From the beginning, the relationship between Special Agent Dale Cooper and Sheriff Truman was a special one. It’s best exemplified in the pilot episode when the law enforcement duo is on a stakeout at the Roadhouse. This scene was conveniently shot just outside the location in Fall City, Washington. But let’s take a closer look at this scene referencing the revised first draft script from December 1988, the broadcast version and a deleted scene containing some interesting backstory.
WHERE IS THE STAKEOUT AT THE ROADHOUSE SCENE LOCATED?
The stakeout at the Roadhouse scene was shot in the parking lot of the Roadhouse Restaurant and Inn located along Preston-Fall City Road in Fall City, Washington. The approximate coordinates are 47°34’03.4″N 121°53’15.1″W.
Thanks to a deleted take of this scene we know the scene was shot on March 11, 1989, the same night that the exterior scenes at the Roadhouse were shot (Mike and Bobby arrive, Donna arrives on Harriet’s bicycle, etc.). The interior scenes of the Roadhouse were shot on March 8, 1989 at the Timberline bar once located at 2015 Boren in downtown Seattle.
This is the first part of this nighttime scene with Cooper and Truman in the Twin Peaks Sheriff’s Department vehicle.
This is the approximate spot in the Roadhouse parking lot.
Look carefully when watching this scene. The white arrow points to a light that moves briefly in the distance. The Roadhouse parking lot is lower than road behind it. This light is headlamps from a car turning off of Highway 202.
You can also barely see a grouping of trees to the right of Sheriff Truman. I believe these are the same trees still found at the location today.
With the location established, let’s take a closer look at the scene as scripted versus aired on television. For this analysis, I’m referencing the first revised draft script from December 8, 1988 when Sheriff Harry S. Truman was named Sheriff Dan Steadman.
SHERIFF’S CRUISER AT NIGHT
The script describes the action as shown in the episode. I included some additional notes and dialogue in the brackets below [ ].
INT. SHERIFF’S CRUISER – NIGHT
Steadman and Cooper are in the front seat. Cooper is whittling a small stick with a pocket knife. Through the windshield, they have a prime view of “Hemingway’s”, behind the Roadhouse building. About twenty motorcycles, mostly Harleys, are parked outside.
We hear the cruiser’s two-way radio kick on.
LUCY’S VOICE
Sheriff, I got a call for you from Dr. Hayward…
[NOTE: Lucy’s broadcasted dialogue continued: “I explained to him that you were on a stakeout at the Roadhouse but he still would very much like to talk to you.”]
STEADMAN
(picking up the mic and responding)
Put him through…
[TRUMAN: “Go ahead, Lucy, patch him through.”]
[LUCY: “I’m gonna patch him through to you now, Sheriff. I’m patching you through now, Dr. Hayward.”]
MISSING SCENE WITH DR. HAYWARD ON PHONE
There is a missing scene that would have been intercut with Truman speaking on his two-way radio to Dr. Hayward on his home phone. We have to assume it was shot and most likely he was wearing this outfit.
INT. HAYWARD HOUSE SECOND FLOOR CORRIDOR – NIGHT – NOT SEEN ON SCREEN
INTERCUT:
Dr. Hayward on the phone. Harriet peeks out at him from the bedroom door.
HAYWARD
Dan, my daughter Donna’s snuck out of the house, I don’t know where she went, I’m very worried about her.
For the broadcast episode, we only hear Dr. Hayward delivering this line off camera. It could be the same dialogue from the scene they shot added as a voiceover to the scene.
Cooper nods, not surprised.
STEADMAN
You rest easy. I’ll put out an all points for her, we’ll keep our eyes peeled
HAYWARD
Thanks, Dan. Keep me posted
STEADMAN
You bet.
[TRUMAN: “You betcha.” “Lucy you take care of that all points now.”]
Hayward hangs up. STAY with Steadman and Cooper.
COOPER
Of course she went out.
STEADMAN
Meaning what?
COOPER
How else is she gonna lead us to that biker?
STEADMAN
(trying not to appear confused)
Right.
COOPER WHITTLING IN THE SHERIFF’S CRUISER
The scene continues with Cooper asking Truman if he knows why he is whittling. I love this exchange so much!
COOPER
(pause; continues to whittle)
You know why I’m whittling?
STEADMAN
(playing along)
[“Okay, I’ll bite again.”]
Why are you whittling?
COOPER
Because that’s the kind of thing you do in a town where a yellow light still means slow down, not speed up.
There is additional dialogue that was shot but cut from the scene.
(he smiles)
Couple a’ months of this and I’ll have that clarinet I always wanted.
He whistles “Rhapsody in Blue” again. Steadman looks at him.
The reference to whistling “Rhapsody in Blue” is one of two references in the revised first draft. Cooper would have first whistled George Gershwin’s iconic song after delivering his famous monologue to Diane while entering the town of Twin Peaks.
Why this song? Aside from the connection to the “world of blue” and “blue roses” in Twin Peaks, Gershwin’s 1924 tune was heard extensively in commercials for United Airlines in 1988. A short blurb in the San Francisco Examiner in December looked at the year’s best advertisements which included United’s use of “Rhapsody in Blue.”
But I’m guessing its inclusion had more to do with the “blue rose cases” of Teresa Banks and Laura Palmer’s murders. Only Mark Frost and David Lynch know for sure.
JAKE MORRISSEY AND THE BOOKHOUSE
There was additional dialogue recorded during the stakeout that was not show in the broadcast version. In the script, there was an entire scene where Donna Hayward goes to the Bookhouse looking for James and encounters “Jake Morrissey” who owns the Bookhouse and The Roadhouse.
It’s unclear if those scenes were actually shot and who would have played Jake.
COOPER
What’s the story behind this Bookhouse anyway?
TRUMAN
Jake Morrissey owns the Bookhouse and the Roadhouse – The Bang Bang Bar. Everybody calls it the Roadhouse.
COOPER
Those motorcycles. Is that some kind of gang?
TRUMAN
There not really exactly a gang. They go way back.
COOPER
You’re part of the Bookhouse.
TRUMAN
Why don’t you whittle on that for awhile.
And the end of the scene, you can year David Lynch say, “What a beautiful, beautiful thing.” This causes Kyle MacLachlan and Michael Ontkean to laugh.
Granted, I wish they would have kept it in the Pilot as it would have answered why the bar has a neon “The Bang Bang Bar” sign but it is called “The Roadhouse.”
They also cut the reference to the Bookhouse Boys, something that we would not see until episode 1.003 when Truman explains the secret society to Agent Cooper.
WATCHING MIKE, BOBBY AND DONNA ENTER THE ROADHOUSE
INT. STEADMAN’S CRUISER – NIGHT
Steadman and Cooper watch Mike and Bobby head into the Roadhouse.
[TRUMAN: “Mike and Bobby.”]
COOPER
(matter of fact, still whittling)
There’s liable to be a little trouble this evening.
Steadman looks at him. Takes a sip of coffee. And a bite of doughnut.
INT. STEADMAN’S CRUISER – NIGHT
Steadman and Cooper watch Donna enter the Roadhouse.
COOPER (still whittling)
Looks like sooner than later.
He finishes whittling, looks at the stick, puts it in his mouth and blows; he’s made a whistle.
COOPER
Why don’t you whistle for a little back-up?
Steadman picks up his radio microphone.
STEADMAN
(the slightest bit testy)
I can see which way the wind’s blowing.
(into the mic)
Lucy, this is Dan, can we get a back- up unit down here at the Roadhouse? Make that two back-up units. And call Will Hayward, tell him we found his daughter and she’s fine.
He looks over at Cooper. Cooper makes a “thumbs-up.”
This may be the first time Cooper gives a “thumbs-up” in Twin Peaks. It’s a gesture that will soon become synonymous with his character.
MISSING SCENE OF TRUMAN OPENING DOOR
The script contains additional action which I believe they shot on March 11.
INT. STEADMAN’S CRUISER – NIGHT
As they watch patrons pile out the front exit and the sounds of the fight reach them, Steadman goes to open his door. Cooper stops him.
COOPER
Not just yet
Steadman stops.
The scene cuts from the fight inside and Joey Paulson escorting Donna Hayward out of the Roadhouse from behind the bar to this scene of the couple running through the Roadhouse parking lot.
But why cut to when the couple is halfway through the lot? It moves the action along and perhaps cuts out people gathered outside the entrance.
STATE TROOPERS ARRIVE AT THE ROADHOUSE
Interestingly, the State Troopers arriving at the Roadhouse is earlier in the script. This action won’t take place in the broadcast episode until after Joey, Donna leave the parking lot followed by Cooper and Truman.
The rest of the action except the troopers arriving is the same as broadcasted.
EXT. ROADHOUSE – NIGHT
As Joey and Donna exit the rear of the roadhouse, two State Trooper patrol cars are roaring into the parking lot. They slam to a halt near the front entrance and four TROOPERS pour out of the cars towards the Roadhouse.
CUT TO:
INT. STEADMAN’S CRUISER – NIGHT
Steadman and Cooper watch Donna and Joey hop onto the back of his motorcycle and he stomps the engine to life. Steadman and Cooper look at each other.
STEADMAN
Joey Paulson. That’s a “J.”
COOPER
He’s taking her to somebody else.
Steadman looks at him again.
STEADMAN
I suppose you want me to follow them at a discreet distance.
COOPER
Dan, you’re all right.
Steadman starts the car.
I close with one more look at the location outside the Roadhouse Restaurant and Inn from a nighttime visit on January 23, 2020. It rained all day for all five days I was in Snoqualmie Valley just before the world changed. You can see how the parking lot is lower with the street lamps in the distance.
