Sun, 01 Jun 2008 09:54:50 GMT不同的世界 你我永远也不会了解...http://www.dazefeel.org/blog/zh-cnCopyright 2005 PBlog2 v2.4zh-cnCopyright 2005 PBlog2 v2.4http://www.dazefeel.org/blog/images/logos.gifhttp://www.dazefeel.org/blog/<- Daze Feel ->http://item.feedsky.com/~feedsky/killva/~5927782/95226968/4056205/1/item.html<strong>推荐国外朋友的一首歌，以此悼念四川地震死去的同胞。</strong><br/><br/>歌词如下：<br/><br/><span style="color:Red">You’re In Heaven(你在天堂)</span><br/><br/><strong> LYRICS:<br/><br/>就如天空中的繁星&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Like the stars in the sky, <br/>你来到我的身边向我诉说&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;I see you come by me tonight and speak your heart. <br/>你来到我的生命中带来了无限的光彩&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;You came into my life and brought the brightest light, <br/>但你如风一样逝去&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;but now you’ve gone away like the wind. <br/>记得你对我说&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Remembering what you said, <br/>我不会忘记你 我的朋友&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;I won’t forget you friend, <br/>因为我们会在天堂中相聚&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;because we’ll be together when I’m in heaven. <br/>你在天堂中. 你在天堂中. 你在天堂中&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; You’re in heaven. You’re in heaven. You’re in heaven.<br/> <br/><br/>有一天&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Someday, <br/>我会与你相聚&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;I’ll be with you, <br/>我们将最终团聚&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; somehow I will see you again. <br/>有一天&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Someday, <br/>我要拉住你&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;I will hold you, <br/>最终我会亲吻你的脸颊&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;somehow I will kiss you again.<br/>&nbsp;&nbsp;<br/> <br/>我们不会忘记你的话&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; And we won’t forget your words! <br/>永远不会忘记&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Never will we forget! <br/>我不会忘记你带来的光芒&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; We won’t forget your light! <br/>你迷人的脸庞&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Beautiful face of gold! <br/>我们不会忘记你温暖的碰触&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;We won’t forget your touch, <br/>你永远都不会离开我们 我的爱人&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;never will we let you go my love, <br/>因为你一直在我们心中&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;because you’re in our hearts! <br/>我会一直爱你&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Forever I will love you! <br/>永远不会忘记你 爱人&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Oh and never will we forget you, Love!<br/> <br/> <br/>有一天&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;One day, <br/>我们会相聚&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; we’ll be together again, <br/>在天堂中 在天堂中&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; in heaven oh in heaven! <br/>有一天&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Someday, <br/>最终我将随风奔向你&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; somehow I will blow like the wind to you.<br/>你来到我们的生命中 带来最美丽的光彩&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;You came into our lives and brought the brightest light. </strong><br/><br/>NIKO BLOG LINK：<a href="http://nikoonline.com/china/" target="_blank">http://nikoonline.com/china/</a><br/><br/>这首歌的下载地址：<a href="http://nikoonline.com/download.php?file=music/free/you_are_in_heaven_nikoonline.com.mp3" target="_blank">http://nikoonline.com/download.php?file=music/free/you_are_in_heaven_nikoonline.com.mp3</a><br/><br/>感谢NIKO“I plan to come to China in 2008! To sing a message of <br/>Hope and Love! ”。<br/>MusicSun, 01 Jun 2008 17:54:50 +0800exdre4m@gmail.com(exdre4m)http://www.dazefeel.org/blog/default.asp?id=833exdre4m@gmail.com(exdre4m)http://www.dazefeel.org/blog/default.asp?id=833http://www.dazefeel.org/blog/feed.aspfeedsky/killva/~5927782/95226968/4056205http://item.feedsky.com/~feedsky/killva/~5927782/95226969/4056205/1/item.html域名与空间可能7月分就到期了。。。放弃 dazefeelo.org 域名，当时注册也为了新鲜而已。<br/><br/>使用 blog.xtoo.net 二级域名 <img src="http://www.dazefeel.org/blog/images/smilies/Face_01.gif" border="0" style="margin:0px 0px -2px 0px" alt=""/><br/><br/> <img src="http://www.dazefeel.org/blog/images/smilies/Face_28.gif" border="0" style="margin:0px 0px -2px 0px" alt=""/>还要找空间，好麻烦 。。。My ZoneTue, 27 May 2008 12:23:47 +0800exdre4m@gmail.com(exdre4m)http://www.dazefeel.org/blog/default.asp?id=832exdre4m@gmail.com(exdre4m)http://www.dazefeel.org/blog/default.asp?id=832http://www.dazefeel.org/blog/feed.aspfeedsky/killva/~5927782/95226969/4056205http://item.feedsky.com/~feedsky/killva/~5927782/95226970/4056205/1/item.html<img src="http://www.dazefeel.org/blog/attachments/month_0805/d200852712155.jpg" border="0" alt=""/><br/><img src="http://www.dazefeel.org/blog/attachments/month_0805/a200852712159.jpg" border="0" alt=""/><br/><img src="http://www.dazefeel.org/blog/attachments/month_0805/u2008527121513.jpg" border="0" alt=""/><br/><br/>事情起因似乎是因为打工者没有拿到工钱，而来软件园找他们领导，结果引来了城管。<br/><br/>之前已经被城管带走一人，偶在拍照时有城管看了一眼，不叼他哈哈有本事来咬我啊。。。<br/><br/><br/>很可怜，一位母亲抱着孩子还来要钱，就如她所说：你们真是一群禽兽！OtherTue, 27 May 2008 12:17:37 +0800exdre4m@gmail.com(exdre4m)http://www.dazefeel.org/blog/default.asp?id=831exdre4m@gmail.com(exdre4m)http://www.dazefeel.org/blog/default.asp?id=831http://www.dazefeel.org/blog/feed.aspfeedsky/killva/~5927782/95226970/4056205http://item.feedsky.com/~feedsky/killva/~5927782/95226971/4056205/1/item.html最近为什么总停电。。。<br/><br/>上周上班时整个园区突然停电，据说为供电局出现问题，可怜困再电梯的人儿啊，只得砰砰砸电梯门。<br/><br/>上周6晚上，小区突然停电，爬楼梯从10楼下去，下楼梯时，看到一女同志，她对别人说好险刚出电梯就停电。看到物业人员四处奔波，因为困电梯里太多人了。。。到街上就出现了比较搞笑的场面。整个一条街，一边灯火通明，一边限入黑暗。<br/><br/>昨晚停了3次电，可怜偶的小电脑啊。。。电力资源紧张起码也要下个通知什么的，突然断电谁受得了。。。<br/><br/>还有BS物业，昨天电梯不开，拿桶水从1楼爬到4楼。。。My ZoneTue, 27 May 2008 09:56:59 +0800exdre4m@gmail.com(exdre4m)http://www.dazefeel.org/blog/default.asp?id=830exdre4m@gmail.com(exdre4m)http://www.dazefeel.org/blog/default.asp?id=830http://www.dazefeel.org/blog/feed.aspfeedsky/killva/~5927782/95226971/4056205http://item.feedsky.com/~feedsky/killva/~5927782/95226972/4056205/1/item.html<img src="http://www.dazefeel.org/blog/attachments/month_0805/z200851773448.jpg" border="0" alt=""/><br/><br/>为什么眼睛这么酸！<br/><br/>汶川的报道看几次眼睛湿润几次，是自己太懦弱？老天求求你，放过那些无辜的百姓，无辜的孩童吧！！！不要让我以为苍天不仁！那样我会诅咒你一万年！！！一万年！！！OtherSat, 17 May 2008 07:39:54 +0800exdre4m@gmail.com(exdre4m)http://www.dazefeel.org/blog/default.asp?id=829exdre4m@gmail.com(exdre4m)http://www.dazefeel.org/blog/default.asp?id=829http://www.dazefeel.org/blog/feed.aspfeedsky/killva/~5927782/95226972/4056205http://item.feedsky.com/~feedsky/killva/~5927782/95226973/4056205/1/item.htmltag port在流出packet的时候会保留tag标记，此标记不会被windows识别，即连pc(网卡不支持802.1q的pc)的时候会被abandon。一般用于连接其他支持taged vlan的switch，实现vlan的跨交换机。<br/>untaged port在packet流出的时候会去掉tag标记，windows可以识别此packet。NetworkFri, 02 May 2008 14:04:11 +0800exdre4m@gmail.com(exdre4m)http://www.dazefeel.org/blog/default.asp?id=828exdre4m@gmail.com(exdre4m)http://www.dazefeel.org/blog/default.asp?id=828http://www.dazefeel.org/blog/feed.aspfeedsky/killva/~5927782/95226973/4056205http://item.feedsky.com/~feedsky/killva/~5927782/95226974/4056205/1/item.html<img src="http://www.dazefeel.org/blog/attachments/month_0805/v20085112118.jpg" border="0" alt=""/><br/><img src="http://www.dazefeel.org/blog/attachments/month_0805/8200851121136.jpg" border="0" alt=""/><br/>《幻想三國誌肆》主題曲<br/>【那天】<br/>作曲：盧小旭<br/>演唱：洪一平<br/> <br/>走过多少黑夜与(和)白天　<br/><br/>快乐悲伤　你陪我穿越　　<br/><br/>脚步渐远回忆却搁浅　<br/><br/>阖眼浮现　相遇　那一天<br/><br/> <br/><br/>眼泪留不住时间　要怎么实现<br/><br/>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 那个梦　未竟的誓言　　　　　　　　　　　　　　　　　　　　　　　　　　<br/><br/>风雨中　我紧握　许下的承诺<br/><br/>回首过尽了千帆　还依然执着<br/><br/>一生中　有何求　知心共把酒<br/><br/>两颗心交会时候　写下最深刻的感动<br/><br/>就算注定遗憾的延蔓　不错过&nbsp;&nbsp; 不放手　　　　　　<br/> <br/><br/>走过多少黑夜与(和)白天　<br/><br/>快乐悲伤　你陪我穿越　　　<br/><br/>脚步渐远回忆却搁浅　<br/><br/>阖眼浮现　相遇　那一天<br/><br/> <br/><br/>如果能倒转时间　让一切重演　<br/><br/>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 我情愿　只擦肩　就画下句点　　　　　　　　　　　　　　　　　　　　　　　　　　　　 <br/><br/>风雨中　我紧握　许下的承诺<br/><br/>回首过尽了千帆　还依然执着<br/><br/>一生中　有何求　知心共把酒<br/><br/>两颗心交会时候　写下最深刻的感动<br/><br/> <br/><br/>风雨中　我紧握　许下的承诺<br/><br/>回首过尽了千帆　还依然执着<br/><br/>一生中　有何求　知心共把酒<br/><br/>两颗心交会时候　深刻的感动<br/><br/> <br/><br/>笔锋挥洒也难写尽与你相识的曾经<br/><br/>指间弹拨永恒离别的旋律<br/><br/> <br/><br/>风雨中　我紧握　许下的承诺<br/><br/>回首过尽了千帆　还依然执着<br/><br/>一生中　有何求　知心共把酒<br/><br/>两颗心交会时候　深刻的感动<br/><img src="http://www.dazefeel.org/blog/attachments/month_0805/j20085112128.jpg" border="0" alt=""/><br/>My ZoneThu, 01 May 2008 12:12:16 +0800exdre4m@gmail.com(exdre4m)http://www.dazefeel.org/blog/default.asp?id=827exdre4m@gmail.com(exdre4m)http://www.dazefeel.org/blog/default.asp?id=827http://www.dazefeel.org/blog/feed.aspfeedsky/killva/~5927782/95226974/4056205http://item.feedsky.com/~feedsky/killva/~5927782/95226975/4056205/1/item.html<img src="http://www.dazefeel.org/blog/attachments/month_0803/22008318163650.jpg" border="0" alt=""/><br/><br/><strong>XMLSPY XMLSpy Enterprise Edition2008正式企业版官方网站:</strong><br/><a href="http://www.altova.com/" target="_blank">http://www.altova.com/</a><br/><strong>XMLSPY XMLSpy Enterprise Edition2008正式企业版下载地址:</strong><br/><a href="http://www.altova.com/" target="_blank">http://www.altova.com/</a>download/xmlspy/xml_editor_enterprise.html<br/><strong>使用迅雷下载XMLSPY XMLSpy Enterprise Edition2008正式企业版:</strong><br/><a href="http://www.altova.com/" target="_blank">http://www.altova.com/</a>download/2008/default.asp?product=x&amp;edition=e&amp;os=any&amp;<a href="http://blog.dazefeel.org" target="_blank">server</a>=us<br/><strong>[瑞星2008/卡巴7.0检测无病毒木马]<a href="http://blog.dazefeel.org" target="_blank">破解</a>补丁地址:</strong><br/><a href="http://www.jydex.cn/attachments/month_0711/w2007111215514.rar" target="_blank">http://www.jydex.cn/attachments/month_0711/w2007111215514.rar</a><br/><br/><br/><strong><a href="http://blog.dazefeel.org" target="_blank">破解</a>方法很简单就不说了.祝大家用得开心.</strong>DownTue, 18 Mar 2008 16:37:28 +0800exdre4m@gmail.com(exdre4m)http://www.dazefeel.org/blog/default.asp?id=826exdre4m@gmail.com(exdre4m)http://www.dazefeel.org/blog/default.asp?id=826http://www.dazefeel.org/blog/feed.aspfeedsky/killva/~5927782/95226975/4056205http://item.feedsky.com/~feedsky/killva/~5927782/95226976/4056205/1/item.html&nbsp;&nbsp;&nbsp;&nbsp; 1995年，在西雅图，我平生第一次接触到键盘，上网搜索。就在那一年，我开始了自己的事业，我就像一个盲人，骑在盲眼的老虎身上，直到现在，我还对<a href="http://blog.dazefeel.org" target="_blank">网络</a>技术一无所知。<br/><br/>&nbsp;&nbsp;&nbsp;&nbsp; 从第一天开始做互联网，我们被人家当作骗子，到后来当疯子，到今天别人把我们当狂人，我已经根本不在乎别人怎么看我了。在这个社会中，你是不是真正在做有意义的事情，这个很重要。<br/><br/>&nbsp;&nbsp;&nbsp;&nbsp; 我们是全球的眼光当地制胜，我们的拳头打到海外这个位置，再打下去已经没有力量了，迅速回来；回来后在当地制胜，形成文化，形成自己的势力再打出去。如果不在中国制胜的话，我们会漂在海外。我们要防止的对手是在全球，而非中国内地。在中国，互联网真正要赚大钱还要有两三年的时间，这两三年内挣的钱只能让你活得好一点，但活得很舒服、很富有不可能。现在我们不可以在中国内地以外地方养一支300到500人的队伍，成本太高了，收入与支出不成正比，在香港、在台湾都不行，只有在中国内地才行，而且可以不断地发展壮大起来。<br/><br/>&nbsp;&nbsp;&nbsp;&nbsp; 进行全球化的企业家、各位前辈、各位同行，今天非常残酷，明天更残酷，后天很美好，但是绝大部分人死在明天晚上。<br/><br/>&nbsp;&nbsp;&nbsp;&nbsp; 阿里巴巴在路上发现小金子，如果不断捡起来，身上装满的时候就会走不动，永远到不了金矿的山顶；还是不管小金子直奔山顶。<br/><br/>&nbsp;&nbsp;&nbsp;&nbsp; 那时候我心里面很感动，人与人之间的感情起了作用，我知道我错了，如果我不接，其他人都有可能接不下来，雅虎中国可能就要面临崩盘了，这将对雅虎全球的品牌造成很大负面影响，而这是一直视雅虎为偶像的我所不愿看到的，我想挑战一下，看能不能做。<br/><br/>&nbsp;&nbsp;&nbsp;&nbsp; 即使美国有那么好的配送和物流基础，亚马逊也只有5%的利润。中国B2C市场已经很成熟，但卓越、当当还是活得很辛苦，说明这个模式有问题。<br/><br/>&nbsp;&nbsp;&nbsp;&nbsp; 自从接手雅虎中国的那一天起，我一下子遭到整个中国互联网行业的“群殴”。<br/><br/>&nbsp;&nbsp;&nbsp;&nbsp; 这半年来，外部，互联网的这种狂热、浮躁，泡沫不亚于2000年；内部，被聚光灯照得太多，就等于火气太旺，作为一个六年的公司，一个团队平均年龄26岁的新的产业，这对我们的发展是不利的。所以，最近我们再度宣布公司处于高度危机状态，突然大家都关注你、看好你的时候，我们可能会忘掉自己是谁，可能会失去自己，这个时候我们是特别担心的。就像一个六岁的孩子突然长到一米八，而他脑子实际上只有六岁，但他如果认为自己脑子也有一米八，也有那么大，那他肯定闯祸，我见过很多这样的企业。我们不断提醒自己，我们今天才六岁，我们的基础还很差，我们整个体能还跟不上，供血很容易跟不上；第二呢，我们要记住我们的影响力，因为人长一米八之后随便打出一拳都有可能打得天崩地裂，所以每走一步棋要考虑对别人造成的影响，同时要感觉自己能不能跟得上。<br/><br/>&nbsp;&nbsp;&nbsp;&nbsp; 今天雅虎中国我想把它关了都可以，别说我变变脸还要问问杨致远。我治理这家公司，就等于雅虎中国这个病人躺在手术台上面，我就是主刀医生，我的投资者都是我的护士。我说刀他给我刀，我要钳子他给我钳子。不能说我要刀他给我一把剪子。在手术的过程中，我明白我要什么，不能说，就因为我只做了三年，而那个护士做了二十年，她眼睛一横我就慌掉。我是医生，她还得听我的。做任何决策，除非涉及到我要卖公司了，我会跟我的董事会讨论。一般所有的决定，我们爱怎么办怎么办。我今天可以搞得它很瘦，明天可以搞得它很胖。<br/><br/>&nbsp;&nbsp;&nbsp;&nbsp; 一流高手是眼睛里面没有对手，所以我经常说我没有对手，原因是我心中没有对手。心中有敌，天下皆为你敌人；心中无敌，无敌于天下。<br/><br/>&nbsp;&nbsp;&nbsp;&nbsp; e-Bay用一亿美金砸这个市场，我认为没有技术含量，能用钱去解决问题，这世界还要企业家干什么。企业家是懂得用最小的资源去把市场价值扩大化，是能够发现一个价值同时又能够用各种各样的办法使它产生影响力，这才是企业家的智慧。<br/><br/>&nbsp;&nbsp;&nbsp;&nbsp; 我觉得真的是不缺钱，想法也满天都是。中国缺的是有一个想法，并且能够持之以恒把这个想法不断坚持做下去的人。<br/><br/>&nbsp;&nbsp;&nbsp;&nbsp; 生活是公平的，哪怕吃了很多苦，只要你坚持下去，一定会有收获，即使最后失败了，你也获得了别人不具备的经历。<br/><br/>&nbsp;&nbsp;&nbsp;&nbsp; 压力是躲不掉的。一个企业家要耐得住寂寞，耐得住诱惑，还要耐得住压力，耐得住冤枉，外练一层皮，内练一口气，这很重要。武林高手比的是经历了多少磨难，而不是取得过多少成功。<br/><br/>&nbsp;&nbsp;&nbsp;&nbsp; Judge（判断）一个人、 一个公司是不是优秀，不要看他是不是Harvard（哈佛），是不是Stanford（斯坦福），不要Judge里面有多少名牌大学毕业生，而要Judge这帮人干活是不是发疯一样干，看他每天下班是不是笑眯眯回家。<br/><br/>&nbsp;&nbsp;&nbsp;&nbsp; 男人的胸怀是委屈撑大的。<br/><br/>&nbsp;&nbsp;&nbsp;&nbsp; 竞争是一种游戏，马化腾的策略用得很好，这就是竞争的味道，竞争让你永远保持高度警惕。<br/><br/>&nbsp;&nbsp;&nbsp;&nbsp; 打架就得在别人家里打，打不打得赢没有关系，至少能把别人的家里打得乱七八糟，把家具都给砸烂了；打得赢当然更好，那eBay在中国市场上就难以壮大。<br/><br/>&nbsp;&nbsp;&nbsp;&nbsp; 一个公司在两种情况下最容易犯错误，第一是有太多的钱的时候，第二是面对太多的机会，一个CEO看到的不应该是机会，因为机会无处不在，一个CEO更应该看到灾难，并把灾难扼杀在摇篮里。<br/><br/>&nbsp;&nbsp;&nbsp;&nbsp; 孙正义跟我有同一个观点，一个方案是一流的Idea加三流的实施；另外一个方案，一流的实施，三流的Idea，哪个好？我们俩同时选择一流的实施，三流的Idea。<br/><br/>&nbsp;&nbsp;&nbsp;&nbsp; 30%的人永远不可能相信你。不要让你的同事为你干活，而让我们的同事为我们的目标干活，共同努力，团结在一个共同的目标下面，就要比团结在你一个企业家底下容易的多。所以首先要说服大家认同共同的理想，而不是让大家来为你干活。<br/><br/>&nbsp;&nbsp;&nbsp;&nbsp; 互联网是四乘一百米接力赛，你再厉害，只能跑一棒，应该把机会给年轻人。<br/><br/>&nbsp;&nbsp;&nbsp;&nbsp; 发令枪一响，你是没时间看你的对手是怎么跑的。只有明天是我们的竞争对手。<br/><br/>&nbsp;&nbsp;&nbsp;&nbsp; 互联网上失败一定是自己造成的，要不就是脑子发热，要不就是脑子不热，太冷了。<br/><br/>&nbsp;&nbsp;&nbsp;&nbsp; 互联网像一杯啤酒，有沫的时候最好喝。<br/><br/>&nbsp;&nbsp;&nbsp;&nbsp; 如果早起的那只鸟没有吃到虫子，那就会被别的鸟吃掉。<br/><br/>&nbsp;&nbsp;&nbsp;&nbsp; eBay是大海里的鲨鱼，淘宝则是长江里的鳄鱼，鳄鱼在大海里与鲨鱼搏斗，结果可想而知，我们要把鲨鱼引到长江里来。<br/><br/>&nbsp;&nbsp;&nbsp;&nbsp; 听说过捕龙虾富的，没听说过捕鲸富的。<br/><br/>&nbsp;&nbsp;&nbsp;&nbsp; 如何把每一个人的才华真正地发挥作用，我们这就像拉车，如果有的人往这儿拉，有的人往那儿拉，互相之间自己给自己先乱掉了。当你有1个傻瓜时，很傻的，你很会很痛苦；你有50个傻瓜是最幸福的，吃饭、睡觉、上厕所排着队去的；你有一个聪明人时很带劲，你有50个聪明人实际上是最痛苦的，谁都不服谁。我在公司里的作用就象水泥，把许多优秀的人才粘合起来，使他们力气往一个地方使。<br/><br/>&nbsp;&nbsp;&nbsp;&nbsp; 要假设你融不到一分钱的情况去做事业。<br/><br/>&nbsp;&nbsp;&nbsp;&nbsp; 投资者可以炒我们，我们也可以换投资者，投资者是跟着企业家和好的团队走的，即使只有一股，我也能影响公司。<br/><br/>&nbsp;&nbsp;&nbsp;&nbsp; 创业要找最合适的人，不一定要找最成功的人！<br/><br/>&nbsp;&nbsp;&nbsp;&nbsp; 不用花心思打造明星团队，团队即是可以和自己脚踏实地将事情推进者。<br/><br/>&nbsp;&nbsp;&nbsp;&nbsp; 什么是团队呢？团队就是不要让另外一个人失败，不要让团队任何人失败。<br/><br/>&nbsp;&nbsp;&nbsp;&nbsp; 对所有创业者来说，永远告诉自己一句话：从创业得第一天起，你每天要面对的是困难和失败，而不是成功。我最困难的时候还没有到，但有一天一定会到。<br/><br/>&nbsp;&nbsp;&nbsp;&nbsp; 领导者是孤独的。<br/><br/>&nbsp;&nbsp;&nbsp;&nbsp; 领导力在顺境的时候每个人都能出来，只有在逆境的时候才是真正的领导力。任何有顺利的时候，一定有逆境的时候。永远要把对手想得非常强大，哪怕他非常弱小，你也要把他想得非常强大。商界犯错误经常会出现说“看不见，看不起，看不懂，跟不上”。首先，对手我在哪儿都找不到；第二，我根本看不起这些人；第三，我看不懂，他们怎么起来了；最后，是根本跟不上别人。<br/><br/>&nbsp;&nbsp;&nbsp;&nbsp; 阿里巴巴有没有危机？我觉得危机很大，要不我怎么可能这五年来没有重过一斤肉，而且现在越来越瘦。<br/><br/>&nbsp;&nbsp;&nbsp;&nbsp; 我们即使跪着活，只要活着一天，我们就赢了。<br/><br/>&nbsp;&nbsp;&nbsp;&nbsp; 2006年是我最痛苦、最艰难的一年……一年内很多人说雅虎会死，我说不会死。各个企业都有高压时刻，但不要丢失自己的眼光、胸怀、智慧和幽默，不管别人怎样还要往前走。<br/><br/>&nbsp;&nbsp;&nbsp;&nbsp; 高尔夫球我打得很臭，多少杆实在不好意思说。但是我打球的姿势比吴鹰漂亮。<br/><br/>&nbsp;&nbsp;&nbsp;&nbsp; 最大的决心并不是我对互联网有很大的信心，而是我觉得做一件事，经历就是一种成功，你去闯一闯，不行你还可以掉头；但是如果你不做，就像晚上想千条路，早上起来走原路，一样的道理。<br/><br/>&nbsp;&nbsp;&nbsp;&nbsp; 从现在起，我们要做一件伟大的事情。我们的B2B将为互联网服务模式带来一次革命！启动资金必须是Pocket money(闲钱)，不许向家人朋友借钱，因为失败可能性极大。我们必须准备好接受“最倒霉的事情”。但是，即使是泰森把我打倒，只要我不死，我就会跳起来继续战斗！现在，你们每个人留一点吃饭的钱，将剩下的钱全部拿出来。另外，你们只能做连长、排长，团级以上干部我得另请高明。<br/><br/>&nbsp;&nbsp;&nbsp;&nbsp; <a href="http://blog.dazefeel.org" target="_blank">网络</a>即江湖，要笑傲其间，必须有眼光，有胸怀，只有这样，才可能在种种传言和误解面前，依然豪气满怀，仰天长笑；真正的傲，建立在有实力、有魄力的基础上，只有这样，才可能在人云亦云的时候保持清醒的头脑，才可在骂声中依然坚持自己的方向，傲视同侪。<br/><br/>&nbsp;&nbsp;&nbsp;&nbsp; 傻坚持肯定要强于不坚持。坚持下来的人都获得了财富，而心思活络的聪明人有时候不容易成功，坚持不下去是一个最大的原因。<br/><br/>OtherThu, 13 Mar 2008 14:14:24 +0800exdre4m@gmail.com(exdre4m)http://www.dazefeel.org/blog/default.asp?id=825exdre4m@gmail.com(exdre4m)http://www.dazefeel.org/blog/default.asp?id=825http://www.dazefeel.org/blog/feed.aspfeedsky/killva/~5927782/95226976/4056205http://item.feedsky.com/~feedsky/killva/~5927782/95226977/4056205/1/item.html　　Trainspotting <br/>　　 <br/>　　Screenplay by <br/>　　 <br/>　　John Hodge <br/>　　 <br/>　　Based on the Novel by <br/>　　 <br/>　　Irvine Welsh <br/>　　 <br/>　　Directed by <br/>　　 <br/>　　Danny Boyle <br/>　　 <br/>　　________________________________________ <br/>　　 <br/>　　 <br/>　　 <br/>　　________________________________________ <br/>　　COMPLETED ON 4/21/97 <br/>　　This is the o&#114;iginal shooting screenplay. It contains some scenes which wh&#101;re cut from the final film. It was typed (yes, typed) into text format . I urge you to purchase both the novel, published by Norton (ISBN 0-393-31480-4) and the screenplay from Miramax Books/Hyperion (ISBN 0-7868-8221-2) Enjoy. <br/>　　 <br/>　　________________________________________ <br/>　　 <br/>　　 <br/>　　EXT. STREET. DAY <br/>　　Legs run along the pavement. They are Mark Renton&#39;s. <br/>　　Just ahead of him is Spud. They are both belting along. <br/>　　As they travel, various objects (pens, tapes, CDs, toiletries, ties, sunglasses, etc.) either fall o&#114; are discarded from inside their jackets. <br/>　　They are pursued by two hard-looking Store Detectives in identical uniforms. The men are fast, but Renton and Spud maintain their lead. <br/>　　RENTON <br/>　　(voice-over) <br/>　　Choose life. Choose a job. Choose a career. Choose a family, Choose a fucking big television, Choose washing machines, cars, compact disc players, and electrical tin openers. <br/>　　Suddenly, as Renton crosses a road, a car skids to a halt, inches from him. <br/>　　In a moment of detachment he stops and looks at the shocked driver, then at Spud, who has continued running, then at the Two Men, who are now closing in on him. <br/>　　He smiles. <br/>　　INT. SWANNEY&#39;S FLAT ROOM. DAY <br/>　　 <br/>　　In a bare, dingy room, Renton lies on the floor, alone, motionless and drugged. <br/>　　RENTON(v.o) <br/>　　Choose good health, low cholesterol and dental insurance. Choose fixed-interest mortgage repayments. Choose a starter home. Choose your friends. <br/>　　EXT. FOOTBALL PITCH. NIGHT <br/>　　 <br/>　　On a flood lit five-a-side pitch, Renton and his friends are taking on another team at football. <br/>　　 <br/>　　The opposition all wear an identical strip (Arsenal), wh&#101;reas Renton and his friends wear an odd assortment of gear. <br/>　　 <br/>　　Three girls -- Lizzy, Gail, and Allison and Baby -- stand by the side, watching. <br/>　　 <br/>　　The boys are outclassed by the team with the strip but play much dirtier. <br/>　　 <br/>　　As each performs a characteristic bit of play, the play freezes and their name is visible, printed o&#114; written on some item of clothing. (T-Shirt, baseball cap, shorts, trainers). In Begbie&#39;s case, his name appears as a tatoo on his arm. <br/>　　 <br/>　　Sick Boy commits a sneaky foul and indignantly denies it. <br/>　　 <br/>　　Begbie commits an obvious foul and make no effort to deny it. <br/>　　 <br/>　　Spud, in goal, lets the ball in between his legs. <br/>　　 <br/>　　Tommy kicks the ball as hard as he can. <br/>　　 <br/>　　Renton&#39;s litany continues over the action: <br/>　　RENTON(v.o) <br/>　　Choose leisure wear and matching luggage. Choose a three piece suite on hire purchase in a range of fucking 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 fucking 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, fucked-up brats you have spawned to replace yourself. Choose your future. Choose life. <br/>　　Renton is hit straight in the face by the ball. He lies back on the astroturf. Voice-over continues. <br/>　　But who would I want to do a thing like that? <br/>　　INT. SWANNEY&#39;S FLAT. DAY <br/>　　 <br/>　　Renton lies on the floor. <br/>　　 <br/>　　Swanney, Allison and Baby, Sick Boy and Spud are shooting up o&#114; preparing to shoot up. Sick Boy is talking to Allison as he taps up a vein on her arm. <br/>　　RENTON(v.o) <br/>　　I chose not to choose life: I chose something else. And the reasons? There are no reasons. Who need reasons when you&#39;ve got heroin? <br/>　　SICK BOY <br/>　　Goldfinger&#39;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. <br/>　　RENTON(v.o) <br/>　　People think it&#39;s all about misery and desperation and death and all that shite, which is not to be ignored, but what they forget - <br/>　　Spud is shooting up <br/>　　is the pleasure of it. Otherwise we wouldn&#39;t do it. After all, we&#39;re not fucking stupid. At least, we&#39;re not that fucking stupid. Take the best o&#114;gasm you ever had, multiply it by a thousand and you&#39;re still nowh&#101;re near it. When you&#39;re on junk you have only one worry: scoring. When you&#39;re off it you are suddenly obliged to worry about all sorts of other shite. Got no money: can&#39;t get pished. Got money: drinking too much. Can&#39;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 fucking winds, about human relationships and all the things that really don&#39;t matter when you&#39;ve got a sincere and truthful junk habit. <br/>　　SICK BOY <br/>　　I would say, in those days, he was a muscular actor, in every sense, with all the presence of someone like Cooper o&#114; Lancaster, but combined with a sly wit to make him a formidable romantic lead, closer in that respect to Cary Grant. <br/>　　RENTON(v.o) <br/>　　The only drawback, o&#114; at least the principal drawback, is that you have to endure all manner of cunts telling you that - <br/>　　INT. PUB I. NIGHT <br/>　　 <br/>　　Begbie, smoking and drinking, speaks to camera. <br/>　　BEGBIE <br/>　　No way would I poison my body with that shite, all they fucking chemicals, no fucking way. <br/>　　INT. PUB I. NIGHT <br/>　　 <br/>　　Tommy sits beside Lizzy. He speaks to camera. <br/>　　TOMMY <br/>　　It&#39;s a waste of your life, Rents, poisoning your body with that shite. <br/>　　INT. RENTON FAMILY HOME, LIVING ROOM. NIGHT <br/>　　 <br/>　　Renton&#39;s father and mother sit at the table eating. <br/>　　 <br/>　　Renton is seated but not eating. <br/>　　FATHER <br/>　　Every chance you&#39;ve ever had, you&#39;ve blown it, stuffing your veins with that filth. <br/>　　-------- <br/>　　 <br/>　　INT. ELECTRICAL RETAILERS. DAY <br/>　　 <br/>　　Gav wears the corporate jacket. <br/>　　GAV <br/>　　Get off that stuff, Rents and get a job. It&#39;s not as bad as it looks. While you&#39;re here, you don&#39;t fancy buying a cooker, do you? <br/>　　-------- <br/>　　 <br/>　　INT. SWANNEY&#39;S FLAT. DAY <br/>　　 <br/>　　Sick Boy and Spud lie drugged up. Allison and Baby wait while Swanney cooks up. <br/>　　 <br/>　　Renton is standing up. <br/>　　RENTON(v.o) <br/>　　From time to time, even I have uttered the magic words. <br/>　　SWANNEY <br/>　　Are you serious? <br/>　　RENTON <br/>　　Yeah. No more. I&#39;m finished with that shite. <br/>　　SWANNEY <br/>　　Well, it&#39;s up to you. <br/>　　RENTON <br/>　　I&#39;m going to get it right this time. Going to get it set up and get off it for good. <br/>　　SWANNEY <br/>　　Sure, sure. I&#39;ve heard it before. <br/>　　RENTON <br/>　　The Sick Boy method. <br/>　　They both look at Sick Boy <br/>　　SWANNEY <br/>　　Yeah, well, it surely worked for him. <br/>　　RENTON <br/>　　He&#39;s always been lacking in moral fibre. <br/>　　SWANNEY <br/>　　He knows a lot about Sean Connery. <br/>　　RENTON <br/>　　That&#39;s hardly a substitute. <br/>　　SWANNEY <br/>　　you&#39;ll need one more hit. <br/>　　RENTON <br/>　　No, I don&#39;t think so. <br/>　　SWANNEY <br/>　　To see you through the night that lies ahead. <br/>　　Freeze Frame on Swanney. <br/>　　RENTON(v.o) <br/>　　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&#39;d have another shot: after all, I had work to do. <br/>　　INT. RENTON&#39;S FLAT ROOM. DAY <br/>　　 <br/>　　The door opens and Renton enters carrying shopping bags. He empties them on to a mattress beside three buckets and a television. <br/>　　RENTON(v.o) <br/>　　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; pornography; 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. <br/>　　Renton swallows several Valium tablets. Voice-over continues. <br/>　　And now I&#39;m ready. All I need is a final hit to soothe the pain while the Valium takes effect. <br/>　　-------- <br/>　　 <br/>　　INT. SWANNEY&#39;S FLAT. DAY <br/>　　 <br/>　　Swanney, Sick Boy, Spud and Allison and Baby all lie inert while the telephone rings. <br/>　　 <br/>　　-------- <br/>　　 <br/>　　INT. CALL BOX. DAY <br/>　　 <br/>　　Renton curses as he slams down the receiver. He dials again. <br/>　　RENTON <br/>　　Mikey. It&#39;s Mark Renton. Can you help me out? <br/>　　INT. MIKEY&#39;S FLAT. DAY <br/>　　 <br/>　　Renton holds two opium suppositories in the palm of his hand. <br/>　　RENTON(v.o) <br/>　　This was typical of Mikey Forrester. <br/>　　(on screen) <br/>　　What the fuck are these? <br/>　　(v.o) <br/>　　Under the normal run of things I would have had nothing to do with the cunt, but this was not the normal run of things. <br/>　　MIKEY <br/>　　Opium suppositories. Ideal for your purpose. Slow release, like. Bring you down gradually. Custom fucking designed for your needs. <br/>　　RENTON <br/>　　I want a fucking hit. <br/>　　MIKEY <br/>　　That&#39;s all I&#39;ve got: take it o&#114; leave it. <br/>　　Renton sticks his hand down the back of his trousers and sticks the suppositories into his rectum. <br/>　　Feel better now? <br/>　　RENTON <br/>　　For all the good they&#39;ve done me I might as well have stuck them up my arse. <br/>　　He smiles. <br/>　　 <br/>　　EXT. STREET. DAY <br/>　　RENTON(v.o) <br/>　　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. <br/>　　He looks around the local amenities. He is in discomfort, clutching his abdomen and falling to his knees. <br/>　　 <br/>　　He notices a betting shop. <br/>　　 <br/>　　INT. BETTING SHOP. DAY <br/>　　 <br/>　　Renton walks through the crowded, smoky betting shop towards a door marked &#39;toilet&#39; with a bit of card. <br/>　　RENTON(v.o) <br/>　　I fantasize about massive pristine convenience. <br/>　　He stumbles through. <br/>　　(v.o) <br/>　　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&#39;ll settle for anywh&#101;re. <br/>　　INT. HORRIBLE TOILET. DAY <br/>　　 <br/>　　This is the most horrible toilet in Britain. <br/>　　 <br/>　　Alone, Renton makes his way through the horrors to a cubicle. <br/>　　 <br/>　　INT. HORRIBLE TOILET CUBICLE. DAY <br/>　　 <br/>　　Renton locks the door. <br/>　　 <br/>　　He looks into the bowl and winces with disgust, even in his state. <br/>　　 <br/>　　He pulls the chain. The chain comes off. <br/>　　 <br/>　　He dro&#112;s his trousers, sits on the bowl and closes his eyes. <br/>　　 <br/>　　-------- <br/>　　 <br/>　　MONTAGE <br/>　　 <br/>　　A lorry on a building site dumps a load of bricks, B52&#39;s shed their load on Vietnam, the Blue Peter elephant, etc. <br/>　　 <br/>　　-------- <br/>　　 <br/>　　INT. CUBICLE. DAY <br/>　　 <br/>　　Renton has his eyes closed. They snap open. <br/>　　 <br/>　　He looks down between his legs. <br/>　　 <br/>　　He dro&#112;s to his knees in front of the bowl and rolls his sleeve up. <br/>　　 <br/>　　With no more hesitation he plunges his arm into the bowl and trawls for the suppositories. <br/>　　 <br/>　　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. <br/>　　 <br/>　　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. <br/>　　 <br/>　　The cubicle is empty. <br/>　　 <br/>　　INT. UNDER WATER. DAY <br/>　　 <br/>　　Renton, dressed as before, swims through murky depths until he reaches the bottom, wh&#101;re he picks up the suppositories, which glow like luminous pearls, before heading up towards the surface again. <br/>　　 <br/>　　INT. HORRIBLE TOILET CUBICLE. DAY <br/>　　 <br/>　　The toilet is empty. <br/>　　 <br/>　　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. <br/>　　 <br/>　　INT. RENTON&#39;S ROOM. DAY <br/>　　 <br/>　　The mattress, buckets and supplies are laid out as before. <br/>　　 <br/>　　The door opens and Renton enters, still soaking and dripping. <br/>　　 <br/>　　The suppositories are in his hand. He holds them up, and they twinkle in the light. <br/>　　RENTON <br/>　　Now. Now I&#39;m ready. <br/>　　INT. RENTON&#39;S ROOM. DAY <br/>　　 <br/>　　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. <br/>　　 <br/>　　-------- <br/>　　SICK BOY <br/>　　You Only Live Twice? <br/>　　RENTON <br/>　　Nineteen-sixty-seven. <br/>　　SICK BOY <br/>　　Running time? <br/>　　RENTON <br/>　　One hundred and sixteen minutes. <br/>　　SICK BOY <br/>　　Director? <br/>　　RENTON <br/>　　Lewis Gilbert. <br/>　　SICK BOY <br/>　　Screenwriter? <br/>　　RENTON <br/>　　Eh - Ian Fleming? <br/>　　SICK BOY <br/>　　Fuck off! He never wrote any of them. <br/>　　RENTON <br/>　　OK, so who was it, then? <br/>　　SICK BOY <br/>　　You can look it up. <br/>　　Sick Boy throws across a worn copy of a film guide. <br/>　　 <br/>　　Renton cannot be bothered to pick it up. <br/>　　How are you feeling since you came off the skag? For myself, I&#39;m bored. <br/>　　RENTON <br/>　　Who wrote it? <br/>　　SICK BOY <br/>　　But you&#39;re looking better, it has to be said. Healthier. Radiant even. <br/>　　RENTON <br/>　　You don&#39;t know, do you? <br/>　　SICK BOY <br/>　　And I wondered if you&#39;d care to go to the park tomorrow. <br/>　　RENTON <br/>　　The park? <br/>　　SICK BOY <br/>　　Tomorrow afternoon. Usual set-up. <br/>　　RENTON <br/>　　Who wrote it? <br/>　　SICK BOY <br/>　　Roald Dahl. <br/>　　RENTON <br/>　　Roald Dahl. Fuck me. <br/>　　-------- <br/>　　 <br/>　　EXT. PARK. DAY <br/>　　 <br/>　　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. <br/>　　 <br/>　　Renton is carrying a battered old cassette player and a carry-out in a plastic bag. <br/>　　 <br/>　　Sick Boy is carrying a small, tatty suitcase from Oxfam. <br/>　　 <br/>　　They scan the horizon and give each other the nod. They walk towards the bushes. <br/>　　RENTON(v.o) <br/>　　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 fucker, don&#39;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. <br/>　　EXT. PARK. DAY <br/>　　 <br/>　　Seen through the telescopic sight of an air rifle that wanders over various potential targets (children, pensioners, couples, gardeners, etc.). <br/>　　SICK BOY <br/>　　It&#39;s certainly a phenomenon in all walks of life. <br/>　　RENTON <br/>　　What do you mean? <br/>　　SICK BOY <br/>　　Well, at one time, you&#39;ve got it, and then you lose it, and it&#39;s gone for ever. All walks of life: George Best, for example, had it and lost it, o&#114; David Bowie, o&#114; Lou Reed - <br/>　　RENTON <br/>　　Some of his solo stuff&#39;s not bad. <br/>　　SICK BOY <br/>　　No, it&#39;s not bad, but it&#39;s not great either, is it? And in your heart you kind of know that although it sounds all right, it&#39;s actually just shite. <br/>　　RENTON <br/>　　So who else? <br/>　　SICK BOY <br/>　　Charlie Nicholas, David Niven, Malcolm McLaren, Elvis Presley. - <br/>　　RENTON <br/>　　OK, OK, so what&#39;s the point you&#39;re trying to make? <br/>　　EXT. PARK. DAY <br/>　　 <br/>　　Sick Boy rests the gun down. <br/>　　SICK BOY <br/>　　All I&#39;m trying to do is help you understand that The Name of the Rose is merely a blip on an otherwise uninterrupted downward trajectory. <br/>　　RENTON <br/>　　What about The Untouchables? <br/>　　SICK BOY <br/>　　I don&#39;t rate that at all. <br/>　　RENTON <br/>　　Despite the Academy award? <br/>　　SICK BOY <br/>　　That means fuck all. The sympathy vote. <br/>　　RENTON <br/>　　Right. So we all get old and then we can&#39;t <a href="http://blog.dazefeel.org" target="_blank">hack</a> it any more. Is that it? <br/>　　SICK BOY <br/>　　Yeah. <br/>　　RENTON <br/>　　That&#39;s your theory? <br/>　　SICK BOY <br/>　　Yeah, Beautifully fucking illustrated. <br/>　　RENTON <br/>　　Give me the gun. <br/>　　EXT. PARK. DAY Through the sight again. This time a Skinhead and his muscle-bound dog are in view. <br/>　　 <br/>　　Sick Boy and Renton talk like Sean Connery. <br/>　　SICK BOY <br/>　　Do you see the beast? Have you got it in you sights? <br/>　　RENTON <br/>　　Clear enough, Moneypenny. This should present no significant problem. <br/>　　The gun fires and the dog yelps, jumps up and bites its owner (the Skinhead). <br/>　　SICK BOY <br/>　　For a vegetarian, Rents, you&#39;re a fucking evil shot. <br/>　　EXT. PARK. DAY <br/>　　 <br/>　　Renton loads up again. <br/>　　RENTON(v.o) <br/>　　Without heroin, I attempted to lead a useful and fulfilling life as a good citizen. <br/>　　INT. CAFÉ. DAY <br/>　　 <br/>　　Two milkshakes clink together. <br/>　　 <br/>　　Renton and Spud and seated at a booth, dressed in their own fashion for job interviews. <br/>　　RENTON <br/>　　Good luck, Spud. <br/>　　SPUD <br/>　　Cheers. <br/>　　RENTON <br/>　　Now remember -- <br/>　　SPUD <br/>　　Yeah. <br/>　　RENTON <br/>　　If they think you&#39;re not trying, you&#39;re in trouble. First hint of that, they&#39;ll be on to the DSS, &#39;This cunt&#39;s no trying&#39; and your Giro is fucking finished, right? <br/>　　SPUD <br/>　　Right. <br/>　　RENTON <br/>　　But try too hard -- <br/>　　SPUD <br/>　　And you might get the fucking job. <br/>　　RENTON <br/>　　Exactly. <br/>　　SPUD <br/>　　Nightmare. <br/>　　RENTON <br/>　　It&#39;s a tightrope, Spud, a fucking tightrope. <br/>　　SPUD <br/>　　My problem is that I tend to clam up. I go dumb and I can&#39;t answer any questions at all. Nerves on the big occasion, like a footballer. <br/>　　RENTON <br/>　　Try this. <br/>　　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&#39;s hand. <br/>　　SPUD <br/>　　A little dab of speed is just the ticket. <br/>　　-------- <br/>　　 <br/>　　INT. INTERVIEW OFFICE. DAY <br/>　　 <br/>　　A Woman and Two Men (1 and 2) are interviewing Renton. His job application form is on the desk in front of them. <br/>　　MAN 1 <br/>　　Well, Mr. Renton, I see that you attended the Royal Edinburgh College. <br/>　　RENTON <br/>　　Indeed, yes, those halcyon days. <br/>　　MAN 1 <br/>　　One of Edinburgh&#39;s finest schools. <br/>　　RENTON <br/>　　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 -- <br/>　　MAN 1 <br/>　　I&#39;m an old boy myself, you know? <br/>　　RENTON <br/>　　Oh, really? <br/>　　MAN 1 <br/>　　Do you recall the school motto? <br/>　　RENTON <br/>　　Of course, the motto, the motto -- <br/>　　MAN 1 <br/>　　Strive, hope, believe and conquer. <br/>　　RENTON <br/>　　Exactly. Those very words have been my guiding light in what is, after all, a dark and often hostile world. <br/>　　Renton looks pious under scrutiny. <br/>　　MAN 2 <br/>　　Mr. Renton -- <br/>　　RENTON <br/>　　Yes. <br/>　　MAN 2 <br/>　　You seem eminently suited to this post but I wonder if you could explain the gaps in your employment record? <br/>　　RENTON <br/>　　Yes, I can. The truth -- well, the truth is that I&#39;ve had a long-standing problem with heroin addiction. I&#39;ve been know to sniff it, smoke it, swallow it, stick it up my arse and inject it into my veins. I&#39;ve been trying to combat this addiction, but unless you count social <a href="http://blog.dazefeel.org" target="_blank">security</a> scams and shoplifting, I haven&#39;t had a regular job in years. I feel it&#39;s important to mention this. <br/>　　There is silence. <br/>　　 <br/>　　A paper clip crashes to the floor. <br/>　　 <br/>　　-------- <br/>　　 <br/>　　INT. OFFICE. DAY <br/>　　 <br/>　　The same office. The same team are interviewing Spud. <br/>　　SPUD <br/>　　No, actually I went to Craignewton but I was worried that you wouldn&#39;t have heard of it so I put the Royal Edinburgh College instead, because they&#39;re both schools, right, and we&#39;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&#39;s the point? Like which school? Does it matter? Why? When? Wh&#101;re? o&#114; how many O grades did I get? Could be six, could be one, but that&#39;s not important. What&#39;s important is that I am, right? That I am. <br/>　　MAN 1 <br/>　　Mr. Murphy, do you mean that you lied on your application? <br/>　　SPUD <br/>　　Only to get my foot in the door. Showing initiative, right? <br/>　　MAN 1 <br/>　　You were referred here by the Department of Employment. There&#39;s no need for you to get you &#34;foot in the door&#34;, as you put it. <br/>　　SPUD <br/>　　Hey. Right. No problem. Whatever you say, man. You&#39;re the man, the governor, the dude in the chair, like. I&#39;m merely here. But obviously I am. Here, that is. I hope I&#39;m not talking too much. I don&#39;t usually. I think it&#39;s all important though, isn&#39;t it? <br/>　　MAN 2 <br/>　　Mr. Murphy, what attracts you to the leisure industry? <br/>　　SPUD <br/>　　In a word, pleasure. My pleasure in other people&#39;s leisure. <br/>　　--------- <br/>　　WOMAN <br/>　　What do you see as your main strengths? <br/>　　SPUD <br/>　　I love people. All people. Even people that no one else loves, I think they&#39;re OK, you know. Like Beggars. <br/>　　WOMAN <br/>　　Homeless people? <br/>　　SPUD <br/>　　No, not homeless people. Beggars, Francis Begbie -- one of my mates. I wouldn&#39;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&#39;s fucking gubbed me in the face, right -- <br/>　　--------- <br/>　　WOMAN <br/>　　Mr. Murphy, {leaving your friend aside,} do you see yourself as having any weaknesses? <br/>　　SPUD <br/>　　No. Well, yes. I have to admit it: I&#39;m a perfectionist. For me, it&#39;s the best o&#114; nothing at all. If things go badly, I can&#39;t be bothered, but I have a good feeling about this interview. Seems to me like it&#39;s gone pretty well. We&#39;ve touched on a lot of subjects, a lot of things to think about, for all of us. <br/>　　MAN 1 <br/>　　Thank you, Mr. Murphy. We&#39;ll let you know. <br/>　　SPUD <br/>　　The pleasure was mine. Best interview I&#39;ve ever been to. Thanks. <br/>　　Spud crosses the room to shake everyone by the hand and kiss them. <br/>　　RENTON(v.o) <br/>　　Spud had done well. I was proud of him. He fucked up good and proper. <br/>　　-------- <br/>　　 <br/>　　INT. PUB 1. DAY <br/>　　 <br/>　　Renton and Spud meet up after the interviews. <br/>　　SPUD <br/>　　A little too well, if anything, a little too well, that&#39;s my only fear, compadre. <br/>　　RENTON <br/>　　Another dab? <br/>　　SPUD <br/>　　Would not say no, would not say no. <br/>　　INT. OFFICE. DAY <br/>　　 <br/>　　The Woman and Two Men sit in silence. <br/>　　 <br/>　　-------- <br/>　　 <br/>　　INT. PUB 2. NIGHT <br/>　　 <br/>　　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. <br/>　　 <br/>　　Begbie&#39;s story overlaps with the subsequent depiction of the incident. <br/>　　BEGBIE(v.o) <br/>　　Picture the scene. Wednesday morning in the Volley. Me and Tommy are playing pool. No problems, and I&#39;m playing like Paul fucking Newman by the way. I&#39;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&#39;m on the black and he&#39;s sitting in the corner, looking all biscuit-arsed. Then this hard cunt comes in. Obviously fancied himself. Starts looking at me. Right fucking at me. Trying to put off, like, just for kicks. Looking at me as if to say, &#39;Come ahead, square go.&#39; Well, you know me, I&#39;m no looking for trouble but at the end of the day I&#39;m the cunt with the pool cue and I&#39;m game for a swedge. So I squared up, casual like. So what does the hard cunt do, o&#114; so-called hard cunt? Shites it. Puts down his drink, turns around and gets the fuck out of there. And after that, the game was mine. <br/>　　INT. POOL HALL. DAY <br/>　　 <br/>　　The events in the pool hall, as described by Begbie. <br/>　　 <br/>　　Begbie and Tommy are playing pool. <br/>　　 <br/>　　Begbie is playing like a wizard. <br/>　　 <br/>　　Tommy looks defeated. <br/>　　 <br/>　　Lining up for the final ball, Begbie is distracted by a large Hard Man standing at the bar staring at him. <br/>　　 <br/>　　Begbie stands up and walks slowly towards the Hard Man. <br/>　　 <br/>　　They stand, eye to eye, for a moment. <br/>　　 <br/>　　Begbie swings the pool cue slowly into his palm. <br/>　　 <br/>　　The Hard Man turns and leaves. <br/>　　 <br/>　　Begbie drinks the Hard Man&#39;s pint, then pots the black with a brilliant shot. <br/>　　 <br/>　　INT. PUB 2. DAY <br/>　　 <br/>　　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. <br/>　　 <br/>　　Freeze-frame: the glass in mid-air and Begbie&#39;s smiling face. <br/>　　RENTON(v.o) <br/>　　And that was it. That was Begbie&#39;s story. o&#114; at least that was Begbie&#39;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. <br/>　　INT. TOMMY&#39;S FLAT. DAY <br/>　　 <br/>　　Renton&#39;s hand flicks through a long row of videos on the floor while the sound of weights being lifted (by Tommy) emanates from nearby. <br/>　　 <br/>　　Most of the videos are feature films o&#114; comedy shows, some with titles written in Tommy&#39;s hand, but two catch Renton&#39;s attention. <br/>　　 <br/>　　They are 100 Great Goals and Tommy and Lizzy Vol. 1, the latter a handwritten title. <br/>　　 <br/>　　Renton looks from the video round to Tommy, who is engrossed in lifting weights. <br/>　　TOMMY <br/>　　Well, sure it was Wednesday morning, we were in the Volley playing pool, that much is true. <br/>　　INT. POOL HALL. DAY <br/>　　 <br/>　　Tommy&#39;s account over a depiction of his version. <br/>　　TOMMY(v.o) <br/>　　But Begbie is playing absolutely fucking gash. He&#39;s got a hangover so bad he can hardly hold the fucking cue, never mind pot the ball. I&#39;m doing my best to lose, trying to humour him, like, but it&#39;s not doing any good: every time I touch the ball I pot something, every time Begbie goes near the table he fucks it up. So he&#39;s got the hump, right, but finally I manage to set it up so all he&#39;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&#39;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 cunt hasn&#39;t even glanced in our direction. He&#39;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 fucking psycho, but he&#39;s a mate, you know, so what can you do? <br/>　　The events are as follows: <br/>　　 <br/>　　Begbie and Tommy are playing pool. <br/>　　 <br/>　　Begbie, furious, miscues, goes in off, etc. <br/>　　 <br/>　　Tommy deliberately misses sitters and tries to look annoyed. <br/>　　 <br/>　　Begbie lines up to play the black. It is unmissable. <br/>　　 <br/>　　At the bar beyond sits a harmless young Man, wearing the same clothes as the Hard Man in Begbie&#39;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. <br/>　　 <br/>　　As Begbie plays, the Man bites a crisp. <br/>　　 <br/>　　Begbie miscues, rips the cloth and the ball flies off the table. <br/>　　 <br/>　　Tommy catches it and looks up to see Begbie assaulting the young Man. <br/>　　 <br/>　　Tommy cautiously restrains Begbie and he reaches into his jacket for a knife. <br/>　　 <br/>　　Begbie turns and for a moment looks as though he might attack Tommy. <br/>　　 <br/>　　INT. TOMMY&#39;S FLAT. DAY <br/>　　 <br/>　　Tommy puts down his weights. <br/>　　 <br/>　　Renton holds up 100 Great Goals. <br/>　　RENTON <br/>　　Can I borrow this one? <br/>　　INT. PUB 2. NIGHT <br/>　　 <br/>　　The freeze-frame of the glass in mid-air and Begbie&#39;s smiling face. <br/>　　RENTON(v.o) <br/>　　Yeah, the guy&#39;s a psycho, but it&#39;s true, he&#39;s a mate as well, so what can you do? Just stand back and watch and try not to get involved. Begbie didn&#39;t do drugs either, he just did people. That what he got off on: his own sensory addiction. <br/>　　The glass falls into the crowd. <br/>　　 <br/>　　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. <br/>　　 <br/>　　Up on the balcony, Begbie stands up. The screams and shouting continue below. <br/>　　 <br/>　　Begbie appears at the bottom of the staircase down from the balcony. <br/>　　 <br/>　　He strides towards the bleeding Woman and begins shouting. <br/>　　BEGBIE <br/>　　All right. Nobody move. The girl got glassed and no cunt leaves here until we find out which cunt did it. <br/>　　A man stands up from one of the tables. <br/>　　MAN <br/>　　And who the fuck do you think you are? <br/>　　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. <br/>　　 <br/>　　Up on the balcony, the rest of the gang watch in silence. <br/>　　 <br/>　　INT. RENTON&#39;S FLAT. DAY <br/>　　 <br/>　　The empty cover for 100 Great Goals lies on the floor. <br/>　　 <br/>　　Sick Boy and Renton sit dispassionately watching Tommy and Lizzy in their home-made soft-porn video. <br/>　　RENTON(v.o) <br/>　　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. <br/>　　INT. CLUB. NIGHT <br/>　　 <br/>　　A mass of dancing bodies fills the floor. The music is very loud. <br/>　　 <br/>　　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. <br/>　　 <br/>　　Tommy turns and speaks to Spud. His lips move but nothing is audible. Spud is not ever aware that Tommy has spoken. <br/>　　 <br/>　　Tommy bellows in Spud&#39;s ear. <br/>　　 <br/>　　Tommy&#39;s words and all subsequent conversation in the dance area of the club appear as subtitles, the character&#39;s communications somewh&#101;re between speech and mime. <br/>　　TOMMY <br/>　　How&#39;s it going with Gail? <br/>　　SPUD <br/>　　No joy yet. <br/>　　TOMMY <br/>　　How long is it? <br/>　　SPUD <br/>　　Six weeks. <br/>　　TOMMY <br/>　　Six weeks! <br/>　　SPUD <br/>　　It&#39;s a nightmare. She told me she didn&#39;t want our relationship to start on a physical basis as that is how it would be principally defined from then on in. <br/>　　TOMMY <br/>　　Wh&#101;re did she come up with that? <br/>　　SPUD <br/>　　She read it in Cosmopolitan. <br/>　　TOMMY <br/>　　Six weeks and no sex? <br/>　　SPUD <br/>　　I&#39;ve got balls like watermelons, I&#39;m telling you. <br/>　　INT. NIGHTCLUB, WOMEN&#39;S TOILET. NIGHT <br/>　　 <br/>　　Gail and Lizzy are smoking and talking. <br/>　　GAIL <br/>　　I read it in Cosmopolitan. <br/>　　LIZZY <br/>　　It&#39;s an interesting theory. <br/>　　GAIL <br/>　　Actually it&#39;s a nightmare. I&#39;ve been desperate for a shag, but watching him suffer was just too much fun. You should try it with Tommy. <br/>　　LIZZY <br/>　　What, and deny myself the only pleasure I get from him? Did I tell you about my birthday? <br/>　　GAIL <br/>　　What happened? <br/>　　LIZZY <br/>　　He forgot. Useless motherfucker. <br/>　　INT. NIGHTCLUB. DANCE AREA. NIGHT <br/>　　 <br/>　　Tommy and Spud seated as before. Their words are subtitled. <br/>　　 <br/>　　As they are speaking Gail and Lizzy return and sit down. <br/>　　TOMMY <br/>　　Useless motherfucker, that&#39;s what she called me. I told her, I&#39;m sorry, but theses things happen. Let&#39;s put it behind us. <br/>　　SPUD <br/>　　That&#39;s fair enough. <br/>　　TOMMY <br/>　　Yes, but then she finds out I&#39;ve bought a ticket for Iggy Pop the same night. <br/>　　SPUD <br/>　　Went ballistic? <br/>　　TOMMY <br/>　　Big time. Absolutely fucking radge. &#39;It&#39;s me o&#114; Iggy Pop, time to decide.&#39; <br/>　　SPUD <br/>　　So what&#39;s it going to be? <br/>　　TOMMY <br/>　　Well, I&#39;ve paid for the ticket. <br/>　　GAIL AND LIZZY <br/>　　What are you two talking about? <br/>　　TOMMY AND SPUID <br/>　　Football. What were you talking about? <br/>　　GAIL and LIZZY <br/>　　Shopping <br/>　　Standing nearby but apart from them is Renton. <br/>　　 <br/>　　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. <br/>　　RENTON(v.o) <br/>　　The situation was becoming serious. Young Renton noticed the haste with which the successful, in the sexual sphere as in all others, egregated themselves from the failures. <br/>　　Begbie and Sick Boy with the Two Women. <br/>　　 <br/>　　Renton standing among a group of lone nerds. <br/>　　 <br/>　　Renton wades on to the dance floor, looking at countless women, all whom either turn away o&#114; are spoken for. <br/>　　RENTON(v.o) <br/>　　Heroin had robbed Renton of his sex drive, but now it returned with a vengeance. And as the impotence of those days faded into memory, grim desperation took hold in his sex-crazed mind. His post-junk libido, fuelled by alcohol and amphetamine, taunted him remorselessly with his own unsatisfied desire dot. <br/>　　Renton notices one girl (Diane) walking on her own towards the door. <br/>　　 <br/>　　A Man carrying two drinks catches up with her and walks backwards, talking to her. <br/>　　 <br/>　　She says nothing. He blocks her way. <br/>　　 <br/>　　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. <br/>　　(v.o) <br/>　　And with that, Mark Renton had fallen in love. <br/>　　EXT. STREET. NIGHT <br/>　　 <br/>　　The Girl walks away from the club, scanning the street for a taxi, and hail one which stops just as Renton calls out. <br/>　　RENTON <br/>　　Excuse me, I don&#39;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&#39;s special. <br/>　　DIANE <br/>　　Thanks. <br/>　　RENTON <br/>　　What&#39;s your name? <br/>　　DIANE <br/>　　Diane. <br/>　　RENTON <br/>　　Wh&#101;re are you going, Diane? <br/>　　DIANE <br/>　　I&#39;m going home. <br/>　　RENTON <br/>　　Wh&#101;re&#39;s that? <br/>　　DIANE <br/>　　It&#39;s wh&#101;re I live. <br/>　　RENTON <br/>　　Great. <br/>　　DIANE <br/>　　What? <br/>　　RENTON <br/>　　I&#39;ll come back if you like, but I&#39;m not promising anything. <br/>　　Diane halts abruptly as a taxi pulls up. <br/>　　DIANE <br/>　　Do you find that this approach usually works, o&#114;, let me guess, you&#39;ve never tried it before. In fact, you don&#39;t normally approach girls, am I right? The truth is that you&#39;re a quite, sensitive type but if I&#39;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&#39;t us girls just love that? <br/>　　RENTON <br/>　　Eh- <br/>　　DIANE <br/>　　Well, what&#39;s wrong, boy? Cat got your tongue. <br/>　　RENTON <br/>　　I think I left something back at the - <br/>　　The girl has disappeared into the back of the taxi. <br/>　　 <br/>　　Renton looks around. <br/>　　TAXI DRIVER <br/>　　Are you getting in o&#114; not, pal? <br/>　　EXT. ROAD. NIGHT <br/>　　 <br/>　　The taxi motors along. <br/>　　 <br/>　　INT. TAXI. NIGHT <br/>　　 <br/>　　Renton and Diane are kissing passionately in the back. <br/>　　 <br/>　　EXT. STREET. NIGHT <br/>　　 <br/>　　Spud is pushed against the wall held by his lapels. He drinks from a bottle of beer in one hand. <br/>　　GAIL <br/>　　Do you understand? <br/>　　Spud nods drunkenly. <br/>　　 <br/>　　Gail releases her grip. <br/>　　Our relationship is not being redefined; it is developing in an appropriate, o&#114;ganic 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-sex situation. Right? <br/>　　Spud drinks from a bottle in the other hand and says nothing but he does not look too happy. <br/>　　 <br/>　　INT. TOMMY&#39;S FLAT. NIGHT <br/>　　 <br/>　　Tommy and Lizzy kiss while Tommy unlocks the door. <br/>　　 <br/>　　INT. DIANE&#39;S HOME, HALLWAY. NIGHT <br/>　　 <br/>　　In a darkened suburban hallway, the door opens and tw<br/><br/><br/>　　In a darkened suburban hallway, the door opens and two figures enter. <br/>　　RENTON <br/>　　Diane. <br/>　　DIANE <br/>　　Ssshh! <br/>　　RENTON <br/>　　Sorry. <br/>　　DIANE <br/>　　Shut up. <br/>　　They walk through another door and close it behind them. <br/>　　 <br/>　　INT. TOMMY&#39;S FLAT. NIGHT <br/>　　 <br/>　　Tommy and Lizzy kiss against the inside of th door, taking their outer clothes off. <br/>　　 <br/>　　INT. DIANE&#39;S BEDROOM. NIGHT <br/>　　 <br/>　　By a pale bedside light, Diane and Renton undress. <br/>　　 <br/>　　INT. GAIL&#39;S BEDROOM. NIGHT <br/>　　 <br/>　　Spud is lying unconscious on the bed. Gail stands over him. <br/>　　GAIL <br/>　　Wake up, Spud, wake up. Sex. <br/>　　She kicks him. He moans. <br/>　　Casual sex. <br/>　　She kicks him again. He moans again. <br/>　　You useless bastards. So, let&#39;s see what I&#39;m missing. <br/>　　She begins undressing him. <br/>　　 <br/>　　INT. DIANE&#39;S BEDROOM. NIGHT <br/>　　 <br/>　　Renton lies on his back while Diane rides above him. <br/>　　 <br/>　　INT. GAIL&#39;S BEDROOM. NIGHT <br/>　　 <br/>　　Gail throws Spud&#39;s clothes to the floor and throws a blanket over him. <br/>　　GAIL <br/>　　Not much. <br/>　　She switches out the light. <br/>　　 <br/>　　INT. TOMMY&#39;S FLAT. NIGHT <br/>　　 <br/>　　Tommy and Lizzy now lie on the bed in a state of semi-undress. <br/>　　LIZZY <br/>　　Tommy, let&#39;s put the tape on. <br/>　　TOMMY <br/>　　Now? <br/>　　LIZZY <br/>　　Yes, I want to watch ourselves while we&#39;re screwing. <br/>　　TOMMY <br/>　　Fuck, OK. <br/>　　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. <br/>　　 <br/>　　Tommy sits back on the bed with the remote control and presses &#39;play&#39; as Lizzy kisses him. <br/>　　 <br/>　　His face registers consternation. <br/>　　 <br/>　　On the television, Archie Gemmill scores his famous goal against Holland in 1978. <br/>　　 <br/>　　INT. DIANE&#39;S BEDROOM. NIGHT <br/>　　 <br/>　　Renton and Diane climax together. <br/>　　 <br/>　　Diane immediately climbs off and wraps herself in a robe. <br/>　　RENTON <br/>　　Christ, I haven&#39;t felt that good since Archie Gemmill scored against Holland in 1978. <br/>　　DIANE <br/>　　Right. You can&#39;t sleep here. <br/>　　RENTON <br/>　　What? <br/>　　DIANE <br/>　　Out. <br/>　　RENTON <br/>　　Come on. <br/>　　DIANE <br/>　　No argument. You can sleep on the sofa in the living room, o&#114; go home. It&#39;s up to you. <br/>　　RENTON <br/>　　 <br/>　　Jesus. <br/>　　DIANE <br/>　　 <br/>　　And don&#39;t make any noise. <br/>　　 <br/>　　 <br/>　　INT. TOMMY&#39;S FLAT. NIGHT <br/>　　 <br/>　　 <br/>　　 <br/>　　The lights are full on now. Lizzy sits on the bed clutching a blanket around herself. <br/>　　 <br/>　　 <br/>　　Tommy hops around in his underwear, searching desperately. <br/>　　 <br/>　　 <br/>　　All the videos are opened and scattered everywh&#101;re. <br/>　　LIZZY <br/>　　What do you mean, it&#39;s &#39;gone&#39;? Wh&#101;re has it gone, Tommy? <br/>　　TOMMY <br/>　　It&#39;ll be here somewh&#101;re. I might have returned it by mistake. <br/>　　LIZZY <br/>　　Returned it? Wh&#101;re? To the video shop, Tommy? To the fucking video store? So every punter in Edinburgh is jerking off to our video? God, Tommy, I feel sick. <br/>　　 <br/>　　 <br/>　　INT. DIANE&#39;S HOME, LIVING-ROOM. MORNING <br/>　　 <br/>　　 <br/>　　 <br/>　　Renton lies submerged under a blanket. <br/>　　 <br/>　　 <br/>　　The sounds of a normal morning travel from a room nearby: whistles, radio, voices. <br/>　　 <br/>　　 <br/>　　Renton peeps over the edge of the blanket, then covers his head again. <br/>　　 <br/>　　 <br/>　　INT. GAIL&#39;S BEDROOM. MORNING <br/>　　 <br/>　　 <br/>　　 <br/>　　Spud opens his eyes. With his fingers, he feels crusted liquid around his mouth. <br/>　　 <br/>　　 <br/>　　Abruptly he turns around: the bed is soaked in vomit. <br/>　　 <br/>　　 <br/>　　He looks under the cover and dro&#112;s it again in revulsion. <br/>　　 <br/>　　 <br/>　　INT. DIANE&#39;S HOME, LIVING-ROOM. DAY <br/>　　 <br/>　　 <br/>　　 <br/>　　Renton pulls himself up off the sofa and dresses as quickly as possible. <br/>　　 <br/>　　 <br/>　　INT. GAIL&#39;S BEDROOM. DAY <br/>　　 <br/>　　 <br/>　　 <br/>　　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. <br/>　　 <br/>　　 <br/>　　INT. DIANE&#39;S HOME, HALL/KITCHEN. DAY <br/>　　 <br/>　　 <br/>　　 <br/>　　The door swings open. A Man and a Woman, about Renton&#39;s age, sit at the kitchen table. They look up to see Renton in the doorway. <br/>　　MAN <br/>　　Good Morning. <br/>　　WOMAN <br/>　　Come in and sit down. You must be Mark. <br/>　　 <br/>　　 <br/>　　 <br/>　　Renton walks to the table and sits down. <br/>　　RENTON <br/>　　Yes, that&#39;s me. <br/>　　 <br/>　　WOMAN <br/>　　You&#39;re a friend of Diane&#39;s? <br/>　　 <br/>　　RENTON <br/>　　More of a friend of a friend, really. <br/>　　 <br/>　　MAN <br/>　　Right. <br/>　　 <br/>　　RENTON <br/>　　Are you her flatmates? <br/>　　 <br/>　　 <br/>　　 <br/>　　The couple exchange a look and laugh. <br/>　　WOMAN <br/>　　Flatmates. I must remember that one. <br/>　　 <br/>　　 <br/>　　 <br/>　　The Man and Woman look beyond Renton. He too turns and follows their gaze. <br/>　　 <br/>　　 <br/>　　Diane stands in the doorway. <br/>　　 <br/>　　 <br/>　　She is wearing school uniform. <br/>　　 <br/>　　 <br/>　　INT. GAIL&#39;S HOME, HALL/KITCHEN. DAY <br/>　　 <br/>　　 <br/>　　 <br/>　　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. <br/>　　GAIL <br/>　　Good morning, Spud. <br/>　　 <br/>　　SPUD <br/>　　Morning, Gail. Morning, Mrs. Houston, Mr. Houston. <br/>　　 <br/>　　MOTHER <br/>　　Morning, Spud. Sit down and have some breakfast. <br/>　　 <br/>　　SPUD <br/>　　Sorry about last night - <br/>　　 <br/>　　GAIL <br/>　　It&#39;s all right. I slept fine on the sofa. <br/>　　 <br/>　　SPUD <br/>　　I had a little too much to drink. I&#39;m afraid I had a slight accident. <br/>　　 <br/>　　FATHER <br/>　　Oh, don&#39;t worry, these things happen. It does everyone good to cut loose once in a while. <br/>　　 <br/>　　GAIL <br/>　　This one could do with being tied up once in a while. <br/>　　 <br/>　　MOTHER <br/>　　I&#39;ll put the sheets in the washing machine just now. <br/>　　 <br/>　　SPUD <br/>　　No, I&#39;ll wash them. I&#39;ll take them home and bring them back. <br/>　　 <br/>　　MOTHER <br/>　　There&#39;s no need. <br/>　　 <br/>　　SPUD <br/>　　It&#39;s no problem. <br/>　　 <br/>　　MOTHER <br/>　　No problem for me either. <br/>　　 <br/>　　MOTHER <br/>　　Honestly, it&#39;s no problem. <br/>　　 <br/>　　SPUD <br/>　　I&#39;d really rather take care of it myself. <br/>　　 <br/>　　MOTHER <br/>　　Spud, they&#39;re my sheets. <br/>　　 <br/>　　 <br/>　　 <br/>　　She takes hold of the bundle. <br/>　　 <br/>　　 <br/>　　Spud does not yield. <br/>　　 <br/>　　 <br/>　　She pulls harder. Spud holds on. She tugs powerfully. <br/>　　 <br/>　　 <br/>　　The bundle bursts open with an explosion of vomit and excrement that covers everything in the kitchen. <br/>　　 <br/>　　 <br/>　　Only Spud remains untouched. <br/>　　 <br/>　　 <br/>　　--------- <br/>　　 <br/>　　 <br/>　　SPUD <br/>　　I guess this means I&#39;ll never get to have sex with Gail. <br/>　　 <br/>　　 <br/>　　 <br/>　　INT. TOMMY&#39;S FLAT. DAY <br/>　　 <br/>　　 <br/>　　 <br/>　　Tommy sits alone, watching <br/>　　 <br/>　　100 Great Goals <br/>　　 <br/>　　 <br/>　　 <br/>　　 <br/>　　--------- <br/>　　 <br/>　　 <br/>　　 <br/>　　 <br/>　　 <br/>　　EXT. STREET. DAY <br/>　　 <br/>　　 <br/>　　 <br/>　　Renton paces briskly down the street, followed by Diane. <br/>　　DIANE <br/>　　I don&#39;t see why not. <br/>　　RENTON <br/>　　Because it&#39;s illegal. <br/>　　 <br/>　　DIANE <br/>　　Holding hands? <br/>　　 <br/>　　RENTON <br/>　　No, not holding hands. <br/>　　 <br/>　　DIANE <br/>　　In that case you can do it. You were quite happy to do a lot more last night. <br/>　　 <br/>　　RENTON <br/>　　And that&#39;s what&#39;s illegal. Do you know what they do to people like me inside? They&#39;d cut my balls off and flush them down the fucking toilet. <br/>　　 <br/>　　 <br/>　　 <br/>　　They stop at the school gates. <br/>　　DIANE <br/>　　Calm down. You&#39;re not going to jail. <br/>　　 <br/>　　RENTON <br/>　　Easy for you to say. <br/>　　 <br/>　　DIANE <br/>　　Can I see you again? <br/>　　 <br/>　　RENTON <br/>　　Certainly not. <br/>　　 <br/>　　 <br/>　　 <br/>　　Renton walks away. <br/>　　DIANE <br/>　　If you don&#39;t see me again I&#39;ll tell the police. <br/>　　 <br/>　　 <br/>　　 <br/>　　Renton turns and walks back to her. They stand for a moment, then Renton walks away again. Diane smiles. <br/>　　(to herself) <br/>　　 <br/>　　I&#39;ll see you around then. <br/>　　 <br/>　　 <br/>　　 <br/>　　 <br/>　　EXT. VIDEO STORE. DAY <br/>　　 <br/>　　 <br/>　　 <br/>　　In the cold light of morning, Tommy and Lizzy wait, not speaking, outside the still-closed video store. <br/>　　 <br/>　　 <br/>　　--------- <br/>　　 <br/>　　 <br/>　　 <br/>　　 <br/>　　 <br/>　　EXT. RAIL BRIDGE. DAY <br/>　　 <br/>　　 <br/>　　 <br/>　　A train speeds across. <br/>　　 <br/>　　 <br/>　　INT. TRAIN. DAY <br/>　　 <br/>　　 <br/>　　 <br/>　　Sick Boy, Tommy, Spud and Renton sit drinking from an extensive carry-out. <br/>　　SICK BOY <br/>　　This had better be good. <br/>　　 <br/>　　TOMMY <br/>　　It will be. It&#39;ll make a change for three miserable junkies who don&#39;t know what they want to do with themselves since they stopped doing smack. <br/>　　 <br/>　　SICK BOY <br/>　　If I&#39;m giving up a whole day and the price of a ticket, I&#39;m just saying it had better be good. There&#39;s plenty of other things I could be doing. <br/>　　 <br/>　　TOMMY <br/>　　Such as? <br/>　　 <br/>　　SICK BOY <br/>　　Such as sitting in a darkened room, watching videos, drinking, smoking dope and wanking. Does that answer your question? <br/>　　 <br/>　　 <br/>　　 <br/>　　They sit in silence. <br/>　　 <br/>　　 <br/>　　--------- <br/>　　 <br/>　　 <br/>　　 <br/>　　 <br/>　　 <br/>　　EXT. STATION. DAY <br/>　　 <br/>　　 <br/>　　 <br/>　　The station is in the middle of a moor. There appears to be no habitation around. In the distance are some hills. <br/>　　 <br/>　　 <br/>　　The train stands at the station. <br/>　　 <br/>　　 <br/>　　As it pulls away, Renton, Spud, Tommy and Sick Boy are left standing on the platform, looking around. <br/>　　SICK BOY <br/>　　Now what? <br/>　　 <br/>　　TOMMY <br/>　　We go for a walk. <br/>　　 <br/>　　SPUD <br/>　　What? <br/>　　 <br/>　　TOMMY <br/>　　A walk. <br/>　　 <br/>　　SPUD <br/>　　But wh&#101;re? <br/>　　 <br/>　　Tommy points vaguely across the moor. <br/>　　TOMMY <br/>　　There. <br/>　　 <br/>　　SICK BOY <br/>　　Are you serious? <br/>　　 <br/>　　They step across the tracks toward the vast moorland. They stop. <br/>　　All but Tommy sit down on <a href="http://blog.dazefeel.org" target="_blank">rock</a>s o&#114; clumps of heather. <br/>　　TOMMY <br/>　　Well, what are you waiting for? <br/>　　 <br/>　　SPUD <br/>　　I don&#39;t know, Tommy. I don&#39;t know if it&#39;s... normal. <br/>　　 <br/>　　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. <br/>　　Spud opens a can. <br/>　　TOMMY <br/>　　It&#39;s the great outdoors. <br/>　　 <br/>　　SICK BOY <br/>　　It&#39;s really nice, Tommy. Can we go home now? <br/>　　 <br/>　　TOMMY <br/>　　It&#39;s fresh air. <br/>　　 <br/>　　SICK BOY <br/>　　Look, Tommy, we know you&#39;re getting a hard time off Lizzy, but there&#39;s no need to take it out on us. <br/>　　 <br/>　　TOMMY <br/>　　Doesn&#39;t it make you proud to be Scottish? <br/>　　 <br/>　　RENTON <br/>　　I hate being Scottish. We&#39;re the lowest of the fucking 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&#39;t. They&#39;re just wankers. We, on the other hand, are colonized by wankers. We can&#39;t even pick a decent culture to be colonized by. We are ruled by effete arseholes. It&#39;s a shite state of affairs and all the fresh air in the world will not make any fucking difference. <br/>　　 <br/>　　The three serious Walkers are receding into the distance. <br/>　　The boys troop back towards the platform. <br/>　　(v.o) <br/>　　At o&#114; around this time, we made a healthy, informed, democratic decision to get <br/>　　back on drugs as soon as possible. It took about twelve hours. <br/>　　 <br/>　　 <br/>　　 <br/>　　INT. SWANNEY&#39;S FLAT. DAY <br/>　　 <br/>　　Renton hands over money to Swanney. <br/>　　Renton then begins cooking up. <br/>　　Also present and cooking o&#114; shooting up are Spud, Swanney, Allison and Baby, and Sick Boy. <br/>　　RENTON(v.o) <br/>　　It looks easy, this, but it&#39;s not. It looks like a doss, like a soft option, but living like this, it&#39;s a full-time business. <br/>　　 <br/>　　He injects. <br/>　　 <br/>　　 <br/>　　--------- <br/>　　 <br/>　　 <br/>　　 <br/>　　 <br/>　　 <br/>　　INT. SHOP. DAY <br/>　　 <br/>　　Renton, Spud, and Sick Boy are stuffing objects into their shirts and pockets. <br/>　　 <br/>　　 <br/>　　--------- <br/>　　 <br/>　　 <br/>　　 <br/>　　 <br/>　　 <br/>　　INT. SWANNEY&#39;S FLAT. DAY <br/>　　 <br/>　　Renton lies back, narcotized. <br/>　　 <br/>　　 <br/>　　EXT. STREET. DAY <br/>　　 <br/>　　Renton and Spud are running along the street. <br/>　　Two uniformed Store Detectives are running after them. <br/>　　Sick Boy stands in a doorway. As the Detectives run past, he strolls away in the opposite direction. <br/>　　 <br/>　　 <br/>　　INT. SWANNEY&#39;S FLAT. DAY <br/>　　 <br/>　　Renton lies back as before. <br/>　　SICK BOY <br/>　　Ursula Andress was the quintessential Bond girl. That&#39;s what everyone says. The embodiment of his superiority to us: beautiful, exotic, highly sexual and yet unavailable to everyone but him. Shite. Let&#39;s face it: if she&#39;d shag one punter from Edinburgh, she&#39;d shag the fucking lot of us. <br/>　　 <br/>　　 <br/>　　 <br/>　　INT. SWANNEY&#39;S FLAT. LATER <br/>　　 <br/>　　Spud cooks up, watched by Swanney. <br/>　　Nearby lie the drugged forms of Renton, Sick Boy and Allison and Baby. <br/>　　 <br/>　　 <br/>　　INT. RENTON FAMILY HOME, LIVING-ROOM. NIGHT <br/>　　 <br/>　　Renton&#39;s Mother and Father sit reading the paper and a magazine. <br/>　　 <br/>　　 <br/>　　INT. RENTON FAMILY HOME, PARENTS&#39; BEDROOM. NIGHT <br/>　　 <br/>　　Renton trawls through drawers and any containers (shoe boxes, make-up boxes, under the mattress, etc.) until he finds some cash/jewelry. <br/>　　 <br/>　　 <br/>　　INT. SWANNEY&#39;S FLAT. DAY <br/>　　 <br/>　　Renton lies back, staring vacantly ahead. <br/>　　Tommy flops down beside him. Renton shows barely a flicker of awareness. <br/>　　TOMMY <br/>　　Lizzy&#39;s gone, Mark, she&#39;s gone and fucking dumped me. It was the video tape and that Iggy Pop business and all sorts of other stuff. She told me wh&#101;re to go and no mistake. I said, is there any chance of getting back together, like, but no way, no fucking way. <br/>　　 <br/>　　 <br/>　　 <br/>　　INT. HOSPITAL WARD SITTING-ROOM. DAY <br/>　　 <br/>　　A few elderly patients sit in armchairs watching daytime television. <br/>　　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. <br/>　　 <br/>　　 <br/>　　INT. SWANNEY&#39;S FLAT. DAY <br/>　　 <br/>　　Renton and Tommy slumped side by side as before. <br/>　　TOMMY <br/>　　I want to try it, Mark. You&#39;re always going on about how it&#39;s the ultimate hit and that. Better than sex. Come on, I&#39;m a fucking adult. I want to find out for myself. <br/>　　 <br/>　　Renton huddles up and leans away from Tommy. <br/>　　I&#39;ve got the money. <br/>　　Tommy produces ten pounds from his pocket. <br/>　　 <br/>　　 <br/>　　EXT. STREET. DAY <br/>　　 <br/>　　Renton and Spud run along the street. <br/>　　 <br/>　　 <br/>　　INT. SWANNEY&#39;S FLAT. DAY <br/>　　 <br/>　　Tommy lies drugged on the floor. <br/>　　 <br/>　　 <br/>　　--------- <br/>　　 <br/>　　 <br/>　　 <br/>　　 <br/>　　 <br/>　　INT. FLAT TO BE BURGLED. DAY <br/>　　 <br/>　　The door of an o&#114;dinary flat is kicked open. <br/>　　Begbie walks in, crowbar in hand, followed by Sick Boy and Spud. <br/>　　 <br/>　　 <br/>　　INT. SWANNEY&#39;S FLAT. DAY <br/>　　SICK BOY <br/>　　Honor Blackman a.k.a. Pussy Galore, what a total fucking misnomer. I wouldn&#39;t touch her with yours. I&#39;d sooner shag Col Kreb. At least you know wh&#101;re you are with a woman like that. Not much to look at, like, but personality, that&#39;s what counts, that&#39;s what keeps a relationship going through the years. Like heroin. I mean, heroin&#39;s got fucking great personality. <br/>　　 <br/>　　Sick Boy opens the heel of a his shoe to reveal a syringe. <br/>　　 <br/>　　 <br/>　　--------- <br/>　　 <br/>　　 <br/>　　 <br/>　　 <br/>　　 <br/>　　INT. SWANNEY&#39;S FLAT. DAY <br/>　　 <br/>　　Swanney hands over a small bag of heroin in exchange for ten pounds from Renton. <br/>　　 <br/>　　 <br/>　　--------- <br/>　　 <br/>　　 <br/>　　 <br/>　　 <br/>　　 <br/>　　INT. FLAT TO BE BURGLED, KITCHEN. DAY <br/>　　 <br/>　　Spud checks the fridge and pulls out a large chunk of deep-frozen meat. <br/>　　He hits with the crowbar until it fractures and splits. Inside there is some jewellery. <br/>　　 <br/>　　 <br/>　　--------- <br/>　　 <br/>　　 <br/>　　 <br/>　　 <br/>　　 <br/>　　INT. CAR. DAY <br/>　　 <br/>　　The car is empty. A window is broken and the door opened. <br/>　　The car alarm goes off. <br/>　　Renton reaches under the seat and finds the radio/cassette. He then pulls the bonnet release. <br/>　　 <br/>　　 <br/>　　EXT. CAR. DAY <br/>　　 <br/>　　The car alarm rings on until Renton calmly produces a pair of wire cutters and a spanner to cut free and release the battery. <br/>　　The alarm is silenced. <br/>　　Renton walks away with the battery and the stereo. <br/>　　 <br/>　　 <br/>　　INT. GP&#39;S SURGERY. DAY <br/>　　RENTON(v.o) <br/>　　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, o&#114; bought them, sold them, swapped them, forged them, photocopied them o&#114; 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. Fuck it, we would have injected Vitamin C if only they&#39;d made it illegal. <br/>　　 <br/>　　The GP examines Renton&#39;s chest and smiles. <br/>　　The GP turns to wash his hands. Renton pulls on his shirt and steals a prescription pad off the desk. <br/>　　 <br/>　　 <br/>　　--------- <br/>　　 <br/>　　 <br/>　　 <br/>　　 <br/>　　 <br/>　　INT. SWANNEY&#39;S FLAT. DAY <br/>　　 <br/>　　Renton lies back with his eyes close. A football enters the frame to bounce off his head and out again. <br/>　　He opens his eyes and it happens again. <br/>　　Opposite him, Spud, Sick Boy and Tommy stand looking down on him. <br/>　　Tommy throws the ball again. <br/>　　 <br/>　　 <br/>　　--------- <br/>　　 <br/>　　 <br/>　　 <br/>　　 <br/>　　 <br/>　　INT. PUB I. DAY <br/>　　 <br/>　　It&#39;s the first day of the Edinburgh Festival. <br/>　　Renton, Tommy, Spud, Sick Boy and Begbie sit drinking. <br/>　　They observe a young male American Tourist walk in in a bulky red anorak and glasses. He goes past them towards the toilet. <br/>　　Begbie stands up. <br/>　　 <br/>　　 <br/>　　INT. PUB I, TOILET. DAY <br/>　　 <br/>　　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. <br/>　　 <br/>　　 <br/>　　--------- <br/>　　 <br/>　　 <br/>　　 <br/>　　 <br/>　　 <br/>　　INT. TAXI. DAY <br/>　　 <br/>　　The door of the taxi opens, Begbie, Tommy, Spud, Sick Boy and Renton get in, carrying the red anorak and glasses. <br/>　　As the taxi pulls away they study the photograph in the passport. They look at one another in agreement. <br/>　　 <br/>　　 <br/>　　EXT. TAXI. DAY <br/>　　 <br/>　　The taxi motors along. <br/>　　 <br/>　　 <br/>　　--------- <br/>　　 <br/>　　 <br/>　　 <br/>　　 <br/>　　 <br/>　　INT. PUB I. NIGHT <br/>　　 <br/>　　A man at the bar is now wearing the red anorak. <br/>　　Begbie divides up the money among Sick Boy, Tommy, Spud, and Renton. <br/>　　Renton takes his share. <br/>　　BEGBIE <br/>　　And remember, Rents: no skag. <br/>　　 <br/>　　RENTON <br/>　　Aye, OK, Fr. <br/>　　 <br/>　　RENTON(v.o) <br/>　　But the good times couldn&#39;t last for ever. <br/>　　 <br/>　　 <br/>　　 <br/>　　INT. SWANNEY&#39;S FLAT. DAY <br/>　　 <br/>　　Renton lies as before. Around the room are Swanney, Allison, Tommy, Spud and Sick Boy. <br/>　　Allison begins screaming and wailing. <br/>　　Slowly, the others rouse themselves to varying degrees. <br/>　　RENTON(v.o) <br/>　　I think Allison had been screaming all day, but it hadn&#39;t really registered before. She might have been screaming for a week for all I knew. It&#39;s been days since I&#39;ve heard anyone speak, though surely someone must have said something in all that time, surely to fuck someone must have. <br/>　　 <br/>　　SICK BOY <br/>　　What&#39;s wrong, Allison? <br/>　　 <br/>　　Allison points toward the bundle of dirty blankets in which her baby is wrapped. Sick Boy follows her directions. <br/>　　SPUD <br/>　　Calm down, calm down. It&#39;s going to be all right, everything&#39;s going to be just fine. <br/>　　RENTON(v.o) <br/>　　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. <br/>　　 <br/>　　Sick Boy stands over the bundle. The baby is dead. <br/>　　SICK BOY <br/>　　Oh, fuck. Sick Boy reaches out to Allison. <br/>　　RENTON(v.o) <br/>　　It wasn&#39;t my baby. She wasn&#39;t my baby. Baby Dawn. She wasn&#39;t mine. Spud&#39;s? Swanney&#39;s? Sick Boy&#39;s? I don&#39;t know. Maybe Allison knew. Maybe not. I wished I could think of something to say, something sympathetic, something human. <br/>　　 <br/>　　SICK BOY <br/>　　Say something, Mark, say something -- <br/>　　RENTON <br/>　　I&#39;m cooking&#39; up. There is a silence. <br/>　　Renton begins scrambling around through the works. <br/>　　ALLISON <br/>　　 <br/>　　Cook one for me, Renton. I need a hit. <br/>　　 <br/>　　RENTON(v.o) <br/>　　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. <br/>　　 <br/>　　 <br/>　　 <br/>　　EXT. STREET. DAY <br/>　　 <br/>　　Renton, Spud and Sick Boy cross the road to approach the shop. <br/>　　RENTON(v.o) <br/>　　Well, at least we knew who the father was now. It wasn&#39;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. <br/>　　 <br/>　　 <br/>　　 <br/>　　--------- <br/>　　 <br/>　　 <br/>　　 <br/>　　 <br/>　　 <br/>　　INT. SHOP. DAY <br/>　　 <br/>　　Renton, Spud and Sick Boy are stuffing their pockets, as seen before. <br/>　　Renton&#39;s theft is interrupted by Diane&#39;s voice. <br/>　　DIANE <br/>　　Hello there, Mark. <br/>　　 <br/>　　Diane is standing just beside him. <br/>　　What are you doing? <br/>　　 <br/>　　Renton is speechless, but a few stolen items fall from inside his jacket down to the floor. <br/>　　Diane looks down. <br/>　　Spud and Sick Boy start to snigger. <br/>　　One of the Store Detectives become aware of the group. He starts walking towards them. <br/>　　You didn&#39;t tell me you were a thief. <br/>　　 <br/>　　SPUD <br/>　　Hey, go easy, lady. The boy&#39;s got a habit to support. <br/>　　 <br/>　　SICK BOY <br/>　　Opium doesn&#39;t just grow on trees, you know. <br/>　　 <br/>　　A few more items fall from Renton&#39;s jacket as the store Detective closes in. <br/>　　Renton looks at Diane. <br/>　　 <br/>　　 <br/>　　--------- <br/>　　 <br/>　　 <br/>　　 <br/>　　 <br/>　　 <br/>　　EXT. STREET. DAY <br/>　　 <br/>　　Renton and Spud are running, pursued by the Two Store Detectives. <br/>　　RENTON <br/>　　(v.o) <br/>　　Nor did I. Our only response was to keep on going and fuck everything. Pile misery upon misery, heap it up on a spoon and dissolve it with a dro&#112; 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, fucking 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. <br/>　　He looks at the driver, at Spud running away and the Store Detectives approaching. <br/>　　(v.o) <br/>　　Because no matter how much you stash o&#114; how much you steal, you never have enough. No matter how often you go out and rob and fuck people over you always need to get up and do it all again. Renton smiles and waits. <br/>　　(v.o) <br/>　　Sooner o&#114; later, this sort of thing was bound to happen. One of the Detectives runs straight past him, after Spud. <br/>　　The other Detective crashes into Renton with a mighty punch in the stomach. <br/>　　 <br/>　　 <br/>　　INT. COURT. DAY <br/>　　 <br/>　　Spud and Renton stand in the dock. Renton&#39;s Mother and Father, Sick Boy, Begbie, and Spud&#39;s Mother (Mrs. Murphy) are among those in the gallery. <br/>　　The Sheriff delivers his sentence. <br/>　　SHERIFF <br/>　　...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 o&#114; remorse. In sentencing you to six months&#39; 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. <br/>　　 <br/>　　RENTON <br/>　　Thank you, your honour. With God&#39;s help, I&#39;ll conquer this affliction. <br/>　　 <br/>　　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. <br/>　　(v.o) <br/>　　What can you say? Well, Begbie had a phrase for it. <br/>　　 <br/>　　 <br/>　　 <br/>　　INT. PUB I. DAY <br/>　　 <br/>　　The pub is crowded. Around Renton are his mother, Father, Begbie, Sick Boy and Gav. <br/>　　BEGBIE <br/>　　 <br/>　　It was fucking obvious that that cunt was going to fuck some cunt. <br/>　　 <br/>　　There is a round to nodding and &#39;poor Spud&#39;ing. Everyone begins to talk at once. <br/>　　FATHER <br/>　　 <br/>　　I hope you&#39;ve learned your lesson, son. <br/>　　 <br/>　　MOTHER <br/>　　 <br/>　　Oh, my son, I thought I was going to lose you there. You&#39;re nothing but trouble to me, but I still love you. <br/>　　 <br/>　　BEGBIE <br/>　　 <br/>　　Clean up your act, sunshine. Cut that shite out for ever. <br/>　　 <br/>　　MOTHER <br/>　　 <br/>　　You listen to Francis, Mark, he&#39;s talking sense. <br/>　　 <br/>　　BEGBIE <br/>　　 <br/>　　Fucking right I am. See, inside, you wouldn&#39;t last two fucking days. <br/>　　SICK BOY <br/>　　 <br/>　　There&#39;s better things that the needle, Rents. Choose life. <br/>　　 <br/>　　He winks. <br/>　　MOTHER <br/>　　 <br/>　　I remember when you were a baby, even when you would never do what you were told. <br/>　　BEGBIE <br/>　　 <br/>　　But he pulled it off, clever bastard, and he got a result. <br/>　　 <br/>　　They laugh, then fall silent. <br/>　　Renton turns around. Behind him stands Spud&#39;s mother. <br/>　　RENTON <br/>　　 <br/>　　Mrs Murphy, I&#39;m sorry about Spud. It&#39;s wasn&#39;t fair, him going down and not me -- <br/>　　 <br/>　　Tears in her eyes, Mrs Murphy turns and walks away. <br/>　　Renton watches her go. Behind him Begbie shouts. <br/>　　BEGBIE <br/>　　 <br/>　　It&#39;s no our fault. Your boy went down because he was fucking smack-head and if that&#39;s not your fault, I don&#39;t know what is. <br/>　　 <br/>　　Begbie turns back to Renton. <br/>　　Right. I&#39;ll get the drinks in. <br/>　　 <br/>　　He moves towards the bar. <br/>　　Renton slips away. <br/>　　Renton walks through the bar towards the toilets, then out of a back door. <br/>　　 <br/>　　 <br/>　　EXT. YARD. DAY <br/>　　 <br/>　　Renton emerges into a narrow yard surrounded by a high wall. He looks around. The steel back gate is locked. <br/>　　RENTON(v.o) <br/>　　I wished I had gone down instead of Spud. Here I was surrounded by my family and my so-called mates and I&#39;ve never felt so alone, never in all my puff. Since I was on remand they&#39;ve had me on this programme, the state-sponsored addiction, three sickly sweet doses of methadone a day instead of smack. But it&#39;s never enough, and at the moment it&#39;s nowh&#101;re near enough. I took all three this morning and now I&#39;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 fucking hit to get us over this long, hard day. <br/>　　Renton climbs the wall. He stands on top, then dives off the other side, executing a somersault in mid-air. <br/>　　 <br/>　　INT. SWANNEY&#39;S FLAT. NIGHT <br/>　　 <br/>　　Swanney is cooking up. Renton lands on the floor behind him like a gymnast. <br/>　　RENTON <br/>　　What&#39;s on the menu this evening? <br/>　　SWANNEY <br/>　　Your favourite dish. <br/>　　RENTON <br/>　　Excellent. <br/>　　SWANNEY <br/>　　Your usual table, sir? <br/>　　RENTON <br/>　　Why, thank you. <br/>　　Renton sits on his usual cushion on the floor. <br/>　　SWANNEY <br/>　　And would sir care to settle his bill in advance? <br/>　　RENTON <br/>　　Stick it on my tab. <br/>　　SWANNEY <br/>　　Regret to inform, sir, that your credit limit was reached and breached a long time ago. <br/>　　RENTON <br/>　　In that case -- <br/>　　He produces twenty pounds. <br/>　　SWANNEY <br/>　　Oh, hard currency, why, sir, that&#39;ll do nicely. <br/>　　He swipes the notes underneath a UV forgery checker. <br/>　　Can&#39;t be too careful when we&#39;re dealing with your type, can we? <br/>　　Renton begins his search for a vein. <br/>　　Would sir care for a starter? Some garlic bread perhaps? <br/>　　RENTON <br/>　　No, thank you. I&#39;ll proceed directly to the intravenous injection of hard drugs, please. <br/>　　SWANNEY <br/>　　As you wish. <br/>　　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. <br/>　　SWANNEY <br/>　　Perhaps sir would like me to call for a taxi? <br/>　　An ambulance siren becomes faintly audible. <br/>　　 <br/>　　INT. SWANNEY&#39;S STAIRWELL. NIGHT <br/>　　 <br/>　　The siren is a little louder. Swanney holds Renton under his arms and drags him backwards down the steps. <br/>　　 <br/>　　EXT. STREET. NIGHT <br/>　　 <br/>　　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&#39;s other door, pausing only to tuck a ten-pound note into Renton&#39;s pocket before closing the door. <br/>　　 <br/>　　INT. TAXI. NIGHT <br/>　　 <br/>　　Renton lies on the floor of the taxi, as Swanney left him, rolling slightly as the taxi takes a corner. <br/>　　 <br/>　　EXT. HOSPITAL/TAXI. NIGHT <br/>　　 <br/>　　The taxi is stationary. We do not see the driver&#39;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&#39;s faces as they wheel Renton into the hospital. <br/>　　 <br/>　　INT. HOSPITAL ACCIDENT AND EMERGENCY DEPARTMENT. NIGHT <br/>　　 <br/>　　Renton is wheeled through the department, then into a bay surrounded by a white nylon curtain. <br/>　　 <br/>　　INT. TROLLEY BAY. NIGHT <br/>　　 <br/>　　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. <br/>　　DOCTOR <br/>　　Wake up. Wake up. <br/>　　Renton breathes more easily. <br/>　　 <br/>　　--------- <br/>　　 <br/>　　 <br/>　　 <br/>　　The Two Porters return with another trolley. They lift Renton roughly on to it and wheel him away. <br/>　　 <br/>　　INT. HOSPITAL CORRIDOR. NIGHT <br/>　　 <br/>　　The Porters wheel Renton along. <br/>　　 <