THE BLEEDER

by

Jeff Feuerzeig

&

Jerry Stahl

Based on a True Story

Revised by
MICHAEL CRISTOFER
7-5-2015
EXT. JERSEY HIGHWAY - NIGHT

SUPER TITLE: OLD BRIDGE, NJ - 1980

A NEON MARQUEE arises in front of a roadhouse in the woods.

ART STOCKS BIRCH HILL INN - LIVE TONIGHT... CHUCK WEPNER VS
VICTOR THE GREAT!

Over this...

JOHN (V.O.)
Jeez, Chuck, you sure you want to
do this?

CHUCK
Of course Im sure. Im sure.

JOHN
I mean...

CHUCK (V.O.)
John, please, Victors famous.

INT. CLUB DRESSING ROOM - NIGHT

STEADICAM takes us from the white zip-up patent leather boots

up the stylish high-waist 80s pants, pausing a little on the
GOLDEN GLOVES CHAMPIONSHIP belt buckle, continuing up the
half-unbuttoned floral shirt, up to see 65 CHUCK WEPNER....
his scarred brows, broken-37-times nose and Fu Manchu
mustache somehow add up to a brutally handsome FACE.

As he unbottons his shirt and starts removing his clothes...

CHUCK
He did a Clint Eastwood movie...

JOHN
Chuck...

CHUCK
Victor had second billing.
Astonishing fact. But true.

JOHN
Hes a fucking animal.

CHUCK
Second billing to Clint Eastwood.

At his side, JOHN STOEHR, a pasty smaller guy in a flowered

body shirt, pulling trunks out of a duffle bag.
 2.

JOHN
Yeah, yeah, yeah...

CHUCK
And what? I aint ever been in the
ring with an animal before?

JOHN
I know, but...

CHUCK
This is one for the ages. My lucky
day.

JOHN
Yeah, I know...

CHUCK
Lucky day, lucky man.

INT. CLUB HALLWAY - NIGHT

Walls of photos of ARTY STOCK (40), a classic 80s stache-and-

blow dry guy, surrounded by BUXOM GIRLS IN WET T-SHIRTS. And
Arty himself, moving down the hallway...

ARTY
Chuck Wepner! Chuck fucking Wepner!

Follow him into...

INT. CLUB DRESSING ROOM

Chuck is in his robe now. John sits on a stool in front of

him, lacing on Chucks gloves while Arty gushes.

ARTY
I still cant believe it!

CHUCK
Hey, Arty...

ARTY
(amped up)
This might be the proudest day of
my life. Its like Christmas an
All Saints Day rolled into one!

CHUCK
Listen to you.
(to John)
You know who this guy is? This is
the guy who invented the wet tee-
shirt contest, thats all.
(MORE)
 3.

CHUCK (CONT'D)
(pointing at Arty)
No Arty Stock, no wet nip. Period.

John stops lacing to look up. Arty grabs a bottle and pours
shot glasses.

JOHN
Are you serious?

CHUCK
I shit you not.

Arty works a shot-glass into the thumb of Chucks boxing

glove.

ARTY
Hey, I was just trying to sell some
booze without gettin shut down.

Chuck shakes his head, in awe. Gracious to his host.

CHUCK
See that, John? That is genius.

ARTY
(humble, but loving it)
Come on, Champ, I mean, you--
youre the legend.

Chuck raises the shot glass wedged in his glove, nearly

dragging John - still holding the laces - off his chair.

CHUCK
To legends!

INT. CLUB - MAKESHIFT WRESTLING RING - NIGHT

Smoke-filled, crowded with JERSEY MULLETS. In the corner,

with John, Chuck shadowboxes in his red-white-and-blue U.S.
MARINE robe. Arty Stock speaks into a mike, center ring.

ARTY
In this corner, the former New
Jersey Heavyweight Champion, the
man who went 15 rounds with
Muhammad Ali, the pride of
Bayonne... Chuck Wepner!

Chuck waves as the Mullets cheer for their local guy.

 4.

ARTY (CONTD)
And in this corner - you know him
from the Hollywood movie Paint Your
Wagon and his many Tonight Show
appearances - undefeated in 1,303
bouts. Victor The Wrestlin Bear!

TUFFY, in flamboyant WWF wrestling garb, proudly raises the

paw of a 650 pound KODIAK BEAR. Arty grabs Chuck, stage-
whispers from the side of his mouth.

ARTY (CONTD)
Whatever you do, nothing in the
face. You got that? No face!

CHUCK
Yeah, yeah, I heard you.

A BELL rings! Chuck squares off and stares across the ring at
his Bear opponent rearing up on its hind legs.

Chuck smiles a mighty smile...

CHUCK (CONTD)
OK, pal. Lets see what you got.

A beat, and then--

Chuck charges forward toward the Bear...

FREEZE FRAME

INT. BOXING RING - NIGHT

CREDITS BEGIN

Chucks face - in Slow Motion - taking punch after punch.

Over this we hear Nat King Cole singing...

NAT KING COLE (V.O.)

When I fall in love
It will be completely...

BOOM! Blood flies from a punishing right.

NAT KING COLE (V.O.)

...Or Ill never fall in love...

WHOP, WHOP, WHOP. Three jabs ring Chucks bell, sending blood
everywhere as the song continues.

NAT KING COLE (V.O.)

In a restless world like this is
Love is ended before its begun
(MORE)
 5.

NAT KING COLE (V.O.) (CONT'D)

And too many moonlight kisses
Seem to cool in the heat of the
sun...etc...

CREDITS END

INT. SALT LAKE CITY BOXING ARENA - NIGHT

BAM! BAM! BAM! TERRY HINKE (30), a fast heavyweight, jabs

Chuck, repeatedly in his savaged face, piling up points.

SUPER TITLE: CHUCK WEPNER vs. TERRY HINKE - 9/3/1974

NOSE and RIGHT EYEBROW bloodied, Chuck staggers forward. No

matter how hard or how often hes hit, he always charges
forward.

POW! Hinke jabs hard, opening a 2-inch CUT over Chucks LEFT
EYE. BLOOD spritzes from the wound and streams down his face.

Cries echo from the stands-

ROWDY FIGHT FANS

Bayonne Bleeder!

The BELL sounds! Chuck, battered, his face a bloody mask,

walks back to his corner and slumps on the stool. Terry Hinke
goes to his corner.

AL BRAVERMAN (65), cut-man extraordinaire, 285 pounds of hard-

nosed Jewish fat, drapes a TOWEL over Chucks head, hoping to
hide the vicious 2-inch gash.

Al works furiously to close the wound as cornerman PADDY

FLOOD (45), a younger, mutton-chopped version of Al, assists.

REFEREE BARNEY FELIX (50) tries to catch a glimpse of the

injury. Al strategically blocks his view with his fat ass.

REFEREE BARNEY FELIX

Let me see the goddamn cut!

Frustrated, Al steps aside. Felix lifts the towel revealing

the bloody 2-inch GASH over Chucks left eye.

REFEREE BARNEY FELIX (CONTD)

Wow. That looks pretty bad.

AL
Get the fuck outta this corner and
dont bother me while Im working.
 6.

Al pushes Felix out of the way. Felix, concerned, leans

through the ropes and waves in the DOCTOR (45). Hesitantly,
the Doctor approaches Wepners corner.

REFEREE BARNEY FELIX

Al, you gotta let the doc take a
look at that cut.

AL
Sure, go ahead doc.

Al raises the TOWEL, cagily exposing the only slightly cut

RIGHT eye instead of the brutally wounded LEFT.

The doctor was expecting something worst. He turns around and

signals A-OK to referee Felix. As the Doctor climbs out of
the ring, Al smacks Chuck across the face. SMACK!

AL (CONTD)
Listen up, Chucker. I hadda
bullshit the doc, now its time to
send Brigham Young back to the
fuckin desert. Ya with me?

SUPER TITLE: ROUND 11

The BELL sounds! Chuck charges out from the corner and
proceeds to pummel Hinke. Hinke throws a hard jab. Chuck
picks it off and slams Hinke with a LEFT JAB and then DROPS
him with a brutal RIGHT UPPERCUT. POW!

Hinke falls to the canvas and lands with a thud!

Referee Barney Felix delivers an eight count and stops the

fight.

Chuck raises his hands and dances around the ring triumphant
with Al Braverman. The ANNOUNCER grabs the microphone.

ANNOUNCER
And the winner by knockout in 2
minutes and 18 seconds of the
eleventh round, and still the North
American and New Jersey Heavyweight
Champion, Chuck Wepner!

INT. CHUCK AND PHYLLISS APARTMENT - BEDROOM - MORNING

Chuck, wrapped in a towel post shower, face still criss-

crossed with bloody bandages, pops in. His wife, PHYLLIS
(30), a redheaded Mom, is putting on her Post Office uniform
in front of a mirror.
 7.

PHYLLIS
Oh, Chuck. You look terrible.

CHUCK
Gimme a couple days, Ill be
handsome as ever.

PHYLLIS
(playful)
Well I hope it hurts.

CHUCK
Jeez, I thought we made up.

Chuck drops his towel, then steps up behind Phyllis and wraps
his arms around her with real tenderness.

PHYLLIS
Chuck, no-- Kimberlys in the other
room. I have to get ready.

CHUCK
Come on, just a little, we dont
have to go the whole 15 rounds...

PHYLLIS
(laughs)
Chuck! Come on, I have to drop her
at school and get to work.

Phyllis finishes dressing, kisses Chuck and bolts. He smiles

big.

PHYLLIS (CONTD)
Tonight. I promise.

CHUCK
Im holdin you to that promise,
baby. Irreversible.

Done, in JUMP CUTS, Chuck irons his shirt and pants. Puts
them on. Runs a lint-roller over them. Buffs his shoes. Puts
on cuff-links.

CHUCK (V.O.) (CONTD)

Hi. Chuck Wepner. Great to see ya.
Life treatin you good? Weve got a
special today on Dewars I think
youre gonna like...

He checks himself out in the mirror. Then puts on a thick

gold necklace with the solemnity of a pope, staring at
himself as he practices his pitch. He winks at his powerful,
beat up mug in mirror. Rehearsing.
 8.

CHUCK (CONTD)
How ya doin? Chuck Wepner. Chuck
Wepner here. How are ya?
(extending his hand)

INT. KITCHEN - DAY

Phyllis puts a sandwich in a girly lunch box. Chuck ducks

in, kisses her goodbye, then heads into--

INT. KIMBERLYS ROOM - DAY

A little princesss room. KIMBERLY (6), same red hair as Mom,

dressed in Catholic school uniform, plays with redheaded
Barbie. He bends down to kiss her head.

CHUCK
Bye-bye Kimby. Daddy has to work.

KIMBERLY
(holding up Barbie doll)
Barbie doesnt like it when you and
Mommy fight.

Chuck blanches like hes been hit. He picks up Barbie and

talks to the doll, softly.

CHUCK
Now listen, Barbie, you tell
Kimberly that Mommy and Daddy never
fight, we discuss. Disputations,
not fights. Okay?

He holds doll up to Kimberlys ear. Kimberly listens.

KIMBERLY
She says sometimes you throw
things, too.

CHUCK
Honey, the most important thing of
all is that Mommy and Daddy love
each other. And more important than
that - we both love you, okay?

Kimberly nods seriously.

CHUCK (CONTD)
You are the best thing that ever
happened to me. You know that.

KIMBERLY
I know that.
 9.

CHUCK
Okay then, Sweetie. Daddy gotta go.

They hug. Chuck starts to get up. Kimberly wont let him go.

EXT. CHUCK AND PHYLLISS APARTMENT - CONTINUOUS

Chuck exits building and gets into a brand new yellow Caddy.

CHUCK
(to himself)
You like Dewars? Weve got a
special... Dewars? Sure. As a
matter of fact, weve got a
special.... Dewars?
(eyes on his own eyes)
Today is somebodys lucky day!

INT. CHUCK'S CADILLAC, BAYONNE - 5 MINUTES LATER

Top-down, Chuck cruises up Broadway, Bayonnes main drag, in

the Caddy. Its clear, Chuck owns this town.

EXT. BROADWAY, BAYONNE - MID MORNING

Chuck parks by a hydrant. Consults a well-worn APPOINTMENT

BOOK. Strides purposefully up the street.

FANS in passing Camaro slows down.

FAN O.S.
Hey Champ! Nice job with Hinke. We
heard ya creamed that Mormon fuck.

Chuck beams and throws him a shadow one-two combo.

CHUCK
(flashing 1000 watt smile)
Bayonne makes, the world takes!

He heads toward a low-end, brick-front tavern - BAR 39.

INT. BAR 39 - DAY

A row of AM BARFLIES greet Chuck like family.

VOICES (ADR)
Yo, Champ... Hey, Chuck, etc...

CHUCK
Hello hello hello!

Chuck bellies up to the bar and slaps down his attache.

 10.

CHUCK (CONTD)
Wheres Johnny?

A paunchy, JOHNNY DICESARE (42), enters wiping his hands on

an apron.

JOHNNY DICESARE
Fuck you think I am? Bleeding my
lizard.
(holding up his hand)
Now dont try to hustle me, Chuck,
you know I got a deal with--

CHUCK
Johnny D., this is me. Whos
hustling?

Chuck whips open his case, pulling out a novelty SCREWDRIVER

with a hula girl on it. He holds it up.

CHUCK (CONTD)
See this? Thats my girl Dot.

JOHNNY DICESARE
Dot?

CHUCK
Well, I call her Dotty. See?
(turning the thing over)
Turn her over and she goes from
Dotty to Naughty.

ANGLE: ECU of Hula Girl fully nude.

CHUCK (CONTD)
Who wants screwdrivers! On me.

As Chuck hands them out, in full Willie Loman, he sees LIL, a

leggy not-so-attractive COCKTAIL WAITRESS (23) smiling at him
in BAR MIRROR. He meets her eyes. She turns, swishing her ass
as she walks away.

CHUCK (CONTD)
Cmon, Johnny, I can get
Wolfschmidt cheaper than whatever
youre payin, and I can sweeten
the pot.

JOHNNY DICESARE
Sweeten how?

CHUCK
(winking at the boys)
Ill throw in Dotty!
(MORE)
 11.

CHUCK (CONT'D)
(off their yucks)
Cmon, Johnny. You know you love
me. You gonna say no to the champ?

Barflies laugh along.

VOICES (ADR)
Yeah, Johnny... What the fuck?
Etc...

JOHNNY DICESARE
(grinning, giving in)
Okay okay. How much you gonna kill
me for two cases?

All business, Chuck pulls out his MAJESTIC LIQUOR ALUMINUM

CLIPBOARD. Digs out a pencil, licks it, starts to calculate.

CHUCK
Well, Johnny, for you...

Writing on his clipboard, Chuck glances over to Lil, who

winks at him. He mouths the words -- Tonight.

INT. STAIRWELL, BUFANOS GYM - LATER

Chuck, carrying gym bag, takes the rotting steps two at a

time and enters.

INT. BUFANOS GYM - CONTINUOUS

Dingy walls. Ratty fight posters. A handful of sparring

BOXERS, TRAINERS and HANGERS-ON.

Chuck heads across the gym, towards the LOCKER ROOM, waving
at Al, who has his feet up on the desk, a phone glued to his
meaty ear. Al windmills his free arm, signalling Chuck over.

INT. OFFICE - CONTINUOUS

Chuck plops down across from Als desk. Al is still on phone.

CHUCK
Whats up?

Al shushes him. Chuck shrugs and gets up to leave. Al makes a

face and grabs him, sits him back down.

AL (INTO PHONE)
Ok, you conniving bastard, its a
deal...
 12.

Al hangs up and smiles crookedly, picking up a pastrami

sandwich the size of a boot. Food drops on his white shirt.
As Chuck talks he picks meat off of Als shirt.

CHUCK
What was that about?

AL
Ill tell you when I tell you.
Hows the cut? Let me look atcha.

Chuck leans closer over the desk. Al smacks him in the face.

CHUCK
Ahhh! Whatd you do that for?

AL
To see if youre gonna bleed. Lucky
I know how to fix cuts, huh? The
Stormin Mormon nearly left you a
cyclops, you fuckin hemophiliac.

Al fingers the cut, examines it closely.

CHUCK
Hinke was a pussy. A fuckin
papercut. That was nothin compared
to the Foreman fight.

AL
(snaps his fingers)
Speakin of Foreman...

Al sits back, chewing his sandwich.

AL (CONTD)
That was Don King. Are you sitting
down, bubby?

CHUCK
What the fucks it look like?

AL
Because you beat Hinke, it looks
like Im looking at a guy with a
shot at the heavyweight title,
thats what it fucking looks like.
(spritzing pastrami)
The professor just got you a re-
match. Its a lock. Soon as Foreman
knocks out Mahatma--

CHUCK
Its Muhammad.
 13.

AL
I dont care if its Muk-luk, as
soon as Big George puts Alis
lights out, youre in.

CHUCK
(picking pastrami off his
own shirt now)
And if Ali wins?

AL
Shmuck! No way hes gonna win.
Foreman aint even human. Hes a
monster. Its a lock.

Chuck takes a deep breath, more anxious than jubilant.

CHUCK
Whoa.

AL
Your lucky day, Polack.

CHUCK
Every day is my lucky day, Al.
Every day! Every day an
opportunity.

AL
Yeah, yeah.

CHUCK
And this one, this one is a dream.
A fucking dream.

INT. CHUCK AND PHYLLISS BEDROOM - NIGHT

Chuck is in bed with Phyllis. He leans out of bed and smacks

his rabbit-eared black and white TV. On screen is the classic
boxing movie Gentleman Jim starring ERROL FLYNN. This is
Chucks Holy Grail. Seeing it transforms him.

CHUCK
Yeah! Here it comes. Here it comes.

ANGLE ON TV: GENTLEMAN JIM courageously fights the champ,

JOHN L. SULLIVAN, on a dock. TOWNSPEOPLE cheer.

Transfixed, Chuck throws punches along with Errol Flynn.

Phyllis, reading Love Story, shakes her head indulgently.

ANGLE ON TV: JOHN L. SULLIVAN with his entourage, grandly

enters a crowded bar. Chuck begins to recite--
 14.

CHUCK & JOHN L. SULLIVAN

I can lick any man in the world.
HA! HA! HA! Mike, drinks for
everybody in the house!

Phyllis joins Chuck, reciting Sullivans lines--

CHUCK, PHYLLIS & JOHN L. SULLIVAN

And I wanna shake the hand of
everyone of ya! Come on now. Come
on boys, the drinks are all on me!

They fall back on the bed laughing and then - go at it.

EXT. CHUCK AND PHYLLISS APARTMENT - MAGIC HOUR

SUPER TITLE: ONE MONTH LATER

Chuck, in trademark gray leather jacket, exits building with

Phyllis. They stroll down the street, toward Journal Square.

PHYLLIS
What are they doing, fighting in
Africa?

CHUCK
Publicity I guess. Maybe money. I
dont know.

PHYLLIS
Would you go to Africa?

CHUCK
Hey, this is my shot. Ill go to
the moon if I have to.

EXT. STANLEY THEATRE - 15 MINUTES LATER

Closer now, the Art Deco MARQUEE reads MUHAMMAD ALI VS.
GEORGE FOREMAN, THE RUMBLE IN THE JUNGLE, CLOSED CIRCUIT.

A COP, HAL, recognizes Chuck and Phyllis on line with FIGHT

FANS and grabs him.

COP (HAL)
Champ? What the hell? Come with me.

CHUCK
Thanks, Jimmy.

COP (HAL)
I hear youre next on the menu,
huh? Is that right? You gonna fight
Foreman. Yeah?
 15.

CHUCK
Looks that way. Yeah.

COP/HAL
(cutting through crowd)
Hey, move it, we got the champ
here!

Instead of being pissed, EVERYBODY seems happy to see Chuck,

who glad-hands them all. Until one guy yells-

REGULAR GUY IN CROWD

Yo, Bleeder!

Chuck freezes. He turns and peers at a PUDGY LOUDMOUTH.

PHYLLIS
(warning)
Chuck. Dont.

The guys grin curdles as his BLONDE GIRLFRIEND eats up

Chuck. A BEAT.

Chuck leaves Phyllis and moves in on Pudgy...

CHUCK
What'd you call me?

PUDGY
Uh...nothin...I...

Chuck winks at the blonde Girlfriend.

CHUCK (CONTD
So what are you doin later? Wanna
go out with a guy whos gonna KO
Foreman?

She eyes her boyfriend. Phyllis comes up behind Chuck, taps

him on the shoulder.

PHYLLIS
You wanna get a seat or what?

CHUCK
(chucks the guys chin)
Just messin with him. Maybe.

INT. STANLEY THEATRE - 10 MINUTES LATER

Chuck struts down the aisle with Phyllis, to a first row

balcony seat. Over his shoulder we see the burgundy CURTAIN
open.
 16.

LATER...

Chuck, eating from a box of Milk Duds, sits with Phyllis in

the sold-out theater and watches THE RUMBLE IN THE JUNGLE on
the screen.

CHUCK
Hes gonna walk right through him.

Ali does the rope-a-dope while Foreman throws punches, trying

to knock him out against the ropes.

PHYLLIS
He looks good, Ali.

CHUCK
Oh, you like that, huh?

PHYLLIS
I aint sayin...

CHUCK
Theres maybe two people in the
world give him a chance in hell.

CLOSE ON - CHUCK as the fight continues. Chucks face slowly

registering concern. And then...

KA-POW! ALI delivers the famous blow. FOREMAN crash lands on

the canvas. Ali stands over him, admiring his work.

Chuck stares at the Milk Dud in his hand - as if looking at

his future.

EXT. STANLEY THEATER - NIGHT

The crowd pours out of the building. Chuck stands on the

sidewalk with Phyllis, not moving.

PHYLLIS
Chuck...

CHUCK
Im gonna hit the diner, get some
coffee, something...

PHYLLIS
You want company?

CHUCK
No. I gotta walk. Let me walk. OK?

PHYLLIS
Yeah. Ok.
 17.

She goes.

ON CHUCK - Lost. Doesnt know which way to go.

INT. CHUCK AND PHYLLISS APARTMENT - LATER

Phyllis is alone, looks at her watch, worried. She grabs keys

and leaves.

INT. CAR - NIGHT

Phyllis pulls up to the diner, SEES...

HER POV - CHUCK sitting in the window.

She drives a little close and then SEES...

HER POV - Chuck and the Blonde he chatted up earlier

outside the Stanley Theater, their faces close over the
table. Chuck dips a French fry in gravy (a Jersey staple) and
feeds it to her, goo-goo eyed.

PHYLLIS parks in front of the diner window. Watching.

INT. BAYONNE DINER - MOMENTS LATER

Phyllis walks in, heading straight for Chuck and the Blonde.
She sits down at the table with them, waves for a waitress.

CHUCK
Phyll...

PHYLLIS
(to waitress)
Coffee, black. Thanks.

PLATINUM BLONDE
Excuse me...

PHYLLIS
No, dont apologize.

CHUCK
This is my..uh...wife.

PLATINUM BLONDE
Oh, shit.

PHYLLIS
Its ok. Its not your fault. Trust
me. This is just what he does. You
know? Happens all the time.
(MORE)
 18.

PHYLLIS (CONT'D)
He sees a bimbo like you, dont
even have to be pretty...and youre
not...and the bimbo says, you know,
I got freckles on my ass and boom,
Chuck here falls in love. He falls
in love with the freckles on your
ass.

PLATINUM BLONDE
I dont have freckles on...

PHYLLIS
Shut up. Im talking here. Of
course you dont have freckles on
your ass. You dont have anything
at all to recommend you but that
dont matter. You are just the next
person in line, the next person he
falls in love with.

And you think, oh my god, I hit the

jackpot. Big strong handsome
charming well-hung fuck that he
is...and he is.
(turning on Chuck now)
You think you are special to him,
because of those freckles, and
maybe you even marry him and have a
baby with him and go through
fucking hell with him year after
year after year...because you think
that will make him stick...that
will make him yours...forever...but
youre wrong. You see? Youre just
so fucking wrong.

A beat. The Blonde gets up slowly and leaves. Chuck looks at

Phyllis who is close to tears now.

PHYLLIS (CONTD)
Im done, Chuck. Im done.

CHUCK
Phyllis cmon.

PHYLLIS
Im taking Kimberly to my Moms
house. You do what you want.

CHUCK
Jeez, baby...
 19.

PHYLLIS
(quietly, conlusively)
Fuck you, Chuck.

Chuck reaches for her. Phyllis, crying now, sidesteps him and
leaves the diner. Chuck watches her go, shocked.

INT. LIVING ROOM, CHUCKS APARTMENT - NIGHT

Chuck, in boxers, sits in the dark room. The TV is on but the

sound is turned down. Telly Savalas in Kojak.

Chuck is staring at the screen, not seeing anything.

THE PHONE RINGS. Chuck grabs it.

CHUCK (INTO PHONE)

Phyllis?

AL (ON PHONE)
Its me. Al.

CHUCK
Shit. This better be good.

AL
Its better than good. You are what
they call a Golden Polack.

CHUCK
The fuck does that mean?

AL
It means its on, you putz. Ali is
in. Hes agreed to fight ya.
Muhammad Ali vs. Chuck Wepner.

CHUCK
Holy. Fucking. Shit. You serious?

AL
They needed a white guy.

Chuck stares off as Al keeps talking.

INT. PLAZA HOTEL BALLROOM - DAY

The rooms packed with 70s JOURNALISTS, all shouting or

shooting pictures. A BANNER, Give The White Guy a Break,
drapes one wall. More free-for-all than press conference.

MUHAMMAD ALI, in a sharp suit, Chuck, in a leisure suit,

stand at adjoining podiums. Al stands beside Chuck, beaming.
DON KING presides at the mike.
 20.

DON KING
I want to introduce a very
beautiful person. The challenger,
the formidable opponent... Mr.
Chuck Wepner!

Chuck clears his throat and taps the mike.

CHUCK
I just want to--

ALI
(grabbing mike)
Its been announced that Chuck
Wepner bleeds. He bleeds! He
bleeds! So Ill make another
announcement.

Ali mimes punching Chucks face. Chuck plays straight man.

ALI (CONTD)
There will be no shots landed in
his face. I will win this fight by
laying on the ropes. Hell get
tired, hell punch himself to death
and then Im gonna hit him in the
stomach, hit him in the side, in
the chest. I dont want any excuses
about cuts!

The PRESS eat up Alis schtick. Finally Chuck goes to the

podium, takes out a piece of paper.

CHUCK
Hes the master of the poem, so I
wrote a poem. Goes like this.
(reads)
Whats in a word
And whos to say what will be.
I know hell be the favorite
But thats as it should be
For there are those who say that
hes the best
To ever wear the crown...

Ali interrupts, feigns emotion.

ALI
Stop! Please, Im gonna cry!
(to press)
You hear the rumor?
(MORE)
 21.

ALI (CONT'D)
Don King say they gonna put
feminine napkins in Chucks corner,
cause the way he bleeds thats the
only thing gonna mop up the blood.

The PRESS goes nuts. Don King grins. Ali keeps going-

ALI (CONTD)
Jumbo! Maxi-Pad! Extra
absorbancy... For those heavy flow
days.

Chuck gives as good as he gets.

CHUCK
Speakin of that time of the month,
what kinda man goes around talkin
about how pretty he is? That kinda
stuff dont fly in Bayonne.

ALI
Bayonne? Black man cant even walk
down the street in Bayonne. Polacks
come up and make sausage out of
im.

Ali raises his fist like hes going to punch Chuck, who
counters with his own raised fist. FLASHBULBS POP! POP! POP!

EXT. NEWSTAND - BROADWAY, BAYONNE - MAGIC HOUR

COUPLES walk by chatting arm-in-arm. Chuck, conspicuously

alone, walks up to the stand, fishing in his pocket for
money. He tells the NEWSSTAND KID-

CHUCK
Give me those four papers.

Kid hands him papers. Chuck flips them over to SPORTS PAGE.
ANGLE ON: PHOTOS from the press conference...Chuck and Ali
and the headline: ALI TO DEFEND AGAINST WEPNER.

Chuck reads and looks around, like he wants somebody else to

share the news with.

EXT. PAY PHONE - NIGHT

Chuck dials the phone...waits expectantly.

CHUCK
Phyllis... Hi. Its me. You heard
the news?

INTERCUT - CHUCK AND PHYLLIS

 22.

INT. PHYLLISS MOMS HOUSE - KITCHEN/LIVING ROOM - NIGHT

Shes taking the call on KITCHEN WALL PHONE. Her blue haired
MOM (71) glares from the sofa, Kimberlys asleep in her lap.

PHYLLIS
Yeah. It was on the radio. All over
the papers, too.

CHUCK
Pretty good, huh?

PHYLLIS
Its nice, Chuck. But right now
your daughter is sleeping at
Grandmas house because Mommy
caught daddy with his hands in some
panties that didnt belong to
Mommy.

CHUCK
Im sorry, okay? This is big for
me. Big moment, huh?

PHYLLIS
Yeah, I know. Lucky day, lucky man.
Huh?

CHUCK
Yeah. Yeah. And I want to share it
with you. I love you, baby. Can we
just be a family here?

Dead silence as Phyllis doesnt answer.

CHUCK (CONTD)
Phyllis? Are you there?

Phyllis sighs.

PHYLLIS
Yeah. Im here.

CHUCK
Im gonna train full time for this.
Up in the Catskills. I never had
that before. I was never subsidized
before. This is the real thing.
This is different. Its all gonna
be different now.
 23.

PHYLLIS
Congratulations, Chuck. Im real
happy for you. I am. Lets talk
tomorrow.

CHUCK
Phyllis...

CLICK. Off Chucks look--

EXT. ROAD - YELLOW BUICK - DAY

MUSIC CUE: You Ain't Seen Nothin' Yet the Bachman-Turner

Overdrive, working class anthem. The guys sing along-

B.T.O. & GUYS (O.S.)

You ain't seen nothing yet. BOMP!
BOMP!!

INT. YELLOW BUICK - CONTINUOUS

Al at the wheel. Chuck rides shotgun. Clipboard in hand, he

works on his Liquor Sales Order Form. In back, cornerman
Paddy Flood and sparring partner, black Ali-sized CHARLIE
POLITE (30). All sport GIVE THE WHITE GUY A BREAK buttons.
All of them singing...sort of...

B.T.O. & GUYS

You just aint seen nothing yet.
Here's something that you never
gonna forget
B-B-B-Baby, you just ain't seen
nothin' yet...

Paddy Flood reads a Sport Illustrated with Chuck on the COVER

- Boxings Strange Encounter.

EXT. GRANIT HOTEL, KERHONKSON, NY - DAY

The SIGN says GRANIT HOTEL - CATSKILLS FINEST. Als sagging

Buick rolls through the gated entrance.

EXT. CATSKILLS COUNTRY ROAD - DAWN

Chuck and Charlie Polite, big and bad-ass, jog through snowy
woods in sweats, their breath visible. Chuck takes in the
scenery, blissed.

CHUCK
Look at all these trees!

CHARLIE POLITE
That theres Mother Nature, Chuck.
 24.

CHUCK
Yeah? Wheres she hidin the bars?

CHARLIE POLITE
Cant drink, youre training.

CHUCK
(puffing to keep up)
Im trainin. Swhy I need a drink.
(sings)
Una furtiva lagrima
negli occhi suoi spunt...

CHARLIE POLITE
What the fuck? You Italian now?

CHUCK
I used to sing opera. You know
that?

CHARLIE POLITE
Go on. Sing. Its good for the
lungs.

CHUCK
(sings)
Quelle festose giovani
invidiar sembr.
Che pi cercando io vo?
M'ama! S, m'ama, lo vedo. Lo vedo.

A STATION WAGON drives by and BEEPS! TEEN GIRLS wave. Chuck

drools.

CHUCK (CONTD)
Oh...oh...oh...

CHARLIE POLITE
And you cant have none of that,
neither.

CHUCK
(taking off at a sprint)
I can have breakfast, cant I?

CHARLIE POLITE
(catching up)
Long as it dont have legsntits.
 25.

EXT. GRANIT HOTEL - 30 MINUTES LATER

A CLOUD OF SMOKE surrounds cigar-chomping PHOTOGRAPHERS and

REPORTERS crowded around Chuck and his crew, still sweaty
from their run.

Al hands Chuck a towel. Paddy Flood rubs his shoulders.

REPORTERS yuck it up as they fire questions-

FAT BALD REPORTER

Folks are callin this a fight
between an artist and a house
painter!

CHUCK
(ignoring the insults)
Im in the best shape of my life.
Just a little shy of phenomenal.

FAT BALD REPORTER

Yeah. Well how do you plan to
fight?

CHUCK
Dirty.

FAT BALD REPORTER

Dirty like how?

CHUCK
Like high velocity rabbit punches
to the back of the neck. Kidney
punches. Yknow - dirty.

FAT BALD REPORTER

Come again?

AL
Well make Ali piss red for a week.
Put him on fucking dialysis.

CHUCK
Im fightin Bayonne-style.

VOICE ADR
Whatsat mean? You bleed in his
mouth till he drowns?

A beat. Then...

AL
You pricks need a new shtick.
 26.

VOICE ADR
What about the sweet science?

CHUCK
Lemme tell ya, the sweet science
aint so sweet, you got a pile-
driver in your nuts.

INT. CHUCK'S HOTEL ROOM, THE GRANIT - NIGHT

Chuck dials a phone. The night table CLOCK reads 3:12 AM.

CHUCK
John, am I callin too late?

SPLIT SCREEN:

JOHN STOEHR BEDROOM - NIGHT

John puts on his glasses and picks up the phone. A WOMAN

snores beside him.

JOHN
(whispering)
The liquor salesman never sleeps.

CHUCK
Damn straight. And I appreciate you
covering my route. I owe you.

JOHN
Forget it. Everything okay?

CHUCK
Yeah, except I just remembered.
Vic, over at Sabatinos Lounge in
Hoboken? He always gets extra
cocktail napkins. I dont know if
he wipes his ass with em or what,
but-

JOHN
Got it, Chuck.

CHUCK
And dont forget, Spiros, the
Greek, gets extra martini olives.
Im sure theyre walkin out the
back door, but hey.

JOHN
Covered. Its good to hear from
you, Chuck.
 27.

CHUCK
Yeah...yeah.

A pause. Chuck cant say it. John gets it...

JOHN
You want me to call her?

CHUCK
Have you seen her?

JOHN
No.

CHUCK
Id really like her to come out for
the fight.

JOHN
Ill talk to her.

CHUCK
Great. That would mean a lot to me.
And tell her...tell her I love her.

JOHN
Yeah. You love everybody. Go to
bed. Get some shut-eye.

CHUCK
Thanks buddy.

He puts down the phone. Sits. Then...

CHUCK (CONTD)
(singing softly)
M'ama! S, m'ama, lo vedo. Lo
vedo...

INT. BAYONNE POST OFFICE - DAY

John waits in line while Phyllis, in uniform behind her

window, weighs a package for a BLUEHAIR. When shes done--.

JOHN
Hey pretty lady!

PHYLLIS
John, what are you doing here?

JOHN
Thought Id check out the new
stamps. Yknow, for postcards.
(MORE)
 28.

JOHN (CONT'D)
Figured Id send a few - from
Cleveland!

PHYLLIS
(deflects)
Im busy here, John. You can see...

VOICE ADR
Hurry up, pal!

John holds one middle finger up, not turning around.

JOHN
Just a second, Bluto.
(voice low, pleading)
He needs you, Phyllis!

ON PHYLLIS...then...

INT. GREEN ROOM - DAY

Chuck faces Ali, both in makeup napkins and street clothes.

MUHAMMAD ALI
When we get out there, I want you
to call me a nigger.

CHUCK
Im not gonna do that. I got black
friends, my sparring partner is...

MUHAMMAD ALI
Your black friends gonna pay your
rent? You wanna sell tickets you go
on the TV and call me a nigger,
boy.
(nose-to-nose)
NIGGER! NIGGER! NIGGER!

CHUCK
Forget it. I wont do it.

Ali glares. Furious.

CUT TO:

THE MIKE DOUGLAS SHOW - 15 MINUTES LATER

Typical 70s TV talk show. MIKE DOUGLAS sits with Ali on his
left, Chuck on his right.

MIKE DOUGLAS
(off Chuck, sotto voce)
Uh, Champ. Hes really big.
 29.

ALI
Lose that scar tissue, the mans a
toothpick.

CHUCK
Keep talkin, Champ. Looks like all
you do these days is talk. And eat.

Mike makes show of gulping with fear.

ALI
Dont mind him, he dont like
colored people. Man called me a
nigger backstage.

Ali stands; Chuck stands, pissed. Inches apart, they glare.

MIKE DOUGLAS
Not here! The Cleveland arena will
sue me! Just hold off for two days!

EXT. BAYONNE MAIN DRAG - DAY

The town is Chuck-crazy. CHUCKS PHOTO and GOOD LUCK CHUCK

banners hang in every home, store and bar window.

EXT. BAR 39 - DAY

Johnny Dicesare, on a ladder, hangs a SIGN on the aluminum

siding - ALI vs. WEPNER BUS CHARTER--$175 all inclusive!

EXT. DOWN-TOWN CLEVELAND - MAGIC HOUR

A Greyhoud bus stops. Door opens and fans for Jersey get out.
A boozed-up John appears, followed by an anxious Phyllis.

INT. CHUCKS HOTEL ROOM - NIGHT

Chuck watches himself and Ali on TV.

ON TV - THE MIKE DOUGLAS SHOW

Chuck and Ali are both on their feet, facing off. Douglas is
trying to intervene.

Chuck turns away from the TV, stares out the window at the
snowy night. He studies his reflection, runs a finger along
the scars over his eyes.

AL (OS)
Hows it goin?

Chuck drops his hand. Sighs. Shakes his head. Al reads him.
 30.

AL (CONTD)
What is it, bubby?

Chuck raises his eyes, all front gone. Scared little boy-man.

CHUCK
I gotta go the full ride, Al.
(raising his eyes to Al)
I dont go fifteen, howm I gonna
look anybody in the eye?

Al places his hand on Chucks shoulder.

AL
With a punim like yours who would
want to look you in the eye?

At this Chuck fake throws a punch to Al, who blocks it and

counters. At that moment Al spots a gift basket of COCONUTS
in the corner.

AL (CONTD)
Who sent the gorilla balls?

CHUCK
My brother.

AL
Your brother? I didnt even know
you had a brother.

CHUCK
Ah, were not that close.

AL
Then whyd he sendem?

CHUCK
Its a gesture.
(still worried)
They got me at 40 to 1, Al. Thems
the odds.

He sits on the bed, head in hands.

AL
So?

CHUCK
The over under...5 rounds. Ali says
hell knock me out in 3. Like Im
nothing. Nobody. Like I dont
belong there. I gotta show them, I
belong there.
 31.

This time Al literally slaps Chuck in the face.

AL
Stop being such a pussy! Trust me,
Alis gonna look like the All-Time
Schvartze Putz of the Century when
you knock him out.

A KNOCK on the door. Al goes to the door, opens it...

PHYLLIS is standing there. Chuck doesnt see her.

AL (CONTD)
Well, well, well...

PHYLLIS
Hello, Al.

AL
Friend or foe, Phyllis?

PHYLLIS
Friend.

AL
Make it good.

He walks past her and leaves. Follow Phyllis into the room.
She goes to Chuck who is still sitting on the bed. He looks
up sees her.

CHUCK
Oh, baby...oh, baby...you are a
vision.

She moves into him, he wraps his arms around her, holds on
tight.

EXT. CLEVELAND STREET - DAY

Chuck and Phyllis are looking in the window of a department

store. In the window, a display of womens lingeree.

INT. DEPARTMENT STORE - DAY

Phyllis comes out of a dressing room wearing a powder blue

ensemble. Chuck beams as she models the outfit for him.

PHYLLIS
You like?
 32.

CHUCK
The only thing I would like better
is if you took it off.

Phyllis laughs and heads back into...

INT. DRESSING ROOM - DAY

Phyllis starts to take off the nightgown just as Chuck sneaks

into the dressing room and grabs her. She laughs and kisses
him.

SUPER TITLE - RICHFIELD COLLISEUM, CLEVELAND, March 24, 1975

INT. CHUCKS DRESSING ROOM - NIGHT

Chuck slumps on the table. Paddy tapes his hands. Charlie

Polite rubs his neck. Al looms over him.

AL
Now listen and listen good. Alis
gonna be doin his Rope-a-Dope.
Just like with Foreman. Dont be a
putz. Remember our strategy. When
he--

CHUCK
Youve only told me seventeen
times.

AL
Then lets make it eighteen, smart
guy.

EXT. BAR - CLEVELAND - NIGHT

People crowd into the bar. A banner over the door reads, ALI
vs. WEPNER FIGHT CLOSED CIRCUIT TELECAST

EXT. MOVIE THEATER - NIGHT

Another CROWD moving into the theater. On the marquee, ALI

vs WEPNER

EXT. RICHFIELD COLISEUM - NIGHT

A taxi pulls up. John and Phyllis get out and head toward the
coliseum entrance. Phyllis stops.

JOHN
What?

PHYLLIS
You go.
 33.

JOHN
What?

PHYLLIS
I cant.

JOHN
Phyll...

PHYLLIS
Please. Ill meet you back at the
hotel. After.

John watches her walk away.

INT. CHUCKS DRESSING ROOM - NIGHT

Chuck, Al, Paddy as before. The door flies open, John comes
in.

JOHN
(arms open wide)
Okay, baby, Im here!
(off Chucks look)
What? You think your best friends
gonna watch you fight the great Ali
on closed circuit TV?
(points at self)
Live and in the flesh!

CHUCK
(bolting up, not happy)
I thought my best friend was gonna
cover my liquor route. What are you
doin here? Jesus, John!

JOHN
Relax. Theres nobody in Bayonne
left to drink. Theyre all here in
Cleveland.

CHUCK
Wheres Phyllis?

JOHN
(lying)
Shes out front. With the gang. Im
telling you, the whole city is
here.

CHUCK
Why didnt she come back, see me?
Wish me luck. Huh?
(MORE)
 34.

CHUCK (CONT'D)
She shoulda come back. This is not
good. This is unacceptable.

Al nudges John out of the way. Grabs Chucks worried face.

AL
Enough. Enough. Focus, damnit! When
you touch gloves with that draft-
dodger, look him dead in the eye
and say, Youre fightin a U.S.
Marine! I wanna rattle his black
ass.

Suddenly DOOR OPENS and a VOICE yells in:

VOICE ADR
Five minutes!

AL
Showtime, boychik! Put on that
robe.

CHARLIE POLITE
Shit!

AL, JOHN, & CHUCK

What?

CHARLIE POLITE
The robe! I cant find the robe!

AL
Mother-fuck!

CHUCK
My lucky robe!

John, whos sitting in a chair, gets up. Sheepish.

JOHN
Is this it?

Al grabs the red, white and blue robe from Johns hands.

AL
Ya dumb cluck!
(holding it open)
Puter on, Chuck. Look at yourself.

He steers Chuck to mirror. We see his back of the robe bears

the USMC insignia under CHUCK WEPNER, BAYONNE, NEW JERSEY.
 35.

AL (CONTD)
Check it out, boys. Im lookin at a
champion here. Im lookin at a
champion.

Chuck leans into Al, head to head, smiles.

CHUCK
Lucky day, Al. Lucky day, lucky
man.

INT. HALLWAY, CLEVELAND COLISEUM - NIGHT

Camera leads Chuck, throwing punches, and TEAM WEPNER past

PHOTOGRAPHERS - through the bowels of the Coliseum towards
the ring.

We HEAR the Marine Corps Hymn over the loudspeakers.

SOUND AND PICTURE MORPH INTO DREAM FANTASY TIME:

INT. TV STUDIO (HOWARD COSELL SHOW) - DAY

CLOSE ON - CHUCK talking to camera.

CHUCK
Walking out of that dressing room
in front of 15 million people...I
never felt any kind of excitement
like that in my life...

INT. COLESEUM - NIGHT - SLO MO

IN THE RING - THE OPENING CEREMONY

Chuck is shadow boxing with Al in his corner.

Ali is dancing near Don King and Angelo Dundee.

CHUCK (V.O.)
For me to turn around and see
Muhammad Ali right there, right in
front of me - that was worth
everything. Everything I had to go
through to get there, that was
worth everything.

James Brown sings the National Anthem.

CLOSE ON - CHUCK hearing it, beaming.

SOUND OF THE BELL

 36.

EXT. STREET (CLEVELAND) - NIGHT

Phyllis walks past a bar, looks through the window and

SEES...

HER POV - A TV showing the fight, Chuck and Ali sparring.

Phyllis turns away and keeps walking.

INT. TV STUDIO - DAY

CLOSE ON - CHUCK talking to camera

CHUCK
Then he pulled my head down, Ali
pulled my head down and hit me with
10, 15 rabbit punches. Pow-pow-pow-
pow...

INT. COLESEUM RING - NIGHT

CLOSE ON - ALI delivering those punches.

EXT. STREET (CLEVELAND)

Phyllis passes ANOTHER BAR thats showing the fight.

CLOSE ON - PHYLLIS trying not to look. The crowd in the bar

is going nuts.

INT. MOVIE THEATER - NIGHT

The same moments on the movie screen. The crowd is screaming.

The round ends with...

EXT. MOVIE THEATER

Phyllis walks past the movie theater.

INT. COLESEUM RING

CLOSE ON - ALI screaming at the ref.

INT. TV STUDIO - DAY

Chuck is laughing.

CHUCK
Then he starts doing the famous
rope-a-dope stuff. I cant get near
him. Some kidney shots. Side of the
head. And then, boom...
 37.

INT. COLESEUM RING - NIGHT

Ali lands a fierce blow and Chucks eye busts open. Blood
flies. SOUND of the crowd roaring.

CHUCKS POV - ALI seen through the blood clouding Chucks eye
as he circles Ali. And then...

Chuck connects and ALI GOES DOWN.

INT. MOVIE THEATER - NIGHT

The CROWD goes insane.

INT. ANOTHER BAR (CLEVELAND)

Phyllis comes into the bar, and watches the TV with the
SCREAMING patrons.

ON THE TV - CHUCK circles the ring, elated. The Ref is

counting...

INT. TV STUDIO

CLOSE ON - CHUCK

CHUCK
I turned around to Al and I says,
Al start the car, were goin to
the bank. Were millionaires! Al
says, Hey, you better turn around
cause hes gettin up and he looks
pissed.

He laughs as...

INT. COLESEUM RING - NIGHT

Ali gets up and glares at Chuck.

SOUND OF BELL REPEATS signaling one round after another.

CLOSE ON - ALI and CHUCK

A display of SHEER BRUTALITY. Ali lands punishing blow after

punishing blow to Chucks face. Each punch, hard enough to
crunch bone, snaps Chucks head with precision. But he wont
go down.

SOUND OF BELL CONTINUES

CHUCKS FACE IS MEAT LOAF. Ali lands three straight punches,

square on his face.
 38.

Chuck, in a display of world-class balls, raises his arms out

to his sides, as if to say, Is that all you got?

INT. MOVIE THEATER - NIGHT

The entire audience is on its feet, SCREEAMING...

AUDIENCE
BLEEDER!! BLEEDER!! BLEEDER!!!

INT. BAR (CLEVELAND)

Phyllis fights her way through the SCREAMING crowd in the bar
to...

EXT. STREET (CLEVELAND)

Phyllis comes out of the bar and starts moving fast toward
the coleseum.

INT. COLESEUM RING

Al works on Chucks cuts.

AL
Go for it, Chuck. Go for it. You
hear me? You got one round left.
Finish the fucker. Finish him.

He throws a glass of water in Chucks face. The BELL RINGS.

Chuck gets up, legs shaking with exhaustion.

CHUCKS POV - THE WORLD IS A BLUR as Ali circles him,

pounding him mercilessly. And then, POW.

Ali knocks Chuck down. He hangs on the ropes, arms straight

out at his sides, like a club fighter Christ.

From far away, Chuck hears the refs voice...

REF
...four...five...six...seven...

The REF counts. Chuck, with superhuman heart, gets back up.

CHUCK (V.O.)
At eight I got up, I stood in front
of the ref, everything kinda
spinnin, and all of a sudden I see
him waving his hands...

The REF calls a TKO. Overwhelmed with emotion, Al and Paddy

rush to Chuck.
 39.

INT. BAR

The same moment on the TV.

INT. MOVIE THEATER

The same moment on the screen

BACK TO:

INT. COLESEUM RING

Al holds onto Chuck as Paddy sponges him. Chuck is confused.

CHUCK
What? What...?

AL
You done good. You done real good.

CHUCK
(not understanding)
Done what? What?

Slowly the dawn, as the ring fills up with REPORTERS. Chuck

sinks onto Al. Al holds him up. Everybody is crying now.

INT. COLESEUM HALLWAY

Phyllis is walking, hearing the crowd screaming from the

arena. She stops. Waits. And finally...

Chuck appears surrounded by Al, Paddy and Reporters. He sees

Phyllis, moves toward her.

CHUCK
I was still standing, Phyl. End of
fifteen, still standing.

PHYLLIS
Yes you were, baby. Yes you were!

CHUCK
I gave him a good fight.

PHYLLIS
Yeah. You sure did.

CHUCK
My lucky day.

Looking at the gore and wreckage of his face...

 40.

PHYLLIS
Yeah, Chuck. Lucky day, lucky man.

She kisses his bloody face carefully and tenderly. They walk
toward the dressing rooms together.

INT. MOVIE THEATER

The place is empty now...except for one man, sitting alone,

his back to us, staring up at...

The empty white screen.

CHUCK (V.O.)
And I tell you, what I felt was
vindicated.

INT. TV STUDIO

Chuck is talking to Howard Cosell.

CHUCK
Thats what I felt. Vindicated.
Because I proved that I belonged
there. Fifteen rounds. On my feet.

COSELL
And what a reception in
Bayone...lets take a look.

CUT TO:

INT. CHUCKS LIVING ROOM - DAY

ON THE TV - THE COSELL SHOW continues.

FOOTAGE OF CHUCK AND PHYLLIS ON STEPS OF BAYONNE CITY HALL

STEPS WITH MAYOR COLLINS

MAYOR
As your mayor I officially declare
today Chuck Wepner Day in Bayone,
NJ. Welcome home, Chuck.

A small group of fans CHEER, waving CHUCKS OUR CHAMP!

banners.

Chuck kneels by the TV, transfixed by his own face. He mugs

for John and Phyllis who are watching from the couch. Phyllis
is holding Kimberly in her lap.
 41.

COSELL (ON TV)

Whats the reaction now today of
your wife, your children, over
seeing you get cut the way you do
and mauled and beaten?

CHUCK (ON TV)

The cuts really werent bad,
Howard. I get more stitches
sometimes shaving after a rough
night out with the boys. And the
wife, shes my biggest fan. Cant
get enough of me in action.

COSELL
Ill bet a lot of women like seeing
you in action.

CHUCK
Good to know, Howard. Wine, women
and song...I love them all. And not
necessarily in that order. Guess
what I like first?!

Phyllis looks at him...furious. She gets up, gives Kimberly

to Chuck and leaves the room. Chuck watches her go.

Kimberly chooses that moment to show him a pair of paper

dolls.

KIMBERLY
Look.

CHUCK
Those are... somethin.
(looking close)
Are those... little boxing gloves.

We see that shes made LITTLE PAPER BOXING DOLLS.

CHUCK (CONTD)
Wow, theyre fightin huh?

KIMBERLY
Just like you, Daddy.

CHUCK
Thats my girl!

INT. CHUCKS KITCHEN - DAY

Phyllis stands by the sink, staring into nothing. Chuck comes

up behind her.
 42.

CHUCK
Hey, where you going?

PHYLLIS
Wine, women and song, huh?

CHUCK
Phyll...

PHYLLIS
Talking about other women. On
television. You son of a bitch.

CHUCK
Come on. Thats nothing. Thats
just talk.

PHYLLIS
Talk hurts, Chuck. You know?

CHUCK
Phyll...

PHYLLIS
Leave me alone. I got things to do.

CHUCK
But you gotta see the rest of the
show, theres more, theres
better...I aint through yet.

PHYLLIS
Yeah. I know. And when will you be
through? Hmn? Your biggest fan?
See you in action? You think I
like that? Beat to shit like that?
Look at your face. If I never see
you in action again, itll be too
soon. You understand?

CHUCK
Aw, Phyl...this is who I am.

PHYLLIS
Youre a father and a husband.
Thats who you are.

CHUCK
I know that.

PHYLLIS
And sometimes a decent liquor
salesman. Why isnt that enough for
you?
 43.

CHUCK
It is. It is enough.
(a beat)
And then it isnt.

PHYLLIS
Right.

CHUCK
I had the whole city, Phyl. I had
the whole city in the ring with me.
They love me for that. Even I lost.
It dont matter. They love me.

PHYLLIS
Yeah. Everybody loves you, Chuck.

EXT. CHUCKS CADDY - DAY

ANGLE: CU NJ LICENSE PLATE- CHAMP, framed by boxing gloves.

INT. CADDY

Chuck pulls down visor and winks at himself in VANITY MIRROR.

CHUCK
Im Chuck Wepner, howzit goin? You
mightve seen my little fight...

He practices smiling and handing out his BUSINESS CARD. It

features the famed PHOTO OF CHUCK KNOCKING ALI ON HIS ASS, on
the back of the card.

CHUCK (PRELAP) (CONTD)

Howd it feel? Let me tell ya...

INT. MOOSEHEAD BAR - LATER

An enormous POLISH GUY under a MOOSEHEAD stares at Chucks

BUSINESS CARD entranced.

CHUCK
...I turned around and I says to my
manager Al, start the car, were
going to the bank. Were
millionaires... Al says forget the
bank, we need a firehose. Cause
Alis gettin up and his ass is
burned!

CUT TO:
 44.

INT. SILHOUETTE BAR - NIGHT

MANNY, the owner, laughs, along with customers gathered

around Chuck.

CHUCK
So, the day of the fight I says to
my wife, Lets go shoppin. I
needed to calm down. I needed the
distraction. So we go down on the
avenue there in Cleveland and I
pick her up a beautiful negligee.
Powder blue...and I says,
(pantomiming holding it)
Honey, tonight I want you to wear
this to bed because tonight youre
gonna be sleepin with the
Heavyweight Champ of the World....
...So, after the fight I come back
to the hotel room, I let myself in,
and shes sitting on the edge of
the bed in the negligee. And she
says to me...

INT. MOTEL ROOM, CLEVELAND - NIGHT

Phyllis sits on the edge of the bed in the BLUE NEGLIGEE.

PHYLLIS
So - do I go to Alis room or does
he come to mine?

CUT BACK TO:

INT. SILHOUETTE BAR - NIGHT

The whole BARROOM laughs. Manny slaps Chuck on the back, as

Chuck smoothly takes out his ALUMINUM CLIPBOARD, licks a
pencil. TWO MINI-SKIRTED BLONDES hang on Chuck.

CHUCK
So how we doin on Smirnoff, Manny?

MANNY
Ill take whatever you got, Champ.
People are doing a lot of
celebrating this week.

Chuck beams. Then, as he writes down the order, he looks

across the bar, past Manny at LINDA (35), the redheaded
bartender. To impress her, he launches into Gentleman Jim
speech.
 45.

CHUCK
I can lick any man in the world.
HA! HA! HA! Drinks for everybody in
the house!
(yells)
Hey Red, everybody drinks on me!

LINDA
Wait your turn. I got customers.

MANNY
Whoa! Dont you know who this is?

LINDA
Yeah. The Bayone Bleeder.

CHUCK
Thats right, baby.

LINDA
Ali says you stepped on his foot,
thats why he went down.

CHUCK
Total bullshit.

LINDA
Thats what he says. A dirty
fighter...thats also what he says.

CHUCK
(turn on the charm)
I aint no choirboy.
(looking around)
But I dont see a lotta choirboys
in this joint. So how bout it?

LINDA
About what? Sell the bad-boy act to
your chippies. Im not buyin.

Before Chuck can reply she goes to a GUY who sits beside him.

LINDA (CONTD)
Whatre you havin?

CHUCK
(off her blow-off)
Well, fuck me.

LINDA
(smiling)
Not in this lifetime. But now its
your turn. What are you having?
 46.

CHUCK
Vodka rocks, and whatever these jim-
jims are drinkin.

CHUCK digs her feistiness. She pours for Chuck and the others
at the bar.

MANNY
Chuck, show her that ring.

CHUCK dis-engages from the two Blondes and extends his right
hand. LINDA takes it and eyes ring.

CHUCK
Designed it myself. See, its a
metaphor. The black onyx represents
Ali and Im the diamond.

LINDA
I was you, Id find the gumball
machine you got it from and get
your quarter back.

CHUCK
I paid 18 hun for this baby.
(gazing into her eyes)
Whats your sign, Sugar?

LINDA
Pisces.

CHUCK
No way. Thats my sign.

LINDA
Like thats not a line. Whats your
birthday, big shot?

CHUCK
February 26.

LINDA
Thats my birthday.

CHUCK
Are you shittin me?

LINDA
No, its my birthday.

LINDA pulls out her drivers license. CHUCK reads it.

 47.

CHUCK
Linda Pandilano.
(holding license)
Anybody every tell you, you take a
great picture?

LINDA
Yeah yeah.

CHUCK
No, seriously. Im so in love it
hurts. Whatcha doin the rest of
your life? Lets get married.

LINDA
Sure. Let me call your wife.

CHUCK
How do you know I have a wife?

LINDA
Youre right Chuck. I dont know
fuck all about you. And you dont
know fuck all about me.
(shaking her head)
So what are you doing?

CHUCK
What am I doing?

LINDA
Thats what I said. I said what are
you doing?

She moves down the bar.

CLOSE ON - CHUCK as the question sinks in. SOUND of the bar

fades out.

SLOW DISOLVE

ON THE SCREEN - DECEMBER 1976

INT. CHUCKS APARTMENT - DAY

Phyllis and Kimberly are hanging ornaments on a Christmas

tree.

The phone RINGS.

PHYLLIS
Chuck? Get it, will you? I got my
hands full here.
 48.

Chuck comes out of the bedroom in his boxers and answers the
phone.

CHUCK
Hello. Yeah. Yeah, this is him.
What? No. I dont know what youre
talkin about. Say what? What?

EXT. LOEWS MOVIE THEATER - NIGHT

Chuck and Phyllis stare at the marquee which reads - ROCKY

5 Stars Roger Ebert.

PHYLLIS
Five stars. Must be good. Huh?

CHUCK
I guess.

They buy their tickets like average shmoes.

INT. LOEWS MOVIE THEATER - LATER

Lugging popcorn, Chuck and Phyllis find seats in the rear.

Its mobbed. They settle in as the house lights dim.

ANGLE: A beam of projector light on to the movie screen. We

hear BUGLE fanfare as the MGM Lion roars.

ANGLE: CHUCK AND PHYLLIS - Projector light flickers as they

watch the movie screen.

We HEAR overlapping SOUND BITES from the movie ROCKY. Chuck

stares, entranced as he hears Stallones classic lines-

STALLONE/ROCKY
I just wanna prove somethin-- I
aint no bum... Dont matter if I
lose. Dont matter if he opens my
head... If I go them fifteen
rounds, an that bell rings an Im
still standin, Im gonna know then
I werent just another bum from the
neighborhood... Yo, Adrian!

Chuck and Phyllis are slightly shocked by what they are

seeing and hearing.

PHYLLIS
Chuck...

CHUCK
Yeah. I know.
 49.

Hold on Chucks face. A man falling in love with himself...

TIME CUT:

INT. LOEWS MOVIE THEATER - LATER

ANGLE SCREEN: End credits roll as the house lights come up.
Chuck and Phyllis remain sitting for a moment, taking it all
in. Then...

...a few EXHILARATED PATRONS recognize him, starting a

celebrity buzz:

MOVIE PATRON
Hey! Chuck Wepner! Youre Chuck
Wepner. Yeah? Fantastic!

The TWO ROWS near him break into applause. Then FOUR ROWS.
It grows to an entire THEATER facing him for a standing
ovation. FANS congratulate him like hes the movie star.

VOICES ADR (contd)

Congrats!...Incredible!... Howzit
feel to see yourself on the screen?

CHUCK
Thanks...Thank you...Feels amazing!
Im truly honored.

Chucks a deer in the klieg lights: proud, excited, stunned.

CUT TO:

INT. TV STUDIO - DAY

Stallone is being interviewed.

STALLONE
...I had wanted to write something
about the way I felt. But I knew my
story wasnt commercial....wasnt
translate-able in many languages.

INT. CHUCK'S APARTMENT - NIGHT

JUMP CUTS: Eye on the mirror, sipping vodka, Chuck puts on

green slacks, green alligator shoes and flowered silk shirt.

STALLONE (V.O.)
And then as fate would have it, I
went to that boxing match. And
somthing just popped.

Back to...
 50.

INT. TV STUDIO - DAY

Stallone again...

STALLONE
I said thats it. Thats me. The
Bayone Bleeder.

SOUND of the Rocky Fanfare takes us back to...

INT. CHUCKS APARTMENT - NIGHT

Chuck puts on his diamond and gold Boxing Gloves necklace,

his AAU Championship medal, a SILVER DISCO WHISTLE, a gold
bracelet spelling CHUCK in diamonds, two black onyx rings,
one of the head of Caesar, and sprays on Pierre Cardin.

STALLONE (V.O.)
Chuck Wepner. That is the way I
feel. Thats who I am.

Last, Chuck tilts his trademark white Panama straw hat and
winks at himself. Stylin.

CHUCK (cont'd)
Check - and mate.

He grabs his car keys and struts out.

INT. THE OSPREY NIGHT CLUB, MANASQUAN, NJ - NIGHT

SEASIDE PARTIERS dance to the HOUSE BAND SALVATION fronted

by a feather-haired singer, LENNY MOLINARI (30s) singing KC &
The Sunshine Bands (Shake, Shake, Shake) Shake Your Booty."

JOEY BARCELONA,(40) in aviator glasses, spots Chuck rolling

in wearing his disco outfit with 2 BABES on his arms. John
eagerly follows.

JOEY BARCELONA
Ladiesngents the King is here,
the man who went 15 rounds with
Muhammad Ali, the real-life Rocky
Balboa and the toughest son of a
bitch in the Garden State, Chuck
Wepner!

A SPOT hits Chuck. He gives his trademark fist-pump. The band

kicks into a Disco version of Rockys Theme.

CHUCK
(throwing a right)
Hit song!
(throwing a left)
(MORE)
 51.

CHUCK (CONT'D)
Hit movie!
(beaming to his entourage)
What can I say? Im a lucky guy.

Chuck, John and BABES leap onto the dance floor and shake
their booties.

Joey Barcelona does The Hustle over to Chuck on the dance

floor and yells to Chuck over the music-

JOEY BARCELONA
Champ, I gotta tell ya, the movie
was amazing! I mean, Ten Academy
Award nominations. Holy Mazoley!
You musta really backed up the
Brinks Truck on that baby, huh?

Chuck looks uncomfortable, then - it just comes out of him.

CHUCK
Ill let ya in on a secret. When
Sly told me about Rocky, he offered
me 70 Gs or 1% of the box office.
I took the 70. The fuck I know
about movies? Im from Bayonne!

JOEY BARCELONA
Bird in hand, right?

CHUCK
(still dancing)
Bird-in-hands worth a hand in the
bush. Kapeesh?

JOEY BARCELONA
Double-kapeesh.

Chuck blows his silver whistle. The BARTENDER snaps to

attention in Chucks direction.

CHUCK
Yo, Doll, set my man and his girl
here up with whatever they want.

John turns to Chuck, in front of Joey Barcelona-

JOHN
You pocketed 70 grand on that?

CHUCK
Shut up, John. Forget about it.
 52.

JOHN
No, seriously. You got 70 Gs?
(pivoting, to guys nearby)
You hear that? Chuck here got 70
big ones for Rocky!

He holds out a hand to slap five with Chuck, who ignores it,
grabbing John and snarling at him as he pulls him aside.

CHUCK
John, would you shut the fuck up?
Youre not my agent, all right?
Youre my pal. This is business. I
dont put my business on the
street. I dont want to hear it
again, okay? Jesus fucking Christ!

JOHN
(shaken)
Oh man, Chuck, I... I apologize.
(lip quivering)
I... I didnt mean to...

Chuck, feeling bad, gives John a shoulder squeeze.

CHUCK
Aw forget it. Im sorry, I over-
reacted.

Chuck looks left, looks right, then confides-

CHUCK (CONTD)
Listen, the truth is...
(whispers)
I didnt get bupkis for the movie.

JOHN
Really?

CHUCK
Yeah. Not a fuckin dime.

JOHN
Jeez. Im sorry man. Thats fucked
up.

CHUCK
I know. I had to say somethin, I
didnt want to look like a dolt.

JOHN
This stays with me, Chuck. Im your
friend.
 53.

The men hug. Then Chuck bounces back, all smiles.

CHUCK
Right back at ya. Come on, lets
go party.

While Chucks talking, John looks past him.

JOHN
Oh my God! Chuck, dont turn
around. You wont believe whos
coming toward us.

VOICE OS
Hey, Chuck Wepner!

REVERSE: We see the short, stocky, plaid bow-tied, plaid

jacketed, plaid hat wearing New Jersey local UHF
comedy/variety show legend UNCLE FLOYD, extending his hand.
Chuck is over the moon. They shake.

UNCLE FLOYD
I am such a fan.

CHUCK
Uncle Floyd. Are you shitting me!
Im your biggest fan. Ive been
watching your show for years.

John Stoehr, still sitting down, looks up, starstruck.

CHUCK (CONTD)
This is my friend, John.

UNCLE FLOYD
Yeah, yeah, how ya doin? So Chuck,
I was gonna hit the mens room.

CHUCK
Okay, see ya later.

Chuck starts to sit down, Uncle Floyd grabs him.

UNCLE FLOYD
No, no, I mean Im gonna see a guy.
(Uncle Floyd-esque)
I got a friend named Toot. You
wanna meet him?

CHUCK
You want me to walk you to the
Mens Room, to meet a guy?

Chuck looks puzzled. John, living vicariously, pushes him.

 54.

JOHN
Jeez Chuck, its Uncle Floyd. Go
ahead.

INT. THE OSPREY - MENS ROOM - 5 MINUTES LATER

We PAN the row of stalls. See FOUR LEGS below one. We hear
the unmistakable sound of snorting.

INT. TOILET STALL - CONTINUOUS

We see Uncle Floyd lower his necklace-coke-spoon from Chucks

nose. Chucks now wearing a big grin.

CHUCK
This is fuckin great.

UNCLE FLOYD
You never did blow before?

CHUCK
Blowjobs, yeah. Blow, no.

UNCLE FLOYD
(talking fast)
All the great men have partaken--
(snorting from spoon)
Sigmund Freud, President McKinley,
Satchmo, Sherlock fucking Holmes,
Babe Ruth! What do they have in
common? The White Lady.

CHUCK
Babe Ruth?

UNCLE FLOYD
Hell yes.
(another sniff)
Morning, noon and night. How do you
think he got his fat ass around the
bases? Snortski.

CHUCK
Definitely. I gotta catch up with
the Babe.

Uncle Floyd loads a spoon. In his enthusiasm, Chuck knocks it

onto the toilet seat. Chucks super-apologetic.

UNCLE FLOYD
No problem-o.
 55.

Rolling up a C-note, he leans down and snorts it off toilet

seat, then hands the bill to Chuck - Mister Clean Freak - who
hesitates, smiling gamely, then takes the tube. Chuck snorts,
stands back, gazing happily at Uncle Floyd.

CHUCK
God, I feel so fucking good.
(doing a little shuffle)

UNCLE FLOYD
(loading another spoon )
Thats the idea, Champ. Here.

Chuck snorts, then Floyd. They bond hard.

PRE-LAP: WE HEAR A LOUD WHISTLE.

INT. OSPREY BEACH CLUB HOTEL - DANCE FLOOR - DAY

A spotlight hits Chuck, whos holding two drinks, flanked by

HOTTIES as he makes his way onto the dance floor, blowing his
whistle.

Lenny shoots his hand up in the air, stopping the music-

CHUCK
(pumping the air)
Lets get this party started!

The band breaks into Im Your Boogie Man by KC and The

Sunshine Band.

Chuck starts grinding hard with BIG HAIR BIKINI GIRLS.

Everybody on the dance floor starts grinding harder.

INTERCUT WITH THE ABOVE:

INT. MOTEL ROOM - NIGHT

VARIOUS ANGLES - CHUCK fucking the Bikini Girls.

And end with...

INT. BED - MORNING

Chuck is passed out in a bed. We dont know where we are.

PHYLLIS (O.S.)
Say goodbye, Chuck.

And we reveal...
 56.

INT. CHUCKS APARTMENT - MORNING

Phyllis sits watching him. He opens his eyes. Badly hung

over. Sees her.

CHUCK
Huh? What?

PHYLLIS
Say goodbye.

CHUCK
Goodbye. You goin someplace.

PHYLLIS
No. Not me. You. Youre going
someplace.

CHUCK
I dont...wherem I goin?

PHYLLIS
Someplace I dont care where youre
going but youre going. Now. Today.

CHUCK
I dont get it. What?

PHYLLIS
I dont want you in my house any
more. I dont want you near my kid.
You stink, Chuck. You stink like
left over pussy. And it makes me
sick. Im going out, Im taking
Kimberly. I come back, youre gone.
OK?

CHUCK
Phyll...

PHYLLIS
No. Youre gone. Thats all.

CHUCK
This hurts.

PHYLLIS
You wanna talk about hurt? You live
five minutes in my heart. Then
well talk about hurt.

She goes. Chuck tries to get up. He can barely stand. When he
does get on his feet, he doesnt know where to go.
 57.

INT. CHUCKS CONDO - DAY

John is helping Chuck move into the furnished apartment.

JOHN
This is nice. You got the beach
down the street. You got the club
nearby. You got everything you
need.

CHUCK
Yeah. I got everything I need.

He stares out the window.

INT. BUFANOS GYM - DAY

Chuck, drenched in sweat, takes his frustration out on the

heavy bag.

ANGLE ON: Als office window. Al, feet on desk, noshing a

bagel, is wrapping up a call.

AL
Fan-fartin-tastic. Ill tellem.

Al waddles up from behind and grabs Chuck in a headlock.

AL(CONTD)
Three words, bubby. Andre the
Giant.

CHUCK
What about him?

AL
Youre gonna kick his freak show
keister, thats what. I just got
off the horn with Vince McMahon.
Hes talkin about a mixed match -
wrasslin and boxing. The next big
thing. And you, my handsome friend,
are gettin in on the ground floor.

Al smiles proudly. Chuck looks at him like hes insane.

CHUCK
Youre kiddin, right? Im a boxer,
Al, not a friggin circus
performer.

AL
Hey, youre famous now. You want to
work, you gotta stay famous.
(MORE)
 58.

AL (CONT'D)
Believe me, goin toe to toe with a
giant at Shea Stadium aint gonna
hurt.

CHUCK
Cant you get me a fight? Legit?

AL
Yeah, I can get you a fight. But
this is bigger. Better. Trust me.
This is the dawn of a new chapter
in your life. No more Bayonne
Bleeder. From now on..Chuch Wepner,
the New Jersey Assassin.

CHUCK
Yeah. I like the sound of that.
Assassin. How much do I make?

AL
25 grand.

CHUCK
My lucky day. Lucky day, lucky man.

CUT TO:

INT. CHUCKS APARTMENT - NIGHT

Phyllis is watching the fight on TV.

ARCHIVE footage ON TV : Andre the Giant lifts Chuck off the

mat, then hoists him easily over his head, spins him and
tosses him out of the ring.

Phyllis shakes her head in disbelief. Kimberly walks in

dressed in her pyjamas.

KIMBERLY
I cant sleep...

She looks at the tv. Phyllis doesnt want her to see that.
She shuts the tv off. She takes her daughter with her on the
sofa, and they cuddle.

INT. LOCKER ROOM - NIGHT

After the Andre fight, Chuck is alone in the locker room. He

strips off his wrestling costume.

EXT. BEACH - NIGHT

Chuck walks along the beach carrying his duffle bag. He

stops. Stares out over the water.
 59.

SOUND OF APPLAUSE TAKES US TO...

INT. CHUCKS CONDO - NIGHT

Chuck does a couple lines of coke. Pours himself a drink,

munches chips as he watches the Oscars on TV. Alone.

JACK NICHOLSON
...and the winner is...Rocky!

Stallone accepts on TV. Chuck screams, upsetting chip bowl.

CHUCK
God-damn! We won! We fucking won!

Chuck fumbles around the condo, stoned, excited, looking for

the phone. Finds it, dials.

CHUCK (CONTD)
Phyllis! You wont believe this.
Rocky won for Best Picture.

PHYLLIS O.S.
Thats nice, Chuck.

CHUCK
Best picture! Fucking academy
award!

PHYLLIS
Well...Im happy for you. Really.

CHUCK
Thanks, Phyl.
(a beat. Then...)
Hey?

PHYLLIS
Hey what?

CHUCK
I miss you, Phyll. I really miss
you.

PHYLLIS O.S.
You should have thought of that
before you banged half of Bayonne.

CHUCK
Cmon baby. Not tonight... We won.

PHYLLIS
Congratulations.
 60.

We HEAR Phyllis hang up. CLICK.

Chuck holds the phone for a beat before he hangs up. All
alone with roaring silence. He gets up, sits back down.
Stares.

EXT. SUBURBAN RANCH HOUSE, SOUTH JERSEY - DAY

Chuck pulls up in his caddy, gets out, carries a bottle of

champagne to the front door. Knocks. FLO WEPNER opens the
door. Surprised.

FLO
Chuck?

CHUCK
Flo. How ya doin?

FLO
Well. Chuck. Come on in.

INT. HOUSE - DAY

Flo leads Chuck into the house. Calls out...

FLO
Don? Its your brother. Its Chuck.

DON (O.C.)
What?

CHUCK
(cheerful)
Your brother, you shitbird!

Chucks brother DON (38), crewcut ex-cop, tough as Chuck but

shorter comes into the room.

DON
What the fuck...?

CHUCK
Hey, Donnie.

DON
What are you doin here?

CHUCK
Say hello first.

DON
Hello. What are you...? Whats the
matter? Whats wrong?
 61.

CHUCK
Nothin. Nothins wrong and
everythings right!

Flo leaves them.

FLO
I got something in the kitchen.
Excuse me.

CHUCK
(to Don)
You dont know, do you?

DON
Know what?

CHUCK
You didnt watch last night?

DON
Watch what?

CHUCK
The awards. The Academy fucking
Awards!

DON
Huh?

CHUCK
You didnt see?

DON
No, I didnt see.

CHUCK
We won.

DON
Who won? You?

CHUCK
Yeah. Me. Rocky. Rocky won.

DON
So?

CHUCK
What do you mean so? Its me. Im
him.

DON
Whos you?
 62.

CHUCK
Rocky! Thats my life. Without me.
There is no Rocky.

DON
Oh. Ok.
(a beat. Then...)
So.

CHUCK
So again. So nevermind. OK? You
dont get it. So. So. So fuck you.

He paces, doesnt know where to land.

DON
Chuck...

CHUCK
I gotta go. Hows the kids?

DON
Kid. One kid.

CHUCK
Yeah. I know. How is she?

DON
He.

CHUCK
Jesus.

DON
Yeah. Like that. What do you want,
Chuck? What are you doin here?

CHUCK
I wanted to celebrate.

DON
The movie.

CHUCK
Yeah. My life, you know? My lucky
day. On the big screen. Academy
award. Fuckin academy award!

DON
And what does that get you? I mean,
what does that get you?

Chuck doesnt have an answer. He waves the question away.

 63.

CHUCK
Whats his name? The boy. Your boy.

DON
Danny.

CHUCK
Yeah. I knew that. Tell him I said
hello. Huh? Tell him the champ was
here and... Tell him.

A pause. Then...

DON
You wanna stay for dinner?

CHUCK
No. I cant. I got people. Some
other time.

He waits a beat. Then he goes.

Flo comes back into the room, shares a look with Don.

KINT. BACHELOR CONDO, BAYONNE - SAME TIME

A WIDE SHOT. Chuck paces nervously. Stares at the phone. The

gravitational pull is too much. He flips through a Yellow
Pages, picks up and dials-

CHUCK
Western Union? Yeah, I wanna send a
telegram...
(listens)
Mister Sylvester Stallone, care of
United Artists Studio, Hollywood,
California.
(listens, then, indignant)
Do I have an address? I just told
you! Ahhh, fer Chrissake...

Chuck slams the phone down. Sits. Thinks.

EXT. BROADWAY AND 80TH STREET, NYC - LATE AFTERNOON

Chuck and John walk up the street.

JOHN
So what did he say when he called?
 64.

CHUCK
(lying)
That he wanted me to come visit. He
felt it was long overdue.

JOHN
Whoa! You sure its cool that I
came?

CHUCK
Of course its cool. Besides,
Slys a regular guy. He tucks his
balls in his pants just like the
rest of us.

JOHN
So whatd Stallone talk about?
Pussy? I bet that guy cleans up.
Huh?

CHUCK
John, please. Sly is discreet. He
doesnt talk about that. Guys who
get it never do. With Stallone and
me, its strictly professional.

JOHN
Of course.

CHUCK
We talk about the Ali fight, my
strategy, any tips I can give him.
Stuff like that.

JOHN
You gave him tips?

CHUCK
You never heard that. Im not
supposed to talk about it.

JOHN
What else did he say? Cmon.

Chuck and John walk up to a cordoned off Paradise Alley

MOVIE SET with period EXTRAS in 30s costume. An A.D., a full
headset and clipboard type, stands in their path.

ASSISTANT DIRECTOR
Can I help you?

CHUCK
Yeah, Im Chuck Wepner and--
 65.

JOHN
Sly personally called him at home
and invited him to come to the...

Chuck quickly grabs Johns shoulder and squeezes.

CHUCK
Ill handle it, John.
(handing A.D. his card)
Im the guy Rocky was based on.

JOHN
No Chuck Wepner, no Rocky Balboa.

CHUCK
John, for fucks sake, can it!

The A.D. studies the card and hands it back.

ASSISTANT DIRECTOR
Chuck Wepner. Uh, right. Yeah. I
know you. Let me just--

Chuck interrupts, speaking in A.D.s ear so John cant hear.

CHUCK
Thing is, Sly dont know Im here.
Id like to, yknow, surprise him.
(with a menacing look)
Its important.

ASSISTANT DIRECTOR
Uh, sure, yeah, I guess its ok.

He opens the barricade. Chuck gives the AD a shoulder squeeze

and powers by.

CHUCK
Thanks, buddy.

John tries to follow but the AD stops him.

ASSISTANT DIRECTOR
(to John)
Whoa. You better wait here.

JOHN
What? Wait a minute...

CHUCK
Yeah. Hes with me.
 66.

ASSISTANT DIRECTOR
Yeah, but I cant...uh...just wait
for him here.

JOHN
Alright, alright. Go on. Fuck.

John watches from a distance as...

ANGLE: From over Stallones shoulder, he spots Chuck and

yells--

STALLONE
HO-LY SHIT! Keep them cameras
rollin! Meet the real Rocky,
everybody!

Chuck and Stallone hug. The FILM CREW gives Chuck an ovation.

ON JOHN who almost has tears in his eyes as he watches from a

distance.

INT. JOURNAL SQUARE LIQUORS - DAY

Chuck shows a script to an INDIAN LIQUOR STORE OWNER.

CHUCK
So he tells me that hes gonna
write a part just for me.

Chuck proudly holds a numbered ROCKY II SCRIPT in his hand.

Chuck licks his finger and opens to his hi-lighted scene.

CHUCK (CONTD)
Slys sparring partner, Ching
Weber.
(looking up, to explain)
Ching Weber, Chuck Wepner. Get it?

INDIAN LIQUOR STORE OWNER

Have you acted before?

CHUCK
Act? Chings a boxer, Im a boxer.
I play me every day.

Indian Owner considers this.

CHUCK (CONTD)
Hey, you thought Rocky 1 was big?
Hollywood only does sequels when it
has a sure thing...

Chuck points at himself.

 67.

CHUCK (CONTD)
Rocky II is a sure thing. Like
Chicken Vindaloo.

INT. BUFANOS GYM - DAY

Chuck shows script to Al Braverman and Paddy Flood.

CHUCK (cont'd)
You thought my Ali fight was big?
Alis small potatoes compared to
this. They oughta call it Wepner
II.

Chuck unwraps a tootsie-pop and puts it in his mouth.

CHUCK (CONTD)
Between us, Stallones talking
other projects.

INT. BAR 39 - NIGHT

Chuck shows the script to John.

CHUCK (cont'd)
Its like I been training for this
all my life. Toe-to-toe with
Sylvester Stallone on the silver
screen...

John stares at Chuck in awe.

CHUCK (CONTD)
Notify the other planets, John. A
star is born.

JOHN
In fuckin Bayonne.

EXT. ART STOCKS PLAYPEN GO-GO BAR, SAYREVILLE NJ - NIGHT

Neon light reflects off of Chucks Caddy, parked in front of

this Jersey den of iniquity.

INT. ART STOCKS PLAYPEN GO-GO BAR - SAME TIME

Chuck and John hang out with two topless GO-GO GIRLS, RACHEL
and SANDY, in G-strings, big hair and heels. Chuck pulls out
the Rocky II script.

RACHEL
Wow!
 68.

SANDY
Ive never seen one of these.

JOHN
Its called a screenplay.

Chuck sneaks an annoyed look at John and turns back to girls.

CHUCK
Tomorrow Im going down to Philly
cause my personal friend, Sylvester
Stallone, wrote a part for me in
his new movie, Rocky II.

JOHN
A real Hollywood movie.

He glares at John, then turns back to the girls.

CHUCK
Here, take a look.

Chuck licks his finger and opens script. ECU: we see CHINGS
lines, highlighted in YELLOW MARKER. The GIRLS are awed.

CHUCK (CONTD)
You two should come to Philly, meet
Sly. Maybe I can get you a part.

JOHN
Chuck can do that. Seriously.

CHUCK
John, for fucks sake.

JOHN
What?

RACHEL
(to Chuck, blown away)
Can you really?

SANDY
No way!

CHUCK
Why not? Youre both beautiful
girls. The movies always need
beautiful girls.

JOHN
Beautiful and classy.
 69.

CHUCK
Egg-fucking-zactly.

JOHN
Ya never know...

The girls consider it. Chuck waggles a coke spoon to seal the
deal.

EXT. MOTEL POOL - NIGHT (2:00 AM)

John and Sandy, in inner-tubes, nurse cocktails. Rachel

floats by on a raft. Everyone's naked, coked up, drunk,
gazing up at--

Chuck, buck naked, standing on diving board. His arms are

outstretched, a bottle in each hand. For a beat he gazes down
at his reflection in the pool.

He launches into the scene from Gentleman Jim we heard him

and Phyllis recite earlier. Shit-faced and weaving, we half-
expect him to tumble sideways onto the concrete.

CHUCK
I can lick any man in the world.
HA! HA! HA! Drinks for everybody in
the house! Tonight the Palace Bar
is taken over by John L. Sullivan,
himself! And I wanna shake the hand
of everyone of ya! Cmon boys, the
drinks are all on me!

CHUCKS POV: Below him, in blurry triplicate, the naked girls

applaud and John gives him a thumbs-up.

SANDY
That was really moving. Im
serious.

JOHN
Youre ready for your close up, Mr.
DeVille.

RACHEL
I teared up. I swear.

CHUCK
(pointing to himself)
This face? The camera loves me!

Off their giggles and comments, he tiptoes to edge of board.

 70.

CHUCK (CONTD)
For my second act, Id like to do
my impression of Sonny Listons
last fight with Muhammad Ali.
(flicks himself lightly on
the cheek)
TAKING A DIVE!

Chuck flies off and does a cannonball - SPLASH! It capsizes

Rachel and spills everyones drinks.

INT. CHUCKS CADILLAC - EARLY MORNING

Savagely hung over, Chuck drives while Rachel and Sandy share
a giggly joint and teach John to chair-hustle. Chuck white-
knuckles the wheel. Giving them stink-eye in the rearview, he
pulls out his little coke jar and hoovers the whole thing.

CHUCK
Forty minutes late. Shit!

EXT. HILTON HOTEL, PARKING LOT - PHILADELPHIA - DAY

Chuck parks the Caddy hard. Four doors open at once. VALET
PARKERS and GUESTS ogle Rachel and Sandy, both in hotpants,
and heels. Chuck pulls the coke out again, smacks it on his
hand to get the last crumbs, cursing.

CHUCK
Shit!

He lumbers out of the car, this huge angry scar-faced guy in

lime slacks, open-chest floral shirt, Panama hat and jewelry.
Chuck rushes toward the entrance as Rachel, Sandy and John
try to keep up. John slaps him on the back.

JOHN
Chuck, hey, youre supposed to be
late. Its show business.

INT. HILTON - 11TH FLOOR - HALL

Chuck, John, Rachel and Sandy step off elevator. A female

P.A. (20s) in glasses meets them.

P.A.
Mr. Wepner? Theyre all waiting for
you.

She turns quickly. As they follow, John elbows Chuck.

JOHN
See that, she knows who you are.
You are in!
 71.

Chuck glowers. The girls follow excitedly. The PA walks them

down hall past WALKY-TALKY GUYS. Chuck whispers to Rachel.

CHUCK
Got any Tic-Tacs?

Rachel hands him a Tic-Tac container. Chuck knocks back a

dozen. They stop at a door flanked by benches.

P.A.
I need your friends to wait here.
Follow me.

Chuck nods. Somber. John gives him a big thumbs up.

JOHN
Knockem dead, Valentino.

RACHEL
(tugging cleavage down)
Dont forget, if they need girls...

Chuck starts to follow the P.A. through the door, then stops.

CHUCK
Fuck! Wheres the screenplay?

Chaos, Rachel digs it out of her purse. Chuck grabs the

script, now stained. He eyes his lines, and heads in.

INT. CONFERENCE ROOM, HOTEL, PHILADELPHIA - CONTINUOUS

PRODUCERS and CHARLOTTE (30), the bespectacled casting

director, sit at a long table, with Stallone. Stallone gets
up when he sees Chuck.

STALLONE
Chuck! Thanks for comin down.

CHUCK
Hey, I was in the neighborhood.

Chuck flashes a big smile. Nobody laughs. This isnt Bayonne.

STALLONE
What? Yeah. Everybody, this is
Chuck Wepner. The real deal.

The movie people barely acknowledge him. A definite chill in

the air.
 72.

CHUCK
How you guys doin?
(spotting lush deli plate)
Bagelsnlox. Now thats my style.

As Chuck picks up a plate, Stallone puts a hand on his

shoulder. Chuck puts the plate back down.

STALLONE
Ready to read, Champ?

CHUCK
You shittin me? I was born ready.

Chuck waits for the laugh. The Execs are stone-faced.

Stallone picks up a script, nods for Chuck to open his.

STALLONE
Okay, Chuck. Stand over here.

Stallone points to open area in front of the table. They take

their places, Stallone sizing Chuck up-

STALLONE (CONTD)
Now, in this scene, Rocky and Ching
are sparring. Your old trainer
Mickey is watching ringside. And
you are jealous because you feel it
should really be you getting the
title shot. Its a bitter pill,
yknow? Somebody else gettin what
is rightfully yours. Try and feel
that. You with me?

CHUCK
I dont have to feel it, I live it.

STALLONE
Perfect! Thats beautiful. Hold
that. So, uh, Ill do Rocky and,
uh, Charlotte--
(pointing to casting lady)
--will read Mickey, you good?

CHUCK
Lets rocknroll.

Chuck and Stallone spar, Ching connects with a big punch.

BAM! Stallone/Rocky acts pissed at getting hit so hard-

STALLONE/ROCKY
Hey! Come on...what was that? Were
sposed to be workin here.
 73.

As if forgetting hes supposed to reply, Chuck bounces on his

toes. A big awkward pause before he reads, stiffly and badly.

CHUCK/CHING WEBBER
Youre a bum. I can lick you and --
Ummmm--
(looking down at script)
lick you and, uh, all the other
guys in this gym... In one--
(checking script)
--day.

STALLONE/ROCKY
Yeah. But were just workin.
Were gettin in shape for the
title fight.

Again Chuck comes in late. Wooden as a park bench. Stallone

waits for him--

CHUCK/CHING WEBBER
Oh, sorry Sly...

Chuck turns to Charlotte and the stone-faced producers.

CHUCK/CHING WEBBER (CONTD)

What the fucks goin on here? He
used to be sparrin with my
partner. -- I mean --
(checking script)
My sparring partner.

CHARLOTTE/MICKEY
(old man voice)
Listen, youre bein paid to spar
with him. Just do your job.

CHUCK/CHING WEBBER
(weirdly forced, awful)
Ah, fuck you! Fuck you both!

Stallone ends the scene. Chuck turns to him and the

Producers, who stare back impassively.

CHARLOTTE
That was great. Thank you.

Chuck is sheepish. Stallone steers him to the door, talking

quietly to him.

STALLONE
Look Chuck, I want you in this
movie. But Im the talent.
(sotto voce)
(MORE)
 74.

STALLONE (CONT'D)
You gotta give the suits somethin,
yknow what I mean? Go in the
bathroom. Take a minute, study the
script. Kick it around. Get pissed
off, yknow, then come back and try
it again. Okay Champ?

CHUCK
Yeah, yeah. Okay, Sly.

STALLONE
Okay.

INT. MENS ROOM - 10 MINUTES LATER

Chuck faces a mirror. Reading. Gesturing. Firing himself up.

CHUCK/CHING WEBBER
Youre a bum. I can lick you and
all the other guys in this gym in
one day!--Youre a bum. I can lick
you and all the other guys--Youre
a bum...

Chuck eyes his image, furious with himself.

CHUCK
Youre a fucking BUM!

He punches the mirror so hard it splinters, breathing hard,

like hes going to sob, then splashes water on his face,
takes a deep breath and stalks out of the bathroom.

INT. HILTON CONFERENCE ROOM - MOMENTS LATER

Chuck nervously licks his lips as Stallone talks to him. We

see the thing weve never seen before - Chucks fear.

STALLONE
Be yourself this time. Dont act.

CHUCK
OK, Sly. Got it.

Stallone starts sparring. CHUCK throws" a punch. BAM!

STALLONE/ROCKY
Hey! Come on...what was that? Were
sposed to be workin here.

Chuck pushes him away. After an excruciating moment, Chuck

attempts his lines, off-script.
 75.

CHUCK/CHING WEBBER
Youre a bum. I can lick you one
day and-- No, no, wait--
(checking script)
You are a bum! I can lick you and
all the other guys in this gym in
one day.

STALLONE/ROCKY
Yeah. But were just workin.
Were gettin in shape for the
title fight.

CHUCK/CHING WEBBER
(to Charlotte)
What the fucks goin on here?

He freezes, forgetting his next line--

CHUCK/CHING WEBBER (CONTD)

(checking script)
He used to be my sparrin partner.
Now Im his?

CHARLOTTE/MICKEY
(old man voice)
Listen, youre bein paid to spar
with him. Just do your job.

CHUCK/CHING WEBBER
(passionate - but awful)
Ah, fuck you! Fuck you both!

Chuck looks expectantly at Stallone and the producers. Brutal

silence. Finally Chuck cant take it, and pipes up.

CHUCK
Was that better, Sly?

Stallone takes his shoulder and guides him to the door again.

STALLONE
Youre the champ, Chuck. Thanks for
comin down. Well call you.

Chuck just nods his head, like a little boy. Watching Sly go.

INT. CHUCKS CADILLAC, HILTON HOTEL PARKING LOT - AFTERNOON

Still parked, Chuck clutches the wheel, staring straight

ahead. Johns beside him up front, Rachel and Sandy sit in
silence in the back. John leans close and speaks quietly.
 76.

JOHN
What happened up there?

CHUCK
I am such a fucking jerk.

Chuck PUNCHES himself in the face three times.

CHUCK (CONTD)
Im so fucking stupid.

Blood trickles from his nose and lips.

CHUCK (CONTD)
The chance of a lifetime. Why did I
do that?

Chuck BANGS his forehead into the steering wheel and bloodies
it. John squirms. Rachel and Sandy put their hands over their
mouths. Chuck turns to John.

CHUCK (CONTD)
Am I a fucking asshole or what?
(punching his own face, his
voice cracking)
FUCKING! - MORON!

John tries his best to console him.

JOHN
Ya got to really get into a part,
you know? You can do it. Maybe
thisll lead to somethin else?
Stallones got the connections.

Chuck is oblivious, stuck in his own head.

JOHN (CONTD)
So, what did he say anyway?

Tears in his eyes, Chuck turns to him, laughing horribly.

CHUCK
What did he say? What did he
fucking say?

JOHN
Sorry, Chuck. Im just--

CHUCK
He told me theyd fucking call me,
thats what he said.
(mimicking Stallone)
Well call you.
(MORE)
 77.

CHUCK (CONT'D)
What am I, some broad who gave him
a blowjob? Jesus Christ! I can not
believe this!

JOHN
If he says hell call...

CHUCK
John would you please shut up!

John, stung, hunches up a little. The girls cower. Chuck in

tears, continues, like hes talking about a dream.

CHUCK (CONTD)
I was reading the lines and I
didnt have them memorized. I
didnt know when to come in. I was
late every time. Three stinking
lines and I couldnt get it right.

John gives Chuck a hug. Chucks shoulders are heaving.

CHUCK (CONTD)
Hell never talk to me again. Fuck,
what have I done?

SLOW DISOLVE

EXT. CHUCKS CONDO BUILDING - MORNING

Bright sun. A few cars are parked out front. Across the
street, we see Cucks Caddy parked half on the sidewalk.

SUPER TITLE: 3 YEARS LATER

ANGLE: Chucks face is mashed against the window, drooling.

This is rock bottom.

Suddenly, CHUNKY MAN LEGS in BERMUDAS and FLIP-FLOPS pad into

view. A FIST bangs on the window. Then bangs harder.

VOICE OF FLIP-FLOP MAN

Hey! Hey asshole, wake up!

CHUCK
Wha--? What the hell...?

Chuck opens the door, nearly tumbles out, but catches

himself. We see hes in flowered bikini briefs and Panama
hat, facing a Jersey FIREPLUG in shorts and flip-flops.

CHUCK (CONTD)
You calling me an asshole?
 78.

FLIP-FLOP
Yeah. What are you, deaf, too?

CHUCK
You know who I am?

FLIP-FLOP
Youre the asshole blockin my car.
Besides that, no, I dont know who
you are and I dont give a shit
either.

At the same time, a car pulls up. John gets out, moves toward
them.

Chuck rears back to clock the guy. John yells.

JOHN
Chuck, NO!

Chuck stops to look at him. The pugnacious short guy snarls.

FLIP-FLOP
Just move your land-yacht, ya
fuckin lush.

JOHN
Ill take care of it, bud.
(to Chuck)
Come on, Champ.

FLIP-FLOP
Champ? Thats a joke.

Flip-Flop Man paddles off. John walks Chuck to the bungalow.

JOHN
Jesus, Chuck. What the fuck?

CHUCK
What are you doin here?

JOHN
I aint heard from you. I was
worried.

CHUCK
(pushes him aside)
Youre an old lady. Get off me. Let
go!

JOHN
You need a shower. Somethin. Soak
your fuckin head.
 79.

Chuck bangs the door open, goes inside.

CHUCK
I gotta pee.

John watches him go. Then he gets into the Caddy, starts the
engine, moves the car.

INT. CHUCKS CONDO - MORNING

Chuck walks past several BODIES on the floor, goes to the

couch where DEVONE is doing a line of coke.

DEVONE
Yo, Champ? How they hangin?

CHUCK
Clankin like cowbells.
(recognizing the guy)
Devone, right? How ya been?

DEVONE
Im good, Im good. Hey, this is
some good shit. Any chance I could
score an O-Z?

CHUCK
You kiddin me? My guys the guy.

DEVONE
All right! I got a thing goin on
with a special lady tonight, you
know how it is...

CHUCK
Hey, I wrote the book on how it is.
Meet me 8 oclock at the Silhouette
Lounge. Ill take care of you.

DEVONE
Im there.

A PHONE RINGS during the above. Nobody answers it. Finally

John comes back inside, picks up the receiver.

JOHN
Hello?

DEVONE
(to Chuck)
So, uh, what are we talkin...?

Whispering so John doesnt hear them...

 80.

CHUCK
25 hun - you pay what I pay.

DEVONE
Good thing I just got paid.

Devone slides cash out of his tight jeans, counts it, slips
money to Chuck.

DEVONE (CONTD)
Youre the champ, man.

JOHN
Chuck. Chuck. Its Phyllis.

CHUCK (INTO PHONE)

Hi, Phyllis.

Listens as he fidgets nervously.

CHUCK (CONTD)
No, no. Ill be there.

Hangs up. Chuck looks spooked.

JOHN
You gonna be okay? Youre sweatin
like a fiend. What are you doin to
yourself?!

CHUCK
Oh hey, Im fine. Little fever.
Gimme my keys. Get outta here.

Chuck staggers to put on some clothes.

EXT. BAYONNE PUBLIC SCHOOL - PARKING LOT - DAY

In front of a rundown elementary school. HIGH ANGLE: a

parking lot half full of cars - one, a red CADILLAC, with the
drivers door open and a pair of mens legs sticking out.

EXT. CHUCKS CADILLAC - CONTINUOUS

We see Chuck snorting cocaine thats fallen onto the floor.

CHUCKS POV: THREE PAIRS OF SHOES, MENS and WOMENS and
BOYS, approach. He scrambles to his feet, facing them.

CHUCK
(too loudly, sweating)
Damn brake pedals stuck!

A SUBURBAN COUPLE just stare at him. Their snotty KID smirks.

 81.

INT. BAYONNE PUBLIC SCHOOL - CLASSROOM - LATE MORNING

Chuck clambers in, high and sweaty. FACES OF WAITING PARENTS

in grade school seats and their CHILDREN swing towards him.
Phyllis and Kimberly (now 11), are at the teachers desk
talking to the TEACHER, a LARGE BLACK WOMAN.

CHUCK
There they are!
(to parents)
Boy, if I tried to sit in one of
these itd probably splinter!

Over-friendly, drunk and coked-out, Chuck rushes in, trying

to hold it together, extending his hand to introduce himself
to PARENTS--

CHUCK (CONTD)
Chuck Wepner... Hi, how you doin?
Chuck Wepner... Hi...Yeah, Im the
guy who fought Ali. Did 15 rounds.

A military looking FATHER (30) turns his head away.

FATHER
Smells like you went fifteen rounds
with Johnny Walker.

The guy grabs his WIFE and SON and leads them out of the
room.

CHUCK
Hey...

PHYLLIS
Chuck, please.

CHUCK
Yeah. Yeah. Im here. Here I am.

He makes his way up front to join Phyllis and Kimberly, beams

at the teacher.

Kimberly goes to him, hugs him.

CHUCK (CONTD)
So, hows my little princess? Smart
as a whip, right? Takes after her
Mom. Oh, wheres my manners?

He offers his big meaty paw.

CHUCK (CONTD)
Im Kimberlys Daddy, Chuck.
 82.

TEACHER
Pleasure to meet you, Mr. Wepner.

CHUCK
Call me Chuck. Or Champ. I kind of
am one, at least in New Jersey. You
follow boxing?

Phyllis aims a glare at him.

CHUCK (CONTD)
What? Hows the report card?

Chuck pulls Kimberly into his lap, grabs the report card and
studies it.

CHUCK (CONTD)
Hmmmm. Not bad. Not bad at all.

KIMBERLY
Its upside down, Daddy.

CHUCK
Shit.

PHYLLIS
(to Teacher)
I am so sorry...

CHUCK
Dont you apologize for me.

PHYLLIS
Chuck, stop it.

CHUCK
(sniffling, wiping nose)
What? Theres a problem?

PHYLLIS
Yes. Youre the problem. OK?

CHUCK
(to Kim)
You been beatin up boys? Is that
the problem?

KIMBERLY
(mortified)
No!

She tries to get away from Chuck. He holds on to her.

 83.

PHYLLIS
Leave her alone, Chuck. Im telling
you.

CHUCK
Oh excuse me. Im five minutes
late! Like Id miss my little
girls Parent-Teacher? Are you
shitting me?

Phyllis tries to pull Kimberly away from Chuck.

PHYLLIS
Let her go, Chuck.

She reaches for Kimberly. Chuck resists, swings an arm and

accidently backhands Phyllis in the face.

TEACHER
Mr. Wepner!

KIMBERLY
Da-deee!!!

She runs out of the room. Chuck goes to Phyllis.

CHUCK
Im sorry. Baby, Im sorry.

PHYLLIS
No! No! No! Dont...dont touch me.

She follows Kimberly out of the room.

EXT. SCHOOL - DAY

Phyllis is sitting on the steps holding Kimberly. Chuck

approaches, sits down next to her.

CHUCK
Phyll...

PHYLLIS
Im scared for you, Chuck. Im
scared for whats going to happen
to you.

CHUCK
Dont be scared. I can take it.
Whatever... I can.

PHYLLIS
No. You dont get it, Chuck.
 84.

CHUCK
What dont I get? Im a
little...Im fucked up right now,
but...Im...Im...Im sorry, Im
sorry, Im sorry.

PHYLLIS
No. You dont see.

CHUCK
See what?

PHYLLIS
People love you, Chuck. Real
people. Me. Im one. Kim. Your
brother. John. These are the people
who love you. Not the people youre
chasing. Real people. Right in
front of you. And you cant see
them.

CHUCK
(foggy)
I...I dont understand.

PHYLLIS
No. You dont. I wish somebody
could hurt you so bad, so you did
understand. I wish I was that
somebody. But Im not. I cant help
you, Chuck. I wish I could. But I
cant.

CHUCK
Aw, Phyll, please. I gotta go. I
gotta see a guy.

PHYLLIS
Yeah. You go. Go. I aint said a
prayer since grammar school, you
know? But Im gonna pray for you.
Thats all I can do for you now.
Pray.

She takes Kimberly by the hand and walks away.

Chuck sits there on the school steps. Then he tries to stand

up. Loses his balance. Finally gets to his feet and walks to
his car.

EXT. SILHOUETTE LOUNGE - EVENING

Long shot. Chuck waits in front of the bar. A black Mercury

pulls up. Chuck goes to the drivers window.
 85.

Chuck drops a wad of cash into drivers lap - the DRIVER

takes a baggie out of the glove compartment and slips it to
Chuck.

We sense its their routine. Chuck puts the stuff in his boot
and the driver pulls away. Chuck checks his watch. Then turns
and walks unsteadily into the bar.

INT. SILHOUETTE LOUNGE - DAY

Chuck staggers in and is shocked to see the redheaded

bartender, bartending.

CHUCK
Jesus. Jesus Christ.

LINDA
How ya doin, Chuck.

CHUCK
Its you.

LINDA
Last I checked.

CHUCK
The one that got away!

LINDA
Dont flatter yourself. You never
had me. And if youre tryin to
sell me something, I got all the
liquor I need.

CHUCK
Im not trying to sell you
anything.

LINDA
So whyre you here?

CHUCK
Im meeting a guy about somethin.

LINDA
You dont look so good.

CHUCK
I look like shit. I feel like shit.
I am shit.

LINDA
Bad day, huh?
 86.

CHUCK
If I said apocalyptic, I would not
be exaggerating. Worse day of my
life. Fucked up, every which way.
My wife, my kid. I oughta be hauled
up by my balls and horse whipped.
Thats how bad today was. Today
cant get any worse.

LINDA
I believe you.

CHUCK
And then, you know what? Fuck me,
all of a sudden the day gets
better.

LINDA
Oh, yeah?

CHUCK
What are the odds, huh? Runnin
into you today. On this, the worst
fucking day of my life...which also
happens to be my birthday. OUR
birthday! See? See that? I
remember. If that aint a sign, my
name is shit-for-brains.

LINDA
A sign of what?

CHUCK
Fate. Fate. Fate is talking to me.

LINDA
Wepner, you are a piece of work.
You want a drink, or are you just
gonna talk in circles?

CHUCK
Vodka rocks.
(putting his hand on hers)
You and me - were connected. Dont
you see that?

Linda slides her hand away, but stays.

LINDA
No, I dont see that.
 87.

CHUCK
Fats Domino, Jackie Gleason and
William Frawley, you know, Fred on
I Love Lucy, all February 26.

LINDA
Thats special, Chuck. Three fat
guys and a club fighter.

CHUCK
Did I forget to mention - The Man
In Black... Johnny Cash? What do
you say?

LINDA
Chuck, can we cut the frabba-jabba?
You got a line of 23 year old
cupcakes down at the shore. I know
your reputation. I go anywhere near
you, I catch whatever the go-go
girl down at the Playpen has.

CHUCK
All over. Thats all over. Im
puttin it all behind me. From
today on. From this moment on. My
whole life is gonna turn around.
Because of you. Because of seein
you right now at this moment like
some fuckin angel making a visit
to me.

LINDA
I dont think so.

CHUCK
This is my lucky day. YOU are my
lucky day. Lucky day, lucky man.

LINDA
I was born 35 years ago, Chuck. Im
too old to believe this line. Even
if you believe it. And you sound
like you do.
(handing him drink)
Sell it somewhere else. OK?

CHUCK
You wanna know what I think?

LINDA
Not really.
 88.

CHUCK
(standing up, wobbly)
I think you like me.

LINDA
Well, youve been hit in the head a
lot.

CHUCK
Thats funny. You oughta try out
for Saturday Night Live.
(slapping down some bills)
Keep the change.

LINDA
You sure you can drive?

CHUCK
See that, you do care about me!

She laughs. He checks his watch.

CHUCK (CONTD)
I gotta go out to my car for a
minute. You wait here.

LINDA
I aint going nowhere.

Chuck makes his way out, stopping at the door to give her one
last look.

CHUCK
Im comin back for you. Im comin
back.

EXT. SILHOUETTE LOUNGE - NIGHT

Chuck is all smiles as he staggers out of the lounge and

moves toward his Caddy. As he gets into the car...

SCREECHING TIRES. SIRENS. TWO POLICE CARS.

CHUCK
Oh, no. Not now. Not now...

A COP rushes the car, pistol drawn. Chuck just sighs, nodding
to the COP. The Cop sighs sadly.

CHUCK (CONTD)
Hey, Hal.
 89.

COP (HAL)
Hey, Chuck. Can you step out of the
car, hands on your head? Sorry
about this.

CHUCK
(opening door)
Youre just doin your job.

TWO MORE COPS approach, also pointing their weapons.

CHUCK (CONTD)
(off weapons)
You dont need those, fellas, I
already shot myself in the ass.

COP (HAL)
You have the stuff on ya, Champ?

CHUCK
In my boot.

COP (HAL)
So, uh, we gotta read you your
rights, okay?

Chuck holds his hands behind his back for cuffs. Hal reads
his rights.

ANGLE - LINDA watching with some other PATRONS from the door
of the bar

INT. SAYREVILLE POLICE STATION - CAPTAINS OFFICE - NIGHT

Chuck sits in a stupor of booze, coke and self-disgust. The

CAPTAIN, a silver-haired 50, hands Chuck a cup of coffee.

CAPTAIN
It was a set-up. Your pal Devone
rolled.

CHUCK
Whos Devone?

CAPTAIN
Stand-up guy, huh? Listen, Chuck,
weve been clocking you and your
nose for months. Devones nuthin.
Give us your connection, you go
home.

Chuck shakes his head. The captain sighs. He likes Chuck.

 90.

CAPTAIN (CONTD)
Champ, you been busted with an
ounce. Were talking serious time
here. Theyll never know it was
you.

Chuck shakes his head again. The Captain slides him a phone.

CAPTAIN (CONTD)
Okay, Champ. One call. Pick a
winner.

Chuck, his hand on the phone, thinks hard. Who does he call?

INT. BEDROOM - NIGHT

The PHONE RINGS. A light goes on in the dark. John answers

the phone.

JOHN
Yello?...What? What? What?

INT. SAYREVILLE POLICE STATION, RECEPTION - DAY

A tiny police station LOCK-UP is visible from RECEPTION. John

signs a check as COP springs Chuck.

EXT. SAYREVILLE POLICE STATION - MOMENTS LATER

They walk out side-by-side.

JOHN
You ok?

CHUCK
Yeah. Sure.

JOHN
What happened?

CHUCK
I was doin a guy a favor.

JOHN
What guy? What favor?

CHUCK
John, please...

JOHN
No. Dont please me. This is
possession with intent. What are
you, a fuckin drug mule now?
 91.

CHUCK
Its been a rough night.

JOHN
No shit.

CHUCK
Whered you get the bail money.

JOHN
The bank. Where do you think you
get money?

CHUCK
Cash? You had that much cash.

JOHN
No, asshole. I borrowed on my
house. OK? Whats the matter with
you? Huh? You dont know what I
would do for you? I would cut off
my right hand. But not for this. I
would do that for Chuck Wepner. For
the champ. For the man who had the
world by the balls. Fifteen rounds.
For him, I would cut off my dick.
But not for this. Look at you.
Putting my house on the line for
this?

CHUCK
I fucked up.

JOHN
Yeah. Get in the car.

CHUCK
Where we goin?

JOHN
Im goin home. Youre goin to
jail.

INT. COURTROOM - DAY

We stay on Chuck who stands before in the courtroom.

JUDGES VOICE ADR

I saw you knock Ali on his can. You
were a hero. You wanna be a hero
again, talk to the State Police.
(lowering voice)
Otherwise Im giving you five
years.
 92.

CHUCK
Im no rat. Do what you have to do.

JUDGE
(banging gavel)
Sit down.

EXT. NORTHERN STATE PRISON - DAY

Establishing of this forbidding compound. Exit 14 of the New

Jersey Turnpike is in the foreground as cars streak by like
blurs. Life goes on as Chuck does his time.

INT. VISITING ROOM - DAY

Chuck sits at a table, signing some legal documents. Across

from him is Phyllis. All very calm and cordial.

Chuck finishes signing and pushes the papers toward Phyllis.

She picks them up.

CHUCK
Funny, huh? Piece of paper and its
all over.

PHYLLIS
Good luck, Chuck.

CHUCK
I never meant to hurt you, Phyllis.
Or Kimberly.

PHYLLIS
I believe you. I do.

A beat. Nothing more to say. Phyllis gets up and leaves.

INT. CELL - DAY

Chuck, now wearing glasses, in his cell, reading a lawbook.

The sound of raps on the bars.

GUARDS VOICE ADR

Wepner, Warden wants to see you.

CHUCK
(playful)
What now? I swear that Irish fuck
hit me first.

Chuck exits and holds up his wrists. The guard cuffs his
hands to a belly chain and shackles his legs, so he shuffles.
 93.

INT. WARDENS OFFICE - 5 MINUTES LATER

The WARDEN (50s), a little bantam rooster, strides out the

second Chuck walks in his office, grabbing his hat.

WARDEN
Wepner, come with me?

CHUCK
What is it? Where we going?

WARDEN
You didnt tell him?

The Guard shakes his head no. The Warden grabs Chucks arm.

WARDEN (CONTD)
Youll find out. Just hurry up.

We follow Chuck, ankle-chained, shuffling to keep up.

INT. LIFERS WING - CONTINUOUS

THREE TIERS of cells, the top one FULL OF FILM EQUIPMENT, A

FILM CREW, and Stallone.

Chuck stands with the Warden, watching from a distance.

CHUCK
Youre shittin me.

WARDEN
Theyre making a movie. Its called
Lock-Up.

CHUCK
Rocky goes to jail.

WARDEN
(laughs)
I guess so.

CHUCK
I cant take a dump without him
making a movie out of it.

WARDEN
Come on. Ill take you over. You
can say hello.

Long pause. Chuck takes in the scene. Then...

CHUCK
No. I dont think so.
 94.

WARDEN
He knows youre here. He wants to
see you.

CHUCK
I dont think so. No.

He turns way.

EXT. OFF-RAMP - JERSEY CAMP - DAY

A T-Bird spins down to the stop sign, near a PRISON WORK

CREW, in orange jumpsuits with N.J.D.O.C. on the back.

Six PRISONERS listlessly pick up trash. One of them is Chuck.

The RED-HEADED WOMAN behind the wheel yells at him.

LINDA
You wear that jumpsuit, honey.

Chuck turns around, surprised, then mortified.

CHUCK
Linda! Jesus... I... Oh man.. Im
sorry youre seeing me like this.

LINDA
Like what? Sober?

CHUCK
I guess I deserve that.

LINDA
Actually, it looks like you got
what you deserved - for a change.

Chuck steps over to the T-Bird as Linda waits at the red.

Then looks down at himself.

CHUCK
Christ, I feel like an idiot.

LINDA
That might be the first honest
thing you ever said.

CHUCK
Youre a real ball-buster, arent
you?

LINDA
Not really.
(smiling)
(MORE)
 95.

LINDA (CONT'D)
You look okay, Chuck. I like you
better without all the jewelry.

Chuck checks if his C.O. is watching. Leans in her window.

CHUCK
Yeah. Now its just silver cuffs.
On special occasions...

The light goes green. They look at it, then at each other.

CHUCK (CONTD)
So, great to see you.

A car behind them honks.

LINDA
Like wise.

She takes off. Drives ten feet, then stops again. For the
second time, the car behind her honks. This time Chuck mad
dogs the driver into silence as he steps over to T-Bird.

LINDA (CONTD)
Lets have coffee when you get off
work.

CHUCK
Thats gonna be a couple weeks.
They gave me five dropped to 26
months. Good behavior.

LINDA
Stay good, Slugger.

She gives him that smile and drives. Chuck watches her.

EXT. NORTHERN STATE PRISON - MORNING

Chuck, in street-clothes, walks out. John is waiting by his

car. Chuck goes to him, hugs him. They get into the car. As
it pulls away...

CHUCK (V.O.)
Where we goin?

JOHN (V.O.)
See Al. Hes got a fight lined up
for you.

CHUCK (V.O.)
No kiddin. Who with?
 96.

JOHN (V.O.)
I dont know. He wouldnt say...

ARTY (V.O.)
And in this corner - you know him
from the Hollywood movie Paint Your
Wagon and his many Tonight Show
appearances - undefeated in 1,303
bouts. Victor The Wrestlin Bear!

SOUND OF THE BELL and we...

CUT TO:

INT. CLUB - MAKESHIFT WRESTLING RING - NIGHT

Chuck is fighting Victor the Wrestlin Bear. Its not pretty.

The small CROWD is laughing and booing. Chuck sees them.
Hears them.

ANGLE - LINDA watching quietly, sadly.

INT. CLUB DRESSING ROOM

Chuck is alone, exhausted and humiliated, close to tears.

Linda knocks on the open door.

LINDA
Hey, Champ.

CHUCK
Oh, Jesus. You turn up at the best
times.

LINDA
Cant resist. Somethin wrong with
me. Like I got a virus.

CHUCK
Cant shake it, huh?

LINDA
Right.

And then he lets the mask drop.

CHUCK
Jeez, what happened to me?

LINDA
What?
 97.

CHUCK
Schmuck. Im a real schmuck.

LINDA
Dont...

CHUCK
Im a fucking clown.

She goes to him, tries to comfort him.

LINDA
Let it go. Just let it go.

CHUCK
You wanna buy me a beer?

LINDA
Sure.

CHUCK
We can celebrate.

LINDA
What are we celebrating?

CHUCK
My retirement.

Linda smiles.

OVER THIS WE HEAR - NAT KING COLE singing...

NAT KING COLE (V.O.)

When I fall in love
It will be completely
Or Ill never fall in love
In a restless world like this is
Love is ended before its begun

SLOW DISOLVE

EXT. BOARDWALK ATLANTIC CITY - DAY

NAT KING COLE (V.O.)

...and too many moonlight kisses
Seem to fade in the heat of the
sun...

SONG FADES OUT as we find...

Chuck, in tourist shorts and fanny pack, and a sundress-clad

Linda, stroll down the nearly empty boardwalk.
 98.

CHUCK
Guess whos in town?

LINDA
Dont play games with me. Stallone
is opening that cheesy restaurant.

CHUCK
Cant you be nice?

LINDA
What am I supposed to do? The man
is not your friend.

CHUCK
There it is.

LINDA
Oh my Jesus god.

They are in front of Planet Hollywood. Closed. In front of

the building is A LIFE SIZE STATUE OF STALLONE, as Rocky.

CHUCK
I got a funny idea. Take a picture
of me with the statue.

LINDA
Tell me youre kidding, Im gonna
throw up.

Chuck puts his arm around the statues shoulder, posing as

Linda futzes with the Polaroid.

CHUCK
And dont cut my head off!

LINDA
Id be doing you a favor.

Chuck smiles big. Linda rolls her eyes and takes the picture.
Snap.

Chuck walks over to Linda who hands the polaroid to him Chuck
blows on it and fans it to develop it faster.

LINDA (CONTD)
Look at you, like hes your
girlfriend.

CHUCK
Come on.
 99.

LINDA
He made a fortune off you and he
never gave you a nickle.

CHUCK
Be nice.

LINDA
You take the hits, you bleed your
heart out on a piece of canvas...

CHUCK
Im through with all that. All
over. Im puttin it all behind me.

LINDA
...you bleed and he collects...

CHUCK
Im telling you, Im done. No more
fights. No more Rocky.

LINDA
...because what does it get you?

CHUCK
It got me you.

LINDA
Maybe. Maybe not.

Chuck looks at the picture.

CHUCK
Look at that face. What a handsome
son of a bitch. Huh?

LINDA
Yeah. And you dont look so bad
either.

Chuck laughs.

CHUCK
You know what Im gonna do now?

LINDA
What?

CHUCK
(smiles)
Im gonna kiss you. Right now.
 100.

LINDA
What is that, a warning?

CHUCK
Im gonna fade a little to the
right, weave left and youre never
gonna see it coming.

He sweeps her into his arms and kisses her, letting the
Polaroid drop to the ground and float away on the wind.

Chuck and Linda walk away, down the boardwalk.

PAN TO:

THE PHOTOGRAPH ON THE GROUND - The real Chuck Wepner with his
arm around the statue of Stallone. *