The Internet Movie Script Database (IMSDb)


The web's largest
movie script resource!

Search IMSDb

Alphabetical
# A B C D E F G H
I J K L M N O P Q
R S T U V W X Y Z

Genre
Action Adventure Animation
Comedy Crime Drama
Family Fantasy Film-Noir
Horror Musical Mystery
Romance Sci-Fi Short
Thriller War Western

Sponsor

TV Transcripts
Futurama
Seinfeld
South Park
Stargate SG-1
Lost
The 4400

Movie Software
DVD ripper software offer
Rip from DVD
Rip Blu-Ray

Latest Comments
Authors Anonymous8/10
Kingdom, The10/10
Star Wars: The Phantom Menace7/10
Incredibles, The10/10
Scarface10/10

Movie Chat



ALL SCRIPTS


Raging Bull - by Paul Schrader and Mardik Martin 



	MUSIC IN: "Stone Cold Dead in the Market" by Louis Jordon
	
	THE TITLES appear on black. They are intercut with CLOSE-UPS
	of a fighter's body.
	
	EXAMPLES:
	
	Feet move.
	
	Credit over black.
	
	Body lunges.
	
	Credit over black.
	
	Fists swing and punch at the air.
	
	Credit over black.
	
	WE CATCH A GLIMPSE of young JAKE LAMOTTA.
	
	                                   THEN CUT TO:
	
	INT. BARBIZON PLAZA THEATRE - DRESSING ROOM - NIGHT (1964)
	
	JAKE LAMOTTA, wearing a tux, is shadow-boxing.
	
	We are unsure of where he is -- he moves in and out of the
	shadows. At 42, he's overweight and out of shape, but the
	balls of his feet still pop up and down like they were on
	canvas and his tiny fists still jerk forward with short
	bursts of light. He is rehearsing a nightclub monologue.
	
	               JAKE
	     Good evening, ladies and gentlemen.
	     It's a thrill to be standing here
	     talking to you wonderful people. In
	     fact, it's a thrill to be standing!
	     I haven't seen so many people since
	     my last fight at Madison Square
	     Garden. After that fight, a
	     reporter asked me, 'Jake, where do
	     you go from here?' I said, 'To a
	     hospital!' I fought one hundred and
	     six professional fights and still
	     none of them bums figured out how
	     to fight me -- they kept hitting me
	     in the head! And that's why I'm
	     here tonight...
	          (starts to sing)
	     'When the fighter's not engaged in
	     his employment, his employment,
	     although he was Champ and quite the
	     rage, he must go somewhere else to
	     seek employment, seek employment.
	     But a fighter's life is not a bowl
	     of cherries, still I'd rather have
	     an egg than a fist upon my face...
	     That's Entertainment!'
	
	INT. CLEVELAND ARENA - NIGHT (1941)
	
	Bam! JIMMY REEVES, a fast, black middleweight, jabs LAMOTTA,
	19 years old, in the face. JAKE staggers forward. No matter
	how hard LAMOTTA is hit, no matter how often, he always
	staggers forward -- like a bull. The bell sounds.
	
	Battered, JAKE slumps on the stool in his corner.
	
	It's September, 1941. Europe and Asia are already at war.
	Young SOLDIERS, freshly recruited, dot the hostile audience --
	each screaming at the FIGHTERS in the ring.
	
	Suddenly, words are exchanged, a GIRL screams, and a SOLDIER
	and a CIVILIAN stand and start swinging.
	
	AND IN THE RING: JAKE LAMOTTA takes a swig of water and spits
	blood into the bucket his younger brother, JOEY, holds for
	him. TONY, his trainer, works the cuts.
	
	               JOEY
	     You didn't have to come to
	     Cleveland to get beat by a "moulan
	     yan," Jake!
	
	               TONY
	     He's got you, Jake! You're
	     outpointed! You're coming up for
	     the tenth. You gotta knock him out!
	
	The bell sounds for the tenth. JAKE pulls himself up and
	charges at REEVES.
	
	REEVES slides away, jabbing, punching, piling up points.
	
	In JAKE's corner, JOEY stands and yells at JAKE:
	
	               JOEY
	     A grand apiece! We got a grand
	     apiece on this, Jake! A fucking
	     grand!
	
	JAKE suddenly corners REEVES and unleashes a desperate, wild
	alley-fighting attack. One ferocious punch after another.
	
	The SPECTATORS go wild; everyone's up for the kill.
	
	REEVES staggers, then falls to the canvas.
	
	The REFEREE counts:
	
	               REFEREE
	     One, two, three, four...
	
	The GAMBLERS call out new odds; ten to one for REEVES, the
	underdog. JOEY, excited, sees that time is running out and
	steps in front of the bell. He swings his arms, pretending
	not to realize he literally holds back the TIMER's arm for a
	few seconds. This gives JAKE more time for a knockout -- but
	not enough. JOEY is pushed back and the bell rings at the
	count of nine, ending the match.
	
	Boos and cheers. The BETTORS scramble back to the BOOKIE to
	get their money.
	
	JAKE dances around the ring, kissing his gloves and thrusting
	them toward the CROWD. JOEY rushes out and hugs him.
	
	The ANNOUNCER steps into the ring with the mike:
	
	               ANNOUNCER
	     Ladies and Gentlemen, the winner,
	     under the rules of the Cleveland
	     Boxing Commission, after ten
	     rounds, by a decision -- Jimmy
	     Reeves.
	
	The ANNOUNCER holds up REEVES' arm as his corner tries to
	lift him off the canvas -- still out cold. TWO ATTENDANTS
	bring in a stretcher.
	
	JAKE is stunned. He still prances around, now trying to
	figure out what happened. He raises his arms in victory, and
	the FANS go crazy, cheering, ripping chairs out, fighting
	with the COPS, throwing bottles and junk into the ring.
	PEOPLE go into the ring.
	
	               JOEY
	          (to Jake)
	     Don't get out of the ring. You won
	     the fight -- let him go out first.
	
	                                   CUT TO:
	
	REEVES being placed on the stretcher.
	
	A ringside OFFICIAL signals the ORGANIST and she starts to
	play the "Star Spangled Banner." REEVES is carried out.
	
	Only then do JOEY and TONY escort JAKE out of the ring.
	
	EXT. WEBSTER AVENUE AND 169TH ST., THE BRONX - NEXT DAY
	
	It's a rough neighborhood, inhabited primarily by welfare
	cases and street kids.
	
	In the street, two young PUNKS, 13 or 14 years old, exchange
	words and start to fight. Their FRIENDS cheer them on. SALVY
	and JOEY turn the corner.
	
	               JOEY
	     Salvy, would I steer you wrong?
	     Let's say that's the truck; it's
	     full of cigarettes, right? Now, two
	     o'clock this morning we move the
	     truck from here to there,
	          (he points; the CAMERA
	          PANS)
	     take the cigarettes out, sell 'em,
	     make some cash.
	
	               SALVY
	     Hey but Joey, you're thinking
	     nickels and dimes. The money's with
	     your brother.
	
	               JOEY
	     What do you want from my life,
	     Salvy? He's my brother.
	
	               SALVY
	     He ain't doin' the right thing.
	     He's makin' beans compared to what
	     he should be makin'. Can't you make
	     him understand that?
	
	A COP goes over and starts to break up the fight.
	
	               JOEY
	          (to cop)
	     Hey, leave the kids alone.
	
	               SALVY
	     Get lost.
	          (joking, he knows the Cop)
	     Hey kids, "A cop is a rat."
	     Remember that, "A rat."
	
	The KIDS yell.
	
	               JOEY
	          (to Cop)
	     Hey Jimmy, here's a dollar for your
	     trouble. There's some bums around
	     the corner -- they need your help.
	
	               COP
	     Keep the dollar, Joey. Get yourself
	     a new suit.
	
	               JOEY
	          (laughs)
	     Here's my new suit.
	          (grabs his crotch)
	     Right here.
	
	               COP
	     Hey, don't get wise!
	
	               JOEY
	     Just kidding, take it easy.
	          (to himself)
	     No fuckin' sense of humor.
	
	SALVY and JOEY continue to walk a little faster, giggling.
	
	INT. JAKE AND IRMA'S KITCHEN - DAY
	
	JAKE, bandaged from the REEVES fight the night before, sits
	at the kitchen table (he's had a few glasses of wine) while
	his wife, IRMA, 19, cooks at the stove.
	
	JAKE gets up and pokes at the frying steak with a fork.
	
	               JAKE
	     This looks done.
	
	               IRMA
	     It's not done.
	
	               JAKE
	     It looks done. I'll take it the way
	     it is.
	
	               IRMA
	     Here's your steak. You can't wait
	     for it to be done. Here.
	
	She slams the steak onto his plate, and reaches back to the
	stove.
	
	               IRMA (CONT'D)
	     Here's your carrots. You're in such
	     a hurry. You can't wait.
	
	               JAKE
	     No, I can't wait. You know when I
	     wait? When it's important to wait.
	     It's not important to wait for no
	     steak. It's important to wait for
	     Reeves to leave the ring. It ain't
	     important to wait for no steak! I
	     won that fight. So, I stayed in the
	     ring, and that way I made sure
	     everybody knew it. I shoulda
	     knocked him out earlier,
	     sonofabitch.
	
	He starts to eat the steak. He takes a drink of wine.
	
	               JAKE (CONT'D)
	     Wait! I'll wait. But let me tell
	     you, if this steak was the
	     middleweight championship, I'd show
	     you how I'd wait. I'd eat it raw.
	     I'd drink the blood. I'd eat it
	     before it came out of the cow --
	     that's how I'd wait.
	
	EXT. JAKE AND IRMA'S APARTMENT BUILDING/TENEMENT - DAY
	
	SALVY and JOEY approach the building.
	
	               JOEY
	     I can't convince him. He's got such
	     a thick head, I'd like to crack it
	     open myself. Believe me, my own
	     brother. It's very hard. You don't
	     have to convince me -- I know we
	     should be with Tommy. You talk to
	     him. He don't listen to nobody.
	
	               SALVY
	     Look, I'm just tellin' you how
	     Tommy feels. Jake is makin' it hard
	     on himself. Tommy wants him with
	     us. It's as simple as that.
	
	They stop at the doorway.
	
	               SALVY (CONT'D)
	     Talk some sense into him, will ya?
	     You're still his brother.
	     If he ain't gonna listen to you, he
	     ain't gonna listen to nobody!
	
	               JOEY
	     All right, I'll try. See you later.
	
	               SALVY
	     Tomorrow, at the gym. Don't forget.
	
	               JOEY
	     Right, the gym.
	
	SALVY leaves. JOEY goes into the building.
	
	INT. JAKE AND IRMA'S KITCHEN - DAY
	
	JOEY is knocking at the door. IRMA opens it.
	
	               JOEY
	          (noticing Jake)
	     What's the matter?
	
	               IRMA
	     He's doing it again.
	
	               JOEY
	          (goes to Jake)
	     What's the matter? You're drinking.
	     You're eating like an animal.
	
	JOEY sits next to JAKE at the kitchen table. JAKE has a drink
	in his hand, and tears on his face.
	
	               JOEY (CONT'D)
	     What's wrong?
	
	               JAKE
	          (gets up)
	     Nothing...
	
	JAKE goes into the living room. IRMA looks at JOEY. JOEY
	follows JAKE.
	
	INT. LIVING ROOM
	
	JOEY walks up to JAKE.
	
	               JOEY
	     Hey, c'mon, what's the matter?
	
	               JAKE
	          (privately, to Joey)
	     I ain't ever gonna fight Joe Louis,
	     that's what's the matter.
	
	               JOEY
	     What're you talking about? He's a
	     heavyweight. You're a middleweight.
	
	JAKE holds out his scarred hands.
	
	               JAKE
	     Look at these hands. These fuckin'
	     hands. I was born with a girl's
	     hands. And even if I put on enough
	     weight to be a heavyweight, I'd be
	     too slow to fight. No matter how
	     big I get, I'll never be big enough
	     to fight Louis.
	
	JAKE pauses. IRMA watches from the doorway.
	
	               JOEY
	     That's what I'm sayin'. You
	     shouldn't even think like that.
	     It's crazy.
	
	               JAKE
	     I tell you one thing. Ok, I'll
	     never be big enough to fight Louis,
	     but I know Joey, I know...
	
	               JOEY
	     You know?
	
	               JAKE
	     Yeah. Do me a favor.
	
	               JOEY
	     Sure. What is it?
	
	               JAKE
	     Hit me in the face.
	
	               JOEY
	          (after a pause)
	     You want me to do what?
	
	               JAKE
	     You heard me, I said hit me.
	
	               JOEY
	     C'mon, Jack. You had a few drinks.
	
	               JAKE
	     Go ahead. I ain't drunk. Take your
	     best shot. On the jaw.
	
	               JOEY
	     Jack, I got no gloves.
	
	               JAKE
	          (grabs a nearby towel)
	     Here's your glove.
	
	JOEY wraps it around his fist. IRMA watches. JOEY hits JAKE
	with his right. JAKE holds fast.
	
	               JAKE (CONT'D)
	     Go ahead. Hit me. C'mon, don't
	     worry about it. I want you to hit
	     me with everything you got.
	
	JOEY hauls off and lands him a real belt. JAKE rolls with it
	and stands firm.
	
	               JAKE (CONT'D)
	     Again. Harder.
	
	JOEY hits him again.
	
	               JAKE (CONT'D)
	     Harder. Go 'head.
	
	JOEY hits him again.
	
	               JAKE (CONT'D)
	     Harder.
	          (grabs the towel)
	     Take the towel off.
	
	               JOEY
	     Jack! Enough!
	
	               JAKE
	     Go ahead.
	
	JOEY hits him again. JAKE holds fast. JAKE starts to walk
	away.
	
	               JOEY
	     What was that for? I know you can
	     take punches. I can hit you from
	     now to doomsday. What the fuck does
	     that prove?
	
	               JAKE
	     See that, I don't feel it. I can
	     take it. I know I can take anybody.
	
	EXT. GLEASON'S GYM - NEXT DAY
	
	Gleason's, a small gym and fight club, stands on 149th Street
	and 3rd Avenue above a small sandwich shop.
	
	Each day BOBBY GLEASON posts a small sign alongside the door
	listing the fighters who will be working out. JAKE's name is
	posted at the top; the other names are unmemorable.
	
	INT. GLEASON'S - DAY
	
	Gleason's has a single sparring ring and ten training bags.
	About a dozen managers train their fighters out at Gleason's.
	For 50 cents, spectators sit in the gallery and watch the
	workouts.
	
	JAKE is sparring with JOEY in the ring. They've been working
	out for a while now. The bell rings ending the third round.
	JAKE prances about the ring waiting for the bell to sound
	again.
	
	At that moment, SALVY, along with two other young "BUTTON"
	MEN (actually, they are very young -- about JOEY's age) enter
	the gym. They are well-dressed (over-coat, ties, suits,
	flashy rings, etc.). They say hello to some PEOPLE by the
	door. JAKE looks over and notices them. SALVY looks over to
	the ring.
	
	               SALVY
	          (waves)
	     Hey Joey --
	
	JOEY waves back.
	
	               SALVY (CONT'D)
	          (waves again)
	     Jake, how you doin'?
	
	JAKE nods to SALVY very cold. SALVY notices and can feel that
	he's not exactly wanted there by JAKE. JOEY notices the same
	and becomes a bit nervous.
	
	SALVY sits down near the ring but not as close as he'd like
	to. His two friends, FRANKIE and GUIDO, sit nearby also.
	
	JAKE goes to JOEY's corner.
	
	               JAKE
	     Did you know they were coming up
	     here?
	
	JOEY doesn't answer.
	
	               JAKE (CONT'D)
	     Answer me when I talk to you.
	
	               JOEY
	     Yeah, yeah. They just wanted to
	     talk to you. So I...
	
	               JAKE
	          (interrupting)
	     Don't ever bring those kids up here
	     again! I'm working out, I'm killin'
	     myself in here, and they walk
	     around like they fuckin' own the
	     neighborhood.
	
	SALVY and the OTHERS see JOEY being chewed out by JAKE. They
	begin to feel unwelcome at the gym.
	
	The bell sounds. JAKE is more aggressive now as he corners
	JOEY. JAKE swings away with body punches. JOEY can't block
	them. SALVY and the OTHERS watch.
	
	The bell sounds again. With that, SALVY and the OTHERS start
	to leave.
	
	               SALVY
	          (to Joey)
	     Hey Joey, we better go. See you
	     later.
	
	JOEY, dazed, turns to wave.
	
	               JAKE
	     Go 'head. Wave goodbye. They're
	     your friends.
	
	JAKE watches them leave.
	
	               JAKE (CONT'D)
	     And that hard-on, Salvy. Who's he
	     think he is? I'm gonna let that
	     fuckin' hard-on come up here and
	     act like a big shot.
	
	               JOEY
	     What are you getting so hot about --
	     Tommy Como told him to come down
	     here...
	
	               JAKE
	          (interrupting)
	     Hey, I don't care about Tommy Como.
	     I don't care about Jesus Christ on
	     the fuckin' cross. I gotta give
	     them a percentage of what I make!
	     I'm in here breaking my ass, not
	     them. Don't ever bring them up here
	     again.
	
	               JOEY
	     I didn't tell them to come. Tommy
	     Como...
	
	The bell sounds again. JAKE hits JOEY a few more solid body
	punches. JOEY gets angry and fights back with a flurry of
	punches which have no effect on JAKE. JAKE laughs.
	
	               JAKE
	     That's right, fight back. I got
	     laid three times before I came up
	     here this morning and I can still
	     break your ass.
	
	JOEY fights back, but it's no use.
	
	               JOEY
	     You cocksucker.
	
	JAKE laughs. The two continue to swing it out, as SALVY
	watches unseen from the doorway.
	
	EXT. SHOREHAVEN POOL - DAY (1942-43)
	
	The Shorehaven Pool, spic-and-span in the summer sun is the
	closest thing to a country club in the Bronx. An eight foot
	fence stands between the pool and the street.
	
	JAKE, wearing slacks and a sportshirt, hangs out with the
	"BOYS" near the bar area. Older, "MADE" MEN play cards. A
	young FAN walks by and says:
	
	               FAN
	     Hey, Jake.
	
	At the opposite end of the pool where the GIRLS gossip, and
	sunbathe, JOEY swaps small talk with VICKIE, a school girl,
	about 15. VICKIE is a knockout.
	
	SALVY, FRANKIE and JUNIOR are with VICKIE and her FRIENDS.
	They joke with JOEY.
	
	JAKE watches SALVY and VICKIE.
	
	JAKE'S P.O.V.: JOEY is talking (PAN) to VICKIE. VICKIE
	giggles. JOEY stands and walks over to JAKE.
	
	               JAKE
	          (referring to Vickie)
	     Who's that?
	
	               JOEY
	     Whadda you care?
	
	               JAKE
	     Whadda ya mean, whadda I care? Who
	     is she? What's a matter? You afraid
	     I'm gonna take her on you?
	
	               JOEY
	     No, I'm not afraid. Why? You wanna
	     meet her?
	
	               JAKE
	     Yeah --
	
	               JOEY
	     Cause I'll go right over there and
	     bring her here.
	
	               JAKE
	     Go 'head.
	
	               JOEY
	     You sure you wanna meet her? Don't
	     make me go over there, you change
	     your mind and you make me look bad,
	     cause she's really a knockout.
	     She's 15, this kid -- a great piece
	     of ass.
	
	               JAKE
	     How do you know? You know her that
	     good?
	
	               JOEY
	     No, I see her around the pool. I
	     know her. I know her like that --
	     not like that.
	
	               JAKE
	          (gesturing to his bandage)
	     Nah, not now... I wanna wait. I
	     don't feel right...
	
	JAKE watches VICKIE.
	
	INT. JAKE AND IRMA'S APARTMENT, LIVING ROOM - LATE NIGHT
	
	               JOEY
	          (to Jake)
	     I'm tellin' you, she'll be there, I
	     know she'll be there.
	
	               JAKE
	     'Cause I wanna catch her alone.
	
	               JOEY
	     How you gonna catch anybody alone
	     at a dance?... I don't know if
	     she'll be there alone... She'll
	     probably be there with her
	     girlfriends or something.
	
	               JAKE
	     She ever go with them? Like Salvy?
	
	               JOEY
	     Nah, she don't go with nobody.
	     She's only 15 years old.
	
	               JAKE
	     What does that have to do with it?
	     She don't look 15 to me. I heard
	     somethin' with Salvy. She was with
	     him once or somethin', I think. It
	     was like some blonde. That's the
	     one...
	
	               JOEY
	     Probably. You know she talks to
	     everybody, and not just him.
	
	               JAKE
	     Yeah, she's nice.
	
	               JOEY
	     Ah, some piece of ass, I'm tellin'
	     you.
	
	               JAKE
	     You wasn't with her, were you?
	
	               JOEY
	     Huh?
	
	               JAKE
	     You wasn't with her?
	
	               JOEY
	     With her? How?
	
	               JAKE
	     You know, like bang her or
	     anything?
	
	               JOEY
	     Ah, no, no. I didn't bang her. I
	     know her from around here, that's
	     all. You want to meet her or what?
	
	               JAKE
	     Nah, not now -- all those hard-ons
	     around. I'll wait. Not now.
	
	The scene ends on VICKIE as JAKE watches her.
	
	INT. JAKE AND IRMA'S APARTMENT - LIVING ROOM - LATE NIGHT
	
	               JOEY
	          (to Jake)
	     I'm tellin' you, she'll be there, I
	     know she'll be there. Dressed up
	     and everything.
	
	               JAKE
	     I don't like all those other clowns
	     around. That's all I know.
	
	               JOEY
	     C'mon, hurry up. We're never gonna
	     get outa here tonight.
	
	JOEY sips a drink as JAKE knots his tie. IRMA enters from the
	bedroom.
	
	               IRMA
	     Where you going at this hour?
	
	               JAKE
	     What're you, a cop? I'm goin' out --
	     business.
	
	               IRMA
	     You fuckin' worm, if you're going
	     out, I'm going out.
	
	               JAKE
	     And where you goin'?
	
	               IRMA
	     None of your fuckin' business.
	
	JOEY lifts his eyes up.
	
	               JAKE
	     Eh, go out. Do what you're gonna
	     do. What do I care?
	
	JOEY opens the door to leave. JAKE follows.
	
	               IRMA
	     That's right -- run out. I ain't
	     gonna be here when you get back.
	
	INT. JAKE AND IRMA'S APT. BUILDING - HALLWAY - LATE NIGHT
	
	JAKE and JOEY hurry down the stairs. IRMA shouts after them.
	
	               IRMA
	     Bunch of guys. You all hang out
	     together. Yeah, you're all going
	     out on business. You're all gonna
	     suck each other off.
	
	INT. JAKE AND IRMA'S BUILDING - GROUND FLOOR - LATE NIGHT
	
	               JOEY
	     What a mouth on her -- you shoulda
	     hit her -- no good fuckin' Jewish
	     cunt -- breakin' our balls. You
	     shoulda hit her with a chair.
	
	               JAKE
	     Hey, watch your mouth. Don't talk
	     like that. She's still my wife.
	
	               JOEY
	     No, but Jake... how much abuse can
	     you take.
	
	               JAKE
	          (interrupting)
	     How many times do I have to hit
	     her? I hit her enough.
	
	They exit to street.
	
	EXT. JAKE AND IRMA'S APARTMENT BUILDING - STREET - LATE NIGHT
	
	JOEY and JAKE come out of the building and start walking down
	the street.
	
	IRMA opens the window on the second floor right above them,
	and shouts out to them:
	
	               IRMA
	     Go ahead -- that's all you're good
	     for -- to go out and leave me here
	     like a dog. You and your brother!
	     You don't even look like brothers.
	     You look like faggots! That's what
	     you look like -- faggots!
	
	JAKE and JOEY walk faster down the block, pretending that
	IRMA must be shouting at someone else.
	
	She throws a bottle at them. It smashes in the street.
	
	EXT. WEBSTER HALL - NIGHT (AN HOUR LATER)
	
	ESTABLISHING SHOT.
	
	INT. WEBSTER HALL - NIGHT
	
	A neighborhood dance is in progress. A small BAND is playing
	while mainly OLDER COUPLES dance. There are TWO PRIESTS
	present. The younger people are divided into two groups --
	the BOYS, who are dressed in suits and ties, and spend most
	of their time at the bar area -- and the GIRLS, who are in
	evening dresses, and spend most of their time dancing
	together.
	
	Some of the more popular GIRLS are surrounded by "WISE-GUYS."
	There are tables near the dance floor with "set ups" (bottles
	of Scotch, rye, and a bucket of ice) on them. These tables
	are the "bases of operation" for different neighborhood
	groups, as if they were street corners.
	
	JAKE and JOEY are walking toward a table. VERA, a young
	neighborhood girl, blocks their way as she bends over to talk
	to some GUYS at a table. VERA's well-built, and knows it.
	
	JOEY tries to move one way; VERA again blocks his way. This
	little game goes on for a few seconds, then:
	
	               JOEY
	     Look, could you move a little.
	     Would you mind, darling?
	
	               VERA
	     Mind what, Mr. Big Shot?
	
	               JAKE
	          (annoyed)
	     Eh, girlie, take a walk.
	
	JAKE starts to move forward; JOEY stops him.
	
	               JOEY
	          (to Vera)
	     All right, darling, I'll just stand
	     here and wait.
	
	JOEY cups his hands and grabs VERA's breasts. VERA squeals,
	covers her breasts, and moves back. JOEY and JAKE walk past
	her. JOEY smiles.
	
	JOEY and JAKE sit down at an empty table.
	
	               JAKE
	     Do you see her yet?
	
	               JOEY
	     Give me a chance. Let me look.
	
	MOVING SHOTS
	
	JAKE tries to find her -- Camera pans until we find her. JOEY
	points out a distant table. He spots VICKIE with a couple of
	other GIRLS . VICKIE locks beautiful and is obviously having
	a good time.
	
	               JOEY (CONT'D)
	     THERE she is over there on the
	     other side. What did I tell you?
	     Oh, ain't she nice? Ain't she a
	     fuckin' doll?
	
	As they watch, WE SEE, from JAKE's POV:
	
	SALVY, FRANKIE, and JUNIOR show up at VICKIE's table. They
	are in overcoats and hats and don't sit down. They are
	obviously on their way to bigger things than a neighborhood
	dance -- and VICKIE and her GIRLFRIENDS are glad to go with
	them. They get up to leave.
	
	               JAKE
	     Be right back.
	
	SALVY, FRANKIE, JUNIOR, VTCKIE and the other TWO GIRLS leave
	the dance hall. JAKE, unseen, follows them to the entrance
	way, as they go out onto the sidewalk.
	
	EXT. WEBSTER HALL - NIGHT
	
	JAKE watches as SALVY ushers everyone into his Cadillac, and
	then drives off.
	
	JAKE stares after the car for a moment, then goes back
	inside.
	
	EXT. SHOREHAVEN POOL - DAY (1942-43)
	
	JAKE and JOEY get out of their Packard convertible and walk
	over to the fence surrounding the pool. VICKIE is by the
	pool.
	
	               JOEY
	          (calling out to Vickie)
	     Hey, Vickie, c'mere. Don't be
	     afraid. C'mere. Just say hello.
	     This is my brother.
	
	VICKIE comes over to the fence.
	
	               JOEY (CONT'D)
	     Vickie, I want you to meet my
	     brother, Jake. He's gonna be the
	     next champ.
	
	JAKE puts his fingers through the fence.
	
	               JAKE
	     Joey said you wanted to meet me. Is
	     that right? You wanted to meet me?
	
	               VICKIE
	          (to Joey)
	     I just wanted to say hello.
	
	               JAKE
	     You wanted to say hello, eh? I
	     can't believe it. When did you fall
	     outa heaven? Anyone ever tell you
	     you're the most beautiful one here,
	     princess of the pool. You got a
	     baby face. Look at mine. Whatcha
	     wanna meet me for?
	
	               VICKIE
	     I don't know. 'Cause you're cute.
	
	               JAKE
	          (to Joey)
	     Ya hear, Joey? She thinks this face
	     is cute? Hey, whatcha doin' now?
	     You wanna go for a ride?
	
	PAN to car.
	
	               VICKIE
	     Sure. Gimme a few minutes.
	
	She starts to go.
	
	               JAKE
	     Hey...
	
	She turns. JAKE kisses his hand and holds it up to the fence
	by her lips.
	
	EXT. SHORE ROAD - DAY
	
	JAKE drives his Packard convertible down Shore Road. VICKIE
	sits in the passenger seat, her blonde hair blowing in the
	wind. VICKIE feels JAKE's eyes all over her, and loves it.
	
	On the radio, Bing Crosby sings "Just One More Charce."
	
	EXT. MINIATURE GOLF COURSE - DAY
	
	JAKE parks across the street from the new miniature golf
	course on Shore Road. The Shore Road course is one of the
	best. The first green features a pink windmill.
	
	JAKE and VICKIE get out to cross the street.
	
	               VICKIE
	     You don't talk very much.
	
	               JAKE
	     I ain't ever talked to a movie star
	     before.
	
	               VICKIE
	          (giggles)
	     I ain't no movie star. I'm just in
	     high school.
	
	               JAKE
	     Oh no? I thought you was a movie
	     star.
	
	A bus heads toward them.
	
	               VICKIE
	     Jake! The bus!
	
	JAKE holds up his hand.
	
	               JAKE
	     Any bus gives you trouble, I knock
	     it out for ya.
	
	The bus stops for them as they cross the street.
	
	EXT. THE FIRST GREEN - DAY
	
	JAKE sets VICKIE's ball on the tee facing the windmill.
	
	               VICKIE
	     You go first. Let me watch how to
	     do this.
	
	               JAKE
	     You don't get nothin' done by
	     watchin'. You just gotta do it.
	     Here, I'll help you.
	
	JAKE hands VICKIE the putter, then moves behind her and puts
	her hand on the club.
	
	               JAKE (CONT'D)
	     That's it. Just grip up a little
	     tighter. That's it. You're gonna be
	     real good at this. How does that
	     feel?
	
	               VICKIE
	     It feels real good.
	
	               JAKE
	     Just keep your eye on the ball.
	
	               VICKIE
	     Should I hit it?
	
	               JAKE
	     Just give it a nice little tap.
	
	VICKIE swings and the ball rolls into the center of the
	windmill. VICKIE breaks free and follows her ball. JAKE
	follows.
	
	               VICKIE
	     I can't find my ball.
	
	               JAKE
	     Can you see it?
	
	VICKIE bends and looks under the windmill.
	
	               VICKIE
	     No.
	
	JAKE bends and looks.
	
	               VICKIE (CONT'D)
	     Can you see it?
	
	               JAKE
	     No.
	
	               VICKIE
	     What does that mean?
	
	JAKE takes VICKIE by the arm.
	
	               JAKE
	     It means the game is over.
	
	JAKE throws his putter on the next green.
	
	               JAKE (CONT'D)
	     Let's get outa here.
	
	EXT. ARTHUR AVENUE APARTMENT BUILDING - BRONX - DAY
	
	JAKE and VICKIE pull up to a tenement.
	
	JAKE dashes around the car to open the door for VICKIE.
	
	They enter the building.
	
	INT. ARTHUR AVENUE APARTMENT - DAY
	
	JOSEPH LAMOTTA, SR. is finishing his Sunday dinner with a
	glass of wine as JAKE and VICKIE enter.
	
	               JAKE
	     Hi Pop. This is my new girlfriend,
	     Vickie. V for victory. How do you
	     like that Pop?
	
	               JOE LAMOTTA
	     V for victory.
	
	               VICKIE
	          (nervous)
	     It's a pleasure to meet you, Mr.
	     LaMotta.
	
	               JOE LAMOTTA
	          (in Italian)
	     Sit down. Eat something.
	
	JAKE is anxious. VICKIE is scared.
	
	               JAKE
	     C'mon, Pop. You've been in America
	     so many years. Speak English.
	
	               JOE LAMOTTA
	          (joking)
	     You want me to speak English --
	     Fuck you. That's English.
	
	               JAKE
	     Pop, don't curse. There's a girl
	     here. I'm gonna show her around the
	     house. Why don't you just finish
	     your wine?
	
	JOE stares at him. JAKE grasps VICKIE's arm firmly.
	
	INT. ARTHUR AVENUE APARTMENT - BEDROOM - DAY
	
	The bedroom is a few rooms away from the kitchen. JAKE closes
	the door. (There is a warm light in the bedroom.)
	
	               VICKIE
	     Jake, this is your father's
	     bedroom.
	
	               JAKE
	     That's all right. He don't mind.
	
	The room is sparsely furnished. On the bureau, there is a
	large framed photo of the boxing brothers: JAKE and JOEY
	LAMOTTA. (JOEY wears a suit in the picture.)
	
	JAKE puts VICKIE on the bed and removes his jacket and tie.
	
	               VICKIE
	     Jake...
	
	               JAKE
	     It's OK.
	
	He pushes her against the bed and gently undresses her. They
	make love.
	
	INT. OLYMPIA STADIUM - DETROIT (FEB. 5, 1943)
	
	JAKE is fighting SUGAR RAY ROBINSON. (It's their 2nd match.)
	WE SEE highlights of the fight: JAKE is fighting ferociously,
	but SUGAR RAY is a formidable opponent. AN ANNOUNCER'S VOICE
	gives a blow by blow description. JAKE takes a lot of
	punishment from SUGAR RAY -- until the 8th round. Then, JAKE
	nails SUGAR RAY with a savage left. JAKE chases SUGAR RAY and
	pounds him with a left and a right. SUGAR RAY gets in a right
	cross. They stand toe to toe, fighting. Then, JAKE lands a
	left to SUGAR RAY's stomach, and knocks him through the
	ropes. JAKE goes after SUGAR RAY, but the REFEREE stops him.
	SUGAR RAY gets back into the ring and sinks to one knee,
	while the REFEREE counts to 9. The bell sounds.
	
	TIME CUT: THE ANNOUNCER calls out that JAKE is the winner.
	JAKE throws kisses. The CROWD goes wild.
	
	INT. GLEASON'S - DAY (1943)
	
	JAKE's press conference.
	
	FIVE REPORTERS meander around the gym, waiting for JAKE to
	finish sparring. They are not thrilled with their assignment.
	JAKE is not thrilled with having them there.
	
	The gallery is spotted with the usual BRONX TYPES. The lone
	exception is VICKIE, dressed very well, very sensual, and
	quite content to watch JAKE make his SPARRING PARTNERS' lives
	miserable, despite their head and belly protectors.
	
	JOEY is off in one of the corners arguing with ONE of the
	REPORTERS:
	
	               JOEY
	     The fuckin' papers are full of
	     Robinson and nothing on Jake -- and
	     Jake knocked him clear outa the
	     ring in Detroit. He's the only guy
	     ever to beat Robinson. Whatsa
	     matter with you? I thought we had
	     an arrangement.
	
	               REPORTER
	     We do Joey. You know we do.
	
	               JOEY
	     You holding me up for more cash or
	     what?
	
	The bell sounds, ending the sparring round.
	
	               REPORTER
	     I can't print nothing if Jake won't
	     give me nothing.
	
	JOEY walks over to the ring. The REPORTER follows not far
	behind.
	
	               JOEY
	     C'mon, Jake. You're makin' us look
	     stupid. I brought these guys up
	     here, now you don't wanna talk to
	     them? What are ya doin'? Open your
	     mouth, for Christsake.
	
	JAKE nods his head, steps out of the ring, and goes directly
	over to the REPORTER, who is about to say: "Hi, Jake."
	
	               JAKE
	          (interrupting)
	     I'm tallin' you now, when I read
	     this, it better not make me look
	     bad.
	
	               REPORTER
	     Jake, did I ever make you look bad
	     before?
	
	               JAKE
	     Maybe it wasn't you, but you know
	     what I'm talkin' about.
	
	               JOEY
	          (interrupting)
	     Don't worry. Don't worry. It's
	     gonna be all right.
	          (to reporter)
	     Ask him your questions.
	
	               REPORTER
	     All right, Jake, you're being
	     talked about as the top
	     middleweight contender. Do you
	     think another victory over Sugar
	     Ray will get you a shot at the
	     title?
	
	               JAKE
	     Why not? There's nobody else around
	     who wants to fight me; they're all
	     afraid. I don't see why I shouldn't
	     have a shot at the title right now.
	
	               REPORTER
	     Well, the word is to get a title
	     shot you have to cooperate with the
	     people who control boxing, in New
	     York. And they're saying that you
	     don't cooperate.
	
	               JAKE
	     You guys know more about that than
	     I do. I just fight...
	
	               JOEY
	          (interrupting)
	     He fights the toughest guys around
	     that everybody else is afraid to
	     fight...
	
	               JAKE
	          (interrupting)
	     I'm the only guy ever to beat Sugar
	     Ray, and I still don't have a shot
	     at the title.
	
	               REPORTER
	     You just fought Sugar Ray two weeks
	     ago and you're training like this
	     right now... Are you afraid Sugar
	     Ray might beat you this time?
	
	               JAKE
	     I tell you what. You hit me here.
	          (points to his right
	          cheek)
	     Sugar Ray hits me here.
	          (points to his left cheek)
	     I can't tell the difference. I just
	     fight.
	
	JAKE turns to VICKIE, smiles, and prepares for his next
	SPARRING PARTNER.
	
	INT. ARTHUR AVENUE APARTMENT - BEDROOM - DAY (FEB. 1943)
	
	JAKE, wearing pleated dress slacks, sits on the edge of the
	bed examining his muscle tone.
	
	He studies his small fists. Squeezes each knuckle. Twists his
	wrists. Clenches. Unclenches.
	
	VICKIE steps out of the bathroom wearing a nightie and
	panties.
	
	               VICKIE
	     Are you sure we should be doing
	     this?
	
	               JAKE
	     Come over here.
	
	               VICKIE
	     You said never to touch you before
	     a fight.
	
	               JAKE
	          (lovingly)
	     If you let me do it, I'll murder
	     you. Come here.
	
	               VICKIE
	     You said I couldn't. You've been
	     good for two weeks...
	
	               JAKE
	     Come here.
	
	JAKE watches VICKIE approach him. He respects her as he would
	a shrine; he slowly removes her sheer nightie.
	
	His round hands caress her smooth skin. He glides his bruised
	knuckles across her shoulders, pride on his face.
	
	She kisses his bruised knuckles sensuously, then his bruised
	face.
	
	               JAKE (CONT'D)
	     Take off my pants.
	
	               VICKIE
	     Jake...
	
	               JAKE
	     Do what I say.
	
	He touches her breasts as she removes his trousers.
	
	               JAKE (CONT'D)
	     Now take the rest off.
	
	               VICKIE
	     Jake, you made me promise not to
	     get you excited.
	
	               JAKE
	     Go 'head. Do it.
	
	She pulls off his shorts. VICKIE is now getting excited. She
	kisses his chest and licks it.
	
	               VICKIE
	     I like the gym smell.
	
	               JAKE
	     Now take your panties off.
	
	She does.
	
	               JAKE (CONT'D)
	     Now, touch me...
	          (takes her hand)
	     ... here.
	
	               VICKIE
	     Oh, Jake.
	
	She caresses his broad shoulders and runs her hand along his
	erection.
	
	JAKE's lips are trembling. He quickly turns his back on
	VICKIE, goes into the bathroom, and gets a full glass of cold
	water.
	
	VICKIE watches as he puts his erection in the glass of cold
	water. She is shocked and surprised.
	
	               JAKE
	     I can't do it. I can't fool around.
	     This Robinson, I gotta beat him
	     again. I can't fool around. Don't
	     come near me.
	
	JAKE grabs her again and kisses her. Then, gently but firmly,
	he turns her around and pushes her out. (It's starting again,
	and he must stop it.) He goes back the bathroom and closes
	the door.
	
	INT. OLYMPIC STADIUM - DETROIT (FEB. 26, 1943)
	
	This is JAKE's rematch with SUGAR RAY (their 3rd fight). AN
	ANNOUNCER's VOICE gives a blow by blow description.
	
	THE FOURTH ROUND: JAKE is in serious trouble. SUGAR RAY
	knocks him with a hard right, then a series of rights and
	lefts. JAKE is punched all the way across the ring, but stays
	in there.
	
	THE SEVENTH ROUND: JAKE, coming on strong, forces SUGAR RAY
	into his own corner, then lands a left hook to his chin.
	SUGAR RAY drops, and takes a nine count. This time, however,
	the blow does not have a crippling effect on SUGAR RAY;
	instead, he comes back and outboxes JAKE.
	
	TIME CUT: THE ANNOUNCER calls out the decision: SUGAR RAY is
	the winner. JAKE is stunned. The CROWD boos so loud and for
	so long that THE ANNOUNCER is unable to introduce the
	fighters in the next bout.
	
	INT. OLYMPIA STADIUM - DRESSING ROOM - NIGHT
	
	JOEY and TONY are in the dressing room. JAKE sits on the
	table, dejected. His hand is being examined by a DOCTOR. TWO
	HANGERS-ON are also present.
	
	               JOEY
	          (angry)
	     They robbed us! Those fuckin'
	     judges -- What the fuck fight were
	     they watching? If I see them on the
	     street, I'll break their heads.
	     Decision Robinson, my fuckin' ass!
	     Those judges give him the decision
	     'cause he's goin in the army next
	     week! How else could this have
	     happened?... What do you think they
	     gave him the decision for, that's
	     why.
	
	               JAKE
	          (almost to himself)
	     Whadda I gotta do, Joey? I knocked
	     him down. What did I do wrong? I
	     don't understand.
	
	               JOEY
	     You won and was robbed! You didn't
	     do nothin' wrong.
	
	               JAKE
	     I dunno. Maybe I don't deserve to
	     win. I've done a lot of bad things.
	     I dunno...
	
	TONY goes to the door.
	
	               JOYE
	     Fuck that. This was the fight. This
	     coulda done it. This was our shot.
	     They out and out robbed us.
	
	MARIO comes back from the door.
	
	               MARIO
	     Vickie is here, Jake.
	
	               JAKE
	     I don't wanna see nobody.
	
	               JOEY
	     You want us to wait for you?
	
	               JAKE
	     No, take her home. I wanna be alone
	     for a while. Everybody go.
	
	They exit.
	
	                                   DISSOLVE TO:
	
	INT. BATHROOM NEAR THE DRESSING ROOM
	
	JAKE, now alone, goes into the bathroom. He looks in the
	bathroom mirror. After a pauseg, he touches his newly
	acquired bruises and bandages. He combs his hair.
	
	We hear the beginning of an early Frank Sinatra song. This
	song carries over onto the following MONTAGE.
	
	MONTAGE
	
	This MONTAGE covers the period between 1943 and early 1947.
	It shows JAKE hard at work fighting all the tough guys he
	can. Each of the fights will be introduced by the
	corresponding title card from the "Big Fights" film showing a
	boxing glove with the fighters' names and the places of the
	fights superimposed on it. The actual fight images will be
	black and white newspaper photos JUMP CUT together to
	simulate real action. For example: In still #1 JAKE is about
	to land a punch on an OPPONENT.
	
	                                   CUT TO:
	
	Still #2, and the punch lands, distorting the OPPONENT's
	face, sweat spraying out everywhere. Live sound effects
	accompany these stills.
	
	The fight stills are INTERCUT with 16mm black and white home
	movies of JAKE, VICKIE, JOEY, etc. (to be shot in 16mm black
	and white).
	
	It'll go something like this:
	
	A) JAKE VS. FRITZIE ZIVIC at the Detroit Olympia (January 14,
	1944)
	
	B) JAKE, VICKIE, and JOEY, wearing sunglasses, pose in front
	of a Cadillac. (1944)
	
	C) JAKE VS. SUGAR RAY ROBINSON at Madison Square Garden
	(February 23, 1945)
	
	D) JAKE and VICKIE getting married. (This will be a black and
	white still photo, posed especially for the occasion.) (1945,
	
	New Jersey courthouse)
	
	E) JAKE VS. SUGAR RAY ROBINSON at Comiskey Park, Chicago
	(September 26, 1945)
	
	F) JAKE and VICKIE on vacation -- very loving. They are
	dancing, and he allows her to knock him into the pool. Then,
	JAKE gives VICKIE a present by the poolside. She opens the
	box and takes out a white garment and turban. She kisses
	JAKE.
	
	                                   CUT TO:
	
	VICKIE dressed in the outfit. She looks very much like Lana
	Turner in "The Postman Always Rings Twice." She kisses JAKE.
	(1946)
	
	G) JAKE VS. JIMMY EDGAR at Detroit (The University of Detroit
	Stadium) (June 12, 1946)
	
	H) JOEY's marriage. JAKE and VICKIE are there as witnesses.
	(Could also be a still photo as D was.) (1946)
	
	I) JAKE VS. BOB SATTERFIELD at Wrigley Field, Chicago
	(September 12, 1946)
	
	J) JAKE and VICKIE in front of their new Pelham Parkway
	house. It is an affluent, split-level house, an idyllic scene
	-- stone terrace, freshly cut lawn, etc. JAKE carries VICKIE
	inside.
	
	                                   CUT TO:
	
	JAKE and VICKIE with their two boys JACK, age 2, and JOEY,
	age 1 in the backyard of the Pelham Parkway house; they are
	having a cookout. JOEY and his WIFE and their two children (a
	BOY and a GIRL about the same ages as JAKE's) are there also.
	(1947)
	
	K) JAKE VS. TOMMY BELL at Madison Square Garden (March 14,
	1947)
	
	INT. PELHAM PARKWAY HOUSE (1947)
	
	WE SEE an early model, round screen television. Nearby an old
	radio. On it, Sinatra is finishing the song we heard in the
	preceding montage.
	
	JAKE enters, and turns down the volume on the radio. WE SEE
	JAKE's living room; it is late forties modern.
	
	JOEY and VICKIE are seated around the coffee table, which is
	near the television. There are some remnants of a snack on
	the table. JAKE's TWO BOYS are playing nearby.
	
	               JAKE
	          (to Joey as he turns down
	          the radio)
	     I just weighed myself - I'm 161. No
	     more deals like this Janiro
	     bullshit. I didn't tell you to do
	     it in the first place.
	
	               JOEY
	     Jake, you're the one who said you
	     could get down to 155! What did I
	     do, pull it out of the fuckin' hat?
	
	               JAKE
	          (angry)
	     Well, sometimes you shouldn't
	     listen to me! Now I don't know if I
	     can make it down to 155. I'm having
	     trouble making 160, and without
	     telling me, you sign me for a fight
	     at 155 pounds, and if I don't make
	     155, I forfeit $15,000! You're
	     supposed to know what you're doin'.
	     You're supposed to be a manager!
	
	               JOEY
	     You want the title shot?
	
	               JAKE
	     Say what you're gonna say.
	
	               JOEY
	     You want the title shot or not?
	
	               JAKE
	     Say what you gotta say. Don't be a
	     smart ass.
	
	               JOEY
	          (yelling)
	     This Janiro's an up-and-coming
	     fighter, this kid you gotta knock
	     out. Knockout this fuckin' kid! I'm
	     telling you, this is your step
	     towards getting a shot at the
	     title. Listen to me: I'm telling
	     you. You been killin' yourself for
	     three years. There's nobody left --
	     they're afraid to fight you.
	     This Janiro's up-and-coming. He
	     don't know. Fuckin' tear him apart,
	     wipe him out! What are you worried
	     about? Your weight? Look, even if
	     you lose they're gonna think you're
	     weak; they're gonna think you're
	     not the fighter you used to be.
	     They'll match you with guys they
	     were afraid to match you with
	     before, and then you'll kill them
	     and you'll get your title shot. And
	     if you beat this kid Janiro, they
	     gotta give you a shot at the title
	     because there's nobody else. Either
	     way you win and you do it on your
	     own -- just like you want it. All
	     right?
	
	               VICKIE
	     Joey's right. Janiro's up-and
	     coming, he's good looking...
	
	               JAKE
	          (interrupting)
	     What do you mean, "good looking?"
	
	               VICKIE
	     Well, he's popular. A lotta people
	     like Janiro. You beat him and it
	     only figures they'll wanna see you
	     get a title shot. But, what do I
	     know? I should keep my mouth shut,
	     I should...
	
	               JAKE
	          (interrupting)
	     Who asked you?
	
	               VICKIE
	     But, Jake, I was just...
	
	               JAKE
	          (interrupting)
	     Who asked you?
	
	               VICKIE
	     I was just...
	
	               JAKE
	          (interrupting)
	     Who asked you?
	
	VICKIE, amazed, gets up to leave.
	
	JAKE glares at her.
	
	VICKIE rounds up the kids and takes them into the kitchen.
	(MOVING SHOT).
	
	WE SEE VICKIE in the kitchen angrily throwing things around.
	We clearly see the tension as she cleans up, muttering to
	herself.
	
	               JAKE (CONT'D)
	          (turns to Joey)
	     All right, manager. Everybody had
	     their say around here. Now this is
	     what I'm gonna say. I'm gonna get
	     down to 155, and I'm gonna destroy
	     this kid -- get my title shot. And
	     don't ever bet 15 thousand without
	     my sayso again.
	
	JAKE comes into the kitchen. He tries to make up with VICKIE.
	She plays hard-to-get. They begin to tease each other.
	
	INT. COPACABANA LOUNGE - NIGHT (1947)
	
	A COMEDIAN is in the middle of his act. JAKE, VICKIE, JOEY,
	and JANET sit at a nearby table. JANET, an attractive blonde,
	is are of JOEY's girlfriends; the moment you set eyes on her,
	you know this is not his wife.
	
	The lounge is very crowded. The COMEDIAN interrupts his
	routine to point out that JAKE LAMOTTA is in the audience,
	and even tries a little harmless joking at JAKE's expense.
	
	               COMEDIAN
	     Ladies and gentlemen, I'd like to
	     point out a special guest we have
	     with us tonight -- The Raging Bull,
	     The Bronx Bull, Mr. Jake LaMotta.
	
	There is applause. JAKE smiles, and gives a hesitant wave.
	
	               COMEDIAN (CONT'D)
	     Stand up, Jake, c'mon. Oh, you are
	     standing. Sorry.
	          (laughs)
	     Just kiddin', Jake.
	
	JAKE waves a fist at the COMEDIAN, good-naturedly playing
	along with the joke -- even though he hates it.
	
	               JAKE
	          (to Joey)
	     Look at this abuse I gotta take.
	
	JOEY, VICKIE, and JANET are amused.
	
	               JAKE (CONT'D)
	          (joking)
	     What's so funny?
	          (lifting his glass)
	     Cheers! Post-time. Joey, Vickie,
	     and...
	          (to Janet)
	     What's your name again, darling?
	
	               JANET
	     Janet.
	
	JAKE Smiles. They all drink.
	
	SALVY, a little older, but still young-looking, and dressed
	even better than when we last saw him (flashy rings, etc.),
	comes over to their table. He walks around like he owns the
	fucking place. JAKE hates it.
	
	               SALVY
	     Hi, Joey. Jake, how you doin'?
	     Vickie...
	
	They respond. JAKE is cold towards SALVY.
	
	SALVY goes on his way to COMO's table.
	
	As SALVY walks away, JAKE turns to VICKIE.
	
	               JAKE
	     What're you lookin' at? You lookin'
	     at him?
	
	               VICKIE
	     No, I'm not. I'm looking at you.
	
	               JAKE
	     Don't tell me "No." I saw you
	     lookin' at him. Why, you like him?
	
	               VICKIE
	     I'm not interested in him.
	
	               JAKE
	     You're not interested in him?
	
	               VICKIE
	     No, I'm not.
	
	               JAKE
	     In other words, you're not
	     interested in him but you'd be
	     interested in somebody else, right?
	
	               VICKIE
	     Jake, c'mon now. Don't start.
	
	               JAKE
	          (turns to Joey, referring
	          to Salvy)
	     Look at this, all of a sudden
	     everybody's a fuckin' Romeo around
	     here. Did you see the way she was
	     lookin' at him?
	
	               JOEY
	     Nah, she would never...
	
	               JAKE
	          (interrupting)
	     Didn't you just see her lookin' at
	      him? She told me no, but I don't
	      believe her.
	
	                JOEY
	           (uncomfortable)
	      C'mon, Jake. You know she's crazy
	      about you.
	
	JAKE gives him a suspicious look. JOEY feels uneasy.
	
	                JAKE
	      I'd just love to catch her. Oooooh,
	      I'd just love to catch her once.
	
	Drinks arrive at their table.
	
	                WAITER
	      These are from Tommy Como.
	
	JAKE looks up but can't see where COMO is. JOEY gets up.
	
	                JOEY
	           (to Jake)
	      Excuse me for a minute. Be right
	      back.
	
	                JAKE
	           (sarcastic)
	      Don't be long. I'm afraid with all
	      these tough guys here.
	
	JOEY goes to COMO's table in the rear of the lounge. JAKE
	slides over and watches. JOEY shakes hands with COMO. SALVY
	is there at COMO's table. JOEY comes right back.
	
	                JOEY
	      Jake, come over for a few minutes.
	      Tommy wants to say hello to you.
	      C'mon, just come and say hello.
	
	JAKE doesn't like the idea, but goes along with it anyway.
	
	ANOTHER ANGLE: COMO's table. JAKE comes over.
	
	                JAKE
	      Hi, Tommy. How are you?
	
	                TOMMY
	      Jake, sit down for a minute.
	
	JAKE sits. SALVY smiles and nods to JAKE. JAKE barely nods
	back.
	
	                TOMMY (CONT'D)
	           (his arm around Jake)
	      Fuckin' kid! You're the best
	      fuckin' fighter around. Loved what
	      you did to Satterfield. Them
	      "moulan yans" -- forget about it.
	      They're all afraid to fight you.
	
	                JAKE
	           (a little embarrassed)
	      C'mon, Tommy --
	
	                TOMMY
	      How you feelin'? Ok? You feelin'
	      good?
	
	                JAKE
	      Never felt better.
	
	                TOMMY
	      Tony Janiro's gotta watch out, eh?
	
	                JAKE
	      He should.
	
	                TOMMY
	           (to Salvy)
	      This Janiro's a good fiahter,
	      pretty good-lookin' kid.
	
	                SALVY
	      Bet on him three times. Always come
	      through for me.
	
	JAKE just stares, holding his anger in.
	
	There is a pause.
	
	                TOMMY
	      How's the weight? Ok?
	
	                JAKE
	      Yeah, the weight's Ok.
	
	Another pause. TOMMY smiles and moves closer to JAKE.
	
	                TOMMY
	      All right, lemme ask you something.
	      Let's say I was a good friend of
	      yours. And I was telling you I was
	      gonna bet a lot of money on you in
	      this Janiro fight. What would you
	      tell me?
	
	                JAKE
	      I'd tell you to bet a bundle.
	
	TOMMY sips his drink.
	
	INT. PELHAM PARKWAY HOUSE - BEDROOM - NIGHT
	
	VICKIE is in bed trying to sleep. JAKE comes out of the
	bathroom half-dressed, and sits on the edge of the bed
	(preoccupied). Silence.
	
	                JAKE
	      Vickie?... Vickie, you asleep?
	
	                VICKIE
	      What?
	
	                JAKE
	      You asleep?
	
	                VICKIE
	      Yeah.
	
	                JAKE
	      Huh?
	
	                VICKIE
	      Yeah, what?
	
	                JAKE
	      Tell me, you think of anybody else
	      when I'm making love to you?
	
	                VICKIE
	      Nobody. I love you, remember?
	
	                JAKE
	      Then why'd you say that thing about
	      Tony Janiro?
	
	                VICKIE
	      What did I say?
	
	                JAKE
	      That he's got a pretty face.
	
	                VICKIE
	      I never noticed his face.
	
	                JAKE
	      You sure you're not thinking of him
	      right now?
	
	                VICKIE
	      Positive.
	
	                JAKE
	      You're the one who said he was good
	      looking. You think he's good
	      looking 'cause I know you think
	      he's good-looking. I'll smash his
	      face inside out. I'll make him into
	      dog meat. Nobody's gonna think he's
	      good-looking when I get through
	      with him. So you just go ahead and
	      think about who you want.
	
	VICKIE freezes.
	
	INT. WORTH STREET BASEMENT - DAY
	
	TONY JANIRO, wearing boxer trunks, steps off the scale.
	Commissioner COL. EDDIE EAGAN, a white-haired, heavyset man
	in his mid-forties, calls out the weight.
	
	The basement of the New York Boxing Commission on Worth
	Street is a sparse room, crowded with REPORTERS, TRAINERS and
	MANAGERS.
	
	                EAGAN
	      Tony Janiro, 151 lbs. and one half.
	
	JAKE steps on the scale. He looks weak and woozy. After the
	customary adjustments, EAGAN calls out:
	
	                EAGAN (CONT'D)
	      Jake LaMotta, 155 lbs. and one
	      fourth.
	
	There's a commotion in JAKE's camp. JANIRO smiles.
	
	                JAKE
	      Just a minute.
	
	JAKE, JOEY, and TONY confer.
	
	JAKE gets off the scale and enters the men's room. An
	OFFICIAL follows him.
	
	INT. THE MEN'S ROOM
	
	JAKE forces himself to urinate.
	
	INT. WORTH STREET BASEMENT
	
	JAKE comes out of the bathroom, and gets back on the scale.
	
	                EAGAN
	      Ok. This is official.
	
	LAMOTTA stares at JANIRO.
	
	                EAGAN (CONT'D)
	      LaMotta, 155 lbs. on the nose.
	
	JAKE throws JANIRO a kiss.
	
	INT. MADISON SQUARE GARDEN - NIGHT
	
	It's the last round and JAKE is pouring it on a beaten and
	virtually helpless JANIRO.
	
	The CROWD chants:
	
	                CROWD
	      LaMotta.
	
	HALF THE AUDIENCE is already on its feet. The kill is
	imminent -- and they love it.
	
	JAKE lands one blow after another. He is relentless.
	
	Several rows back, TOMMY COMO, SALVY and SEVERAL OTHER "MADE"
	GUYS sit with sober looks on their faces.
	
	JAKE moves in fast, and with a powerful barrage, smashes
	JANIRO's nose -- plastering it against his left cheek.
	
	The final bell rings. JANIRO, his legs all rubber, staggers
	back to his corner.
	
	JAKE prances about, kissing his fists and throwing them to
	the CROWD. JOEY rushes out, throws JAKE's leopard skin robe
	over him and embraces him. TONY follows. JAKE looks right at
	COMO and SALVY.
	
	AN ANNOUNCER steps into the center of the ring:
	
	                ANNOUNCER
	      The winner, by unanimous decision,
	      in ten rounds, Jake LaMotta!
	
	                JOEY
	      I love you.
	
	JAKE, weak from losing the weight and winning the fight,
	still manages to prance around the ring victoriously.
	
	VICKIE, now near the ring, throws kisses to JAKE.
	
	                JAKE
	           (shouts to Vickie)
	      This is my night! Listen to them!
	      I'm gonna be champ!
	
	He bends down and gives her a kiss through the ropes.
	
	                JAKE (CONT'D)
	      I'm making everything up to you.
	
	INT. COPACABANA - NIGHT (1947)
	
	JOEY is at the bar with a DETROIT PROMOTER and JACKIE CURTIE.
	
	                DETROIT PROMOTER
	      When we gonna get Jake back in
	      Detroit? Jesus, he really did a job
	      on Janiro. Who you after next,
	      Joey?
	
	                JOEY
	           (evasive)
	      I dunno. We're working on it. He's
	      training at the camp now.
	
	                JACKIE CURTIE
	      After what I seen, they gotta give
	      him a shot at the title.
	
	                JOEY
	      We're gonna get our shot.
	
	The DETROIT PROMOTER introduces JOEY to JACKIE CURTIE.
	
	                DETROIT PROMOTER
	      Oh Joey, this is Jackie Curtie. He
	      handles a lot of business in South
	      Ohio.
	
	                JACKIE CURTIE
	      I like your brother. Made a lot of
	      money on him.
	
	                JOEY
	      Betcha more than he has.
	
	                JACKIE CURTIE
	      Made a little cabbage on the Tommy
	      Bell fight too. Whatever happened
	      to him?
	
	                JOEY
	      Ain't he dead?
	
	                DETROIT PROMOTER
	      Nah. He's got a job downtown. Runs
	      an elevator in some building.
	
	                JOEY
	      Yeah?
	
	                DETROIT PROMOTER
	      Went down to see him the other day.
	      I says, "Tommy, take me up to the
	      fifth floor." And you know, he took
	      me right up there. 
	
	                JACKIE CURTIE
	      Yeah, Tommy always was a stand-up
	      guy.
	
	SALVY and PATSY arrive with VERA, SANDY (two neighborhood
	girls), and VICKIE. They go to a nearby table.
	
	The bar area: JOEY sees this.
	
	                DETROIT PROMOTER
	      Joey, let me get you another drink.
	
	                JOEY
	           (distracted)
	      Just a minute. Excuse me. I'll be
	      right back.
	
	The table area: JOEY arrives at SALVY's table. VICKIE is
	nervous. There is a cold exchange of'"hellos."
	
	                JOEY (CONT'D)
	           (to Vickie)
	      C'mere, let me talk to you for a
	      minute.
	
	There is an awkward silence as he grabs VICKIE by the arm and
	takes her over to the hat-check area.
	
	                JOEY (CONT'D)
	      What're you doin' with Salvy? You
	      shouldn't be here with him. Jake's
	      away killin' himself. Suppose he
	      found out.
	
	                VICKIE
	      What the hell am I doing wrong?
	      Just because Jake is training, I
	      can't go out? What am I, a goddamn
	      prisoner?
	
	                JOEY
	      No, you're his wife.
	
	                VICKIE
	      I'm not doing anythina wrong. I'm
	      just trying to have a good time. Do
	      I have to be cooped up in the house
	      all the time?
	
	                JOEY
	      It don't look right.
	
	                VICKIE
	      Well, go ahead, tell Jake. He's
	      gonna kill me anyway. It's a matter
	      of time.
	
	                JOEY
	      I'm not gonna tell him nothing; but
	      if he finds out, he will kill you.
	      What's the matter with you? Aren't
	      you happy? You got everything you
	      want.
	
	                VICKIE
	      You don't sleep with him. I do. I
	      don't get to breathe without
	      tellin' him. He keeps me in a cage.
	      If he thinks I'm lookin' at
	      somebody the wrong way, I get used
	      as a punching bag. He don't trust
	      nobody. If he saw the two of us
	      talking together right now, you'd
	      be in trouble too -- believe me.
	      Look at me, Joey. I'm 19 years old.
	      I wanna enjoy my life. I love Jake,
	      but you don't know. He gets crazy
	      sometimes. I'm scared.
	
	                JOEY
	      Try to understand, Vickie. Jake's
	      got a lotta aggravation. He's been
	      a top contender too long.
	
	                VICKIE
	      That's right, take his part. You're
	      his brother. He's never gonna be
	      champ. Too many people are against
	      him.
	
	                JOEY
	      And you're drinking with them right
	      now.
	
	                VICKIE
	      And I'm gonna finish my drink. And,
	      I'm gonna have a good time, because
	      I ain't doing nothing wrong.
	
	She starts to go back to the table.
	
	                JOEY
	           (grabbing her)
	      You're wrong to be here. Let's go.
	
	VICKIE pulls away from JOEY, and goes back to the table.
	
	The table area: JOEY arrives at the table. He grabs VICKIE.
	
	                JOEY (CONT'D)
	      I said, let's go.
	
	                SALVY
	      Joey, relax. You're taking this the
	      wrong way. Why don't you sit down
	      and have a drink?
	
	                JOEY
	      Excuse me, I'm talking to my sister
	      in-law.
	
	                SALVY
	      Excuse me for living.
	
	                JOEY
	      What do you think, I'm blind? My
	      brother's breaking his ass in a
	      ring, and you're here with his
	      wife.
	
	                SALVY
	      Hey Joey, I'm here with Patsy and
	      Vera and Sandy. And Vickie just
	      happened to come along. We're just
	      trying to have a good time. What do
	      you want from me? So, why don't you
	      just take it easy before this gets
	      out of hand.
	
	As the conversation gets louder, PEOPLE begin to notice.
	PAUL, the owner (a tough-looking, well-dressed guy), and some
	BOUNCERS also become aware of the argument.
	
	                JOEY
	      Get the fuck outa here. What did
	      you do, take your gangster pills
	      today? I'll tear your fuckin' head
	      off your shoulders!
	
	JOEY goes for SALVY. PEOPLE react.
	
	The GIRLS begin to scream. VICKIE exits. JOEY notices her
	leave, and calls after her.
	
	                JOEY (CONT'D)
	      Hey, wait --
	
	PAUL comes over and stops the fight.
	
	                PAUL
	      Ain't you forgettin' something?
	      Ain't there never supposed to be no
	      trouble in this joint?
	
	SALVY and JOEY give each other looks. JOEY goes out after
	VICKIE.
	
	EXT. COPACABANA - NIGHT
	
	JOEY looks up the street for VICKIE. She is gone.
	
	SALVY and PATSY come out of the entrance.
	
	                SALVY
	      Hey Joey, whadda ya lookin' to die
	      young?
	
	                JOEY
	           (as he turns and lashes
	           into Salvy and Patsy)
	      I'll suck your eyes out! I'll
	      fuckin' take the two of you.
	
	After a few moments, PAUL and the BOUNCERS from the Copa come
	out. The BOUNCERS pull PATSY away. They try to separate SALVY
	and JOEY, but can't.
	
	JOEY savagely beats SALVY on the Copa steps and in the street
	against the parked cars.
	
	                JOEY (CONT'D)
	      Fuckin' low-life, cocksucker, etc.
	      ...
	
	SALVY tries to fight back, but JOEY is too tough for him.
	SALVY hits the pavement. JOEY kicks him.
	
	PAUL, PATSY, and the BOUNCERS finally pull JOEY away. PATSY
	tries to go after JOEY again, but PAUL stops him.
	
	                PATSY
	           (to Paul)
	      Don't fuckin' put your hands on me!
	      You're gonna near about this, Paul.
	
	                PAUL
	           (to Patsy)
	      Get the fuck outa here. Don't come
	      in my place and start fuckin'
	      trouble -- I don't care who you
	      are!
	           (to Joey)
	      Get outa here. Go on.
	
	JOEY looks back at him, and then walks away.
	
	INT. THE BACK ROOM OF THE DEBONAIR SOCIAL CLUB
	
	The room is furnished with a few round tables and some
	chairs; it is somewhat reminiscent of an old-fashioned candy
	store.
	
	TOMMY COMO, SALVY, PATSY and JOEY are present. SALVY's face
	is bruised from the beating JOEY gave him.
	
	                COMO
	      All rightg I don't have to hear any
	      more. I think I understand what
	      happened. I understand it was your
	      brother's wife and there was
	      probably a misunderstanding. I'm
	      not sayin' Salvy shouldn't have
	      acted the way he did. But, Joey,
	      you don't raise your hands. You
	      don't do that kind of thing. This
	      time we forget about it but no more
	      after this. You understand?
	
	                JOEY
	      Yeah, I understand, Tommy.
	
	                COMO
	      All right, you guys, shake hands.
	
	SALVY, JOEY, and PATSY shake hands.
	
	                COMO (CONT'D)
	      Go 'head. Be friends. That's it.
	           (to Salvy and Patsy)
	      All right, lemme be alone with him
	      for a minute.
	
	SALVY and PATSY exit.
	
	There is a pause.
	
	                COMO (CONT'D)
	      Aside from everything else, your
	      family all right?
	
	                JOEY
	      Yeah, they're good. They're good,
	      Tommy.
	
	                COMO
	      What is it with you? Can't you
	      talk? You got like a funny
	      attitude. I can't figure you out,
	      Joey. What's with you and the quick
	      answers? You wanna get outa here
	      fast?
	
	                JOEY
	      Aw, Tommy, c'mon, it ain't that.
	
	                COMO
	      Look Joey, I wanna tell you
	      something.
	      Your brother ain't gonna get
	      nowhere without us -- nowhere. And
	      I'm tellin' you between the two of
	      us, it's gettin' to the point where
	      it's gettin' to be a real
	      embarrassment to me, a real
	      embarrassment.
	
	                JOEY
	      How can he embarrass you?
	
	                COMO
	      He's an embarrassment because
	      Frankie and the other guys are
	      expectin' me to do something about
	      it, and I'm lookin' very bad. I
	      can't deliver a kid from my own
	      neighborhood. Why's he make it so
	      hard on himself? He comes to me, I
	      can make it easier for him.
	
	                JOEY
	      Tommy, Jake respects you. He won't
	      even say hello to anybody else --
	      you know that. But you know when
	      Jake gets set on somethin', Jesus
	      Christ Almighty could get off the
	      fuckin' cross and he ain't gonna
	      talk him out of it. I'm his kid
	      brother. I got no say with Jake on
	      this. He thinks he can buck
	      everybody and make it on his own.
	
	                COMO
	      Make it on his own? Does he know
	      the kind of money involved? I mean
	      the real money. He thinks he's
	      gonna become champ on his own?
	      We're gonna sit by and see some nut
	      come in there and hold one of the
	      most important titles in the world?
	      A nut who don't listen to nobody or
	      respect nobody? Is he really crazy?
	      Listen, Joey, you understand, you
	      tell him. I don't care how great he
	      is or how colorful. He could beat
	      all the Sugar Ray Robinsons and all
	      the Janiros he wants to. He ain't
	      gonna get a shot at the title
	      without us. I'm not askin' you to
	      do another thing except get that
	      message into that thick head!
	
	EXT. SHORERAVEN POOL - DAY
	
	Another day. JOEY, fully clothed, opens the gate and looks
	around.
	
	JAKE is sitting alone near the deep end. JOEY walks over to
	him.
	
	                JOEY
	      Whatcha doin'?
	
	                JAKE
	      I remember the first time I met
	      Vickie... I know there's somethin'
	      up. I know she's doin' somethin',
	      but I can't catch her...
	
	                JOEY
	      Maybe she's afraid you're gonna hit
	      her so she can't talk to you the
	      way she wants to.
	
	                JAKE
	      What do you mean?
	
	                JOEY
	      Try talkin' to her. She's your wife
	      -- ask her what's the matter.
	
	                JAKE
	      When I'm away, did you ever notice
	      anythin' funny with her? Tell me
	      the truth.
	
	                JOEY
	      Jack, if there was anything funny,
	      I would tell you.
	
	                JAKE
	      I want you to keep an eye on her
	      when I'm not here. Understand?
	
	                JOEY
	      Sure, I'll keep an eye on her.
	
	                JAKE
	      What did Tommy say?
	
	                JOEY
	      I got good news, and I got bad
	      news. The good news is you got your
	      shot at the title. The bad news
	      is...
	
	                JAKE
	           (interrupting, resigned)
	      Yeah, I know.
	
	INT. WORTH STREET BASEMENT - DAY
	
	As BILLY FOX steps off the scales, EDDIE EAGAN calls out:
	
	                EAGAN
	      Billy Fox, 173 3/4 pounds.
	
	JOEY removes JAKE's leopard-skin robe as he steps on the
	scale. The REPORTERS crowd around.
	
	                EAGAN (CONT'D)
	      Jake LaMotta, 167 pounds.
	
	JAKE'S HANDLERS urge him with words of encouragement as they
	walk toward his dressing room.
	
	INT. JAKE'S DRESSING ROOM - DAY
	
	EAGAN walks over.
	
	                JAKE
	      What's up, Colonel?
	
	                EAGAN
	      I'd like to talk to Jake a minute.
	
	                JOEY
	      Sure.
	
	                EAGAN
	      I suppose you heard what
	      everybody's been saying, Jake.
	
	                JAKE
	      What who's been sayin'?
	
	                EAGAN
	      You were a big favorite in this
	      fight. Then two days ago the odds
	      start jumping all over the place
	      until you're a 12-5 underdog.
	
	                JAKE
	      I don't follow no gamblin'
	      Commissioner. I'm just a fighter.
	
	                EAGAN
	      Now the fight's off the books
	      altogether.
	      Meyer Lansky couldn't get a bet
	      down on this fight. Some people are
	      saying you're going into the tank.
	
	                JAKE
	      Believe what you want.
	
	                EAGAN
	      I want to believe you, LaMotta.
	
	                JAKE
	      I'm gonna kill him. That fuckin'
	      jig's gonna wish he never came outa
	      the jungle. You got any money?
	
	                EACAN
	      What?
	
	                JAKE
	      You got any money you want to bet
	      on Billy Fox, you can put it right
	      here...
	           (extends his hand)
	      'cause Jake LaMotta don't go down
	      for nobody.
	
	EAGAN taps JAKE on the shoulder.
	
	                EAGAN
	      That's all I wanted to hear.
	
	JAKE glares at EAGAN as the COMMISSIONER walks away.
	
	INT. MADISON SQUARE GARDEN - NIGHT (NOV. 14, 1947)
	
	The old Garden is packed. The EX-CHAMPS, the PRESS, the
	OFFICIALS, the MOB GUYS, the FANS -- they're all here.
	
	The FIGHTERS are announced. BILLY FOX and JAKE touch gloves
	and return to their corners.
	
	FOX is taller and has a longer reach than JAKE.
	
	The bell sounds and the FIGHTERS come out. FOX goes to the
	head; JAKE goes to the body.
	
	FOX lands a solid blow to JAKE's jaw, but LAMOTTA is unfazed.
	FOX is surprised. In the past, his opponents have gone down
	when he connected.
	
	In the audience, COMO, SALVY, and some other BOYS watch with
	interest.
	
	JAKE moves in with a rapid series of trademark body blows.
	All of a sudden, FOX is wobbly. JAKE goes for the head, then
	cuts his punch short. FOX is about to go down.
	
	JAKE throws his arms around FOX to make sure he doesn't fall.
	
	                JAKE
	           (to Fox)
	      Stand up! What the fuck are you
	      doin'?
	
	The REFEREE breaks them apart and FOX remounts his attack.
	JAKE bicycles into a corner and lets FOX work him over.
	
	FOX connects: once, twice, three times. JAKE barely defends
	himself -- but he doesn't go down either.
	
	The CROWD starts to smell a fix. There are calls from the
	AUDIENCE.
	
	                CROWD
	      Got your swimming trunks on, Jake?
	      I hope they're paying you enough.
	      Fake, fake.
	
	                                    TIME CUT:
	
	JAKE's corner. JAKE is acting stunned. TONY, not aware of
	what's going on, is slapping JAKE.
	
	                TONY
	      What's the matter with you? What's
	      the matter with you?
	
	                                    TIME CUT:
	
	The sign reads "Round Four." JAKE is in the center of the
	ring taking a relentless pasting from FOX. JAKE's arms hang
	at waist level... FOX lands one blow after another. The stink
	of a fix permeates the arena.
	
	JAKE is furious that FOX can't deck him. He curses through
	his mouthpiece (as he absorbs blow after blow):
	
	                JAKE
	      Hit me! Hit me! What's the matter
	      with you, you motherfucker? Hit me!
	
	Boos and catcalls echo through the Garden. This is not even a
	fight. The REFEREE, realizing this, steps in between FOX and
	LAMOTTA, waves his arms and signals that FOX is the winner by
	a technical knockout.
	
	As he does, JAKE spits his mouthpiece in disgust at FOX and
	struts back to his corner.
	
	JAKE, JOEY, and TONY are already on their way out of the
	arena as the REFEREE declares FOX the winner.
	
	COMO and the OTHERS, satisfied, get up to leave.
	
	INT. JAKE'S DRESSING ROOM - MADISON SQUARE GARDEN - NIGHT
	
	As a REPORTER and a PHOTOGRAPHER come through the door, WE
	SEE and hear a commotion in the hall behind them. They rush
	in, look, and stop by the door. There is silence -- except
	for JAKE'S uncontrollable sobbing. The atmosphere is like
	that of funeral.
	
	JAKE is seated behind the rubbing table. He is still in his
	leopard-skin robe. His head hangs low as he sobs.
	
	The PHOTOGRAPHER snaps a picture. The HANDLER motions to him
	to stop, and then goes and sits near the door. The REPORTER
	still stands near the doorway, seeming quite stunned by the
	scene he is witnessing, but nevertheless continuing to
	scribble away on his pad.
	
	JOEY, standing near JAKE, has his back to everyone; his
	shoulders are shaking, his lips are tightly drawn. He cries
	soundlessly. TONY is pacing nearby.
	
	                TONY
	      Don't fight anymore!
	           (pause)
	      It's a free country, don't fight
	      anymore!
	
	                JAKE
	           (between sobs)
	      Why did they have to stop it? Why
	      did they have to stop it?
	
	The REPORTER leans over to the HANDLER and whispers.
	
	                REPORTER
	      What happened?
	
	                HANDLER
	           (quietly)
	      He must've been really hurt in the
	      2nd. He didn't answer me when I
	      tried to tell him something in the
	      corner.
	
	JAKE, still buried in his robe, becomes aware of the hum of
	voices and shouts out:
	
	                JAKE
	      Get everyone out of here!
	
	The REPORTER and the PHOTOGRAPHER leave. JAKE continues to
	sob.
	
	INT. PELHAM PARKWAY HOUSE - LIVING ROOM - DAY
	
	INSERT: CLOSE UP of a Daily News Headline from November 22,
	1947: "Board Suspends LaMotta."
	
	JAKE, dejected, sits on the couch. In front of him, on the
	coffee table are scattered several newspapers -- including
	the one with the headline we have just seen.
	
	JOEY paces in front of JAKE.
	
	                JOEY
	           (yelling)
	      It woulda been so easy, Jack. So
	      easy...
	
	JOEY goes into a boxing stance.
	
	                JOEY (CONT'D)
	      Stick out your hands, Jake.
	
	                JAKE
	      C'mon, Joey.
	
	                JOEY
	      G'wan, do it.
	           (jabs at him)
	      Protect yourself, rummy.
	
	JAKE, out of reflex, sticks out his hands. As he does, JOEY
	feigns a hit and falls onto the floor -- "out cold." JAKE
	looks down at him.
	
	JOEY pops to his feet.
	
	                JOEY (CONT'D)
	      See? That's all there was to it.
	
	                JAKE
	      What the fuck they want? I took the
	      dive. They want me to fall down
	      too? I don't fall down for nobody.
	      I never went down in my life. Joey,
	      what do I gotta do?
	      Crawl on my hands and knees? I made
	      an asshole of myself in the fuckin'
	      Garden! All the newspaper writers
	      make fun of me. I'm the bum of the
	      year. All I want is a shot. Just a
	      fuckin' shot. What do I gotta do?
	      I'll do anything.
	
	                JOEY
	      Except fall down like a normal
	      person.
	
	                JAKE
	      Yeah, except fall down. That's
	      right.
	
	                JOEY
	      All right, you don't wanna fall
	      down, so now you gotta take a rest.
	      So, you enjoy the suspension.
	      'Cause there's nothin' you can do
	      about it. Let the Commissioner and
	      the D.A. jerk you around. So you
	      wait.
	
	                JAKE
	      Jesus Christ! Seven months! What am
	      I gonna do for seven months? I'm
	      gonna go crazy. How do I keep my
	      strength? By that time I'll be too
	      weak to win the title. And my
	      weight? Forget about it -- I'm
	      gonna blow up like a balloon. I
	      ain't never gonna hold my weight
	      down. Seven months! I don't know...
	
	                JOEY
	      We did what we had to do. Tommy
	      don't forget. Sooner or later
	      you'll get your shot -- if Tommy
	      don't die.
	
	EXT. BOOK-CADILLAC HOTEL, DETROIT - DAY (1949)
	
	It's raining outside the stately Book-Cadillac.
	
	A banner above the door proclaims.
	              The Book-Cadillac Welcomes
	                    Marcel Cerdan
	          Middleweight Champion of the World
	                  and the Challenger
	                     Jake LaMotta
	
	INT. BOOK-CADILLAC LOBBY - DAY
	
	The lobby is chaotic: FIGHT PEOPLE and SPORTSWRITERS mill
	anxiously about. Something's in the air.
	
	The BELL CAPTAIN pages:
	
	                BELL CAPTAIN
	      Mr. Williams.
	
	MR. WILLIAMS, THE DETROIT PROMOTER last seen in the
	Copacabana Lounge, answers the page.
	
	WILLIAMS listens on the phone a moment, then hands it back to
	the BELL CAPTAIN and announces:
	
	                DETROIT PROMOTER
	      It's official. The fight's been
	      postponed twenty-four hours.
	
	A groan goes up from the lobby.
	
	INT. LAMOTTA'S SUITE - DAY
	
	JAKE's suite is modestly decorated and consists of a living
	room and two bedrooms.
	
	DR. PINTO is there sewing up a pork chop.
	
	JAKE, shadow-boxing in sportswear, paces back and forth.
	
	TONY watches him. VICKIE sits quietly on the sofa, sipping
	some wine.
	
	JOEY is on the phone.
	
	                JOEY
	      That's right. "No comment."
	           (listens)
	      You like that? Good, 'cause I got a
	      lot more "No comments" where that
	      one came from.
	
	JOEY cuts the line off, then leaves the receiver off the
	hook.
	
	                JOEY (CONT'D)
	      I'm gonna order up some stuff. Have
	      a steak.
	
	                JAKE
	      I can't eat a steak. If I eat a
	      steak, I'm gonna have trouble
	      making the weigh-in.
	
	                JOEY
	      So eat just a little. You gotta eat
	      something.
	
	                JARS
	      What am I gonna do for 24 hours? I
	      can't even eat!
	
	JAKE goes into the bedroom.
	
	JOEY goes over to the DOCTOR.
	
	                DOCTOR
	           (shows him the pork chop)
	      How's that?
	
	                JOEY
	      How long did it take you?
	
	                DOCTOR
	      45 seconds.
	
	                JOEY
	      No good. Try to get it down. It's
	      gotta be no more than 30 seconds to
	      be on the safe side if we gotta
	      stitch him up.
	
	INT. THE BEDROOM
	
	JAKE is alone. There is a knock at the door. JOEY opens it
	and pokes his head in.
	
	                JOEY
	      Jake, somebody wants to say hello
	      to you.
	
	JOEY opens the door wider. TOMMY COMO is at the door with
	JOEY. JAKE goes over to the door.
	
	                COMO
	      Hey champ!
	
	                JAKE
	      Tommy, thanks for coming over.
	
	                COMO
	      You just take it easy, now. You'll
	      do all right. Feelin' Ok?
	
	                JAKE
	      I'm Ok.
	
	                COMO
	      Just come by to wish you luck.
	           (shakes his hand)
	      Need anything?
	
	                JAKE
	      No, we're all right. Thanks anyway,
	      Tommy.
	
	                COMO
	      Ok, champ.
	
	COMO turns to go. He says goodbye to everyone in the living
	room. He goes over and kisses VICKIE. JAKE watches this from
	the bedroom doorway.
	
	                COMO (CONT'D)
	           (as he kisses Vickie)
	      Look at her. As beautiful as
	      always. Take care of that guy, will
	      ya?
	
	                VICKIE
	           (going to the door with
	           him)
	      I'll take care of him. Thanks,
	      Tommy. Bye.
	
	                JAKE
	           (to Vickie)
	      C'mere.
	
	She goes to the bedroom doorway. JAKE grabs her arm, pulls
	her in, and slams the door.
	
	                JAKE (CONT'D)
	           (pushing her toward the
	           bed area)
	      Hey, you don't say goodbye to him
	      like that.
	
	                VICKIE
	      What did I do?
	
	                JAKE
	           (pushing her)
	      You don't kiss like that. Hello and
	      goodbye, that's all you do.
	
	                VICKIE
	      All I did...
	
	                JAKE
	           (interrupting)
	      You know what I'm talking about.
	      Don't ever make me look bad on the
	      night of my big fight.
	
	                VICKIE
	      You're hurting my arm.
	
	JAKE has her by the night table now. They are edging their
	way to the wall.
	
	                JAKE
	      Shut up. You just say hello and
	      goodbye to him. You don't kiss him
	      the way you did. That's out of
	      line.
	
	JAKE pushes her against the wall. The lamp falls. There is a
	loud crash. She tries to move away. He grabs her by the
	throat and pins her against the wall. She's gagging.
	
	                VICKIE
	      But Jake... I didn't say
	      anything...
	
	                JAKE
	      Don't ever do that again. You don't
	           (he pushes her against the
	           wall)
	      do it!
	
	                VICKIE
	           (gagging)
	      Jake...
	
	JOEY looks in and then starts to come over.
	
	                JAKE
	      You hear what I said? You don't do
	      it.
	
	He pushes her again. VICKIE tries to get away, but can't
	move.
	
	                JAKE (CONT'D)
	           (pushing her again)
	      You don't do it.
	
	JOEY has his hand on JAKE's arm, trying to pry it away from
	VICKIE's throat.
	
	                JOEY
	      Jake, Jake...
	
	TONY and the DOCTOR watch from the doorway.
	
	VICKIE's eyes close. JAKE releases his grip. JOEY helps
	VICKIE. JAKE watches this.
	
	                JAKE
	           (to himself)
	      She ain't gonna ruin this fight for
	      me.
	
	EXT. BRIGGS STADIUM - NIGHT (JUNE 16, 1949)
	
	Bright floodlights illuminate the arena. The weather's clear
	and the stadium is filled with cheering fight FANS.
	
	An ANNOUNCER steps into the center of the ring and begins ti
	introduce the many CELEBRITIES that have gathered for the
	fight.
	
	                ANNOUNCER
	      And here is the young man who has
	      inherited Marcel Cerdan's European
	      championship - Laurent Dauthuille.
	
	DAUTHUILLE jumps into the ring.
	
	While WE HEAR him introduce the boxers and celebrities, WE
	SEE a rapid MONTAGE: JAKE preparing for the title bout:
	
	PRE-FIGHT MONTAGE
	
	A) JAKE and GROUP arrive in the dressing room.
	
	B) In his bathrobe, JAKE puts on his boxing shoes.
	
	C) We see a pan with raw steak in it. JOEY drains the blood
	(juice) into a glass and JAKE takes a long, slow swallow.
	
	D) REPRISE of IMAGES from PREVIOUS SCENE (SLOW MOTION) - NEW
	ANGLE.
	
	TOMMY COMO shakes JAKE's hand in the bathroom doorway. VICKIE
	kisses COMO. Jake watches.
	
	                ANNOUNCER (V.O.)
	      And our very special guest tonight
	      needs no introduction. The only man
	      to defend the heavyweight crown a
	      remarkable twenty-five times, the
	      king of all heavyweights, the Brown
	      Bomber, Joe Louis. Come into the
	      ring, Joe.
	
	                JOE LOUIS (V.O.)
	      Thank you, Johnny. Let's bring the
	      middleweight crown back to the old
	      U.S.A. where it belongs.
	
	Many cheers.
	
	E) DR. PINTO injects a hypodermic needle filled with
	novocaine into each of JAKE's fists.
	
	F) JOEY massages JAKE's neck.
	
	G) JAKE's hands are bandaged
	
	H) REPRISE of IMAGES from PREVIOUS SCENE (SLOW MOTION - NEW
	ANGLE)
	
	JAKE strangles VICKIE in the bedroom, then releases her.
	
	JOEY looks after her, but the IMAGE makes them look as if
	they're making love. Jake watches.
	
	                ANNOUNCER
	      And in this corner, the
	      middleweight champion of the world,
	      from Casablanca, Morocco, the
	      Casablanca Clouter, Marcel Cerdan!
	
	I) JAKE puts on his cup and trunks.
	
	J) MARIO laces up JAKE's gloves.
	
	K) JAKE, ready to fight, a towel draped around his head,
	bounces on the balls of his feet. He starts walking down the
	corridor from his dressing room, surrounded by MARIO, JOEY,
	DR. PINTO and his HANDLERS. He enters the stadium.
	
	INT. BRIGGS STADIUM - NIGHT
	
	JAKE, wearing his leopard-skin robe, is pushed through the
	CROWD by JOEY, MARIO and his HANDLERS. He's still shadow
	boxing.
	
	JAKE steps into the ring to both cheers and boos (many still
	remember the Fox fight). JAKE raises his gloves.
	
	                ANNOUNCER
	      And in the opposite corner, from
	      New York, New York, the challenger,
	      the Bronx Bull, Jake LaMotta!
	
	JAKE shakes hands with the assembled CELEBRITIES and EX
	CHAMPIONS.
	
	                JAYE
	      I only wish it was you, Joe.
	
	                JOE LOUIS
	      Win the belt back for us, Jake.
	      Good luck.
	
	JAKE glances at VICKIE who is sitting in the third row. She
	is nervous.
	
	                                    TIME CUT:
	
	The opening bell sounds. CERDAN and LAMOTTA touch gloves and
	begin to fight.
	
	JAKE is hot: there's no stopping him tonight. He fights like
	a man possessed.
	
	CERDAN clinches JAKE to avoid his brutal body blows. JAKE
	pushes him out of the clinch in disgust.
	
	There are no more boos. JAKE has won over the crowd.
	
	                                    TIME CUT:
	
	END OF ROUND NINE. JAKE is working over a bloody CERDAN.
	Punches to the body, then to the head, then back to the body.
	The bell sounds.
	
	JAKE walks back to his corner and sits down. JOEY is
	ecstatic:
	
	                JOEY
	      Look at him, Jackie! You got at!
	      The fuckin' championship! He's
	      yours! Finish him off.
	
	JAKE doesn't have the chance. The REFEREE, standing in
	CERDAN's corner, waves his hands signaling the end of the
	fight.
	
	The REFEREE holds up JAKE's hands as THE ANNOUNCER takes the
	mike:
	
	                ANNOUNCER
	      The new middleweight champion of
	      the world by a knockout after nine
	      rounds, the Bronx Bull, Jake
	      LaMotta!
	
	JOEY is all over him. TONY helps VICKIE through the MOB.
	
	In his corner, CERDAN holds his head in his hands and says,
	"My title, my title!"
	
	The OFFICIALS clear a circle as they bring over the jewel
	studded championship belt. JOE LOUIS fastens the belt around
	JAKE's waist.
	
	JAKE touches the oversized belt with his bloody gloves. Tears
	fall across JAKE's huge grin as he holds his hands high in
	the air. It is the most glorious night in his life.
	
	EXT. "JAKE LAMOTTA'S" - NIGHT (1956)
	
	The name "Jake LaMotta's Lounge" is emblazoned in neon across
	a lounge/liquor store on Collins Avenue, Miami's main drag.
	JAKE's bar is across from The Rooney Plaza, one of Miami's
	more prestigious hotels.
	
	Fifties cars are parked outside the club.
	
	INT. "JAKE LAMOTTA'S" - NIGHT
	
	JAKE LAMOTTA, 34 years old, wearing a tux, steps in front of
	a large painted wall mural of the Cerdan fight as he enters
	his club.
	
	The Lounge is dominated by a large circular bar. Featured
	entertainers perform on a raised platform in the center of
	the bar.
	
	The club is half filled with SPORTS, ENTERTAINMENT and MOB
	TYPES.
	
	The small BAND plays a routine fanfare as JAKE steps onto the
	platform. He takes the mike with one hand and silences the
	BAND with the other. The applause dies out as he speaks:
	
	                JAKE
	      Good evening, ladies and gentlemen.
	      It's a thrill to be standin' here
	      talking to you wonderful people. In
	      fact, it's a thrill to be standin'.
	      I haven't seen so many people since
	      my last fight at Madison Square
	      Garden. After that fight a reporter
	      asked me, "Jake, where do you go
	      from here?" I said, "To a
	      hospital."
	
	About HALF THE PATRONS are listening; of them, HALF are
	laughing, SOME a little too loud.
	
	                JAKE (CONT'D)
	      I fought one hundred and six
	      professional fights and none of
	      them bums figured out how to fight
	      me -- they kept hitting me in the
	      head!
	           (calls to the bar)
	      Will somebody at the bar -- Linda? 
	      - get me a drink. I figure if I'm
	      gonna work to drunks I might as
	      well be one of 'em! I like this
	      place. It's a family type club...
	      every night I see a lot of fathers
	      sitting out there with their young
	      daughters! That's nice.
	
	LINDA hands him a drink.
	
	                JAKE (CONT'D)
	      Thanks, honey. -- She's terrific.
	      The kinda girl you wanta take home
	      to meet your father. Especially if
	      your old man's a degenerate! --
	      Here's a toast! "To your health!
	      You only live once. But if you play
	      it right, once is enough." I
	      shouldn't be drinkin' like this
	      'cause I'm tryin' to lose weight.
	      I'm on this terrific diet -- I'm
	      allowed to eat anything I want. As
	      long as I don't swallow it! Well, I
	      never had much luck with my weight.
	      In fact, -- I never had much luck
	      with anything -- until about a few
	      years ago, when this happened --
	
	He indicates the blow-up behind him and waits for applause,
	of which there is some.
	
	                JAKE (CONT'D)
	      ... thanks, I'm glad to see you
	      remember. For those of you that
	      don't... that's me takin' the title
	      from Cerdan.
	      You know, the tough thing about
	      winnin' the title... the next thing
	      you gotta do is have a rematch...
	      just to show it wasn't no fluke. So
	      what happens? Marcel Cerdan, a
	      really great champ, after I beat
	      him... he gets himself killed in
	      that airplane crash... a pretty
	      rotten break for him. That's why I
	      don't like to fly. People say to
	      me, "Look, Jake, when your time is
	      up, your time is up." And I say,
	      "Yeah, but suppose I'm on the plane
	      and the pilot's time is up?" As
	      good as Cerdan was, I could've
	      taken him again. But I never got
	      the chance to prove it wasn't no
	      fluke. He got killed but he got to
	      be what they call a legend. I don't
	      know what's worse -- bein' a fluke
	      or bein' a legend. -- That's the
	      kinda luck I got. That's why I quit
	      the ring and moved down here from
	      New York. My wife said, "You gotta
	      get outa this town, Jake." Come to
	      think of it... the boxing
	      commission said the same thing! But
	      I don't miss New York. Give me
	      Miami any day.
	
	The AUDIENCE applauds.
	
	                JAKE (CONT'D)
	      Miami's a great place. I get along
	      with everybody in this town... even
	      the police force... They got the
	      best cops here money can buy! --
	      Only kiddin'. By the way... me and
	      my wife Vickie's gettin' ready to
	      celibrate our eleventh wedding
	      anniversary.
	
	More applause.
	
	                JAKE (CONT'D)
	      We get along real great. We fight a
	      little but I never really belted
	      her on purpose. Once  in a while
	      I'm standin' there doin' little
	      shadow-boxin' and she happens to
	      walk right into the shadow... I
	      can't help that.
	      She says, "Whataya hittin' me for?"
	      I says, "It's nothin'. It's only a
	      love tap." She says, "It's a good
	      thing you're not crazy about me!" --
	      I am crazy about her. I heard her
	      talkin' to a friend on the phone
	      and she was sayin', "After eleven
	      years, I'm still in love with the
	      same guy." -- If I ever find out
	      who the bum is, I'll kill him!
	      Women. You can't live with 'em, you
	      can't live without 'em.
	
	Then, suddenly, falling into character... he quotes lago's
	speech in Othello.
	
	                JAKE (CONT'D)
	      "'Oh, beware, my lord, of jealousy.
	      It is the green-eyed monster, which
	      doth mock the meat it feeds on.
	      That cuckold lives in bliss who,
	      certain of his fate, loves not his
	      woronger; But O, what damned
	      minutes tells he o'er who dotes,
	      yet doubts -- suspects, yet fondly
	      loves!" -- That's from somethin'
	      called "Othello" --
	
	OR, ALTERNATE SPEECH:
	
	                JAKE (CONT'D)
	      Is whispering nothing? Is leaning
	      cheek to cheek? Is meeting noses?
	      Kissing with inside lip? Stopping
	      the career of laughter with a sign?
	      -- A note infallible of breaking
	      honesty -- horsing foot on foot?
	      Skulking in corners? Wishing clocks
	      more swift? Hours, minutes? Noon,
	      midnight? and all eyes blind with
	      the pin and web but theirs, theirs
	      only, that would unseen be wicked?
	      Is this nothing? Why, then the
	      world and all that's in't is
	      nothing; The covering sky is
	      nothing; Bohemia nothing; My wife
	      is nothing; nor nothing have these
	      nothings, if this be nothing." --
	      That's from something called "The
	      Winter's Tale" -- Shakespeare! You
	      all remember Shakespeare.
	      He wrote all them famous plays one
	      after the other, then he went into
	      a big slump and he ain't done
	      anything good in years. That speech
	      is about jealousy -- jealousy's a
	      bad thing. Jealousy bothers a lot
	      of guys... take me... I almost
	      killed my brother... I love him...
	      he's my family... I mean, there's
	      nothin' he wouldn't do for me. And
	      that's the way we been goin' thru
	      life -- doin' nothin' for each
	      other! Anytime he got in trouble
	      when we was kids, I got him out of
	      it. You know, he used to steal
	      little things when we was growin'
	      up. But he was particular... only
	      stole things that begin with an 'a'
	      -- a watch, a car, a suit, a
	      ring... But I was wrong... I
	      shoulda never hit my brother.
	      Afterwards, I was sorry. Now every
	      time I need somethin' I gotta go
	      shoppin' for it! A psychiatrist
	      once told me, "When you hit your
	      brother you're really hittin' your
	      mother, but you can't admit it to
	      yourself." He's really crazy. I
	      woulda never hit my mother. I mean,
	      only in self-defense!
	
	INT. JAKE'S LIVING ROOM - DAY (1950)
	
	JAKE is struggling with his later model ten-inch RCA TV. He
	fools with the dials, then slaps the side. The bluish video
	image comes and goes. JOEY watches JAKE fix the TV.
	
	JAKE has a half-eaten sandwich in his hand.
	
	VICKIE enters the house, surprised to find JAKE home.
	
	                VICKIE
	      Jake, you're home.
	
	JAKE looks up at her. (She goes over to him and kisses him.)
	MOVING SHOT.
	
	JOEY gives VICKIE a polite peck on the mouth. MOVING SHOT.
	
	                JOEY
	      Hi, Vickie.
	
	JAKE watches JOEY kiss VICKIE. VICKIE notices JAKE'S
	reaction.
	
	                VICKIE
	      What's the matter with you?
	
	                JAKE
	      Tryin' to get this fuckin' TV to
	      work. Paid all this money for it
	      and still can't get a station a
	      mile away. And Mr. Wizard here
	      ain't no help.
	
	                JOEY
	      Screw you, Jack.
	
	                JAKE
	           (to Vickie)
	      Where you been?
	
	VICKIE goes into the bedroom to take off her coat. On the
	stairs, MOVING SHOT:
	
	                VICKIE
	      I went out.
	
	                JAKE
	           (to Joey)
	      What's that kissing on the mouth
	      shit?
	
	                JOEY
	      What? I just said hello. Since when
	      I can't kiss my sister-in-law?
	
	                JAKE
	      Ain't a cheek ever good enough for
	      you? I never even kissed Mama on
	      the mouth.
	
	                JOEY
	      Well, you're not supposed to kiss
	      your mother on the mouth.
	
	                JAKE
	      Well, that's what I mean.
	
	JAKE leans over the TV.
	
	                JAKE (CONT'D)
	      How's that?
	
	                JOEY
	      I can't tell. You're stomach's in
	      the way.
	
	JAKE stares at JOEY.
	
	                JOEY (CONT'D)
	      Don't give me those looks. I'm just
	      your manager. The minute you start
	      to be champ, you start eating like
	      there's no tomorrow. And you giving
	      me looks. All I know is that I
	      don't have to defend my title next
	      month.
	
	JAKE looks up at JOEY.
	
	                JAKE
	      Answer me somethin'. What happened
	      at the Copa with Salvy when I was
	      out of town?
	
	                JOEY
	      When?
	
	                JAKE
	      You know, when you gave him a
	      beatin'.
	
	                JOEY
	           (being as vague as
	           possible)
	      Nothin'. Salvy was out of line. He
	      was drunk or somethin', I dunno.
	      Anyway, the windup was I gave him a
	      beatin'. Tommy called me down, and
	      we straightened it out. It's all
	      forgotten about.
	
	                JAKE
	      Why didn't you tell me about it?
	
	                JOEY
	      It didn't have nothin' to do with
	      you.
	
	                JAKE
	      Didn't it have nothin' to do with
	      me?
	
	                JOEY
	      No, I just told you what happened.
	
	                JAKE
	           (he obviously knows)
	      Who did it have anything to do
	      with... Vickie?
	
	                JOEY
	      Jack, no. I just explained the
	      whole thing to you. It was just
	      between me and Salvy, if it had
	      anything to do with you and Vickie,
	      I woulda told you about it.
	
	                JAKE
	      Well, I heard some things.
	
	MOVING in on JOEY, JAKE'S P.O.V.
	
	                JOEY
	      "You heard some things." Will you
	      stop worryin' about that shit?
	      Forget about it. You know you got a
	      title fight comin' up.
	
	PAUSE.
	
	                JOEY
	           (refering to the TV)
	      Whatever you touched, that's good
	      now.
	
	                JAKE
	      Did Salvy fuck Vickie?
	
	                JOEY
	      What?
	
	                JAKE
	      You're supposed to keep an eye on
	      her for me. I'm askin'...
	
	                JOEY
	           (interrupting)
	      I did keep an eye...
	
	                JAKE
	      Then why did you give him a beatin'
	      if he didn't do anything? You and
	      him been friends a long time.
	
	                JOEY
	      Some things changed between us.
	      Now, he thinks who the fuck he is.
	      He's been passing certain remarks
	      that I don't like.
	
	                JAKE
	           (interrupting)
	      Don't bullshit me, Joey. You ain't
	      tellin' me the truth.
	
	                JOEY
	      What bullshit? Hey, I'm your
	      brother. You wanna believe me - you
	      trust me?
	
	                JAKE
	      When it comes to her, I don't trust
	      nobody. I'm askin' you somethin'.
	
	                JOEY
	      Well, you're wrong Jack. I'm
	      tellin" you what happened. He got
	      outta line, we had a fight, and
	      it's staightened out now.
	
	There is a pause. (Move in on JOEY, JAKE'S P.O.V.)
	
	                JAKE
	           (suspicious)
	      You givin' me that look. I gotta
	      accept your word, but if I find out
	      anythin', I'm gonna kill
	      somebody...
	
	                JOEY
	           (yelling)
	      So, go ahead. Kill everybody. Kill
	      Salvy, kill Vickie, kill Tommy
	      Como, kill me while you're at it.
	      What do I care? You're killing
	      yourself the way you're eating, the
	      way you worry about things you
	      don't have to worry about.
	
	                JAKE
	           (interrupting)
	      What do you mean, "you"?
	
	                JOEY
	      What?
	
	                JAKE
	           (interrupting, catching
	           Joey)
	      What do you mean, "you"?
	
	                JOEY
	           (caught)
	      I meant, kill everybody. You or me
	      or anybody. You're a big shot.
	      Kill, kill... g'head.
	
	                JAKE
	      But you said "you."
	
	                JOEY
	      So what?
	
	                JAKE
	      Eh, Joey, even you don't know what
	      you meant. You mentioned Salvy,
	      Tommy Como, you -- that means
	      somethin'. Why'd you say them? You
	      coulda said anybody.
	
	                JOEY
	      You're worried about this girl,
	      you're gonna let this girl ruin
	      you're life for you... You wanna
	      worry, worry about your fuckin'
	      stomach that you can't bend over --
	      that you gotta step in the ring in
	      a month.
	
	                JAKE
	      Did you ever fuck my wife?
	
	                JOEY
	      What?
	
	                JAKE
	      I don't mean now. I mean before --
	      before we met.
	
	                JOEY
	      Whadda ya mean?
	
	                JAKE
	      Did you ever fuck my wife?
	
	                JOEY
	      Whatsa matter with you?
	
	                JAKE
	      You're very smart, Joey, very
	      smart. Nobody gives me a straight
	      answer around here.
	      You're givin' me these answers, but
	      you still didn't answer my
	      question. Did you fuck Vickie?
	
	                JOEY
	           (fed up, he starts to
	           leave)
	      I gotta go. I gotta get outta here.
	      I can't take this shit. Lenore is
	      waitin' for me. I gotta go. You're
	      a definite wacko. You're fuckin'
	      crazy, you know that, crazy.
	
	JAKE'S P.O.V., MOVING SHOT as JOEY leaves. JAKE goes into the
	bedroom.
	
	INT. THE BEDROOM
	
	JAKE walks over to VICKIE. (MOVE in on VICKIE - JAKE'S P.O.V.
	becomes her shot.)
	
	                JAKE
	      Where you been all day?
	
	                VICKIE
	      I took the kids to my sister's.
	
	                JAKE
	      I called. You weren't there.
	
	                VICKIE
	      I got bored so I went to the
	      movies.
	
	                JAKE
	      What'd you see?
	
	                VICKIE
	      I went to the movies.
	
	                JAKE
	      What'd you see?
	
	                VICKIE
	      "Father of the Bride."
	
	                JAKE
	      What was it about?
	
	                VICKIE
	      Oh, c'mon. For Christsake, do I
	      have to tell you everything?
	
	                JAKE
	      Did you ever go to the Copa when I
	      was away?
	
	                VICKIE
	      What're you talking about?
	
	                JAKE
	      Answer me when I talk to you. What
	      happened that night?
	
	                VICKIE
	           (interrupting, yelling)
	      I am answering...
	
	                JAKE
	           (hits her)
	      What do I have to do to get a
	      straight answer around here.
	
	JAKE holds onto her, but she gets away.
	
	                VICKIE
	      Jake, no --
	
	                JAKE
	           (as he chases her around
	           the room)
	      Do I have to kill you, eh?
	           (hits her)
	      Do I have to kill somebody to get
	      an answer?
	           (hits her)
	      I know about you at the Copa. I
	      know all about it.
	
	JAKE catches her.
	
	                VICKIE
	      I didn't do anything wrong. I
	      swear. I just had a few drinks.
	
	                JAKE
	           (pins her down, hits her)
	      With Salvy, eh?
	
	                VICKIE
	      I went with Sandy and Vera. Salvy
	      was there.
	           (gets hit)
	      Stop it. I just had a drink, that's
	      all. I didn't do anything wrong.
	           (gets hit)
	
	VICKIE escapes and locks herself in the bathroom.
	
	                JAKE
	           (by bathroom door)
	      Come out of there! Did you fuck
	      Salvy?
	           (punches door)
	      Answer me. Open this fuckin' door,
	      you fuckin' cunt!
	           (punches door)
	      Who've you been fuckin'?
	
	                VICKIE
	           (from inside bathroom)
	      Nobody, I tell you. Jake stop it.
	
	                JAKE
	      You're a fuckin' liar.
	
	He breaks down the door.
	
	                JAKE (CONT'D)
	      Who've you been fuckin'? Salvy?
	           (hits her)
	      Tommy Como?
	           (hits her)
	      I can't trust nobody.
	           (hits her)
	      Did you fuck Joey?
	           (hits her)
	      Who you been fuckin'?
	
	She finally manages to push him away.
	
	                VICKIE
	      All right, I fucked everybody! Go
	      ahead, kill me, kill me.
	
	VICKIE takes JAKE's hand and hits herself. JAKE is stunned.
	
	                VICKIE (CONT'D)
	      I'll say anything you want me to
	      say. I fuckled Salvy. I fucked
	      Tommy. I fucked your brother. I
	      fucked everybody! What do you want
	      to hear? I sucked your brother's
	      fuckin' cock!
	
	                JAKE
	      You did?
	
	                VICKIE
	      Yeah, I sucked his cock.
	
	JAKE starts to walk away. VICKIE goes after him.
	
	JAKE is gone.
	
	INT. JOEY'S PELHAM PARKWAY HOUSE - DAY
	
	JOEY is at the kitchen table eating lunch with his family.
	His wife, LENORE, her hair done up in pin curls, sits next to
	him. JOEY's TWO KIDS sit across the table from them,
	bickering.
	
	                JOEY
	           (to kids)
	      Don't hit your brother! Be nice.
	
	Suddenly, JAKE comes through the front door, goes directly to
	the table, grabs JOEY, lifts him into the air, and starts
	hitting him.
	
	                JOEY (CONT'D)
	      Jake, stop it.
	
	JAKE keeps hitting JOEY. The KIDS start to cry. LENORE wants
	to stop the fight, but is afraid to get too close.
	
	                JAKE
	      Was Vickie part of the deal with
	      Tommy? Was my wife part of the
	      deal? Tell me, was that it?
	
	                JOEY
	      Stop it. What're you, crazy?
	
	JAKE drags JOEY into the living room, and pushes him onto the
	floor.
	
	                JAKE
	           (kneeling over Joey and
	           hitting him)
	      You didn't tell me. You didn't tell
	      me. You let me marry her. You let
	      me marry her.
	
	VICKIE rushes into the house, past LENORE and the TWO KIDS
	who are screaming even louder now.
	
	                VICKIE
	           (hitting Jake on his back
	           as he hits Joey)
	      You're killing him. You're killing
	      him for nothing. Stop it.
	
	                JAKE
	           (hits her)
	      Get the fuck outa here. Whadda you
	      mean nothing'? You stupid bitch!
	
	                VICKIE
	           (still hitting Jake)
	      Nothing is what I said! Go on, kull
	      me.
	           (hits him)
	      Kill me.
	           (hits him)
	      I'm not afraid of you anymore. I
	      don't care if you kill me like
	      you're killing him. You're a sick
	      animal.
	
	JOEY is knocked out. LENORE goes over to him and holds him.
	
	                JAKE
	           (to Vickie)
	      You're the fuckin' animal! You ran
	      around with every guy I knew while
	      I was breakin' my ass for you.
	
	                VICKIE
	           (as she pushes and hits
	           Jake to the front door)
	      You're not only an animal, you're a
	      stupid animal.
	           (pushes and hits him out
	           the front door)
	      You're rotten.
	           (hits him)
	      Rotten.
	           (hits him)
	      Rotten.
	           (hits him)
	      You're a sick maniac. A maniac! You
	      belong in a mental hospital.
	
	EXT. JOEY'S PELHAM PARKWAY HOUSE - DAY
	
	VICKIE gives JAKE a final push out the door and then slams it
	in his face.
	
	JAKE is left alone on the front steps.
	
	                                    DISSOLVE TO:
	
	INT. JAKE'S PELHAM PARKWAY HOUSE - LIVING ROOM - EARLY
	EVENING
	
	JAKE sits alone in the darkness.
	
	VICKIE lets herself in. She comes and stands behind him.
	
	                VICKIE
	      Well, he ain't dead in case you're
	      interested.
	           (pause)
	      I'm leaving you. And I don't care
	      if you do try to kill me. Go ahead.
	      I'm not afraid of you anymore.
	      There's worse things than being
	      dead and one of them's living with
	      you --
	           (pause)
	      I'm leaving tonight. I must have
	      been crazier than you are for
	      stayin' with you this long. You're
	      hopeless. You're not gonna let
	      anybody love you. I kept thinking
	      that you'd change when you got to
	      be the champ... But I just can't
	      take it anymore. I'm taking the
	      kids and I'm leavin'.
	
	There is a pause.
	
	                JAKE
	      Aw, Vickie, aw Vickie, please no.
	      Vickie, no... don't leave me.
	      Christ, I'm pleading... I know, I
	      know all the bad things, but I need
	      you. I'm a bum without you and the
	      kids. I'll change. Aw, Vickie,
	      maybe I don't do it the right way,
	      but I love you. I love you.
	
	There is a pause.
	
	                VICKIE
	      You know, if there's one thing -- I
	      just don't understand you, not one
	      single little bit. You love me?
	
	                JAKE
	      Yeah --
	
	                                    DISSOLVE TO:
	
	INT. STEAM BATH - NIGHT
	
	The steam is oppressively thick. It must be 140 degrees.
	
	JAKE, nude, does push-ups on the floor. His body is bathed in
	sweat.
	
	He pushes himself up, then collapses. His eyes are glazed
	over from lack of strength.
	
	He makes his way to the door and pounds on it.
	
	TONY opens the door and gets on his knees beside JAKE.
	
	                TONY
	      It ain't worth it, Jake. Get out.
	
	                JAKE
	           (barely coherent)
	      What time is it?
	
	                TONY
	      Nine o'clock.
	
	                JAKE
	      At night?
	
	                TONY
	      Yeah. At night.
	
	                JAKE
	      How many pounds I gotta lose?
	
	                TONY
	      Three more, I figure.
	
	                JAKE
	      Just give me a chip of ice to put
	      in my mouth. Just a chip of ice.
	
	                TONY
	      I'll give you anything you want,
	      Jake. I think you should come out
	      for a few minutes -- give yourself
	      a break.
	
	                JAKE
	           (barely audible)
	      Are you outa your mind? If I come
	      out, I'll lose the title.
	
	INT. JAKE'S PELHAM PARKWAY HOUSE - LIVING ROOM
	
	VICKIE is seated on the sofa, reading newspapers. JAKE is
	pacing.
	
	                VICKIE
	      Jake, why don't you just try lying
	      down and get some rest.
	
	                JAKE
	      I don't know what it is. I dunno,
	      it's the kind of thing that -- the
	      words won't come out.
	
	                VICKIE
	      Jake --
	
	                JAKE
	      What?
	
	                VICKIE
	      I want to say something to you
	      without you blowing your stack.
	
	                JAKE
	      OK. Talk.
	
	                VICKIE
	           (pause)
	      Why don't you just call him up?
	
	                JAKE
	      What do I say to him? Call him up
	      on the phone and say, "Joey, I'm
	      sorry about that little trouble we
	      had. How about havin' dinner?" Is
	      that what I say?
	
	                VICKIE
	      No, not that.
	
	                JAKE
	      Then what?
	
	                VICKIE
	           (pause)
	      I don't know.
	
	INT. OLYMPIA STADIUM, DETROIT - NIGHT (SEPT. 13, 1950)
	
	The LAMOTTA-DAUTHUILLE middleweight championship is told
	through the eyes and words of the RINGSIDE ANNOUNCER. JAKE is
	not doing well.
	
	                RINGSIDE ANNOUNCER
	      ... Ladies and gentlemen, I've sat
	      in front of these microphones for
	      over twenty years but this is the
	      strangest championship bout I've
	      ever seen. With two minutes to go
	      in the final round, the champion,
	      the mighty Bull from the Bronx, is
	      just simply taking punch after
	      punch from the challenger.
	      Dauthuille scores a combination,
	      then backpedals. LaMotta pursues
	      him. One minute to go. Laurent
	      DauthuiLlle, who has already beat
	      Lamotta in a non-title bout, is
	      about to fulfill a dream -- to
	      bring the middleweight crown back
	      to France.
	
	In the ring, JAKE looks like he's on queer street. Bouncing
	off the ropes, opening his jaw to DAUTHUILLE. But
	DAUTHUILLE's punches lack strength. JAKM is playing possum.
	
	                RINGSIDE'ANNOUNCER
	      Thirty seconds to go. The Bull
	      starts to swing. LaMotta comes in
	      for a brutal body combinaticn: one,
	      two, three, four punches. LaMotta
	      has landed a solid left hook to the
	      Frenchman's jaw! Dauthuille seems
	      confused. LaMotta is swinging
	      wildly now: right, left, right,
	      left! Dauthuille is backing off!
	      Everyone is on their feet! I can
	      hardly see, ladies and gentlemen.
	      Dauthuille is on the ropes. LaMotta
	      hits a right -- Dauthuille is down!
	      Dauthuille is down! Referee Lou
	      Handler is counting him out --
	      three, four, five -- if Dauthuille
	      can stand, he'll win the decision --
	      eight, nine --  Dauthuille is on
	      one knee -- ten! It's all over!
	      With thirteen seconds left on the
	      clock, Jake LaMotta has retained
	      his middleweight championship in
	      one of the most remarkable combacks
	      in boxing! Dauthuille is standing
	      now, confused. But the fight is
	      over.
	
	AN ANNOUNCER holds up JAKE's victorious hand. He seems as
	surprised as everyone else.
	
	TONY throws JAKE'S robe around his shoulders as THE ANNOUNCER
	calls out:
	
	                ANNOUNCER
	      The middleweight champion, and
	      still champion by a knockout in
	      fifteen rounds, the Bronx Bull, the
	      Raging Bull, Jake LaMotta!
	
	The CROWD cheers. JAKE raises his arms in victory.
	
	INT. JAKE'S DRESSING ROOM - OLYMPIA STADIUM - NIGHT
	
	It is after the fight. TONY, VICKIE, and OTHERS are in the
	room. Some PEOPLE are leaving. Congratulations are heard.
	
	TONY puts away JAKE's fight gear.
	
	JAKE, half-dressed, looks troubled.
	
	                JAKE
	           (to Vickie)
	      I miss Joey. I wish Joey was here.
	
	                VICKIE
	      Why don't you just call him?
	
	                JAKE
	      I dunno.
	
	                VICKIE
	      Tell him how you feel -- you miss
	      him. Tell him you're sorry.
	
	                JAKE
	           (pauze)
	      Ok, all right. Telephone's in the
	      hall. Dial his number.
	
	VICKIE goes to the pay phone in the hall, and dials long
	distance.
	
	JAKE is nervous, but follows VICKIE.
	
	                THE HALLWAY
	      As the number starts to ring,
	      VICKIE hands the phone to JAKE.
	
	                JOEY (O.S.)
	      Hello... hello...
	
	JAKE can't answer.
	
	                JOEY (O.S.) (CONT'D)
	      What's this, a joke? Hello... Hey!
	
	JAKE can't answer.
	
	                JOEY (O.S.) (CONT'D)
	      Well, if there's somebody
	      listenin', their mother's a fuckin'
	      whore who takes it in the ass.
	
	There is a click as JOEY hangs up.
	
	JAKE stands there, and finally hangs up the phone.
	
	INT. "JAKE LAMOTTA'S" - NIGHT (1956)
	
	JAKE gulps down the last of his Scotch.
	
	                JAKE
	           (continuing his monologue)
	      I shoulda never hit my brother.
	      Afterwards I was sorry. Now every
	      time I need somethin' I gotta go
	      shoppin' for it! A psychiatrist
	      once told me, "When you hit your
	      brother you're really hittin' your
	      mother but you can't admit it to
	      yourself." He's really crazy. I
	      woulda never hit my mother. I mean,
	      only in self-defense! A lot of
	      people wanta know who was the best
	      guy I ever fought. Let's see...
	      there was that one I fought
	      twice... the other Frenchman... you
	      know who I mean...
	           (having trouble
	           pronouncing the name)
	      ... Dauthuille! He was tough, but I
	      beat him... I had to! I mean, how
	      would it sound losin' to a guy
	      whose name you can't even
	      pronounce? But... Robinson. I can
	      say that alright. I fought Sugar
	      Ray so many times it's a wonder I
	      don't have diabetes! Linda... get
	      me another drink! Linda's the most
	      popular waitress here... you can
	      tell by her tips! She's the kinda
	      girl I go for. You oughta see the
	      ones I get.
	
	LINDA brings him another Scotch.
	
	                JAKE (CONT'D)
	      ... Thanks, babe. She's a nice kid.
	      She'll only do it with a guy if she
	      really likes him. She's got a lot
	      in common with Will Rogers -- never
	      met a man she didn't like! ... I
	      was talkin' about Sugar Ray. Some
	      of you think I was better than
	      him... but you know, it's a toss
	      up. Except the last fight...
	      February 14, 1951.
	
	JAKE sips his drink.
	
	                JAKE(CONT'D)
	      Valentine's Day. The anniversary of
	      the St. Valentine's Massacre.
	      Robinson didn't use a machine gun
	      but it was still a massacre...
	
	JAKE takes another drink.
	
	                JAKE (CONT'D)
	      Actually, I was doin' okay at
	      first. In fact, by the end of the
	      fifth round I really had him
	      worried -- he thought he killed me.
	
	INT. JOEY'S PELHAM PARKWAY HOUSE - LIVING ROOM - NIGHT (FEB.
	14, 1951)
	
	LENORE, JOEY's wife, watches the 6th Robinson-LaMotta fight
	on JOEY's new television console.
	
	JOEY walks by on his way to another room, but stops to watch.
	
	LENORE is not a fight fan, but is caught up in the fight,
	anyway.
	
	                LENORE
	      Look at that. The sonofabitch is
	      outboxing Robinson.
	
	                JOEY
	      I can't believe he's getting that
	      jab in.
	
	The bell sounds, and a Pabst commercial comes on:
	
	                PABST COMMERCIAL
	      "Friend, the quality that has
	      carried Pabst Blue Ribbon around
	      the world is yours for the asking.
	      Next time that friendly bartender
	      says, 'What'll you have?' give him
	      the answer the whole world gives,
	      Pabst Blue Ribbon!"
	
	INT. CHICAGO STADIUM - NIGHT
	
	TONY is wiping JAKE off in his corner.
	
	                JAKE
	      He ain't hurting me, but I can't
	      get him down.
	
	                TONY
	      Don't talk. Keep at it. Jab, jab,
	      jab. You're ahead on points.
	
	In the other, SUGAR RAY'S TRAINER pats down ROBINSON's
	pompadour as he says:
	
	                S.R.'S TRAINER
	      He's going, Sugar. He's old. He
	      ain't Jake LaMotta no more. Make
	      your move, Sugar. Kill him!
	
	ROBINSON nods.
	
	The bell sounds and the FIGHTERS step onto the canvas. They
	look at each other before the boxing starts -- they both know
	the inevitable outcome. ROBINSON smiles.
	
	INT. JOEY'S LIVING ROOM - NIGHT
	
	ROBINSON makes his move. His arms are a blur, swinging
	rapidly but accurately.
	
	JOEY and LENORE are suddenly silent.
	
	                TV ANNOUNCER
	      LaMotta's on queer street, but he's
	      still standing. Robinson throws a
	      right, a left, a right, a right and
	      a right again! How can LaMotta stay
	      on his feet?
	
	On the TV, WE SEE that ROBINSON has JAKE up against the
	ropes. He's giving JAKE a pier six beating. It's the Fox
	fight for real.
	
	JAKE's face is so soaked in blood that it's impossible to
	pinpoint the cuts.
	
	                TV ANNOUNCER (CONT'D)
	      No man can take this kind of
	      punishment. LaMotta is just a rag
	      doll now. God knows what's holding
	      him up. This is an historic
	      beating. Sugar Rav staggers LaMotta
	      with a left and comes across with a
	      blackjack punch to the champion's
	      head. The referee is stepping in,
	      Robinson has LaMotta on the ropes.
	      That's it! Sugar Ray Robinson,
	      former welterweight champion, has
	      taken the middleweight crown from
	      Jake LaMota.
	
	As the REFEREE stops the fight, JOEY sighs with relief.
	
	INT. CHICAGO STADIUM - NIGHT
	
	LAMOTTA, a bloody and beaten fighter, walks over to the
	victorious ROBINSON and puts his arm on his shoulder.
	
	                JAKE
	      You never knocked me down. You
	      could never knock me down.
	
	ROBINSON, receiving congratulations from every direction,
	takes time to turn to JAKE and say:
	
	                ROBINSON
	      So what?
	
	EXT. JAKE'S MIAMI HOUSE - DAY (JUNE 2, 1954)
	
	ESTABLISHING SHOT. The house is quite large, and has
	beautiful landscaping and a swimming pool.
	
	INT. JAKE'S MIAMI HOUSE - LIVING ROOM - DAY
	
	JAKE, wearing sportclothes that can't hide his paunch, and
	VICKIE, wearing a dress and looking her best, sit in the
	living room with their THREE CHILDREN (the TWO BOYS, and also
	a GIRL, about two years old).
	
	A still PHOTOGRAPHER clicks pictures of JAKE and VICKIE as
	TWO REPORTERS talk with JAKE.
	
	                JAKE
	      I'm pulling out of next Wednesday's
	      TV bout 'cause I can't make the
	      weight. I'm fighting at light
	      heavyweight, and I still can't make
	      the weight.
	
	                REPORTER
	      Does that mean...
	
	                JAKE
	      It means I'm through with boxing.
	      I'm tired with tryin' to make the
	      weight anymore. I'm sick of
	      thinkin' about weight, weight,
	      weight.
	
	                REPORTER
	      You sound bitter.
	
	                JAKE
	      Why should I be bitter? Boxing's
	      been good to me. I got a nice
	      house, three kids, a beautiful wife
	      -- take a picture of her. Vickie.
	
	VICKIE poses dutifully.
	
	                JAKE (CONT'D)
	      Ain't she beautiful? Coulda been
	      Mrs. America if I didn't pull her
	      outa the contest. Didn't want her
	      wearing a swimsuit for nobody but
	      me.
	
	                REPORTER
	      What do you think of Jake's
	      retirement, Mrs. LaMotta?
	
	JAKE cuts in:
	
	                JAKE
	      I also bought a club on Collins
	      Avenue, and I'm gonna open it real
	      soon. Know what I'm gonna call it?
	      "Jake LaMotta's."
	
	INT. "JAKE LAMOTTA'S" - NIGHT (1956)
	
	JAKE, an empty glass in his hand, stands on the bar platform.
	He's wearing a white tuxedo jacket with a red rose in the
	lapel. His tuxedo shirt is stained. He continues his
	monologue.
	
	                JAKE
	      Valentine's Day. The anniversary of
	      the St. Valentine's Day Massacre.
	      Robinsin didn't use a machine gun
	      but it was still a massacre...
	           (takes another drink)
	      Actually, I was doin' okay at
	      first. In fact, by the end of the
	      fifth round I really had him
	      worried --- he thought he killed
	      me. You know, I could keep tellin'
	      you this brilliant material all
	      night -- but you'd only laugh. Now
	      I'm gonna sing. -- Any requests? I
	      mean, besides "don't"!
	           (then to piano player)
	      -- In the key of H.
	           (then to audience)
	      You're laughin'. Give me the right
	      key and I'll play in anybody's
	      flat! I sing for a reason. When I
	      finish, you'll be so sobered up,
	      we'll sell a lot of booze.
	
	JAKE's onstage version of "That's Entertainment" differs from
	the backstage version. It's not just that he's a little drunk
	-- no, his voice is defiant, sadly defiant. He is singing at
	the PATRONS rather than to them.
	
	                JAKE (CONT'D)
	      "When the fighter's not engaged in
	      his employment, his employment,
	      although he was Champ and quite the
	      rage, he must go somewhere else to
	      seek employment, seek employment.
	      So what does he do? He goes upon
	      the stage and meets his true
	      adversaries, all you members of the
	      human race. But a fighter's life is
	      not a bowl of cherries, still I'd
	      rather have an egg than a fist upon
	      my face... That's Entertainment!
	
	JAKE brings the BAND to a crescendo with a wave of his hand,
	then silences it. The spotlight goes out and there is a
	hearty round of applause.
	
	JAKE receives the kisses, glad handshakes and congratulations
	of the PATRONS as he works his way around the club.
	
	JAKE's new friends love him. They are PARTY GIRLS, SPORTS
	FIGURES, COLUMNISTS, MOBSTERS, B ACTORS, and OTHER
	"CELEBRITIES."
	
	JAKE poses for a still with TWO BUXOM YOUNG LOVELIES. ONE
	GIRL giggles as he fondles her. After the flash goes off, the
	GIRLS admire his "small, delicate" hands.
	
	JAKE steps over to a table and greets J.R., a newspaper
	columnist, and his COMPANIONS.
	
	                JAKE (CONT'D)
	      J.R., glad you could make it.
	
	                J.R.
	      You were great, Jake. Just like old
	      times. Good thing Sugar Ray wasn't
	      here tonight. Oh Jake, this is
	      State's Attorney Bronson and his
	      wife.
	
	JAKE shakes his hand, then holds it up -- showing an empty
	palm.
	
	                JAKE
	           (joking)
	      Sorry, empty! Heh, heh! Oh, I
	      didn't mean that. If I don't give
	      your husband no money, he won't
	      have enough to buy you a drink. To
	      show you I'm a nice guy, this one's
	      on me. The last one was your
	      payment for this month.
	
	BRONSON is embarrassed. He doesn't think the joke is funny,
	but he manages a smile. His WIFE gives a nervous laugh. JAKE
	leans over and kisses her.
	
	                JAKE (CONT'D)
	      You're a good sport, lady.
	
	                J.R.
	      I saw you fight Bob Satterfield in
	      '46, Jake. In Chicago. You were
	      great.
	
	                JAKE
	      Yeah, I really cleaned up on him.
	
	                J.R.
	      Where's your wife, Jake?
	
	                JAKE
	      Do you think I'd let her in a place
	      like this with guys like you
	      hangin' around?
	
	JAKE feigns a few jabs, and they all laugh. He walks off.
	
	As JAKE leaves, J.R. whispers to his FRIEND:
	
	                J. R.
	      You ought to see his wife.
	
	JAKE steps over to a table where some of the "BOYS" are
	sitting. RICKY is the Miami 1956 version of Salvy.
	
	                JAKE
	      Hey, Ricky, glad you came.
	
	                RICKY
	      Wouldn't miss it, Jake.
	
	JAKE calls a WAITRESS over.
	
	                JAKE
	      Hey, honey, give these fellas a
	      round on me. I can tell they're
	      gonna be regular customers.
	
	The WAITRESS says to a clearly underaged GIRL:
	
	                WAITRESS
	      I'll have to ask for your I.D.
	
	JAKE leans over and gives the young GIRL a long kiss on the
	lips. She enthusiastically reciprocates.
	
	                JAKE
	      Whew! Any girl that can kiss like
	      that can drink in my club any time!
	
	They all laugh as JAKE moves on. The life of the party.
	
	EXT. "JAKE LAMOTTA'S" - DAY
	
	JAKE, hungover, his tux wrinkled, walks out of the club to
	the adjacent parking lot.
	
	VICKIE is sitting in her yellow Cadillac outside the Club.
	The curbside window is halfway up. She calls to him:
	
	                VICKIE
	      Jake.
	
	JAKE, chagrined, steps over to the car.
	
	                JAKE
	      I'm sorry. I had to work late last
	      night. Slept at the club.
	
	                VICKIE
	      I'm leaving your Jake.
	
	                JAKE
	      Sure, what else is new?
	
	                VICKIE
	      No. This time it's true. I didn't
	      bother to tell you until I had
	      everything worked out.
	
	JAKE tries to open the door. It's locked.
	
	                JAKE
	      Open the door, Vickie.
	
	                VICKIE
	      No. I won't talk to you where you
	      can use your hands on me.
	
	                JAKE
	      Aw, c'mon. Don't say that.
	
	                VICKIE
	      I got a lawyer, Jake. We're getting
	      a divorce. I'm getting custody of
	      the kids.
	
	                JAKE
	      Aw, c'mon, Vick --
	
	                VICKIE
	      I'm sick of it. I can't watch you
	      this way. You're too drunk all the
	      time. There's too many girls. I
	      can't... I don't wanna talk about
	      it. I made up my mind.
	
	JAKE tries to reach in the window, but VICKIE hits the power
	switch, closing it and catching his hand. She now has to yell
	to him:
	
	                VICKIE (CONT'D)
	      You got three days to get your
	      stuff out of the house. After that,
	      the cops will be there. I have the
	      kids with me. I never want to see
	      you again.
	
	VICKIE turns her face and drives away.
	
	JAKE grabs at the Cadillac, but it is bigger and stronger
	than him.
	
	JAKE is left alone in the parking lot. The car is gone.
	
	INT. JAKE'S OFFICE - DAY (JAN. 9, 1957)
	
	JAKE has an office above the lounge. Ever since VICKIE left,
	it's also been his apartment.
	
	The place is a mess. JAKE sends his laundry out when he runs
	out of clean clothes. Dirty socks, shorts and shirts are
	scattered randomly. Empty whiskey bottles on the desk, empty
	beer cans in the wastebasket.
	
	                1ST DEPUTY
	      Let's go, Jake, wake up!
	
	                JAKE
	      Huh? Whadda ya mean, get up?
	
	                1ST DEPUTY
	           (showing badge)
	      We're from...
	
	                JAKE
	           (interrupting)
	      I know where you're from. You guys
	      look the same every place.
	
	                1ST DEPUTY
	      They wanna talk to you.
	
	                JAKE
	      About what?
	
	                1ST DEPUTY
	      I don't run the joint. They just
	      told me to bring you in.
	
	                JAKE
	      For what?
	
	                2ND DEPUTY
	      C'mon, get dressed.
	
	JAKE hunts for his clothes.
	
	                JAKE
	      Hey, I'm a big tax payer down here.
	      Don't that entitle me to some
	      information what this is all about?
	
	The SECOND DEPUTY shows JAKE a photo.
	
	                2ND DEPUTY
	      You recognize this girl? She been
	      in the club?
	
	                JAKE
	      I dunno.
	
	                2ND DEPUTY
	      She says you introduced her to men.
	
	                JAKE
	      I introduced a lot of people to
	      men. So what? What does that mean?
	
	                2ND DEPUTY
	      She's fourteen.
	
	CLOSE UP of picture.
	
	EXT. JAKE'S MIAMI HOUSE - DAY
	
	JAKE, wearing a suit, walks up to the door and pushes the
	bell.
	
	VICKIE opens the door and looks at him over the chain.
	
	                JAKE
	      Vickie, open up. I need to come in.
	
	                VICKIE
	      Are you drunk?
	
	                JAKE
	      No. Open the door.
	
	JAKE tries to touch her face through the doorway crack, but
	she steps back.
	
	                JAKE (CONT'D)
	      Please, Vick. I won't bother you.
	      I'm out on bail. You can send the
	      kids next door. I just gotta pick
	      one thing up, then I'll get outa
	      here.
	
	VICKIE thinks a moment, then opens the door and lets JAKE in.
	
	                VICKIE
	      The kids are sleeping.
	
	                JAKE
	      I promise I just gotta pick up one
	      thing.
	
	                VICKIE
	      All right, just don't make any
	      noise.
	
	INT. JAKE'S MIAMI HOUSE - DAY
	
	JAKE walks directly past VICKIE into the living room. VICKIE
	watches from a safe distance.
	
	JAKE removes his jewel-studded championship belt from the
	glass bookcase and carries it into the kitchen.
	
	In the kitchen, he takes a hammer and screwdriver out of a
	drawer, places the belt on the counter top, and starts
	digging the jewels out of it.
	
	VICKIE appears in the doorway.
	
	                VICKIE
	      What are you doing?
	
	                JAKE
	      I need ten thousand dollars. My
	      lawyer says if we can spread ten
	      thousand bucks around, we can get
	      the case dropped.
	
	                VICKIE
	      But they don't have a case against
	      you.
	
	                JAKE
	           (digging at the belt)
	      Are you kiddin'? Did you ever see a
	      14-year-old testify in court? Did
	      you see the papers? "LaMotta on
	      Vice Rap." Everybody likes a shot
	      at the Champ.
	
	                VICKIE
	      Jake, be careful! What're you doing
	      to the belt?!
	
	                JAKE
	      Don't make no difference no more.
	
	                VICKIE
	      Can't you get the money from your
	      friends?
	
	                JAKE
	      What friends?
	
	JAKE, frustrated by his task, turns the belt over and hammers
	at it. The jewels scatter across the counter top and floor.
	JAKE collects the jewels and puts them in his pockets.
	
	INT. JEWELRY SHOP - DAY
	
	JAKE stands at the counter of a small jewelry store. The
	JEWELER examines the stones.
	
	                JEWELER
	      Didn't you also wish to sell the
	      Championship Belt, Mr. LaMotta?
	
	                JAKE
	      That's it. Those are the jewels
	      that were in the belt.
	
	                JEWELER
	      But where's the belt?
	
	                JAKE
	      You want the jewels or the belt?
	
	                JEWELER
	      Both. These stones are worth about
	      fifteen hudred dollars, but the
	      belt of a champion is a very rare
	      item. The belt with the stones
	      untouched would have been worth
	      near five thousand dollars.
	
	JAKE seems to despair of the whole thing: the belt, the
	attempt to raise 10 g's, the vice case, his life.
	
	EXT. PHONE BOOTH - DAY
	
	JAKE places a call from a booth outside the jewelry store.
	
	                JAKE
	           (on phone)
	      I can't raise the ten thousand.
	      Fuck 'em. Let 'em put me on trial.
	
	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
	                                      co
	      sideration, 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... kill
	      '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.
	
	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.
	
	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 passes 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 pornography: partially clothed men
	and women engaged in explicit sex 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, sucks 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
	      faggot. I'm not a faggot. Ma, why?
	      What do they want? My cock'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 (CONT'D)
	      Why, why, why me? You took it away
	      from me. They took everything away.
	      What do they want from me? What the
	      fuck 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 (CONT'D)
	      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 (CONT'D)
	      And so, as Shakespeare said, I've
	      been down so low there's nowhere
	      else to go.
	
	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 fuck off the stage!"
	
	                JAKE (CONT'D)
	      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-class
	      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 (CONT'D)
	      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.
	
	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 (CONT'D)
	      No, Joey, no. Look, wait a minute,
	      please --
	
	JOEY looks at JAKE like he's shit, throws JAKE's hand off his
	shoulder, and starts to get into his car again.
	
	                JAKE (CONT'D)
	      Aw, Joey --
	
	JAKE stops JOEY from getting into his car. He puts his hand
	on JOEY's shoulder again.
	
	                JAKE (CONT'D)
	      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 (CONT'D)
	      No, please. I know I was a
	      cocksucker. 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 (CONT'D)
	      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 (CONT'D)
	      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 (CONT'D)
	      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.
	
	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.
	
	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 class. 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
	

Raging Bull



Writers :   Paul Schrader  Mardik Martin
Genres :   Drama


User Comments


Internet Movie Script Database
Back to IMSDb





Index    |    Submit    |    Links    |    Link to us    |    RSS Feeds    |    Disclaimer    |    Privacy policy