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[calm Oriental music]

- Hoo, hoo, hoo!

Kyah!

[gong resounding]

- Hi.

I'm documentary
filmmaker Richard Orchid.

During the late 1980s, one
creative force in Hollywood

changed the way
people saw action.

Especially martial arts cinema.

Francis Allen Sledgewick,

known as Frank Sledge

to his millions
of fans worldwide,

rewrote the book, creating
a whole new chapter

in martial arts for
an entire generation.

Now, most of us know Frank

for his signature martial
arts moves, hoo, kyah!

And his dynamic
action sequences.

And most of us know
Frank as an actor

instead of as a real person.

Well, I wanted to
find that real person

and to find out what
had motivated him

to become the vital
force that he is today.

I wanted to get his reflections

on his extremely
influential career.

Well, I got all that, and
I got a whole lot more.

This is Sledge.

[energetic rock music]

[audience cheering]

- Frank Sledge is huge,
he's the biggest, sexiest,

hottest action star on
the planet. [laughing]

[people clamoring]

- Frank's the man, Frank
is the number one everything

on this planet right now
as far as show business goes.

- I'm so proud of him, honored
to have worked with him.

He's incredible.

♪ Can't give all I got ♪

♪ Strike while I'm hot ♪

- A Richard Orchid Film.

It was back in
the summer of 1985

when I saw my
first trailer

for the Frank Sledge
movie, "Bloodfight 2."

It is a memory that is
etched in my mind forever.

[solemn Asian music]

[blows thudding]
- Thank you

for coming to my island for
this momentous occasion.

You are the top
fighters in the world.

Some of you may die.

[fighter grunting]

Let the games [claps] begin!

[fighters exclaiming]
[blows thudding]

- You've got what it
takes to be a champion.

[dramatic music]
[blows thudding]

[fighters exclaiming]
[blows thudding]

[lion roaring]

- [Richard] "Bloodfight
2" made Frank a star.

But his career
began much earlier,

in the small town of
Sheboygan Falls, Wisconsin,

under the watchful eye

of his childhood dance
instructor, Samantha Jones.

- Let me tell you
about the first time

I ever met Frank, Francis.

[funky music]

♪ I got a story I wanna tell ♪

♪ 'Bout a time gone by
that I knew so well ♪

- [Samantha] His mom and
dad brought him here to me.

♪ 16 times ♪

- [Samantha] Well, actually,
left him here with me.

♪ Funny how time changes ♪

♪ There's only times
when you hear the ♪

- He came in with
a perfect turnout.

I'd never seen anything like it.

I think his mom and dad
thought he was just bowlegged,

but actually he always
had a lot between his legs

even when he was a little boy.

♪ We really thought we
had the best of times ♪

- He was really wonderful
even as a child.

♪ Dance to the music
from the time ♪

♪ Nothin' else but
a one-track mind ♪

♪ That's the time
I'll always treasure ♪

♪ It was part of my life ♪

- In no time, Frank became
Samantha's star student,

headlining in over 50
productions, including the lead

in his senior class musical.

Frank was becoming quite
a hometown celebrity,

and as his talent grew,
so did his ambition.

At 18, he landed a spot with a
famous traveling dance troupe

that took him to a land
where dreams come true.

[upbeat rock music]

- Yes, Frank wasn't an
actor, I met him in a club.

It was a dance club, but his
dancing ability was phenomenal,

so I knew, making
movies, by watching him,

he could handle any kind
of fight scene or action

that we threw at him, I mean,
movement's movement, right?

[upbeat music]
[audience cheering]

♪ Yeah yeah ♪

[pistol shots booming]
[audience cheering]

♪ We were dancin',
dancin' in the moonlight ♪

♪ We were dancin',
baby it was so right ♪

♪ I want you, I want
you, yes it's true ♪

♪ Yes it's true 'cause I can
feel it, baby can you feel it ♪

♪ We were dancin',
dancin' in the moonlight ♪

♪ We were dancin', straight up ♪

- Half the battle in this
business is marketing.

Frank's onstage charisma
night after night?

That left no doubt in my mind

that he could move an audience.

I mean, I knew back then he had
what it'd take to be a star,

but, you know, the name
would have to change.

I couldn't put Frances
Sledgewick on a box

and expect anyone to buy
that, are you kiddin' me?

I can't sell that.

- Well who's Frank
Sledge, anyway?

He's a nobody, why would I
want a nobody in my film?

What about Daniel Bernhardt?

- John, I told you,
Bernhardt's not available.

All right, we've been over this.

- I'm not doing it.

- Look, it's got kung fu in it.

You people love
that stuff.

- My people?

I don't get it, why is it
just because I'm Jewish

you assume I love kung fu?

How many Jews do you
know that love kung fu?

- Come on, John, I
didn't mean it like that.

- What difference does it make

what kind of martial
arts the Hebrews do?

I'm just saying I thought
we were a team here.

I mean, couldn't you
consult us on this?

We've made a lot of
concessions already.

We should have
got a poster made.

Who's writing this cheesy copy?

- Look, we are a
team, I'm not trying

to cut you out of the loop, but
I gotta get some stuff done,

some decisions have to be made.

- It doesn't matter,
okay, the point is,

how are we supposed to
justify a brand-new actor

playing the same character
in the sequel to a movie

that we have already produced?

It doesn't make
any sense, Russell.

- Christ, look at you.

You look like a completely
different person.

I know it may be
hard to trust me,

considering the extensive
facial reconstructive surgery

you went through after the last
blood fight we sent you on.

But that doesn't change the fact

that you're the one person
that can save your brother.

Now go to Tang's compound,
defend your honor,

serve your country,
save your brother,

look different, but be the same.

Good luck, son.

- Frank's a dancer, now
that's my first problem.

At least Bernhardt was
an actor and a fighter.

Frank's a dancer.
[fighter yelling]

And a dancer limited
on grace, really.

- [John] Action!

Cut!

Action!
[fighter yelling]

And, action!
[fighter yelling]

Cut, cut, cut!

Can you not see through that?

- Yes, I can, I apologize,

sorry.
- You can see, right?

- I'm sorry, I'm sorry.

- Next time you hit him,

when he lets his guard
down, hit him harder.

- Frank was hired because
he was supposed to be

physically able to
handle the action.

He's not a great actor,
or even an actor at all.

Unfortunately he
wasn't able to handle

most of the action
sequences either.

They tried using a stunt double,

but I guess that didn't
work out too well either.

- And action.

[groaning]

- Oh, oh God.

Medic.

- Focus, and just
release, nice and smooth.

- Can we get me maybe a
green suit and I could help him.

I could be back here
in a green suit,

and in post you
could take me out.

- Production was in
a financial crunch.

They couldn't afford
another stunt double.

If they didn't finish this
movie, the studio was going

to be out tens of
thousands of dollars.

Frank was going to have
to do his own stunts.

- A breakaway vase
is, traditionally,

it's .3 millimeters.

Those are 18 millimeters thick,

so they're 46 times thicker than

what you would like, ideally.

- With this next scene,

I just wanna address any
concerns you may have,

and then tell you
about my concerns.

Are there any concerns you have?

- I have a few concerns.

- The shot has to be pots
breaking, do you understand?

- If you don't get it
right in two takes,

you're gonna be breaking air.

And that's similar
to breaking wind.

That's worthless to me.

- What do we do now?

- I can solve that.

- [John] And action!

- Yah!
[shattering]

- [John] Cut, cut!

What the hell's
wrong with you guys?

- You're supposed to
hit the right one first.

- What, are you dyslexic?

Frank, Frank?

You go, pow, pow,
spinny thing, pow.

It doesn't do me any
good to have Asian Master

come up and break pots
while you watch him.

- The acting was
new to me as well,

and in some ways, a lot more
challenging than the action.

But I think I did a good
job for my first time out.

- [John] Frank, you
still all right?

- I'm good, I'm good.

I don't really
have any lines, so.

- [John] That's fine.

- Yeah, working with
Frank required a real,

sort of dynamic reworking
of the dialogue.

Basically they had to
cut all of his lines.

I think with the
exception of Arnold,

he's probably got the record
for the lead character

with the least amount
of lines, you know,

with the exclusion of
non-talkies, you know,

Buster Keaton and Harpo Marx.

- Frank didn't catch on
quite as fast as we'd hoped

to the acting either, but at
least we could always depend

on his raw
natural talents.

- Why does it have to be,
like, full, naked ass?

- Girls get strap ass,
what else can you wear

that shows your ass?

- No, I mean, in Chip 'N
Dales, we show a lot of ass,

we don't always take
it all off, okay?

And people get pretty aroused
by just me in underwear,

in a tight thong type thing.

- And you do look good in
underwear, I understand that.

But it's common practice
to get the ass shot.

The male ass shot is what
sells in a foreign market.

- Really?

- Now this sells, that's it.

- So you are really gonna go?

This isn't about your brother.

It's about you.

He's gone, dead.

And the company is just
messing with your head

to get their mission
accomplished.

And if you go to that damn
island, you'll end up dead too.

Come on, the guy's
a dancer, okay?

I mean, he's not gonna
win an Academy Award here.

And um, you know, whereas,
you know, I probably will.

Come back to me.

Come back to me.

You know, I'm a serious actor,

and Frank is, you
know, kind of a joke.

I love you.

- I used to get a letter
from him every single day

and it had little kisses
and hearts and little hugs.

And it always said that
he, he just didn't feel

like he was doing well enough.

He would work
really, really hard,

and just not everybody loved him

and not everybody
thought he was great.

He always wanted to
please everybody.

And I just would
say to him, Francis,

you can't please
everybody.

Not everybody's gonna love you.

But your friends, they
will always love you.

- I'm sorry, Russell, you know.

You gave me this chance and
I feel like I'm messing up.

- You know what?

Just don't think about it now,

we'll just get through
the scene, and you know,

we'll move on.

Just don't worry
so much, all right?

- John's yelling all
the time, it's just.

- Hey!

- Hey, I'm so glad you're here.

- Me too.

It's wonderful, you look great.

- Do you know Russell?

When I moved to LA, I met Glenn.

He was the choreographer
for Chip 'N Dales.

And he took me under his wing,

and we've been
inseparable ever since.

He choreographed my
first one-man show

on Venice Beach, Street Dance.

Oh, it was so much fun.

- [Glenn] It was great.

- [Frank] It was kinda like
dance through the ages.

- [Glenn] Dance
through the ages.

- All different, disco, hip-hop.

- Medieval.

- Medieval, that was wild.

- Yeah with all the armor.

- It's great to finally
meet you, you know,

the way Frank talks about
you, he really loves you.

- I love Frank too,
he's a great guy.

- So I'm hoping
you might be able

to help me out with something.

It just seems to me
he's off, you know?

His fights, he's
missing punches,

his reactions aren't
quite there, he's late.

I mean, I've seen him perform,
I know how good he is.

It just feels like there's
something missing, you know?

He seems off.

- I'm quite shocked by that.

I mean, yes, Frank can be
a little blocked at times.

But he's never not on the beat.

Frank is always on the beat.

I'm assuming you
guys are giving him

the proper counts
and everything.

- Counts, what do
you mean, counts?

- Counts,
rhythm, the beat.

Frank is a dancer,
and a dancer dances.

One two three be there.

You know what I'm saying?

Frank needs to hear the music.

If he hears the music,
then he'll sparkle.

I'm basically Frank's
metronome for life.

You know, I help him feel
the beat, count the pulse.

Sing the body electric.

He just needs me
around, you know?

He just needs me
around to help him out

with those kind of things.

And now I'm here to
show him, show Frank,

that the action is
just like the dance.

It's just like the dance.

Five, six, seven, eight.

And one, two, three, four,
five, six, seven, and eight.

And two, two, three,
four, five, six, seven.

[upbeat rock music]

[shouting happily]

- When Glenn arrived,
things changed.

I mean, we saw a
transformation in Frank,

that confidence that he was
lacking for a little while.

And just getting on the
set now to watch Frank

is really inspiring.

I go down there sometimes
just to, you know,

watch Frank be Frank.

It's really, truly,
it's amazing.

♪ This life of a dragon
that cannot be caged ♪

♪ Dance with the dragon
and it's your day ♪

♪ All the pain and
glory, your day ♪

♪ I dance with the
dragon and I know that ♪

♪ I can give
all I've got ♪

♪ Strike while I'm hot ♪

♪ Year of the dragon,
year of my birth ♪

♪ My destiny, the
greatest dancer on earth ♪

♪ Now I'm huge in Taiwan
and I'm big overseas ♪

♪ Thank God for
cable and home DVD ♪

- Frank, nice job.

- That's unbelievable.

- Apple charms,
baker, seven chewies.

- That's it, that's, metal
by fire, right there.

That's what I was talking about,

that's the movie right there.

- "Bloodfight 2" made Frank
an international star,

breaking box office records
in Burundi and Iceland.

You were the biggest, the
biggest action star in the
world.

The cover of Inside Kung-Fu.

The cover of Black Belt.

The offers were pouring
in, as I understand it.

How did you, how did
you cope with all that?

- Well, it's not a
question of coping, I don't
think.

Because, you know, I had it all.

I would go back and do
fundraisers for Samantha,

my original dance instructor.

For her little studio, and
just have a blast, you know.

Friends would come in,
we'd put on a musical,

and it was a great time.

And that, that was it.

I had it all.

Family, friends, fame,
fortune, it was the best.

- People wanted Frank's
time and talent.

Obviously he wanted to explore
that, I don't blame him.

You know, did bigger movies,
better offers on the table.

He wanted to go, that's what
he had to do, and I understood.

He got too big for me.

- My second film, Below the Law,

was the first of a
three-picture deal.

You know, there was a lot
of money, a lot of power,

and when you're 21, things
can really go to your head.

- [Richard] Below the
Law, New York City, 1988.

- Hold on, hold on, hold on.

[breathing deeply]

[slamming]
[growling]

Okay.

- [Director] And, roll camera.

And marker.

Action.

[slamming]

- I'm onto you, Jackson.

- Vinny, you have no idea
who you're dealing with.

I mean, these people
are bigger than us.

You think you're tough, with
all your chop suey crap.

You can spend the rest
of your whole career,

and all you're gonna
come up with is hearsay.

Conjecture, bullshit.

You got nothing, Paizzani.

Nothing.

- I've got one thing.

- Huh?

- The pleasure of
kicking your ass.

[groaning]

- [Director] Cut.

- What?

My bad, my bad, yo.

Can we get someone
to clean him up?

Baby, how you doing, you good?

- The script said I'm
supposed to punch you

at the end of that scene.

- Yeah, 'cause the script
said, the script said, right?

- I'm supposed to punch you.

- Frank, Frank.

You know the difference
between an actor and a star?

Actor's a slave, man, he
does whatever he's told to.

He does whatever the
script tells him,

whatever the director tells him.

Now, a star, you're
free, baby. You're free.

All of this is scripted.

The director, all of that shit,

all of this is
here to serve you.

Are you the star of this movie?

- Yeah.

- Right, then you gotta
act like the star.

What the hell do you want?

- Frank, can I get you
something to drink?

- No, I'm fine, thanks.

I appreciate it.

- No, no, no, um, yo.

You want some water.

What kind of water do you like?

- Just water.

- Sparkling water, give him
a sparkling water, all right?

Yo, yo, yo.

What's your name?

- [Man] Sam.

- Come here Sam, come here Sam.

Did you forget something?

Like asking for my
order, you idiot?

Come on, what, I'm
just standing here?

- What can I get you to drink?
- A double cappuccino latte.

Dismissed, go on.

They respect that.

You put them in their
place, they respect you.

See, that's how you get
things done in this town.

You gotta be the
king, all right,

you gotta be the man, now, baby.

You've been anointed, all right?

Now try it, whatever you
ask for, they give you.

Try it, it works.

Welcome to the club, baby.

- Yeah, I heard that
Frank had a little bit

of an attitude when
he first started out.

- I was there the day
he became a beast.

- Attitude, you know,
people say a lot of things

about people in this business.

- I was playing a
police chief, and um,

he wanted six words,
had to have 'em.

They were not scripted.

- The problem is, nobody
called it in check.

Nobody was able to stop it
before it got out of hand.

- You know, if a huge
star asks for coffee,

they should get it to them as
fast as they can, you know?

It's that kind of a job.

- Went from the nicest
man on the planet

to, you know, an
actor's nightmare.

- We're gonna start
in tight on Eric here,

we're gonna pull back
on the loose two,

Frank just come in
here, talk talk talk,

and we're good to go.

- Can I talk about the dialogue?

It'd be cool if the chief said
something about my character,

like, I'm doing all
these crazy things.

- Emotional growth.

- Yeah, he's
over the edge.

Like, he calls me live wire,
he called me a loose cannon.

- Great, say that,
Eric, say that to him,

and then once we're gonna
shoot we just pick it up.

- I really don't think we
have to call him a live wire

at this point, he's
done so many things.

I mean, blown up 20 cars,
children dead, I mean.

- I just want the
audience to know.

- I think they know.

- Whatever Frank wants.

- That I'm a live wire.

Have you had these?

They're good,
they're really good.

- That's my script.

- Listen, Jeff.

- James.

- I know, right, good.

I read Passion and Glory.

- [James] Right, that's
my new script, yeah.

- And I'm thinking
about making it.

- It's a page one
rewrite, but okay.

- Let me tell you something
about Hollywood, okay.

It's just words.

- Right.
- Right?

Say it really fast.

- Yeah, live wire.

- Livewire, livewire.
- Yeah, yeah.

- Okay.
- Come on.

- Okay.
- Come on.

- Live wire.

- [Vinny] Chief, you
wanted to see me?

- What do you think we're
running here, Vinny?

A friggin' day care?

It's a goddamn
police department!

I got the commissioner breathing
down my neck, look at this.

I got three dead, three injured.

One broken nose,
one jaw, one arm.

Two destroyed police cars.

A broken
barbershop window.

A truck full of bottled water.

You're a live wire, Vinny.

A loose cannon.

What are you trying to pull?

We have procedure here.

- You think those scumbags
got procedure to follow?

It's 'cause they got the
commissioner on their payroll.

They think they're
above the law.

They may be above yours,
but they're not above mine.

They're below it.

- Anyway, at the time,
everybody told me

I'd love to work with Frank,
he was young, he was hungry.

Come to think of it, all
I ever saw him do was eat.

[upbeat rock music]

[laughing]

Yeah.

- Silence is powerful, hm?

That's why I've been
sitting here in silence,

looking at you, each one
of you, engaging you,

for the last 10 minutes.

Why do I do that?

To teach you.

Why are you
worth teaching?

I don't know.

- For a little over a year now,

I've been training
with a very famous

local acting coach, Jerry Moss.

And he's training a lot of
the big stars right now.

Unorthodox methods,
but, you know.

I'm always finding
techniques to really hone in my
craft

and make me a
better actor.

- Why am I an excellent teacher?

Well, I make people
see within themselves

and I will absolutely
destroy you before I rebuild
you.

That is the cornerstone
of what I do.

I absolutely destroy you,

and then I rebuild
you in my own image.

- Mom!

Mom, come out from the rain.

- Hey, Atman.

I was in the bar.

It's glorious out there.

- [Atman] You're
gonna kill yourself

doing all that work by yourself.

- I've gotta work!

- Mama, sit.

- What the [beep]?

Is this what we, what script,

what [beep]ing script are you

[beep]ing idiots using?

What the [beep] do you
think you're doing?

- The one we got.

- No, what the [beep]

Please, Patti, Patti,
would you tell me,

I emailed you what?

- You emailed me the script.

- Yes, I did.

Did I say it sucks

[beep] in my email?

Did my email include that
in some sort of attachment

or font code?

I did King Lear at the
Royal Shakespeare Academy

when I was 15 years old.

- And you wore a beard.
- That was cool.

- Yes, and I wore
a beard, idiot,

[beep]hole, of course
I wore a beard.

I was King Lear, oh [beep] you.

- [Actor] Your water.

- Frank Sledge has done many
of the things I want him to do.

He's had some successes,
which I want him to have.

Is he there yet, as an actor?

I don't, that's a
toughie, isn't it?

[bell ringing]

- So I just wanna block
it through, count it,

mark it like we did earlier.

- [Man] Yeah, block
punch block punch, okay?

- Okay.

All right, ready.

- [Man] Yes, very good.

- But I wanna add
this signature spin.

- Yes, good.

I like that, yeah.

- No no no no, wait wait
wait, no no, stop, no.

That is not what I want,
this is not "Bloodfight 2".

You know what that is?

That's a big [beep]ing
waste of my time.

I need more than that.

I need gritty,

I need urban, I need street.

- I told you, man, I told you.

No spinning like this.

Why don't you listen
to me, I do 200 movie.

Okay, come like this, like this.

[bashing]

Block, kick, okay,
like a man, pose.

Come on, man.

- Remember the
beat, Frank.

You're not
remembering the beats.

- It's just rehearsal.

- Okay, no spinning.

Ready, action.

[grunting]

[bashing]

What are you doing? You
just hit my best stunt man!

- That's it, that's
exactly what I want.

Right there.

Frank, Frank, Frank, that
is exactly what I want.

- Oh, that's perfect, perfect.

Look, let's do it just
like that, okay, for real.

- That's what you want?

- [Spencer] I can sell that.

- All right,
I can do that.

- Well, I tell you,
Francis, or Frank,

for some of you fans out there,

he really started
acting very foolish.

I mean, really becoming an ass.

♪ You know I never
meant to hurt you ♪

♪ I'm so in
love with you ♪

- The most tragic thing,
the worst thing of all,

was that he started
to lose the beat.

In his work and in his life.

This action hero stuff
really started to go to his
head.

I mean, he really started
to alienate people.

His family, his friends.

He became very aggressive.

[shattering]

♪ So in love with you ♪

- I mean, it was like Frank
had gone crazy or something.

Like he was some mad, rabid dog.

Like he abandoned dance.

- And abandon
dance he did.

But the longer Frank was
away from his dancer friends,

the more of a meanie he became.

But his fans loved it.

And Below the Law was yet
another huge success for Frank.

[dramatic music]

[bashing]

The heart-pounding action,
the bone-cracking violence,

people had never seen martial
arts like this before.

Because this was real.

I mean, really real.

[sticks whooshing]

Jiminy Christmas.

Here we are at Beverly Hills.

Oh, Frank, I just can't
wait to meet your agent.

- Oh, snap, dude.

Frank [beep]ing Sledge.

What up, Frank, woo!
- Uh oh, there you go.

They spotted you, Frank.

- That's my mother [beep]er!

- [Richard] He's imitating
your kicks, Frank.

- Yeah, Frank, yeah!

- It's crazy.

You always gotta, you
know, respect the fans.

The fans are your
lifeblood in this business.

- I understand.

I will have Jack call you ASAP.

Yes, four p.m.

Absolutely.

Hi, yes, I'll tell
Jack immediately.

Thank you for calling CAI.

- Hey, Beth.

- [Beth] Hey, Frank,
how are you doing?

- I'm good, I'm good,
how are you doing?

- You know, I'm just
kind of, sort of

just waiting by the
phone, you know.

Waiting for Mr. Right to call.

My mother is a healer, and
she has all this sort of

self-help stuff that she,
like, gives to me every morning.

And one of the things she
says is to just visualize him.

You know, just the guy
that you're looking for.

Like, picture him.

- Is Jack in?

- In the office?

I can, ASAP, I will get Jack.

- Thanks, Beth.

- No problem.

- Hey, Tony.

- Hey, Frank.

- Um, Frank is here.

- Frank who?

- How's it going, you
got any gigs lined up?

- A lot.

Too many, actually.

Between you and me, I'm here
to tell 'em to slow it down.

- Really?
- Working way too much,

I'm tired, you know?

Busy busy busy.

You know how it is, right?

- No, yeah, me too.

- Hey, Frankie.

The Sledgemeister.

What's moxster, booby,
how are you doing?

What, are you
making a movie here?

Listen, I'm sorry, I
mean, I screwed up today.

I gotta go do this thing.

I mean, it's a bullshit
thing, but, you know,

agent's life, gotta
go do the thing.

So you know, talk to Bethie,

and let's reschedule for
next week, maybe Tuesday?

No, Wednesday, okay?

- [Frank] Okay.

- Good for you?

- Yeah, good.
- You look good, man,

you look shredded,

you look boff, you know?

Kicking ass, giving
out haircuts.

All right, I gotta
go, love you, man.

- [Richard] Out for Vengeance.

Chicago, 1990.

- Listen up, people, listen up!

This is a Frank Sledge film.

Every one of you
are here for me.

I feed your babies.

This is Frank Sledge Wardrobe.

Frank Sledge Makeup.

Hear that? This is a microphone.

Frank Sledge is
speaking on it, not you.

You don't like it,
get on a plane!

You can all starve, I
don't give a [beep].

I don't want any of
this fancy bull[beep]

on a real [beep]ing movie.

- It all sorta went
to Frank's head.

Like that's never
happened in Hollywood.

I mean, Frank was only human.

Few people could've handled his,

meteoric rise to fame.

- The biggest mistake he
made, the saddest thing,

was that he pushed
everybody away.

Everybody that really,
really loved him.

And it's still really
painful to talk about.

- Look.

I've been meaning to tell
you this for a while.

You're starting to
piss everybody off.

And you don't
even know it.

Samantha is giving
another musical benefit.

She could really use your help.

It would be a great chance
for you to get a break,

and to get back to
what's important, Frank.

- Important?

Glenn, do you have any
idea what is important?

This film is important.

I'm a Hollywood action star.

When are you gonna
understand that?

- How do you think
you got here, Frank?

Samantha got you here.

Chip 'N Dales
got you here.

You're a dancer, Frank.

- I'm not a dancer!

- Yes you are.

- I am not!

I'm a Hollywood action star,

and Frank Sledge
doesn't need you,

he doesn't need dance,
he doesn't need anyone!

- Then I guess you
really don't need me.

- Well, I guess not.

- [Glenn] I'm outta here.

- Then I guess
you don't need me.

Fine, see ya!

Turn it off.

[brakes squeaking]

[suspenseful music]

- Who's that?

Get lost, chief.

He's got a gun, look out!

[guns booming]

[dramatic music]

- Shit.

Hey.

[bashing]

[bashing]

- Hay, yah!

What about the car--

- [Spencer] Cut!

- That is not in the
script, what are you?

[slapping]

What are you doing?

What are you doing?

Spencer, I can't
do this like this,

he does this all the time.

Jesus, when you get it
together, you just come.

[groaning]

- What, what?

[beep]

What's her problem?

- He was pretty unprofessional,

it made it very difficult
to focus and do my job.

At one point I just asked
if I could stay away from him

until we were ready
to roll cameras.

No blocking, no rehearsal.

And then I just walked
away once we got the shot.

I didn't want anything
to do with him, actually.

[knocking]

- Come to the party.

We're having a party.

- Oh, Frank, are you serious?

- Yeah.

Come to the party.

It's a suite, it's my suite.

It's, I want you at the party.

- You're an idiot,
you need help.

You know that, you really
do. You fuckin' need help.

I'm not coming to
the [scoffing].

- What?

Come on!

[mumbling]

- Oh yeah, Frank drinks.

Frank hits it real hard.

The phone rings, three
o'clock in the morning,

it can only be one
sumbitch in the world.

I don't even say hello,
I just, what's up, Frank?

[laughing]

- He's put us through a lot.

He's put himself through a lot.

He's put his liver
through a lot.

- Well, there are two
kinds of party animals.

There's moi, and there's Frank.

Now, I can handle my drugs,
I can handle my drink.

That's why I can work on them.

However, Frank couldn't.

- I'm telling you, this guy's
ruining my goddamn picture.

[knocking]

Frank?

- Frank?

[knocking]

- Frank!

- Frank, open up.

- You have the key.

- Yeah.

He said never to use it.

- You're his personal
assistant, right?

- [Patti] Right.

- Do you want to be
associate producer?

[door beeping]

Frank, Frank?
- Frank?

Frank?
- Frank?

- Frank!

- Frank?

- Sean, Sean, what
are you doing?

Sean, what's going on?

- Oh, shit.

- Frank?

Frank.

Frankie, hey, buddy.

Get a wet towel, get some water.

Frank, Frankie
Frank Frank Frank,

Frankie Frank Frank,
hey, hey buddy.

Time to wake up.

Time to wake up, movie star.

Frank!

Wake up!

Frank!

- Hi.

I'm Frank, and I'm an alcoholic.

Been sober for a little
over three years now.

And for me, alcohol, um,

wasn't the only drug.

It just kinda started there.

And spiraled into
harder and harder drugs,

and it's hard for me
to talk about it now.

I still, to this day,
um, I think about

how it affected my life.

Will, hey.

It was a good
meeting tonight, huh?

- Oh yeah, fantastic.

- Yeah, it was
good, great, good.

How you doing?

- Hey, Frank.

- Hey, Richard.
- Call me later, will you?

- Yeah, I will, I will.

- Don't forget.
- I won't.

- Hey, Will.

- Hey, good to see
you again, Richard.

- How are you doing?

- I'm good.

- Yeah?

- Yeah.
- Cool.

- Thanks.

- All right.

- Okay.

- Why don't you call?

- Why don't I call
you about what?

- You know about what.

- I thought we.

- [Frank] About this.

- Look, I'm sorry, I
was working last night.

I had this canker sore,

and I couldn't get
my Paxin this week.

- Will, Will, Will.

The program won't work
unless you work the program.

I'm your sponsor, just call me.

Call me any time.
- I should call, I should.

It was a momentary lapse,
I should've called.

I'll call next time.

It's over, I mean, I'll
get rid of that, it's over.

- It's between us.

- You want me to get
rid of it for you?

- I got it.

- [Richard] Under Attack,
South Carolina, 1993.

[alarm buzzing]

[dramatic music]

[bashing]

[crashing]

- Frank?

I just opened your mail,
and you got another letter

from Samantha asking you
to come to a fundraiser?

She hasn't made any money
since you stopped going,

and she lost the studio, and,

it would really maybe
help things with you, and,

- Yeah, great.

- [Patti] Do you
want me to confirm?

- Yeah.

I want you to confirm
there's some chocolate cake,

and go get me
a piece, hmm?

[slapping]

- Five, six, seven, eight.

One, two, three, four,
five six, seven, eight.

Two, two, three, four,
five, six, seven, eight.

Big finish.

Big finish!

Dammit, big finish,
enough is enough!

Big finish!

You will die for
your big finish.

We all love Francis,
and we understand

that he cannot return
our phone calls.

Because he is a very busy man.

But we really look forward
to hearing from him.

Because then we can
have our fundraiser,

and we can move back to the
big space and the big school.

And we can celebrate.

And I can get out of
this little shithole.

Sorry.

- Frank, I wanna touch
on a sensitive subject.

Like Elvis, who also did karate,

you gained a lot of weight
at one time in your life.

And like Elvis, you
also did a lot of drugs.

Everyone knew it.

What kind of drugs
were you doing?

Was it steroids, or what?

Because you were up and down
with the weight so suddenly.

- I did 'em all, you know?

Winstrol, Anabol.

Testosterone, pitbull semen.

It was the pressure, man,

I had to get lean for the fans.

Nobody wanted to see a
fat Frank Sledge, man.

- Boy oh boy.

Pitbull semen.

How would you take that?

Jimbo, Thailand, 1995.

- How do I know Ron Jimbo?

He's my boy.

I was his commander, I recruited

and trained him for Vietnam.

Hell, I've seen him do shit
that'll turn you white.

So I guess that gives me
the right to call him my boy.

He's been trained to survive.

To live off the land.

TO eat things that would
make a billy goat puke.

And I'm not talking
about plastic bags,

tin cans, beer bottles.

I'm talking about the
gnarly stuff, son.

He has one objective.

And that's to kill.

Period.

You wanna send your
men in after him,

you better remember one thing.

A good supply
of body bags.

[chuckling]

- We were majorly
screwed on the day

that Frank Sledge showed up.

- Well, this was one of
many, you know, many many days.

- It was one of your
greatest moments

I've ever seen a director
think on his feet.

Great news,
we're [beep]ed.

- [Donald] What do you
mean, we're [beep]ed?

- He's totally drunk.

- What?

- Completely.
- What?

- He can't even stand up.

- Wait, I thought you
had somebody with him.

- [Barry] I didn't
have anybody with him.

- What the [beep]
is your job, then?

- Listen, I understand,
I [beep]ed up.

You gotta cover me, okay?

We got another problem,
Joe or something.

- Dallas, Dallas,
give me the script.

- Calm down, calm down.

You're one of the best
directors in the world.

- Shut up, don't
patronize me right now.

- All right, if you don't
need patronizing, I'll save it.

What this man did
is, he had a scene

with dialogue between
Sledge and this prisoner,

where Sledge was carrying
a big part of the scene.

- Yeah, he was rescuing the guy,

he was coming in, rescuing him.

- But completely drunk.

- He couldn't even get
from his trailer to the stage.

I mean, the guy was
completely shot.

Oh, I mean, just let
it go, let it go.

All right, watch your shoes.

I got an idea here, and I
think it's really gonna work.

- Joe, I'm Barry
Simpson, producer.

Of course you know
Don, our director.

- Joe, Joel, okay, great.

That's what I said.

Now, here's what we're gonna do.

You know, the scene is
with you and Frank Sledge,

but what we're gonna
have you do is,

I just think it's more
effective for all these lines

to be said by you, both
the speech between Frank.

- My line, so,
you're an American.

- The whole thing, back
and forth, it's you.

It's multiple
personality, you have.

- His lines?

- Yeah, you have a multiple
personality in now.

- This is you doing
your acting thing, man.

- Big moment.

- I don't, uh.

Was he supposed to be
multiple personality?

- [Both] He is now.

- Tested on the POWs!

But sir, they'll be
useless to us in the arena.

They can't fight under
those conditions.

What about fight night?

Well, I guess we'll
have an inside advantage

on the betting now, won't we?

[laughing]

Yeah, yeah!

- The hard part was,
remember, trying to get Frank

to respond to the kid.

He couldn't do it, he wasn't
bringing anything to it.

- Shh, I'm an American.

- And I'm here to help.

- And I'm here to help.

- Let's build it,
let's try it again.

Try it again, just try it again.

Just take a half a step, whoa!

It would've been a lot
easier if he was drunk,

say, only 20% of the time,

'cause he would've remembered it

and I wouldn't have
blocked it all out.

Give him the drugs.

What, the drugs, why the drugs?

They can't fight on the drugs!

Oh, rats, look at me!

Frank, Frank, focus, come on.

- All you needed was one
good take with Sledge.

I mean, that's the
good thing about him.

You could never count
on 20 good ones,

but you could pretty much
prod him into one good one.

- You could pray for one.

- Yeah.

- I'll be back.

- Guards, right here, come
on over here, right here.

[shouting]

All right, all right,
cut, cut cut cut.

- Frank had gotten pathetic.

It wasn't only affecting
the people around him.

It was affecting his performance
as a Hollywood action star.

His career was,

was spiraling out of control.

- You know, the morning,

we have the explosion
scene planned?

Let's just blow off the
explosion 'til the afternoon,

the light's a lot better.

- No can do.

- Why?

- 'Cause I got the water
truck and helicopter

coming in first thing.

- Okay, but have them come
a little later, it's okay.

- It costs a
lost of money.

You know how much a
water truck costs?

- Barry, Barry.

- It's an extra $200, for what?

- You can do it, you can do it.

- Excuse me.
- You can do it.

- What, excuse me,
just one second.

What do you mean me?
- You can do it, you can.

- Don and Barry, excuse
me, we have a problem.

- What's the problem?

- Frank is unconscious.

- Well, wake him up.

- What do you mean?

- No, he's unconscious
unconscious.

- He can't talk?

- He can't talk.

- Can he walk?

- Nope.
- This is a walk and talk day.

This is dialogue.

- He can't walk
and he can't talk,

and we're in a walk and talk.

- Wait a minute, there's
a walk and talk today.

- I know, but we're not gonna
be able to do that, are we?

Calm down, we gotta
come up with something.

What about 105?

- It chaps my ass,
I'm telling you.

- 105 is a good scene,
he's in the car, he's driving.

- No, he's not, he can't drive.

He can't, and we
can't even double him.

And he's gotta scream, and he's.

- All right, all
right, all right.

- [Donald] How about 110?

- The interrogation?

- 110, the interrogation scene.

- I mean, the set's not lit.

- Well, that's okay,
we'll just dress the set

and call the evil doctor
guy and get him down here.

- Okay, I'll get
on it, good idea.

Somebody get me a phone, I'm
gonna call that evil doctor!

- Okay, now listen, there's
been a change of plans, okay?

We're going to the
interrogation scene.

Manny, get over here, I need
the set built right now.

[dramatic music]

- I love this, feel it.

Yes, feels warm
and tingly.

Comfortable, huh?

So comfortable that you will
tell me everything you know.

Oh, it's coming!

Yes.

You will be spilling your guts.

[mumbling]

Excuse me?

- It's all fucking bullshit.

- Don, you know, I don't
think this is going to work.

- Don't look at me!

Don't, keep rolling,
just don't look.

Look at him, you're
the evil doctor!

Just get him!

- They all want a piece of me.

- They all want a piece of what?

[whimpering]

Don, Don, I'm not sure.

- No, don't break
the fourth wall.

We'll dub it, he's a drug
addict, you're the evil doctor,

come on, focus, focus!

Just, come on.

- They want a
piece of you?

They want a piece of
what, the shipment?

- What did you say to me?

- I said they all
want a piece of the.

[bashing]

[cameras clicking]

- A couple years
back I get a call,

come down to the Frank
Sledge movie set.

Stage 14, right away.

- You call that control?

He's supposed to
be a professional.

He's an idiot.

An idiot!

[slamming]

- I grab my gun, I did
what's called a running skip,

which is faster than a walk,
but it doesn't alarm people.

Mr. Sledge, for some reason,
was holding his crew hostage,

had terrorized them,
for some unknown reason.

The word on the squawker
was it's bad down there.

So I switched from a
skip-run to a gallop.

By the time I got down there,

Angelina Jolie, the
leading lady of the movie,

had taken matters into her
own hands, pinning him down.

I couldn't believe it.

I looked at her,

half hoping that a rafter

would drop down on
that bitch's head.

She, in addition to
violating a union rule,

is taking food out of my
biracial kids' mouths.

I told her I needed to take
care of matters from there,

and I took over Mr. Sledge's
custody and he escaped.

- He was sick.

And it upset me, because I had
no idea it went on this long.

You try to help your friends,

but they have to want your help.

And sometimes you just
have to love them enough

to let them hit rock bottom.

I mean hit rock bottom.

- Below the Law, Out for
Vengeance, Hard to Stop,

and Jimbo were all
successful films.

They made money, at least.

But Glenn was gone.

And Frank's personal life
was going in the shitter.

But as long as your
box office is hot,

that's all that counts
in this business.

They'll use you 'til
you self-destruct.

And then, when you
no longer produce,

they'll throw you away like
a pair of soiled underpants.

- I'm sure that
there's a lot of people

that would
laugh right now,

seeing Frank Sledge
deliver pizzas,

but this is the perfect job
to get my life back on track.

It's got great hours,
I got medical, and uh,

it allows me to go
to my acting classes

and practice my craft.

It's perfect.

- [Richard] Gee, Frank.

What made you realize
you'd lost everything?

When did you realize it
was all in the crapper?

- This letter
changed everything.

I found it

after waking up from
a three-week bender,

in a puddle of my own vomit.

Jacket I haven't
washed in a year.

Just reminds you who
your friends are.

I'll read it.

"Dear Francis.

"We all know you are busy

"and we're all happy
for your success.

"I knew you were a
special child ever since."

- [Samantha] "Your
first performance

"of The Ugly Ugly
Duckling at my school.

"Anyway, I just wanted
to give you an update.

"The school has been
closed for some time now.

"I don't know if
you know it or not.

"Honestly, it was
hard to make it

"without your
yearly fundraisers.

"Well, I'm just teaching a
few privates from my garage.

"It's okay, it's nothing
like the school, though.

"I miss the smiles
on the kids' faces

"when they first learn
how to do a jazz square

"or a pas de bourree.

"We don't have much room
to learn these moves now.

"Do you remember
little Joey and Lance?

"They're doing so well.

"They always looked up to you.

"They remind me of you."

- "I hope this letter
finds you well.

"Love, Samantha."

I let a friend down.

I vow I will never
do that again.

- Hey Frank, why don't
you come and join us?

- I have to be the best
Frank Sledge I can be.

This is it, it's the moment
I've been waiting for.

Jack's got a deal on the
table, made an offer,

and I'm gonna go
find out what it is.

It's big.

- Hey, all right.

There he is.

Frank.

- [Frank] How are
you doing, man?

- Good, man, I see you
brought your posse,

your girlfriend
with you, sit down.

[laughing nervously]

All right.

I think we got something.

- Yeah?
- Yeah.

It's a big deal, it's
gonna be you and this young kid,

who's very, very hot,
I gather, right now.

They want you.

- Yes.

- You give me the word, I'll
make the call right now.

- Let's make the call.

- All right.

Oh, there's one other thing.

The money is
scale plus 10.

- Take it or leave it.

- Take it.

[upbeat music]

- John Travolta.

Robert Downey Jr.

Carrot Top.

Frank joins an elite
group of celebrities

who were given a second
chance at stardom.

And during the filming
of this documentary,

something
amazing happened.

Frank was given
that second chance,

and my cameras caught it all.

- Do you understand the words

that are coming out of my mouth?

[hip-hop music]

Oh, no.

Never touch a white man's radio.

- What are you
talking about, man?

This is some good, funky stuff.

- It's gonna get you a
good funky ass-whoppin'.

[rock music]

[engine revving]

- Cut.

Frank, that was excellent,
thank you very much.

All right, people,
let's go, movin' on.

- Gotta love it, right?

Crack action.

It's getting better, you
know, looks good, looks good.

- Am I doing that stuff there?

That's me, in the
middle there, right?

[laughing]
- What, do you want a cigar?

You wanna smoke
while you do this?

Come on, you go get 'em in
there, you go get 'em, okay?

All right.

- [Frank] Yup.

- Kelly, he's playing you.

Frank, he's playing you, okay?

- Okay.

- So we try now, okay, very
strong, half speed, and action.

And cut, very strong.

Okay, got it?

- Yep, no problem.
- Okay, let's go.

Let's try it.

Come on, we good.

- [Kelly] Okay.

- Are we going now?

- We shoot.
- We're shoot now?

- We shoot, ready?

You guys all set, okay?

Good.

[clacking]

- Cut.

All right, let's reset, please.

[clacking]

And, action.

Cut, cut cut.

Just take your
time, Frank,

you're doing great,
you're doing great.

Action.

Cut, cut, cut.

- You guys are fast.

[clacking]

- Cut.

Cut.

[clacking]

Cut.

Cut.

Frank, you're killing me.

[clacking]

[thudding]

[clacking]

- If they're giving me a
signal, like a cue, something.

[clacking]

[clacking]

- It's not that difficult.

[clacking]

- You're [beep]ing killing me.

[clacking]

You're not taking
this seriously.

- Me?

It's not me, Brett,
it's [beep]ing Frank!

[clacking]

- Cut.

I don't know,
I don't know.

Cut!

- Sorry.

[clacking]

- And action.

Cut!

- Frank, [beep].

How many time I
tell you, left side.

What hand this, what hand this?

- Uh, left.

- Left side, go left!

[beep]

[speaking
foreign language]

[laughing]

[chuckling]

- Crazy day.

- Yeah, crazy.

- I'm sorry about this, I know
it's taking your whole day.

But when I get on a roll.

- I'm sorry, Frank.

I'm sorry.

We gotta replace you.

It's not me, it's, you
know, the business.

I mean, your acting, your
acting has been so on.

I'm so proud of what
you've been doing.

Thank you.

Unfortunately it's
an action movie,

and we gotta keep
things moving with it.

We don't have the time,
it cost a lot of money.

I'm sorry.

I don't know what else to say.

We'll stay in
touch, right?

- Yeah, yeah.

Next one, maybe.

- Frank just couldn't
get the job done,

and so they had to fire him.

And then during the recasting,

they came up with a
whole new concept.

They decided to turn
it into a comedy.

And that's when Jackie Chan
and Chris Tucker came aboard,

and I was out.

That's why I don't have a
[beep]ing poster next to me.

Thanks, Frank.

- I know, I know, Frank, but.

Listen, man, you
got two choices,

so you might as well
stay positive, right?

You all right?

You didn't go
out, did you?

Okay.

What step are you on, anyway?

That's it?

Jesus.

Come on, man.

I'm kidding you, I'm a
joker, I'm joking with you.

I don't think I could
get him a job right now

as an assistant [beep]er.

I mean, he's dead
right now in this town.

But you know, look
at Madonna, right?

Who, I know, when I
work with him, I mean,

she's had times
when she was flat,

and she's come back, you know?

It's all a question
about hanging around.

You just keep
showing up, you know?

And one day all the other
[beep] suckers are dead,

and you're there.

I guess you'll
have to bleep that

[beep]suckers, right?

It's a good word, [beep]suckers.

They don't say it
much any more though,

because it's so, you
know, it's not PC.

- It wasn't just
alcohol with me.

To be honest, it was every
drug under the sun, man.

I just, and pot.

If anyone didn't need
pot it was me, man.

I just, I was so
paranoid to begin.

I used to have a rearview
mirror on my stationary bike,

that's how whacked I was, okay?

I mean, I'm just so
paranoid to begin.

I'm still paranoid, but at
least I don't smoke any dope.

In fact, everybody was
effected by my drug use.

It was tragic, until,

until I followed these
steps all the way,

and I made my amends.

I apologized to everybody
that I screwed up

because of my
whacked-out alcoholism.

I mean, I made my
amends to everybody.

And I mean everybody.

♪ Let it be me ♪

♪ Who comes to hold you ♪

♪ When the world outside
has been cold to you ♪

♪ Who sets you free ♪

♪ Let it be me ♪

♪ I can make you smile ♪

♪ Yes, I understand you ♪

♪ And I will comfort you
like no other woman can do ♪

♪ Who sets you free ♪

- I've come to this
point in my life

where I realize I have
to ask forgiveness.

- Frank, all is forgiven.

I forgave you a long time ago.

Your best friend is back.

- You know, AA, a lotta
good people, great program.

Acting class, it's
been a lot of fun,

but something's
always been missing.

- I'll tell you what's missing.

Dance.

You're a dancer, Frank.

I've seen hundreds of guys

come and go through
Chip 'N Dales,

but none of them, none of
them were as good as you.

Because you're the best.

Frank, you're a dancer,
and a dancer dances.

- Dance, you know, it's
so far away from me now.

- No no no no no. It's in there.

You just need a little tune-up.

[upbeat rock music]

♪ Got one final chance ♪

♪ Gotta put up the fight ♪

♪ Gonna dance with the dragon ♪

♪ This time gonna get it right ♪

♪ It's my comeback, see ♪

♪ And it won't take long ♪

♪ If all goes as planned
by the end of this song ♪

♪ Dance with a dragon,
what can I say ♪

♪ Hey look I'm wearing the
clothes of Jennifer Grey ♪

♪ I dirty danced with the
dragon and I showed him ♪

♪ I will give my best shot,
a fist to the crotch ♪

♪ Rocky had Apollo ♪

♪ And I've got my Glenn ♪

♪ There's something so inspiring
about sweaty black men ♪

♪ Now my best friend is
back to give me a chance ♪

♪ If only I'd never
abandoned the dance ♪

♪ I'm off the pills
and I quit booze ♪

♪ Check out this scene
from the movie Footloose ♪

♪ I dirty danced with a
dragon and I showed him ♪

♪ I'd give all that I
got, straight to the top ♪

♪ To dance with the dragon's
a [beep]ing big chance ♪

♪ We couldn't afford
the [beep]ing song ♪

♪ From [beep]ing Flashdance ♪

♪ I grabbed the
ass of the dragon ♪

♪ And I'll show him I
will fight 'til the end ♪

♪ 'cause I am Frank Sledge ♪

♪ I'm off the pills
and I quit booze ♪

♪ No thanks to L. Ron Hubbard,
Scientology, or Tom Cruise ♪

♪ I kicked the ass of the
dragon and I showed him I would
♪

♪ Fight to the end,
'cause I am Frank Sledge ♪

[electric guitar solo]

- I've been sober for
over three years now.

And these meetings have
meant a lot in my sobriety,

in keeping me sober.

But lately my acting class
has been helping me a lot.

It's been allowing me to
open up in different ways,

and tonight I brought
in a monologue

that I'm working on in my class.

It's about someone who is
going through similar things

that we've all been through,

and I'm just hoping that
maybe you wouldn't mind

if I tried it out on
this audience tonight.

Thank you.

[mellow music]

We all have the same excuses.

Daddy didn't show
me enough attention.

Mommy used food as a reward.

My uncle touched me
funny when I was a kid.

But you know what?

It's all bullshit.

How can you look at yourself,
here in the good old

US of A, and not rejoice?

How do you know what you
want is really what you need?

'cause I want this drink.

I can taste it.

Is it gonna stop the
noises, the voices?

Stop the yearning?

For a while.

The truth is,
you're no different

than the people
that surround you.

We're all the same.

The same emptiness,
same despair.

And we have that pain to
bring us closer together.

We were meant to give love,
compassion, friendship.

And we're not complete
'til we do so.

I'm starting with the
man in the mirror.

I'm gonna help myself
by helping others.

It's my only way out.

End of scene.

[applauding]

♪ Can you take me home ♪

♪ From this broken kind of man ♪

- [Will] Hey, Frank,
Frank, hold on.

- Okay, I'll see you then.

Good job.

- That was unbelievable.

I'm shocked, I feel like
I just walked in on you

in the shower.

Listen, we need to
take a meeting, okay?

- Yeah.

- [Will] You got
some time next week?

- Absolutely.
- Can you give me a call,

let me know when
you're schedule's free?

- Yeah, I can, totally.

Any time.

- Thanks, Frank.

Thank you very much.
- Thank you.

Thanks, Will.

- Okay, all right.

I'll hear from you
next week, then?

- Yeah, yeah, definitely.

Thanks.

- I made the choices that
brought me to the program,

but you know what, the
program brought me to you,
Frank.

And you really helped
me turn my life around.

I'm serious.

- [Frank] Thanks, but you
know, it's the program itself.

- I'm writing again, I've
been taking some meetings.

- Good.

- As a matter of fact,
someone's here to see you.

- [Russell] Frank.

- Russell!

- [Russell] I couldn't have
believed it, man, look at you.

- It's so good to see you.

- You look great.

Scoot over, let me have a seat.

- Hey, Russ, doesn't
he look good?

- [Russell] Jesus, I wouldn't
have believed it, Frank.

Look at you, man.

- What are you doing
now, what are you doing?

- Actually, studio's
finally backing

one of my pictures, Frank.

- No way.

- Can you believe that?

- [Frank] Big
studio guy now, huh?

- Yeah, well, trying,
20 years later.

- That's great, that's
great, who's directing?

- Oh, the director's
a bit shaky.

It's a first time guy, you
might know him, actually.

Will's directing.

- No way.

Will, congratulations.
- Thanks a lot, Frank, thanks.

- Well, you got a star?

- Eh, we're kind of in
negotiations right now.

- Yeah, with who?

- Well, Frank, we're in
negotiations right now.

[cheering]

- He is so loved by every
dancer in America right now

because he has
created a new genre.

The action adventure musical.

Honey, all these children
are gonna have jobs,

everybody's flocking
to California.

You know, they used to want
to do the action thing,

now they know they've
gotta be dancing.

They gotta be fighting and
dancing, and, you know,

Frank did that.

[ominous music]

[breathing heavily]

- I know a dance.

- Hm, show me.

This is a dancing program.

Similar to a programmed reality

of the computer-generated
world which enslaves us.

The basic rules are the same.

Like rhythm, beats.

What you must learn
is that these rules

are no different than
a computer system.

Some of them can be bent.

Others can be broken.

Do you understand?

Good.

Then follow
me, if you can.

[energetic music]

- JD and Nu are
having a dance-off!

[shoes clicking]

- You're too fast.

- Do you think my being
faster and more suave than you

has anything to do with
my body in this place?

Do you think that's real
sweat trickling down your nose?

Wrong.

Again!

What are you doing?

You know you're
faster than that.

Don't think that you
are, know that you are.

Come on, stop attempting
to dance and dance!

- Oh, Jesus Christ,
he can groove!

Take a look at his nerve
kinetics, they're off the
charts!

[limbs whooshing]

Oooh!

- Now that Frank has
incorporated dance into the
movies,

he has now set the tone
for everybody else, so.

Now I'm gonna have
to incorporate dance.

We're all gonna have to dance.

I hate dance.

[tense music]

- We meet again, Mr. Danielson.

I've waited a long
time for this.

- What can I do for you?

- You can help us to fulfill
our purpose, Mr. Danielson.

And we will help
you fulfill yours.

- What is my purpose?

♪ Your purpose is the
reason you are here ♪

♪ And reason is all we have ♪

- Except for purpose.

- [All] Of course.

- I don't quite follow.

♪ Are you guys here for
purpose or for reason ♪

- We all have a reason
for our purpose,

and a purpose for our reason.

♪ It was our fate
to meet again ♪

♪ And our destiny to
have such a fate ♪

- So is it fate, destiny,
reason, or purpose?

♪ Why are you guys here again ♪

♪ We are here for this ♪

[energetic electronic music]

[shouting]

[guns firing]

[chill music]

[tires screeching]

- Frank's back, and
bigger than ever.

An international celebrity,
endorsing products worldwide.

[speaking
foreign language]

- BenQ, bringing enjoyment
and quality to life.

- Sledge, yeah!

[hip-hop music]

- Frank Sledge
is, in my opinion,

he's the most underrated
action star of this century,

without a doubt.

[cheering]

- A career reborn,
an actor redefined.

Sought after by
the biggest stars

and directors
in Hollywood,

there is no doubt that
Frank will continue

to wow his millions of
fans for years to come.

Just like Elvis would
if he were still here.

I know that I'll be watching.

He is.

Sledge.

♪ Kicking ass in
the fifth degree ♪

♪ With the mark goes up
we need bigger things ♪

♪ Get your blood sugar
up I need big scenes ♪

♪ My money machine's
counting big green ♪

♪ Nobody's faster, silver
screen karate master ♪

♪ Guillotine this acting thing ♪

♪ Cut the check, call
me to thin the pack up ♪

♪ Frank Sledge
jammin' so clean ♪

♪ Living life like a rock star ♪

♪ Couple chicks in a hot car ♪

♪ If the chips get
stacked large ♪

♪ Got a nice drop kick
that'll crack jaws ♪

♪ All I need is a camera on me ♪

♪ With a spotlight,
take one off the slate ♪

♪ You sick, I'm hit, I'm
back with a new release ♪

♪ Sell out weekends
no more seating ♪

♪ I dance with a
dragon and it's okay ♪

♪ All the fame and
glory, all day ♪

♪ I dance with a dragon
and I know that I can ♪

♪ Give all I got,
strike while I'm hot ♪

- Chet Slarge,
Milwaukee Action 4,

out here in Sheboygan Falls,

where we're here
for the dedication

of the Samantha
Jones Dance Academy,

made possible by a
man I think you know,

Hollywood action
star Frank Sledge.

And the woman who showed
him the way, Samantha Jones.

- Yes, yes, yes.

- What's it like to be a mentor

and be repaid by
such a famous person?

- It just makes me wanna shout.

No, but all kidding aside,
I just never thought

I was gonna have the opportunity
to teach my children again.

And it made me stop drinking.

- Frank, you have another
surprise for us, don't you?

- Yes, I do, Chuck,
a big surprise.

I will be running for governor

of this fine state of Wisconsin.

This fall, come
out to the polls,

hopefully doing more
projects like this.

I'd like to share
some of the programs

we're gonna have here.

Glenn, can you speak on those?

- Sure, sure, no problem.

- Glenn, hi.
- Hi, how are you?

Not to give away anything, not
to give away any surprises,

but we're very excited
about the Sheboygan Falls

Indigenous Peoples Dance
Concert, this coming December,

this winter, we're
very excited about it.

- Wow, lots going on here
out in Sheboygan Falls.

What a day.

Let's get on with the
ribbon-cutting, let the fun
begin.

[clapping]

- Oh, me?

Thank you.

I've never been very good
with tools, but I'm gonna try.

Ready, everybody?

One, two three.

[cheering]

Oh, thank you, Frankie, thank
you, Frankie, thank you.

- You're welcome.

- What a night for dancing
out here in Sheboygan Falls.

Get those two left
feet of yours out here

and take some lessons.

This is where the magic happens.

Back to you, Ted.

[rock music]

♪ Destiny called and
I heard my name ♪

♪ I'm drawn to the danger
like a moth to the flame ♪

♪ I'm just into dance,
it's a gift from my birth ♪

♪ Performing a sequence I
need, I never rehearsed ♪

♪ Dance with a dragon
and it's your day ♪

♪ I do films with
Angelina Jolie ♪

♪ I dance with a dragon
and I know that I would ♪

♪ Give all I got,
straight to the top ♪

♪ Dance with the dragon,
it was a thriller ♪

♪ We made the movie
without Ben Stiller ♪

♪ Dance with the dragon
and I'm still wonderin' ♪

♪ Where is Brad Pitt ♪

♪ Who gives a shit ♪