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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 ♪