Robert Chartoff - Raging Bull Scene 10 lyrics

INT. BARBIZON DRESSING ROOM - NIGHT [Same as Scene 1.] [JAKE, 42 years old, continues to rehearse. He is seated across from a mirror.] JAKE: So there I am in the can... and not the one that says "gentlemen" on the door. I'm talkin' about jail! Down south! I mean, jail up north is gotta be like summer camp compared to jail down in cracker country. And if you're a guy like me, you ain't got a chance in a place like that. Especially if you're Italian... you come from the Bronx... and you're an ex-champ. As soon as they saw me... soon as they heard me... I know I'm in trouble. To me, they got an accent, and to them, I got an accent! You gotta get the picture -- I'm big, I got small hands, I walk like I'm still in the ring... the balls of my feet pop up and down, you know... and whenever I get the chance, I read a lot. So naturally, takin' all this into consideration, they figure it adds up to one thing -- I'm queer! Now I didn't mind too much when they called me "Queer" or "Mr. Tough Guy" or "Yankee Punk"... But one day these screws got to me... I was workin' on the work gang, pickin' up some trees that were knocked down by a storm or somethin' and puttin' 'em on this truck. All of a sudden... one of the trees slipped and fell on me and pinned me to the ground. I'm lyin' there with a tree across my chest! This screw walks over, takin' his time, he looks down at me and says, "Well, Champ Pimp... you lyin' down on the job again?"! They got a great sense of humor when they're standin' there with a gun in their arms and you got a tree on your chest! So I look up at him and say, "Oh, this tree... it fell on me." And he says, "Oh, I'm sorry... If I'd have known, I would've yelled 'timber'" I said, "Hey, look... it hurts. I think maybe I broke somethin'!" He says, "Well, whaddaya know... Champ Pimp's got himself a boo-boo." Then I got as stupid as him. I said, "If I'm Champ Pimp... how 'bout givin' me the money you made last night?"! Then another screw comes over and says, "This Yankee creep givin' you trouble?" -- What kind of trouble? What am I gonna do -- hit 'em with the tree? Now anybody else in their right mind would've said, "No sir, I wouldn't think of giving any of you gentlemen trouble... I just want to serve my time and get the hell out of here as soon as I can." That's anybody else. When I said it... it was a little different. "You stupid cracker... take your hands off me or I'll get up and kick your brains out -- but first you gotta bend over so I can find 'em!" Next thing I know I'm in the hole. Solitary confinement. All my life I had guys in my corner yellin' "Go get 'em, Jake... k** 'em! You're the greatest." Now there's nobody rootin' for me. But it wasn't so bad. I learned things there. I learned how to scratch a calendar on the wall. I never knew how to do that before. Now I know. Monday is one scratch. Tuesday is two scratches. Wednesday is three scratches. And so on. Except for Sundays. Sundays is no scratches. Sundays rested. CUT TO: INT. DADE COUNTY STOCKADE - DAY [The camera tracks down the lonely corridors of the Dade County Prison. Empty faces stare out from behind the bars.] [JAKE is led down a long corridor by TWO GUARDS. His hands and legs are manacled and chained.] [The GUARDS, redneck screws both, take special pleasure in working JAKE over.] [They take JAKE to the "Hole" -- solitary confinement.] [ONE of the GUARDS unmanacles JAKE.] [Both GUARDS push JAKE into the cell and slam the door.] CUT TO: INT. THE HOLE - DAY OR NIGHT [A thin slit provides the only light in JAKE's cell.] [The rough cement walls are covered with obscure graffiti. The 8x8x8 room features only a cot and a toilet.] [The room is mostly darkness. Sounds are more tangible here than sights.] [We see JAKE's body as it pa**es through the slit of light.] [JAKE crouches into the corner away from the light. As WE SEE JAKE's face, the following MONTAGE images appear.] [(There will be contrasting sound effects accompanying the images: for example, the image of JAKE hitting VICKIE might be accompanied by the sounds from a love scene between them.) A) 1940s black and white p**nography: partially clothed men and women engaged in explicit s** acts. B) Boxing magazines: fighters' beaten and bloody faces. A body building ad: Charles Atlas raises his muscled biceps. C) Li'l Abner comics; Daisy Mae's tits seem about to fall free. D) Reprise from earlier scene: Back in JAKE and IRMA's old apartment, JOEY, using a towel as a glove, punches JAKE in the face. E) A 1934 "OLDER GIRL" sashays into the candy store in flickering 8mm black and white footage. WE SEE ohter Bronx PRETEEN GIRLS walking, smiling. F) At Shorehaven pool, JAKE and JOEY, in bathing suits, are sleeping in the sun next to each other. OTHER BATHERS are around, also taking in the sun. G) Reprise from earlier scene: As in D, JOEY hits JAKE in the face again.] [We see again the image of JAKE's face as he sits in his cell.] [The MONTAGE continues: H) JANIRO's face at the weigh-in. I) JAKE throws JANIRO a kiss at the weigh-in. J) JAKE punches in JANIRO's face. K) A naked GIRL stands in the doorway of a bedroom. L) JAKE lies in bed with IRMA staring at the ceiling. M) VICKIE's pretty young face DOUBLE EXPOSES with SUGAR RAY ROBINSON's. N) DR. PINTO injects novacaine into JAKE's fists. O) Sitting in his corner of the ring, JAKE spits blood into a pail... P) Still in JAKE's corner: JOEY wipes off his brother's bloody face. Q) Still in JAKE's corner: There is an open cut over JAKE's eye. JOEY, rushing against time, s**s the blood from the wound as DR. PINTO begins to examine it. R) Still in JAKE's corner: JOEY puts the mouthpiece in JAKE's mouth. (SLOW MOTION) S) JAKE wins over CERDAN. JOEY, overenthusiastic, hits JAKE on the back of the head a little too hard. JAKE gives JOEY a quick look, but JOEY just embraces him. T) On a bed, a GIRL is going down on JOEY. The GIRL turns and looks up at JAKE. It's LINDA, the waitress from his club. JAKE stares. U) JAKE's fist hits LINDA's face. V) VICKIE playfully bends JAKE's hand back, pretending to break it. W) JAKE hits LINDA again. She cries. X) Repeat image N: DR. PINTO injects novocaine into JAKE's fists.] [We see again the image of JAKE's face as he sits in his cell.] [The MONTAGE continues: Y) VICKIE is in her underwear in a bedroom. A pair of black arms come in and embrace her body. Z) CLOSE UP of JAKE; he reacts to this. He's in the ring with SUGAR RAY. He knocks SUGAR RAY out of the ring. AA) VICKIE again. JAKE approaches her from behind, pulls her head back by her hair, and slaps her. BB) THE ANNOUNCER points to SUGAR RAY as the winner. (Different fight.) CAMERA PANS to RAY, victorious, his arms up. CC) A bloodied JAKE comes over to SUGAR RAY and embraces him.] [We are back with JAKE in the cell. He slowly starts to bang his head against the wall.] JAKE: *murmuring* Why, why, why? *with each bang of his head* I'm a man, I'm a man. I'm no f*ggot. I'm not a f*ggot. Ma, why? What do they want? My co*k's not enough. What do they want from me? Why? Ma? Why? [JAKE is now smashing the wall with all his strength -- vicious body punches.] JAKE: Why, why, why me? You took it away from me. They took everything away. What do they want from me? What the f** do they want from me? I ain't bad. I ain't bad. I'm not that guy. I'm not that guy. I'm not a monster. I'm not an animal. [JAKE breaks his knuckles; the pain and blood are unbearable.] [JAKE collapses to the concrete floor. His hands are smashed. He cries, then sobs.] JAKE: I'm not like that. Please. I'm not like that. Please. Please. Please. [Then silence.] [We begin to hear: JAKE doing a monologue.] JAKE: And so, as Shakespeare said, I've been down so low there's nowhere else to go. CUT TO: INT. METROPOLE - NIGHT (1958) [The Metropole is a club on 7th Avenue off Times Square.] [JAKE LAMOTTA, 36 years old and wearing a hip Fifties suit, continues his monologue.] JAKE: Except here, gentlemen, with you bums. I call you "gentlemen"... but you know what you really are! You know, this place used to be pretty exclusive... now they got bouncers outside to throw the drunks in! My first night here I said to the boss, "Where's the toilet?" -- He said, "You're in it!" By the way, this engagement is just a stepping stone for me. If I do good here, I'm ready to get out of the business! [The CROWD starts to shout: "Get the f** off the stage!"] JAKE: OK, OK, I know what you're waitin' for -- and from the looks of you, you been waitin' for it for a long time. I had my own joint in Miami Beach once... it was too high-cla** for you guys... we had a 50-cent minimum charge just to keep out the riff-raff! [The CROWD continues to shout, as before, also shouting: "Bring out the girls!"] JAKE: Hey, sorry. Here's your girls. *grabs his crotch* Yeah, she's here... just like it's advertised out front. She's come back. A girl who's seen the Lower Depths... who's been as far as I have in that direction. She's on her way back up now... give you an idea how low she was! Let's give her a warm welcome... make her glad she's back, boys. -- Miss Emma 48's! [JAKE gets off the stage as MISS EMMA 48's goes into her dance. He goes over to the bar and gets a drink. SEVERAL OLDER MEN in T-shirts - a disreputable looking lot - are at the bar.] CUT TO: EXT. METROPOLE - NIGHT [The Club is closing. JAKE and EMMA, the stripper, come out and walk by a delicatessen on their way to a parking lot.] [JAKE sees his brother JOEY enter the delicatessen.] JAKE: Look, sweetie, be a good girl. Here's some money. Take a cab. Go home by yourself. Just wanna walk around a little, sort of unwind. OK? EMMA: Will I see you later? JAKE: Yeah. I dunno... I'll call you. [JAKE goes to the parking lot entrance as EMMA gets into a cab.] DISSOLVE TO: EXT. PARKING LOT - NIGHT [It's about twenty minutes later.] [DOLLY INTO A MEDIUM SHOT of JAKE waiting by the parking lot. He looks at the delicatessen.] [JOEY finally comes out carrying a paper bag. Not noticing JAKE, he walks right past him to his car which is parked near the rear of the outdoor lot.] JAKE: Hey, JOEY -- [JAKE walks towards JOEY with his hand outstretched.] [JOEY looks at JAKE. Silence. JOEY turns his back and starts to get into his car.] [JAKE runs over to JOEY and grabs his shoulder.] JAKE: No, JOEY, no. Look, wait a minute, please -- [JOEY looks at JAKE like he's sh**, throws JAKE's hand off his shoulder, and starts to get into his car again.] JAKE: Aw, JOEY -- [JAKE stops JOEY from getting into his car. He puts his hand on JOEY's shoulder again.] JAKE: You're right. You're perfectly right. You got every right in the world to hate my guts. [JOEY pulls away from JAKE's hand, and tries to put the paper bag into the front seat of the car.] JAKE: No, please. I know I was a co*ks**er. You're right. I shoulda never raised my hands to you. [JOEY half pushes JAKE away, and begins to get into his car again.] [JAKE pulls JOEY by the arm.] JAKE: No, JOEY, listen to me -- [JAKE pulls too hard, causing JOEY to drop the paper bag to his feet. The containers of coffee and tea in the bag break open and splatter JOEY's pants legs.] [JOEY stares down at his pants, then up at JAKE. Suddenly, he belts JAKE with a left and a right to the jaw. JAKE is taken by surprise, and backs off to get his own hands up.] [JOEY keeps pouring it on. JAKE drops his hands and takes it.] JAKE: Go ahead. *gets punched* Hit me again. *gets punched* I deserve it... *gets punched* Pay me back... *gets punched* More... *gets punched* [JOEY stops in mid-punch and stares at JAKE. He can't figure it out.] [JAKE nods and tries to smile, but starts to cry instead. JAKE: More. Go ahead, JOEY. I deserve it. [JOEY pauses, then finally throws a very weak punch to JAKE's shoulder. He leaves his hand there -- then, uncurls his fist -- and finally puts his hand around JAKE's neck as tears start to fill his eyes.] [JOEY hugs JAKE close to him, crying.] [They hug each other, both crying. They don't say anything.] CUT TO: EXT. BARBIZON PLAZA THEATER - NIGHT (1964) [The theater lights are flashing.] [This may not be Broadway, but it's a long way from the Metropole. The entrance to the Barbizon looks out on the corner of 6th Avenue and Central Park South.] [A stand-up billboard in front of the theater advertises "An Evening with Jake LaMotta." The billboard also lists the authors whose works will be performed: Paddy Chayevsky, Rod Serling, Shakespeare, Bud Schulberg, Tennessee Williams.] CUT TO: INT. BARBIZON DRESSING ROOM - NIGHT [Same as Scenes One and Eighty-One.] [JAKE is alone preparing to go onstage. He rehearses.] JAKE: You know, I'm not a philosopher or anything like that but I been around a little and the way I look at it is -- We're, all of us, lookin' for the same thing: a shot at the title. No matter what you wanta be... you wanta shot at bein' the best. Well, I had mine and it'll always be in the record books... it don't make no difference what happens to me from here on in -- I got my shot and that's a fact. Some guys weren't that lucky... like the one Marlon Brando played in "On the Waterfront" -- an up and comer who's now a down and outer. You remember... there was this scene in the back of the car with his brother Charlie, a small-time racket guy, and it went somethin' like this -- "It wasn't him, Charlie. It was you. You 'member that night in the Garden you came down my dressing room and said. 'Kid, this ain't your night. We're going for the price on Wilson.' You 'member that? 'This ain't your night!' My night -- I coulda taken Wilson apart! So what happens? He gets the title shot outdoors on the ballpark, and what do I get? A one-way ticket to Palookaville. I never was no good after that night. It was like a peak you reach. Then it went downhill. It was you, Charlie. You was my brother, Charlie. You shoulda looked out for me a little bit. You shoulda taken care of me just a little bit so I wouldn't have to take them dives for the short end money... You don't understand! I coulda had cla**. I coulda been a contender. I coulda been somebody -- instead of a bum, which is what I am. Let's face it. It was you, Charlie." [A shadow goes by the frame; it's a stagehand.] STAGEHAND *O.S.*: Hey JAKE, how you doing? [The shadow exits.] JAKE: How long do I have? [The shadow pops in again.] STAGEHAND *O.S.*: About five minutes. [The shadow exits.] JAKE: OK. [JAKE pauses, then starts to shadow-box in his dressing room.] [His breath comes in quick gasps. His feet pop up and down like they were on canvas. His tiny fists jerk forward with short bursts of light.] [Still alive. Still a contender. A 42-year-old man fighting for his shot.] [The CAMERA DOLLIES into a FULL SHOT of his fists as they hit the empty air -- in and out of the frame.] [This quote appears: (Music in) "Verily, verily I say unto thee, Except a man be born again, He can not enter into the kingdom of heaven..." John 3-3] [The camera goes into darkness. The end credits roll up. The end]