We find Dougie (Kyle MacLachlan) where we left him, at the foot of the statue in the plaza, piles of case files pressed against him, now struggling with his sleeve in a manner that is wholly childlike. Johnny Jewel’s “Windswept” plays on the soundtrack, and its usage seems sadder than ever.
Officer Reynaldo (Juan Carlos Cantu) checks on Dougie. Half an hour has passed since we left him at the end of Part 5. He asks where Dougie lives and feebly Dougie replies, “Home”. When asked where home is, we half expect the forlorn and confused man to say Twin Peaks, but no such revival of consciousness is forthcoming. Dougie becomes enamoured with the security guard’s badge. This in itself gives a little hope; Cooper is in there and recognises the value he places on such emblems.
Dougie tells the guard he lives at Lancelot Park. His ability to communicate continues to be derived from the things he has been told or has overheard.
The security guard acknowledges Dougie’s behaviour as odd, but he assumes the man has been drinking or is on drugs. The idea that he might have a serious mental or psychological disorder is discredited. All poor Dougie can say is, “Case files”. Pitying the man, the security guard takes Dougie home.
Janey-E (Naomi Watts) answers the door, thanks Officer Reynaldo and ushers Dougie into the house. Again, Dougie is distracted by the officer’s badge. The security guard points out to Janey-E that an envelope has been left on the doorstep. She takes it. Closing the door, she says sorry to Dougie for forgetting him and for forgetting that his car is missing. Dougie can’t answer her questions. She moves him to the kitchen where she prepares him a sandwich.
We cut to the pair of them eating together by lamp light. Janey-E forms a plan to take Dougie to see a doctor the following day
(finally!). She questions his ‘homework’ and he parrots, “Case files” again. She turns her attention to the envelope, noting it has nothing written on it. Though curious about it’s purpose, Janey-E doesn’t look inside it, instead she tells Dougie that he needs to go upstairs and say goodnight to Sonny Jim, watching with a mixture of dismay and concern as Dougie struggles to find the stairs. He does know how to use them once he’s found them though, so that’s a little progress.
Upstairs, Dougie initially walks passed Sonny Jim’s (Pierce Gagnon) room, but he finds it in the end. Sonny Jim pats his bed, encouraging his father to sit down, but Dougie only mimics the motion as he mimics people’s speech. Communicating but not understanding. This makes Sonny Jim smile. With an added gesture, Sonny Jim manages to get his father to sit. Dougie continues to eat the crisps he has brought up from the kitchen. He offers one to Sonny Jim, showing their kinship and his own kindness. When Sonny Jim declines it, Dougie places it on his blanket.
“Will you stay with me until I fall asleep?” Sonny Jim asks.
“Asleep,” Dougie parrots. When Sonny Jim turns out the clapper light by clapping his hands, it tickles Dougie and he claps, turning the light back on. This triggers a fun little back and forth between the two of them. Dougie’s diminished mental faculties endow him with the playful wonder of a child, and it allows the two characters to connect and enjoy one another’s company. It’s play. In a strong sense, Sonny Jim is the character in Las Vegas that Dougie relates and responds to the most. It’s a tender little scene.
Downstairs, Janey-E opens the envelope and angrily calls Dougie back downstairs. Dougie obeys while Sonny Jim protests. Janey-E pulls Dougie over to the dining table advising him he is in the dog house. In the envelope is a photo of Dougie (his former, bulkier self) with the prostitute Jade (Nafessa Williams). When Janey-E demands an explanation, Dougie quite unfortunately (and comically) parrots, “Jade gives two rides.” Evidently this photo has come from the people Dougie owes money to.
The phone rings and Janey-E answers it. It’s the moneylenders who left the photograph. Janey-E is strong and forthright on the phone, not masking her indignation at all. The voice on the other end of the phone advises that Dougie owes $50,000.
“How’s he supposed to get that?” Janey-E asks, despite being well aware that they are presently at least $425,000 in the black. She is a shrewd woman, playing the situation for the best possible outcome, pointing out that if they break Dougie’s legs for not paying up it’ll only make getting their money harder in the long-run.
When the voice threatens to go to Dougie’s office, Janey-E flat-out refuses the scenario and takes control, telling the caller, “I’ll talk to you myself.”
They arrange a meeting for the park the next day. The visit to the doctor’s will have to wait. The caller hangs up, in effect acquiescing to the deal. Janey-E yells at Dougie for getting them in this position and for losing so many things, then orders him to get to work on the case files.
As Dougie parrots, “Big day,” (referring to tomorrow), Janey-E softens some, calls him “sweetheart” and kisses the top of his head before leaving the scene. Despite his imperfections of character – despite owing people money and despite his infidelity – Janey-E still loves her husband. This reinforces the reality of Dougie Jones’ life, however fraudulent its creation.
Janey-E is a real person, not one willed into being by Mr. C. Sonny Jim is a real person, the product of her union with the tulpa Dougie Jones. Their history together is real. It exists in memories of times spent together and the facts of the present. In short these people have great investment in Mr. C’s charade. It may have served its elaborate purpose, but the by-product of his actions is a small universe of love inside that house On Lancelot Court. Such a positive thing cannot have been Mr. C’s intention, but its an interesting net result of an ostensibly malevolent act. Good can come from evil, albeit after the fact. As is often the case in Twin Peaks, the two extremes mingle and co-exist even as each fights for supremacy.
Next time: Don’t die