And you thought the dynamic between Dalton, Doc, and Wade Garrett was odd. Fresh from homophobically insulting Red Webster, defending his protection racket as an act of civic pride, and offering to buy the fire department a round (“Well, with a fire like that, nothing they could do,” he reasons), Brad Wesley drops a non sequitur on the assembled staff and patrons of the Double Deuce: “Of course you can dance, honey,” he croaks.
The thing is? No one has asked him if they can dance. So unless there was some inaudible exchange, unless Denise can speak at a pitch too high or too low for non–Brad Wesley humans to hear, this isn’t acquiescence to an existing request. This is an order. It may be couched in courtesy, but it’s still a command.
Based on what we’ve seen of Wesley and Denise’s relationship, she’s probably used to being ordered around. She certainly knows what will happen if she disobeys. But look at her face as she glides past Dalton on her way to the stage, for what will be a show-stopping striptease. She’s beaming. She’s staring right at Dalton and she’s hitting him with a smile bright enough to cast shadows.
As well she might. We know she’s attracted to Dalton. We know that she caught a beating for acting on that attraction, unsuccessful though she may have been. We know that the likelihood of her being free to come on to Dalton again is nil. But here’s her chance to shake her moneymaker for Dalton’s enjoyment—not just under Brad Wesley’s nose, but at Brad Wesley’s behest.
He may think having Denise dance is a masculine power trip, a way to lord his potency over his enemy while simultaneously threatening the rules and order by which the Double Deuce runs. She may be getting something else out of it entirely. Perhaps that’s the best way to understand what is about to occur—and perhaps it’s the most damning thing about how Dalton responds.
Tags: brad wesley, dalton, denise, of course you can dance honey, road house, the double deuce