World-famous boxer Arturo Gatti was murdered in cold blood last week. It was a horrific event, and his family, friends, and fans deserve all of our sympathies. But I wouldn’t be an anonymous blogger if I didn’t offer my own insensitive and irrevent spin on this story.
Seriously, this event has the making of a blockbuster mystery-action movie, or at least a decently crappy movie that you would stay up to watch on an airplane:

Gatti and his wife: a plot made in heaven.
Setting: We’re talking about a guy who was born in Italy, moved to Canada, spent his formative years in Jersey, and then died in Brazil (thanks, Wikipedia); this movie traverse areas populated by the mafia, sexy Brazilian dancers, Jersey guidos, and Canadian mounties.
Characters:
Gatti. A legendary athlete in one of the most corrupt sports on the planet. On top of that, you couldn’t think up a better name, or a better face (swollen and puffed from years of fighting). On top of that, he worked in real estate after his retirement, putting at the cusp of one of the greatest financial disasters of our time. On top of that, he was murdered with a fucking purse strap.
Wife. They met at a strip club in New York. Friends told Gatti not to marry her: she’s a loose cannon, they said. The couple had been fighting for months, and she threatened to kill him on multiple occasions. She is distraught over her husband’s death, and vows to free herself for the sake of her 10-month old son. She is a smoking hot Brazilian girl. These are all facts.
A hard-nosed detective with an eye for the truth. All evidence points to the wife, but he sees something genuine and innocent in the woman’s grief. We follow him as he traverses the dark and secret spaces of Gatti’s life, and we learn that boxing’s golden boy was caught up with dangerous people. His death could uncover a conspiracy with far-reaching implications; that is, if the detective lives to tell the tale.
I can the scene already:
As Carnaval is celebrated with lights, colors, sound and dance in the streets of Rio, a different scene takes place in a dirty hotel eight stories above. Our camera glides up past dancers and banners, onto a balcony and through the open window of a single bedroom. The lights are out except for the eerie glow of a television just feet away. Our detective is slouched against a chair, smoking a cigar and watching the small screen with a steady, but unconcerned stare. He looks tired, as if he has been sitting there for hours.
Through the smoke and on the TV, a tape plays. It is a boxing match; Arturo Gatti is about to lose to Mickey Ward in what will called one of the greatest matches of the past century. As the camera edges closer to the screen, the crowd cheers and hollers in reverence. Gatti and Ward are throwing final punches; a bell sounds, and the two warriors slouch against each other in exhaustion as the noise grows to a fever pitch. This thirty-second interval is paused, rewound, and played again three more times. We are uncomfortably close to the screen now, watching stripes of pixels that have no meaning.
But this time the pause stays put. The detective has noticed something — someone — in the crowd he hadn’t seen until now. He straightens up in his chair and slowly crawls toward the screen. And then his eyes grow wide in horror, his mouth opens, and the still-burning cigar topples in slow-motion from his lips.
…What did he see?
Find out in “Thrilla in Brasilia: The Arturo Gatti Story,” coming to an airplane near you.


