"In writing fiction, the more fantastic the tale, the plainer the prose should be. Don't ask your readers to admire your words when you want them to believe your story." - Ben Bova [ more quotes ]

"RAGING BULL"

by

Paul Schrader and Mardik Martin



MUSIC IN: "Stone Cold Dead in the Market" by Louis Jordon

THE TITLES appear on black. They are intercut with CLOSE-UPS
of a fighter's body.

EXAMPLES:

Feet move.

Credit over black.

Body lunges.

Credit over black.

Fists swing and punch at the air.

Credit over black.

WE CATCH A GLIMPSE of young JAKE LAMOTTA.

THEN CUT TO:

INT. BARBIZON PLAZA THEATRE - DRESSING ROOM - NIGHT (1964)

JAKE LAMOTTA, wearing a tux, is shadow-boxing.

We are unsure of where he is -- he moves in and out of the
shadows. At 42, he's overweight and out of shape, but the
balls of his feet still pop up and down like they were on
canvas and his tiny fists still jerk forward with short bursts
of light. He is rehearsing a nightclub monologue.

JAKE
Good evening, ladies and gentlemen.
It's a thrill to be standing here
talking to you wonderful people. In
fact, it's a thrill to be standing!
I haven't seen so many people since
my last fight at Madison Square
Garden. After that fight, a reporter
asked me, 'Jake, where do you go
from here?' I said, 'To a hospital!'
I fought one hundred and six
professional fights and still none
of them bums figured out how to fight
me -- they kept hitting me in the
head! And that's why I'm here
tonight...
(starts to sing)
'When the fighter's not engaged in
his employment, his employment,
although he was Champ and quite the
rage, he must go somewhere else to
seek employment, seek employment.
But a fighter's life is not a bowl
of cherries, still I'd rather have
an egg than a fist upon my face...
That's Entertainment!'

INT. CLEVELAND ARENA - NIGHT (1941)

Bam! JIMMY REEVES, a fast, black middleweight, jabs LAMOTTA,
19 years old, in the face. JAKE staggers forward. No matter
how hard LAMOTTA is hit, no matter how often, he always
staggers forward -- like a bull. The bell sounds.

Battered, JAKE slumps on the stool in his corner.

It's September, 1941. Europe and Asia are already at war.
Young SOLDIERS, freshly recruited, dot the hostile audience --
each screaming at the FIGHTERS in the ring.

Suddenly, words are exchanged, a GIRL screams, and a SOLDIER
and a CIVILIAN stand and start swinging.

AND IN THE RING: JAKE LAMOTTA takes a swig of water and spits
blood into the bucket his younger brother, JOEY, holds for
him. TONY, his trainer, works the cuts.

JOEY
You didn't have to come to Cleveland
to get beat by a "moulan yan," Jake!

TONY
He's got you, Jake! You're outpointed!
You're coming up for the tenth. You
gotta knock him out!

The bell sounds for the tenth. JAKE pulls himself up and
charges at REEVES.

REEVES slides away, jabbing, punching, piling up points.

In JAKE's corner, JOEY stands and yells at JAKE:

JOEY
A grand apiece! We got a grand apiece
on this, Jake! A fucking grand!

JAKE suddenly corners REEVES and unleashes a desperate, wild
alley-fighting attack. One ferocious punch after another.

The SPECTATORS go wild; everyone's up for the kill.

REEVES staggers, then falls to the canvas.

THE REFEREE COUNTS:

REFEREE
One, two, three, four...

The GAMBLERS call out new odds; ten to one for REEVES, the
underdog. JOEY, excited, sees that time is running out and
steps in front of the bell. He swings his arms, pretending
not to realize he literally holds back the TIMER's arm for a
few seconds. This gives JAKE more time for a knockout -- but
not enough. JOEY is pushed back and the bell rings at the
count of nine, ending the match.

Boos and cheers. The BETTORS scramble back to the BOOKIE to
get their money.

JAKE dances around the ring, kissing his gloves and thrusting
them toward the CROWD. JOEY rushes out and hugs him.

The ANNOUNCER steps into the ring with the mike:

ANNOUNCER
Ladies and Gentlemen, the winner,
under the rules of the Cleveland
Boxing Commission, after ten rounds,
by a decision -- Jimmy Reeves.

The ANNOUNCER holds up REEVES' arm as his corner tries to
lift him off the canvas -- still out cold. TWO ATTENDANTS
bring in a stretcher.

JAKE is stunned. He still prances around, now trying to figure
out what happened. He raises his arms in victory, and the
FANS go crazy, cheering, ripping chairs out, fighting with
the COPS, throwing bottles and junk into the ring. PEOPLE go
into the ring.

JOEY
(to Jake)
Don't get out of the ring. You won
the fight -- let him go out first.

CUT TO:

REEVES being placed on the stretcher.

A ringside OFFICIAL signals the ORGANIST and she starts to
play the "Star Spangled Banner." REEVES is carried out.

Only then do JOEY and TONY escort JAKE out of the ring.

EXT. WEBSTER AVENUE AND 169TH ST., THE BRONX - NEXT DAY

It's a rough neighborhood, inhabited primarily by welfare
cases and street kids.

In the street, two young PUNKS, 13 or 14 years old, exchange
words and start to fight. Their FRIENDS cheer them on. SALVY
and JOEY turn the corner.

JOEY
Salvy, would I steer you wrong? Let's
say that's the truck; it's full of
cigarettes, right? Now, two o'clock
this morning we move the truck from
here to there,
(he points; the CAMERA
PANS)
take the cigarettes out, sell 'em,
make some cash.

SALVY
Hey but Joey, you're thinking nickels
and dimes. The money's with your
brother.

JOEY
What do you want from my life, Salvy?
He's my brother.

SALVY
He ain't doin' the right thing. He's
makin' beans compared to what he
should be makin'. Can't you make him
understand that?

A COP goes over and starts to break up the fight.

JOEY
(to cop)
Hey, leave the kids alone.

SALVY
Get lost.
(joking, he knows the
Cop)
Hey kids, "A cop is a rat." Remember
that, "A rat."

The KIDS yell.

JOEY
(to Cop)
Hey Jimmy, here's a dollar for your
trouble. There's some bums around
the corner -- they need your help.

COP
Keep the dollar, Joey. Get yourself
a new suit.

JOEY
(laughs)
Here's my new suit.
(grabs his crotch)
Right here.

COP
Hey, don't get wise!

JOEY
Just kidding, take it easy.
(to himself)
No fuckin' sense of humor.

SALVY and JOEY continue to walk a little faster, giggling.

INT. JAKE AND IRMA'S KITCHEN - DAY

JAKE, bandaged from the REEVES fight the night before, sits
at the kitchen table (he's had a few glasses of wine) while
his wife, IRMA, 19, cooks at the stove.

JAKE gets up and pokes at the frying steak with a fork.

JAKE
This looks done.

IRMA
It's not done.

JAKE
It looks done. I'll take it the way
it is.

IRMA
Here's your steak. You can't wait
for it to be done. Here.

She slams the steak onto his plate, and reaches back to the
stove.

IRMA
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
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
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
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
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
Again. Harder.

JOEY hits him again.

JAKE
Harder. Go 'head.

JOEY hits him again.

JAKE
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
(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
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
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 looks beautiful and is obviously having
a good time.

JOEY
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
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 Chance."

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
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
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
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 tellin' 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
Take off my pants.

VICKIE
Jake...

JAKE
Do what I say.

He touches her breasts as she removes his trousers.

JAKE
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
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.

JOEY
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 pause, 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
(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 say so 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 one 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
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
(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
(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 fighter, 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
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
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
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
(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
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 anything 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
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
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
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 right. 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
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
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
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?

EAGAN
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
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
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
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.

JAKE
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
(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
(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
(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 to
introduce the many CELEBRITIES that have gathered for the
fight.

ANNOUNCER
And here is the young man who has
inherited Marcel Cerdan's European
championship -- Laurent Dauthuille.

DAUTHUILLE jumps into the ring.

While WE HEAR him introduce the boxers and celebrities, WE
SEE a rapid MONTAGE: JAKE preparing for the title bout:

PRE-FIGHT MONTAGE

A) JAKE and GROUP arrive in the dressing room.

B) In his bathrobe, JAKE puts on his boxing shoes.

C) We see a pan with raw steak in it. JOEY drains the blood
(juice) into a glass and JAKE takes a long, slow swallow.

D) REPRISE of IMAGES from PREVIOUS SCENE (SLOW MOTION) - NEW
ANGLE.

TOMMY COMO shakes JAKE's hand in the bathroom doorway. VICKIE
kisses COMO. Jake watches.

ANNOUNCER (V.O.)
And our very special guest tonight
needs no introduction. The only man
to defend the heavyweight crown a
remarkable twenty-five times, the
king of all heavyweights, the Brown
Bomber, Joe Louis. Come into the
ring, Joe.

JOE LOUIS (V.O.)
Thank you, Johnny. Let's bring the
middleweight crown back to the old
U.S.A. where it belongs.

Many cheers.

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

F) JOEY massages JAKE's neck.

G) JAKE's hands are bandaged

H) REPRISE of IMAGES from PREVIOUS SCENE (SLOW MOTION - NEW
ANGLE) JAKE strangles VICKIE in the bedroom, then releases
her.

JOEY looks after her, but the IMAGE makes them look as if
they're making love. Jake watches.

ANNOUNCER
And in this corner, the middleweight
champion of the world, from
Casablanca, Morocco, the Casablanca
Clouter, Marcel Cerdan!

I) JAKE puts on his cup and trunks.

J) MARIO laces up JAKE's gloves.

K) JAKE, ready to fight, a towel draped around his head,
bounces on the balls of his feet. He starts walking down the
corridor from his dressing room, surrounded by MARIO, JOEY,
DR. PINTO and his HANDLERS. He enters the stadium.

INT. BRIGGS STADIUM - NIGHT

JAKE, wearing his leopard-skin robe, is pushed through the
CROWD by JOEY, MARIO and his HANDLERS. He's still shadow
boxing.

JAKE steps into the ring to both cheers and boos (many still
remember the Fox fight). JAKE raises his gloves.

ANNOUNCER
And in the opposite corner, from New
York, New York, the challenger, the
Bronx Bull, Jake LaMotta!

JAKE shakes hands with the assembled CELEBRITIES and EX
CHAMPIONS.

JAKE
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
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
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
...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
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
We get along real great. We fight a
little but I never really belted her
on purpose. Once in a while I'm
standin' there doin' little shadow-
boxin' and she happens to walk right
into the shadow... I can't help that.
She says, "Whataya hittin' me for?"
I says, "It's nothin'. It's only a
love tap." She says, "It's a good
thing you're not crazy about me!" --
I am crazy about her. I heard her
talkin' to a friend on the phone and
she was sayin', "After eleven years,
I'm still in love with the same guy." --
If I ever find out who the bum is,
I'll kill him! Women. You can't live
with 'em, you can't live without
'em.

Then, suddenly, falling into character... he quotes lago's
speech in Othello.

JAKE
"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
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
How's that?

JOEY
I can't tell. You're stomach's in
the way.

JAKE stares at JOEY.

JOEY
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
(referring 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 straightened
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
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
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
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, kill
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. JAKE is playing possum.

RINGSIDE ANNOUNCER
Thirty seconds to go. The Bull starts
to swing. LaMotta comes in for a
brutal body combination: 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 comebacks 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
What's this, a joke? Hello... Hey!

JAKE can't answer.

JOEY
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
...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
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
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 Ray 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
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.
Robinson 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
"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
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
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 you 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
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
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 hundred 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.

Pause.

JAKE
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 other 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
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
I'm not like that. Please. I'm not
like that. Please. Please. Please.

Then silence.

We begin to hear: JAKE doing a monologue.

JAKE
And so, as Shakespeare said, I've
been down so low there's nowhere
else to go.

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
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
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
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
Aw, Joey --

JAKE stops JOEY from getting into his car. He puts his hand
on JOEY's shoulder again.

JAKE
You're right. You're perfectly right.
You got every right in the world to
hate my guts.

JOEY pulls away from JAKE's hand, and tries to put the paper
bag into the front seat of the car.

JAKE
No, please. I know I was a 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
No, Joey, listen to me --

JAKE pulls too hard, causing JOEY to drop the paper bag to
his feet. The containers of coffee and tea in the bag break
open and splatter JOEY's pants legs.

JOEY stares down at his pants, then up at JAKE. Suddenly, he
belts JAKE with a left and a right to the jaw. JAKE is taken
by surprise, and backs off to get his own hands up.

JOEY keeps pouring it on. JAKE drops his hands and takes it.

JAKE
Go ahead.
(gets punched)
Hit me again.
(gets punched)
I deserve it...
(gets punched)
Pay me back...
(gets punched)
More...
(gets punched)

JOEY stops in mid-punch and stares at JAKE. He can't figure
it out.

JAKE nods and tries to smile, but starts to cry instead.

JAKE
More. Go ahead, Joey. I deserve it.

JOEY pauses, then finally throws a very weak punch to JAKE's
shoulder.

He leaves his hand there -- then, uncurls his fist -- and
finally puts his hand around JAKE's neck as tears start to
fill his eyes.

JOEY hugs JAKE close to him, crying.

They hug each other, both crying. They don't say anything.

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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