Part 5 closes out with a return to the passive Dougie Jones (Kyle MacLachlan), still standing in the plaza outside Lucky 7 Insurance as dusk creeps in. He remains as we left him, clutching the stack of case files, seemingly hypnotised by the statue of a lawman that stands in the middle of that public space.
On the soundtrack, Johnny Jewel’s “Windswept” plays; a winsome, forlorn, jazzy piece from the album of the same name. Jewel’s “Windswept” acts in effect as an unofficial theme for Dougie, both here and in key scenes of Part 6. It’s perfect for him. There’s a longing to the piece and a kind of sadness reflecting the inherent tragedy in Dougie; the caged and submerged mind.
Jewel – mastermind behind bands like Desire and Chromatics (who close out parts 2 and 12) – produced a lot of incidental music for The Return, in effect acting as a secondary composer behind Angelo Badalamenti (with Dean Hurley working alongside Lynch himself on the sound design. Hurley himself released an album of his near-subliminal drones and tones for the series under the title Anthology Resource Vol. 1).
While Jewel appears on both the official score and soundtrack albums accompanying The Return, he additionally released two largely instrumental ‘solo’ albums of music – Windswept and Lost Themes – which are frequently populated with cues written for the series.
Officer Reynaldo (Juan Carlos Cantu) approaches Dougie, diplomatically reminding him that there is no loitering in the plaza. Dougie pays him no mind and remains entranced by the monument to law enforcement, as though caught in his own personal time loop. A man tracking the same thought, just out of reach, over and over again.
Breaking with the pattern established in Part 2, we do not return to The Roadhouse to close out this particular instalment. Instead, the credits start scrolling over the image of Dougie in his quiet rapture as Jewel’s “Windswept” takes centre stage on the soundtrack.
Part 5 is dedicated to the memory of Marv Rosand who played Toad.
Next time: Home