“Dalton, you gotta check this out,” Jack says. “Looks like Wesley wants to put a little something down on a new car.” This is his tipoff to his boss that Brad Wesley plans to take a monster truck and destroy a car dealership with it. Why he chose to deliver this information in a wisecrack is the viewer’s to decide. Spider-Man, I’m thinking—Jack reads Spider-Man comics, hence the resort to jokes during tense moments. Do I get a No-Prize?

But Jack and his banter and his weirdly small boots with his stonewashed denim tucked into them is beside the point. Mostly I want to call attention to the assemblage of humanity present for the impromptu monster truck rally. Jack is there, and so are his Double Deuce coworkers Carrie Ann and Frank Tilghman. Red Webster is there too—guess he didn’t skip town after all—along with Emmett, who has finally taken his place in the Council of Elders I suppose. Brad Wesley has brought along virtually his entire goon crew, though that’s to be expected when you’re planning to destroy a place of business in broad daylight.

And here in their car are Dr. Elizabeth Clay, Dalton, and Cody from the Jeff Healey Band. What was their plan for the afternoon? What did that conversation sound like? “Hey Cody, it’s Dalton. Look, me and the Doc were gonna swing by Wagon Days at Strodenmire Ford after lunch sometime. Wanna come with?” “Sure thing, man, just gotta drain the main vein first.” “Okay, well, as I said we won’t be heading over till like one or two, so you should have plenty of—hello? Hello?”

“Dalton, Red’s place is on fire!” Once more unto the beach, dear Jack, once more; or put the fire out with our Jasper booze. When Brad Wesley’s minions—presumably Jimmy, the go-to guy for arson—sets Red Webster’s auto parts store ablaze, who but Jack would be the man to bring Dalton the bad news? He bursts through the packed Double Deuce crowd with the kind of speed that would make a man his size an absolute phenomenon in today’s pro wrestling world, where agile big men are star attractions. He grasps the severity of the situation. He understands that Dalton is the man to be told, intuiting on some level that Dalton is involved in the conflict that caused the conflagration. Even now he follows the Three Simple Rules, allowing his cooler to determine whether to be nice or to not be nice. He’s watching Dalton’s back, and everyone else’s. He is Jack, the heir apparent, the Dalton Dauphin, the Crown Prince of Cooling. All hail.

“This is Jack. I’m sure he meant well.”

Jack is Dalton’s most promising student, his protégé, the Dalton to his own Wade Garrett. He’s the quickest both physically and mentally, he sees things others do not, he is seldom far from Dalton’s side (except when duty-bound to be elsewhere of course), he shares his observations of the world and receives Dalton’s in turn. Throughout, whether with the genuine happiness of “I didn’t know she could sing!” or the shocked disbelief of “Jesus Christ!” or the exasperated incredulity of “This is a Sears credit card,” he is never less than a hundred percent open to the world and honest in his reactions to it. He moves through life the way one should, even before the Dalton Path lies before him.

But now that it does, even his wordless responses evince that same willingness to take life as it comes. Witness how he handles Dalton’s extremely utilitarian advice following the throwdown with Ketchum and the Men Who Iron Their Jeans Gang. “Give me the biggest guy in the world: You smash his knee, he’ll drop like a stone,” Dalton says, and QED. Jack, however, does not react the way one might to fighting tips, but the way one might to good old-fashioned common sense one has never had the common sense to figure out for oneself until a wiser soul relays it. His eyes widen, his head tilts, his eyebrows go up, he nods slightly, and his smile says “Huh, I’d never really thought about it that way before, but you’re right!” It’s as if Dalton just said “Don’t worry, you won’t have trouble making it to the Fotomat before closing—school’s out, so traffic’s gonna be lighter this afternoon,” or “If you tell the kid no, he’s just gonna sneak in, so at least buying him the ticket to the R-rated movie yourself keeps the lines of communication open.” “Oh yeah,” says Jack’s face, “good point!” Which it is, I suppose, if faced with a big guy and a knee. But Jack teaches us here as much as Dalton does.

If this configuration of Dalton and his padawan-learner Jack looks familiar, it’s because we’ve been here before. The exchange and fight scene that are about to occur are perhaps the purest distillation of the Dalton Path in the entire film, following the Three Simple Rules and their various chapters and verses to the letter. As a bonus they show the primacy and utility of Jack among the Double Deuce’s other bouncers. It is Jack, after all, to whom Dalton relays the Riddle of the Right Boot, counting on the younger man to solve it. When they move on the intruders who’ve come to the bar to murder a man by kicking him in the head with a boot-mounted knife on account of the fact that he fired a rich guy’s nephew, they move as one.

But how did they arrive at this point? By what strange magic were Dalton and Jack united at this moment? The magic…of rock.

Specifically Carrie Ann’s variant thereof. The big-grinned barmaid with the bangs has traditionally occupied a privileged position in Dalton’s orbit. It is she to whom he first entrusts the secret of his name. It is she who preaches his name to the other barfolk. It is she who is granted a glimpse of the ass.

Now that the Double Deuce has been cleaned up, it is she who takes the stage to demonstrate this fact to the viewer. Would any woman have been caught dead on the stage of the old Double Deuce, where the only thing separating you from the ravening hordes, whose attention is drawn to and focused on that stage in a way no other staffer or patron can claim, was a thin chickenwire line? To be honest, dead might be the only way a woman would get caught on that thing. Putting a blind guy up there strikes me as some kind of ADA violation as it is.

But now things are different. How different? Different enough that a server is up there singing her gorgeous, joyful heart out. (Kathleen Wilhoite is truly one of this movie’s MVPs; I have no doubt from the way she shakes and grooves and grins and at one point even puts her hand to her face like “holy shit I can’t believe this!” is a sign of completely sincere pleasure on the part of the actor herself.) A few weeks earlier she had to save all her vocal power for yelling “BASTARD!” at people she’d just brained with a beer bottle in a barfight. Now she’s singing Eddie Floyd with the Jeff Healey Band.

That’s why Jack drifts over to Dalton that night: Just to smile with delight and say “I didn’t know she could sing!” He’s so happy in that moment, so happy to see someone he thought he knew reveal a new and exciting side of herself, so happy to know that as a bouncer on the Dalton Path he helped make that happen. It’s his desire to share that happiness that puts him by Dalton’s side when Ketchum strides in, anonymous minions by his side, to try to kickstab Dalton in the skull. The right place at the right time, that time being “time to not be nice.”

Call it a coincidence if you want, or even synchronicity. I call it the ne plus ultra illustration of the Third Rule, and of how the obervance of that rule yields dividends none could predict. Be Nice, commands Dalton. So mote it be.

As we near the century mark here at Pain Don’t Hurt, faithful readers will not be surprised to hear me sing the praises of Jack once again. It’s my growing conviction that Road House may be viewed as the origin story of the heir to the cooler’s mantle possessed by Wade Garrett and passed on to Dalton, and that heir is the man above. Why? Because in less than a second after that image, he is also the man below.

Jack goes 0 to 100 real quick.

As well he should! Here, he is reacting to Sharing Husband’s punch and shove of Gawker into Morgan and the entire crowded bar full of patrons. Jack knows the Double Deuce generally and Morgan specifically well enough to know that all hell is about to break loose, and he knows his own trade well enough to know it’s on him to stem the blood-drenched tide. He does so with sufficient alacrity to send the stool on which he’d been sitting skittering halfway down the hall behind him. The dude’s like the Flash, for real. He’s even wearing red. This is the first time we see him spring into action, but as we’ve learned, it is not the last.

The bouncers of the Double Deuce are not a promising lot when Dalton first arrives to take charge of them. Hank is too timid. Steve is too horny. Morgan should by rights be not the bouncer but the bounced. Younger is…present. Jack, though? In A Song of Ice and Fire he would be referred to as the true steel, supple as needed, able to be honed, unbreakable when it matters. Jesus Christ would recognize him as the good ground, bringing forth fruit an hundredfold. It is toward that good ground that the Way of Wade Garrett and the Dalton Path lead. Beyond? The undiscovered country.

Jack is the voice of the people. Leave it to men like Dalton and Wade Garrett to take in the chaos of the bouncer lifestyle and reply with a wry smile and a quip, or with stoic silence. Less seasoned than his mentor and his mentor’s mentor before him, Jack has much of their inherent courage, decency, and adaptability, but lacks the sangfroid common to the cooler. When faced with, say, a bloodied Pat McGurn getting spin-kicked by Dalton through Frank Tilghman’s plate-glass office window, he’s not going to gently shake his head and chuckle to himself or something. He does what you and I might do: make a face conveying almost comical levels of disbelief and gasp “Jeeesus Chrrrist!”

It’s a not dissimilar reaction to the one he has when Horny Steve’s latest lady friends try to gain access to the Double Deuce by presenting, as ID, a Sears credit card. Sometimes we need a man like Jack to say “This is a Sears credit card” in such circumstances—not to elevate the problem to the realm of the philosophical as Dalton might, not to make light of it with a dick joke like Wade would, but just to call it like it is. Then he leaps over the bar and runs into the fray, because he’s still a character in Road House. But the point stands.

Indeed, when you see a guy get bodily launched through a window by an itinerant bar-knight, “Jesus Christ!” is not just appropriate but salutary. We in the audience are rarely afforded a reaction to the truly ridiculous violence in this film that acknowledges it as such; god knows that several times during my initial viewing, and often thereafter, I watched people get tossed into furniture or punched in the skull and thought the moral panic about violent action movies was eminently justified, even understated.

There’s a degree to which watching Road House is like getting punched in the nose and kicked into the next room. Jack gets it. He usually does. When he says “Jesus Christ!”, what he’s really saying is “I see you, Road House viewer. You are valid.”

One thing I never noticed before starting this project, one thing I never noticed before tonight in fact, one thing I never noticed despite watching Road House dozens of times over the course of nearly fifteen years, is that when Brad Wesley’s goofiest goons, Tinker and O’Connor, come to the Double Deuce with Wesley’s nephew Pat McGurn to force Frank Tilghman to overrule Dalton’s decision to fire Pat under threat of physical harm and the cessation of liquor shipments to the bar due to Wesley’s control over distribution in the Jasper, Missouri metropolitan area, and Dalton expresses skepticism about the idea, and Pat almost instantly loses his fucking mind and attempts to slice Dalton open with a knife the size of a Little League baseball bat, and Dalton breaks his nose and tosses him through a plate glass window, and O’Connor assaults him and they both go tumbling through the place where the window used to be, and they fall first to a raised dais and then make their way to the main floor below after O’Connor bumrushes him over the railing, and Dalton pounds the crap out of him and eventually beats him unconscious, and doesn’t even bother to deliver a coup de grace, just kind of holds O’Connor up by his jacket for a moment and then drops him to the ground in disgust, and meanwhile Tinker, who during Dalton and O’Connor’s initial fight in Tilghman’s office punched Tilghman in the gut and then sliced Dalton open with his own knife and then punched Dalton in the face before Dalton kicked him in the chest for leverage to thrust himself and O’Connor through the window, meanwhile Tinker he suckerpunches Younger when he rushes through the door to see what’s going on, but then Hank comes in to help and he and Younger incapacitate Tinker and punch him in the gut while holding him still which is the kind of thing villains do but all’s fair in bouncing, and as Jack and Hank and Younger drag the punchdrunk bodies of their enemies through the bar and presumably to the exit, and Dalton is all covered in sweat and blood and getting ready to head out the back door and go seek medical attention, Tilghman, you remember him, Tilghman staggers over to the broken window and makes eye contact with Dalton and raises his right fist in a gesture of triumph and solidarity that’s one of the most ridiculously obsequious things Tilghman does in the whole movie, which in the parlance of our times puts it in the running for most ridiculously obsequious thing worldwide, I mean Tilghman contributed nothing to the fight, he just got winded by Tinker until he was rescued by the other bouncers, but there he is, small business owner, vicariously victorious in his non-worker role, and Dalton gazes into the fist of Frank Tilghman, as he raises that five-sided fistagon, as the bodies get dragged away.

Some lines punch above their weight class. You know what I mean? You can feel them searing their way into your brain and then lodging there, as close to permanently as anything can in a world that feels like a blow to the head every day, despite them not being important or funny or even good. One of those quote-tweet audience-response twitter threads went around recently to this effect, asking what obscure movie lines have become a part of your everyday vocabulary or thought patterns. My personal choice, besides the obvious, is a woman at a dinner party in Hellraiser squawking “Doctors!” in this over-the-top, probably dubbed-to-replace-an-English-accent what a world way, and her husband responding with a “That’s right, honey” so patronizing it makes your eyes water.

I can currently feel this happening with poor Jack, that’s him on the right above, trying and failing to prevent his fellow bouncer Horny Steve from allowing two young women below the legal drinking age from entering the Double Deuce with IDs so woefully inadequate to the task of age verification that they aren’t even fake. “This is a Sears credit card” he tells Steve, who’s in the middle of greeting his lady friends Beverly and Agnes and could not possibly care less. I feel it searing, and I swear there was no pun intended. I feel it becoming the way I react to any frustratingly bogus situation or nonsensical explanation, like the pet-shop clerk who tells Parker Posey “This is least like a bee of the ones that we have here” when she’s desperately searching for a replacement Busy Bee for her dog in Best in Show, or Kramer and company shouting “These pretzels are making me thirsty!” in Seinfeld. Car says it’s out of gas even though it previously said there were forty miles left in the tank? This is a Sears credit card! Laptop won’t remember a password I’ve entered in a million times? This is a Sears credit card! Politics??? This is a Sears credit card! I will never see the softer side of Sears again. I accept this.

“This is the new Double Deuce,” says Frank Tilghman. We are at the start of an all-hands staff meeting, and Tilghman is pointing to the concept art for the bar’s redesign. But standing nearby is his latest hire, Dalton. It is through Dalton, with Dalton, in Dalton that the new Double Deuce will be achieved. Dalton embodies the new Double Deuce. He is its future.

When Dalton takes over as cooler he becomes more than just the chief bouncer. His role is not to handle a series of discrete incidents, but to institute sweeping reforms that will eliminate such incidents forever. “It’s going to change,” he states—not a threat, not a promise, a fact. His bouncers, too, must change for this to take place. As below, so above.

Bouncing on the Dalton Path is a matter of following “three simple rules.”

This, again, is the third.

3. Be nice. (continued)

When first we assayed the Third Rule, I said the following:

It is the shortest rule, and it requires the most explanation. It is the least practically minded rule, and it is illustrated with the most practical applications. It is a rule about being kind to others, on the surface at least, and it is the rule greeted—and at times delivered—with the most open incredulity, even hostility.

When Dalton tells the assembled staff of the Double Deuce to be nice, it is Jack the bouncer who, whether in spite or because of being Dalton’s best student, opens the door for doubt. “Come on,” he says, gently but with unmistakable disbelief. He’s trying to ask his new sensei “Are you out of your mind?” in the politest possible way.

Now comes the yin-yang instructional configuration that should be familiar to us as central to the Giving of the Rules. Dalton leans forward and tells Jack “If somebody gets in your face and calls you a cocksucker, I want you to be nice.” Jack responds with a skeptical “Ohkayy”—and, though he knows it not, passes the test Dalton has just given him in so doing. Dalton got in his face and called him a cocksucker, and he was nice. It takes the doing of the thing to see that it can be done and learn how to do it. If you think this sentence is confusing, then change one pig.

(to be continued)

They added a gleam effect to the knife in the boot on the leg of the goon who tries to high-kick Dalton in the head with his knife-mounted boot. Just in case, you know. Even with the closeup—an eyeline match cut from Dalton and his Padawan learner Jack to the boot and then back again (Dalton: “Right boot.” [pause for boot] Jack: “Got it.”)—the audience could have missed it, primarily because even for the kinds of people who might want to watch Road House boot-mounted knives are not the kind of thing you’re trained to spot in the wild. Can’t be too careful, really.

No, really. Let’s review. Never underestimate your opponent. The opponent here is the audience’s inability to recognize a knife sticking out of a Knife Nerd’s shitkicker. Expect the unexpected. You wouldn’t expect someone to miss the knife when it’s one of three things on screen, the other two being the boot and the jeans covering the leg part of the boot, would you? Take it outside. Step beyond the boundaries of yourself and see things through the eyes of others. Never start anything inside the bar unless it’s absolutely necessary. The trouble here started when Brad Wesley, outside the bar, ordered this man to go inside for the express purpose of necessitating violence. Be nice. Dalton’s simply points out the location of the weapon to Jack rather than raising holy hell, a first move echoed when he amasses his bouncers, approaches the boot knife goon with a smile, and simply says the bar is closed. Until it’s time to not be nice. The arrival of the boot knife is the big hand reaching Not Nice O’Clock.

That gleam is not just the light reflected off some jackass’s dopey weapon. It’s Dalton’s bouncer-sense made visible.

Brad Wesley isn’t the only man in Jasper, Missouri with a goontourage. The employees of the Double Deuce whom Dalton does not fire when he assumes the role of cooler can generally be counted upon to have his back. I don’t think this is just the dubious whipped-dog loyalty of working stiffs to the middle manager who spares their jobs while shitcanning other people instead, either, though god knows we’ve all been there. Dalton brings out the best in good people and the worst in bad people. He’s a moral refinery. Here are the people who emerge purified from the kiln of his character. Most go unnamed, but let us not allow them to go unsung.

Jack

Bouncer. Expressive eyes. Quick on his feet, literally and figuratively. Played by Travis McKenna, whose body type sets him up as the opposite number to Brad Wesley goon standout Tinker, but never used as comic relief (except maybe once, when Brad Wesley goon standout Jimmy uses his prone body as a fulcrum to pole-vault onto the stage at the Double Deuce with a pool cue) and shows much higher levels of emotional intelligence. Fastest-moving character in the film save for Dalton himself. Visibly receptive to Dalton’s advice and instructions. Demonstratively appreciative of his fellow employees’ talents (he’s positively delighted to discover Carrie Ann’s singing voice). Frequently is the first to warn Dalton of Brad Wesley’s bad acts. Most likely to become the Dalton to Dalton’s Wade Garrett sometime down the line. Steve the Horny Bouncer whom Dalton fires due to his regular Saturday night thing calls him “Bear.” No one ever says this character’s name in the movie.

Younger

Bouncer. Just a big ol’ mumble-mouthed meathead, played by Roger Hewlett. Politely raises hand to ask a question during Dalton’s orientation session. Has the least screentime of the three bouncers, leaving the nature of his skill set largely to the imagination. The guy I would least like to tangle with personally, as he seems like he might not notice he’d beaten you to death until long after it was too late. No one ever says this character’s name in the movie.

Hank

Bouncer. The most visually dashing of Dalton’s crew, and the most openly fanboyish about his renowned exploits. Reenacts Dalton’s infamous throat-ripping maneuver, alerting us to this chapter in his checkered past. Frequently takes point in breaking up hostilities prior to Dalton stepping in. Smokes a lot. Played by future real-life murder-suicide perpetrator Kurt James Stefka, because every Lost Highway needs a fucking Robert Blake. No one ever says this character’s name in the movie.

Carrie Ann

Waitress. Singer. Breakfast delivery person. Engine of pure erotic power. Pal and confidante. Just a kickass character in every way. It helps that people do say her name in the movie, that’s for sure. Played by Kathleen Wilhoite and god bless her for it.

Stella

Waitress. Has that weird “German schoolgirl” vibe (description courtesy of MST3K/RiffTrax genius Mike Nelson) common to waitress types circa the filming of the original run of Twin Peaks, which you could probably convince anyone she was a character in as well. Tosses a bottle and hits a nitwit at one point. Played by Lauri Crossman. No one ever says this character’s name in the movie.

Ernie Bass

Bartender. Keith David. Unrealized potential. For some reason people say his name in the movie, though considering how badly he’s wasted who knows why.

The Nameless Bartender

Bartender. Prominent throughout the film. An original employee of the Double Deuce, unlike Ernie, who is brought in when things are flush. Multiple lines of dialogue. No one ever says this character’s name in the movie. No one ever bothered to name this character for the movie. Played by James McIntire, uncredited. There’s gotta be a story here, man.

Cody

Lead singer and guitarist of the Jeff Healey Band. Played by Jeff Healey. Not named Jeff Healey in the movie, though. Plays pretty good for a blind white boy, according to Dalton, with whom he has a long-standing working relationship. Possibly the person who recommended Dalton to Frank Tilghman, though this is never established and neither man seemed to realize the other would be working at the Double Deuce at the time of Dalton’s arrival. Adds much-needed verisimilitude and is a lot of fun to watch and listen to, even if acting is not Jeff Healey’s first calling. Recently I discovered that it’s Cody, not Dalton’s landlord Emmet, who sits on the shore as Dalton and the Doc skinny dip in that water at the end of the movie. They did seem pretty close, certainly.

Cody’s Drummer and Cody’s Bass Player

Drummer and bass player of the Jeff Healey Band. Played by Tom Stephen and Joe Rockman, who are amazingly not related despite both looking like they rolled off the dollar-store Eric Bogosian assembly line in the same batch. Silent observers of the events of the film, a mute Greek chorus. Great hair. No one ever says these characters’ names in the movie, not even “hey, Cody’s Drummer” or “Congrats on the chickenwire coming down, Cody’s Bass Player.”

???

??? That’s him on the left. I don’t know who this man is. This man is in a grand total of one scene, Dalton’s orientation session. This implies he’s an employee of the Double Deuce, but he is never seen before or since. No one ever says this character’s name in the movie. No one ever says his name outside of the movie. No record exists of the actor who played him. No evidence of his existence can be found anywhere beyond these few minutes of footage. Where he’s from the birds sing a pretty song, and there’s always music in the air. LET’S ROCK