on it, plus a ball and chain. Dawn has claws as well. Tommy sits on the end of the bed. He looks terrible.

TOMMY

Better than s__, Rents, better than s__. The ultimate hit. I'm a f___ing adult. I'll find out for myself. Well, I've found out all right.
Renton looks up again just as the baby drops on to his face. He tears her off and throws her into a corner. Renton's Mother and Father are washing him. Mother bends down and picks up the large, damp sponge from the corner, where it landed. She wipes her son's face with it.

FATHER

Mark, there's something you need to do.

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INT. CONSULTING ROOM. DAY

A Doctor stands up as Renton enters.

DOCTOR

Come in. Sit down, please.
They both sit down.

Well, you've already spoken to one of our counsellors, but before we go on there're just a few questions I'd like to ask you.

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INT. RENTON FAMILY HOME, LIVING-ROOM. DAY

Renton, his mother and Father sit watching television.

INT. STUDIO. DAY

Renton is sitting inside a plastic booth shaped like a giant syringe. The Doctor, now dressed as a game-show host, stands in front, with Renton's Mother and Father beside him.

DOCTOR

Question number one: the human immunodeficiency virus is a - what?
FATHER

Retrovirus?
DOCTOR

Retrovirus is the correct answer.
Fanfare.

Question number two: HIV binds to which receptor on the host lymphocyte? Which Receptor?
Mother and Father confer.

FATHER

CD4.
DOCTOR

CD4 receptor is the correct answer.
Fanfare.

And now, question number three: is he guilty or not guilty?
MOTHER

He's our son.
DOCTOR

Is the correct answer.
Fanfare.

And now it's time to 'Take the Test'.
Lights flash. Music. A garish Hostess walks on with two envelopes. She holds them out for Mother to choose one.

INT. CONSULTING ROOM. DAY

The Doctor watches in silence as the Hostess, now dressed as a medical technician, draws blood from Renton's arm and puts it into a tube. She marks the tube with a pre-printed, numbered label.

INT. STUDIO. DAY

Mother opens one of the envelopes. She is speechless with joy. The plastic booth opens up. Lights flash again, etc. Renton steps out.

INT. SOCIAL CLUB. NIGHT

Renton, his Mother and Father sit at a table in the local social club. It is a Saturday night and the club is busy. Everyone sits in rapt silence. It is not initially clear what is going on. Near the bar a Caller with a microphone calls over the PA - Two and four, twenty-four...seven...fifteen...clickety-click,