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 fucker, 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 shite.
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 fuck 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 fucking illustrated.
em Trainspotting, de Danny Boyle, 1996.
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