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Raging Bull (1980) movie script

by Paul Schrader and Mardik Martin

More info about this movie on IMDb.com
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.) (CONT'D)
	Now I'd like to ask America's most
	decorated war hero to stand up and
	take a bow from the audience. It's
	a real privilege to have him here
	tonight. He'll soon be starring in
	his next motion picture, "Bad Boy"--
	Lieutenant Audie Murphy!

E) JAKE soaks his hands in hot water.

F) JAKE lies down and JOEY starts to massage him.

G) REPRISE OF IMAGES from PREVIOUS SCENE (SLOW
MOTION) - NEW ANGLE

JOEY shakes hands with COMO as he leaves the hotel
room. JAKE watches. JOEY smiles at Como as Como
kisses VICKIE. Jake watches.

			ANNOUNCER (V.O.) (CONT'D)
	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.

H) DR. PINTO injects a hypodermic needle filled
with novocaine into each of JAKE's fists.

I) JOEY massages JAKE's neck.

J) JAKE's hands are bandaged

K) 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!

L) JAKE puts on his cup and trunks.

M) MARIO laces up JAKE's gloves.

N) 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
Jago'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
		consideration, they figure it
	adds up to one thing -- I'm queer!
	Now I didn't mind too much when
	they called me "Queer" or "Mr.
	Tough Guy" or "Yankee Punk"... But
	one day these screws got to me... I
	was workin' on the work gang,
	pickin' up some trees that were
	knocked down by a storm or
	somethin' and puttin' 'em on this
	truck. All of a sudden... one of
	the trees slipped and fell on me
	and pinned me to the ground. I'm
	lyin' there with a tree across my
	chest! This screw walks over,
	takin' his time, he looks down at
	me and says, "Well, Champ Pimp...
	you lyin' down on the job again?"!
	They got a great sense of humor
	when they're standin' there with a
	gun in their arms and you got a
	tree on your chest! So I look up at
	him and say, "Oh, this tree...
	it fell on me." And he says, "Oh,
	I'm sorry... If I'd have known, I
	would've yelled 'timber'" I said,
	"Hey, look... it hurts. I think
	maybe I broke somethin'!" He says,
	"Well, whaddaya know... Champ
	PImp's got himself a boo-boo." Then
	I got as stupid as him. I said, "If
	I'm Champ Pimp... how 'bout givin'
	me the money you made last night?"!
	Then another screw comes over and
	says, "This Yankee creep givin' you
	trouble?" -- What kind of trouble?
	What am I gonna do -- hit 'em with
	the tree? Now anybody else in their
	right mind would've said, "No sir,
	I wouldn't think of giving any of
	you gentlemen trouble... I just
	want to serve my time and get the
	hell out of here as soon as I can."
	That's anybody else. When I said
	it... it was a little different.
	"You stupid cracker... take your
	hands off me or I'll get up and
	kick your brains out -- but first
	you gotta bend over so I can find
	'em!" Next thing I know I'm in the
	hole. Solitary confinement. All my
	life I had guys in my corner
	yellin' "Go get 'em, jake... 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


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