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Cut to Douglas's house as he drives home. There's a party in progress, and we know it's an artsy, bohemian writers party because they've got Leonard Cohen on the soundtrack. Curtis Hanson gets additional bonus subtlety points for not having RDJ and Katie Holmes go on a murderous rampage, unlike some other "natural-born" directors under the influence of Leonard Cohen that I could name. Anyway, Douglas wanders inside, looking at all the strange people in his house. He moves upstairs, where he finds Katie reading his manuscript. She knows she's busted, but she's also thrilled to see him. She steps in close and tries to kiss him. Douglas tries to push her away, but RDJ walks in and catches them in a semi-compromising position. They three of them start talking about Tobey. They're shocked that Douglas left him with his grandparents, but they also report that the cops now know he's the one who stole the jacket and killed the dog. Douglas tells RDJ that he read Tobey's book, and it's great. Can anyone see a nice tidy resolution looming on the horizon? I can. RDJ convinces Douglas to stage a raid to free Tobey from his family. Except they still don't know where he lives. While they argue, Katie displays the sort of level-headed calm in a crisis that makes me love her, and also made her dump Dawson. She looks him up in the phone book, and they're on their way. Douglas and RDJ drive out to Tobey's house. RDJ is excited about Tobey's novel. "I feel this kid in my bones," he says. "Only your bones?" replies Douglas. They arrive and sneak up to the house. It turns out that Tobey does in fact live in the basement, only he's got a huge room that's stuffed almost to the ceiling with overdue library books. They go inside and tell Tobey to get dressed and ready to go. As Tobey dresses, RDJ sits down and reads what he's got in the typewriter at that moment. It describes a limping, aging prizefighter who's lost the heart to go on. Gee, sound like anyone we know? "Gee, sound like anyone we know?" asks RDJ. I knew I liked the guy for a reason. He goes on to state, "Man, this kid needs an editor." As Sars can attest, so do I. They use poor Poe's body to make a decoy in Tobey's bed in case Emily Gilmore comes down to bring him mashed bananas on toast, and head off. They arrive at Douglas's house and head inside. Once again, Tobey forgets his bookbag, leaving it in the car. Given the fact that the main characters spend almost the entire movie searching for this bag in its various locations, you'd think he'd have learned to hold onto it a little better. Anyway, Tobey and RDJ go off to bed together. Douglas watches them, then looks in on Katie, who's sleeping peacefully, pages of his manuscript scattered all around her. Michael "The Kind Syndrome" Douglas heads outside to spark up a doobie, as the kids like to say. The kids in 1973, that is. While he's out there, we see someone in a mysterious van cruising by. Then Douglas picks up the phone and calls Sara. Of course, it's three in the morning, and Walter doesn't seem too happy when he answers the phone. Douglas tells him that he's in love with his wife. Douglas, not Walter. You know, in case you were confused. "Have you been drinking?" asks Walter. Douglas takes a hit. "No." Heh. Walter tells him to be in his office Monday morning and hangs up.