Raging Bull Page #6

Synopsis: Raging Bull is a 1980 American biographical black-and-white sports drama film directed by Martin Scorsese, produced by Robert Chartoff and Irwin Winkler and adapted by Paul Schrader and Mardik Martin from Jake LaMotta's memoir Raging Bull: My Story. It stars Robert De Niro as Jake LaMotta, an Italian American middleweight boxer whose self-destructive and obsessive rage, sexual jealousy, and animalistic appetite destroyed his relationship with his wife and family. Also featured in the film are Joe Pesci as Joey, LaMotta's well-intentioned brother and manager who tries to help Jake battle his inner demons, and Cathy Moriarty as his wife. The film features supporting roles from Nicholas Colasanto, Theresa Saldana and Frank Vincent.
Production: United Artists
  Won 2 Oscars. Another 22 wins & 26 nominations.
 
IMDB:
8.2
Metacritic:
89
Rotten Tomatoes:
95%
R
Year:
1980
129 min
1,239 Views


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 f***in' 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 f***in' 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. F***in' tear him apart, wipe

him out! What are you worried

about? Your weight? Look, even if

you lose they're gonna think you're

weak; they're gonna think you're

not the fighter you used to be.

They'll match you with guys they

were afraid to match you with

before, and then you'll kill them

and you'll get your title shot. And

if you beat this kid Janiro, they

gotta give you a shot at the title

because there's nobody else. Either

way you win and you do it on your

own -- just like you want it. All

right?

VICKIE:

Joey's right. Janiro's up-and

coming, he's good looking...

JAKE:

(interrupting)

What do you mean, "good looking?"

VICKIE:

Well, he's popular. A lotta people

like Janiro. You beat him and it

only figures they'll wanna see you

get a title shot. But, what do I

know? I should keep my mouth shut,

I should...

JAKE:

(interrupting)

Who asked you?

VICKIE:

But, Jake, I was just...

JAKE:

(interrupting)

Who asked you?

VICKIE:

I was just...

JAKE:

(interrupting)

Who asked you?

VICKIE, amazed, gets up to leave.

JAKE glares at her.

VICKIE rounds up the kids and takes them into the

kitchen. (MOVING SHOT).

WE SEE VICKIE in the kitchen angrily throwing

things around. We clearly see the tension as she

cleans up, muttering to herself.

JAKE (CONT'D)

(turns to Joey)

All right, manager. Everybody had

their say around here. Now this is

what I'm gonna say. I'm gonna get

down to 155, and I'm gonna destroy

this kid -- get my title shot. And

don't ever bet 15 thousand without

my sayso again.

JAKE comes into the kitchen. He tries to make up

with VICKIE. She plays hard-to-get. They begin to

tease each other.

INT. COPACABANA LOUNGE - NIGHT (1947)

A COMEDIAN is in the middle of his act. JAKE,

VICKIE, JOEY, and JANET sit at a nearby table.

JANET, an attractive blonde, is are of JOEY's

girlfriends; the moment you set eyes on her, you

know this is not his wife.

The lounge is very crowded. The COMEDIAN interrupts

his routine to point out that JAKE LAMOTTA is in

the audience, and even tries a little harmless

joking at JAKE's expense.

COMEDIAN:

Ladies and gentlemen, I'd like to

point out a special guest we have

with us tonight -- The Raging Bull,

The Bronx Bull, Mr. Jake LaMotta.

There is applause. JAKE smiles, and gives a

hesitant wave.

COMEDIAN (CONT'D)

Stand up, Jake, c'mon. Oh, you are

standing. Sorry.

(laughs)

Just kiddin', Jake.

JAKE waves a fist at the COMEDIAN, good-naturedly

playing along with the joke -- even though he hates

it.

JAKE:

(to Joey)

Look at this abuse I gotta take.

JOEY, VICKIE, and JANET are amused.

JAKE (CONT'D)

(joking)

What's so funny?

(lifting his glass)

Cheers! Post-time. Joey, Vickie,

and...

(to Janet)

What's your name again, darling?

JANET:

Janet.

JAKE Smiles. They all drink.

SALVY, a little older, but still young-looking, and

dressed even better than when we last saw him

(flashy rings, etc.), comes over to their table. He

walks around like he owns the f***ing 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 f***in' Romeo around

here. Did you see the way she was

lookin' at him?

JOEY:

Nah, she would never...

JAKE:

(interrupting)

Didn't you just see her lookin' at

him? She told me no, but I don't

believe her.

JOEY:

(uncomfortable)

C'mon, Jake. You know she's crazy

about you.

JAKE gives him a suspicious look. JOEY feels

uneasy.

JAKE:

I'd just love to catch her. Oooooh,

I'd just love to catch her once.

Drinks arrive at their table.

WAITER:

These are from Tommy Como.

JAKE looks up but can't see where COMO is. JOEY

gets up.

JOEY:

(to Jake)

Excuse me for a minute. Be right

back.

JAKE:

(sarcastic)

Don't be long. I'm afraid with all

these tough guys here.

JOEY goes to COMO's table in the rear of the

lounge. JAKE slides over and watches. JOEY shakes

hands with COMO. SALVY is there at COMO's table.

JOEY comes right back.

JOEY:

Jake, come over for a few minutes.

Tommy wants to say hello to you.

C'mon, just come and say hello.

JAKE doesn't like the idea, but goes along with it

anyway.

ANOTHER ANGLE:
COMO's table. JAKE comes over.

JAKE:

Hi, Tommy. How are you?

TOMMY:

Jake, sit down for a minute.

JAKE sits. SALVY smiles and nods to JAKE. JAKE

barely nods back.

TOMMY (CONT'D)

(his arm around Jake)

F***in' kid! You're the best

f***in' 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?

Rate this script:0.0 / 0 votes

Paul Schrader

Paul Joseph Schrader is an American screenwriter, film director, and film critic. Schrader wrote or co-wrote screenplays for four Martin Scorsese films: Taxi Driver, Raging Bull, The Last Temptation of Christ and Bringing Out the Dead. more…

All Paul Schrader scripts | Paul Schrader Scripts

2 fans

Submitted by aviv on January 31, 2017

Discuss this script with the community:

0 Comments

    Translation

    Translate and read this script in other languages:

    Select another language:

    • - Select -
    • 简体中文 (Chinese - Simplified)
    • 繁體中文 (Chinese - Traditional)
    • Español (Spanish)
    • Esperanto (Esperanto)
    • 日本語 (Japanese)
    • Português (Portuguese)
    • Deutsch (German)
    • العربية (Arabic)
    • Français (French)
    • Русский (Russian)
    • ಕನ್ನಡ (Kannada)
    • 한국어 (Korean)
    • עברית (Hebrew)
    • Gaeilge (Irish)
    • Українська (Ukrainian)
    • اردو (Urdu)
    • Magyar (Hungarian)
    • मानक हिन्दी (Hindi)
    • Indonesia (Indonesian)
    • Italiano (Italian)
    • தமிழ் (Tamil)
    • Türkçe (Turkish)
    • తెలుగు (Telugu)
    • ภาษาไทย (Thai)
    • Tiếng Việt (Vietnamese)
    • Čeština (Czech)
    • Polski (Polish)
    • Bahasa Indonesia (Indonesian)
    • Românește (Romanian)
    • Nederlands (Dutch)
    • Ελληνικά (Greek)
    • Latinum (Latin)
    • Svenska (Swedish)
    • Dansk (Danish)
    • Suomi (Finnish)
    • فارسی (Persian)
    • ייִדיש (Yiddish)
    • հայերեն (Armenian)
    • Norsk (Norwegian)
    • English (English)

    Citation

    Use the citation below to add this screenplay to your bibliography:

    Style:MLAChicagoAPA

    "Raging Bull" Scripts.com. STANDS4 LLC, 2024. Web. 25 Jul 2024. <https://www.scripts.com/script/raging_bull_932>.

    We need you!

    Help us build the largest writers community and scripts collection on the web!

    Watch the movie trailer

    Raging Bull

    Browse Scripts.com

    The Studio:

    ScreenWriting Tool

    Write your screenplay and focus on the story with many helpful features.


    Quiz

    Are you a screenwriting master?

    »
    What is "subtext" in screenwriting?
    A The background music
    B The underlying meaning behind the dialogue
    C The literal meaning of the dialogue
    D The visual elements of the scene