第三双鞋印

这不怪我，其实一切都是真实的。

一切都在掌控之中，一切都是顺其自然。

【PART 1】

那些隐藏在双峰世界里的数字小品

双峰世界里的8，或者是...

This...is where you will find Judy.

当然，8在中间，旁边是3和5

2-3-5无数次在片中出现，这个颇有意思

2.50-3.50（像不像708）

NP8B3JD

2个数字（8和3），5个字母（NPBJD），7个字符。

这种708（430）的搭配法，在双峰世界里到处都是，你发现了吗？

或者是，你会和我一样胡想吗？

她朝着208房间的门，开了6枪。

在双峰警局，8站在了正义的一方。

除了大头coop，你数一下有几个人。

这里的电话铃声，响了8次。

【PART 2】

双峰世界的奇数逻辑

别纠结，这些纯属我个人的臆想，但双峰真的很有趣很奇怪......

#one# 房间1516与房间708之间的数字关联

1、一切都在8的掌控之中

15-7=8

0=0

16-8=8

2、一切都被困在了430之中

4（1516）

3（708）

0（8-8）

Judy世界里的劳拉之家1516

708，再熟悉不过了吧。

#TWO# 2+5+3=10？？？

1、我怎么觉得一切都被卡在了2：53台灯亮起的一瞬间？

毕竟2：53时的台词是：

when you get there,

you will…

already be there.

2:53，是开启了一切，还是停止了一切？

红色台灯亮起（BOOM），时间是否静止在了（25）3。

2、Log Lady说“众星移动，时间和空间……”

时间被限制在了2：53，是不是一直都停止着呢？

正如Log Lady说的，不光是时间，空间也在欲动。

3、一切正好，当时间和空间一起到达253（10）......

这时候是253

数学不错

时间你想去哪儿？哪也别想去。

#Three# 这是两个世界的...源点？...制衡点？

1、就是这里。进来吧。是......吗？

2、从白天到黑夜，从43到0，经历了什么？

cooper带着戴安通过430大法（鬼知道是什么）

从白天走到了黑夜（正常思维觉得他是从一个世界进入到了另一个世界）

我怎么觉得这段白+黑（啪啪啪）的戏码，

是通过了一个连接处呢？

（不是瞬间穿越，而是无间轮回）

理解1：从7到8

理解2：从4+3到0

430：从7（4+3）到8（0+∞），只需要一次0距离啪啪啪。

这个点就是8---所有8都是0---所有0都是∞---所有∞都有点---∞

#Four# 5:30大爆炸之后，Judy咖啡店营业了。

倒计时从10到0，BOOM把1释放，世界一分为二。

OPEN 5:30am to 8:30pm，天还没亮就开门营业了。

5:30am-8:30pm〔judy zone〕

始于黎明前的黑暗

终于夕阳后的黑暗

你要把阳光带到哪里去？

NEVER BEFORE！！！

9:30am-5:30pm〔Truman world〕

始于黎明后的光明

终于夕阳前的光明

so,in Judy's zone

（5：30）-（8：30）

（5+3=8）-（8-3=5）

就这样相互制衡，永无尽头

唯一不变的是那个0（准时，规则，没有出口，一切是开始也是结束）

so and so,

也许Truman world的结束时间数字组合5:30pm，

恰恰是Judy zone的开始时间数字组合5:30am。

无间轮回？？？

so and so，again,

茶壶喷出来的8转了一圈，

那个圆点，也换了方位。

我胡乱的理解为，

Truman world的am与Judy zone的pm是一样的，

也就是说，它这两个世界的时间是相反但又契合的。

在另一个间域（Truman world）中，

Judy咖啡馆的营业时间应该是（5:30pm-9:30am）。

这也对应了黑夜（时间+空间）的常规思路。

自从世界BOOM一分为二之后，两个世界中间有1小时空白。

（Judy 咖啡馆营业15小时，Truman世界营业8小时，15+8=23.）

（整个世界的24小时，被营业时间的规则定量，分成了1-8-15）

正邪双方在这个1小时空白（时间+空间）中互融，互搏，分身，合体，交战

导致两个世界之间一直是如火（电）般的激烈交错勃发

而其中的制衡点/源点，是否正是laura呢？如下图：

她一直在努力的keep，保持所有事情的平衡。

……………………

扯远了，回正题。数字。

#Five# 两个世界都存在的电流【324810（6）】

我的粗糙理解：3+2+4+8+1+0+6=24

群友的神解（原话）：6/（7-5）*8=24

@fireman

#水克火

；3 阳火 2 阴木 4 阴火 8 阴金 1 阳木 0 太极 6 阴土

《五行缺水

》6单独拿出来 是因为 五行里 土 跟任何元素都有联系

【PART 3】

How many Coopers？

自从Cooper进入间域融合空间之后，

他是否已经从单边的现实世界中脱离而出？

和茶壶一样，以另一种姿态和使命存在着。

#Cooper的第三人称分身术使命#

第三人称分身术的限制与制衡。

第三人称分身术（个人杜撰）：

Cooper进入红房子以后，他就进入了“分身术”的魔咒中，

简单点说，Truman世界里（那张印有cooper/cooper/coo的字条上）会有两个半Cooper，

我认为这两个半，都是分身。

真身是后来自己走了出来，而戴安在那里等他。

“你是真的吗？”

“是我。”

他在这里看着一切发生，等待了25年。

正如杰弗里被茶壶限制，而永远失去了真身，

Cooper也受到了“第三人称分身术”限制，暂时失去了自由（真身）。

当分身被收回，Bob的限制被打破，

真正的Cooper才见到茶壶并知道了下一步他的使命。

这是Cooper和茶壶等待了25年的使命交接。

#Fire Walk With Me#

Through the darkness of future past.

The magician longs to see.

One chants out between two worlds...

"Fire...walk with me."

也许，

未来和过去都是瞬间的/限制的/既定的，

大爆炸（5：30）/430（1516 & 708 & 8 & 24），

只有穿越无限黑暗，与火同行时，

才是真正的摆脱了253（时间+空间）的限制，

坠入无间的轮回。

也许这一问，又回到了253的无限纠葛中。

mother一次回荡了25年的叫声，激发了房子灯灭电流停止般，laura又一次在尖叫中消失。

期待第四季。

本文是《电影手册》2017年7-8月号和10月号的卷首语。

作者：Stéphane Delorme

中文部分自译

机翻可能有一定错误，但基本不影响阅读。

大卫·林奇在片场

10月号：Réel

最后一集《双峰》让我们坠入深渊，对它的讨论永远不会停止。“发生了什么？” 这个问题的关键并不在于这是个结局悲惨与否（我们近乎绝望地期待着happy ending）。这个结局成功了，以一种不可思议的方式：令我们在世界的角落下沉。它刺穿了表象。它触动我们，让我们在身体中感受到它，感觉到那种创伤，林奇的目的是让我们在现实中有所反应。于是，他有必要让作品变得“真实”。这个伟大的结局做了些什么？在一场非常非常漫长，可以消除一切的行程后，我们进入了看上去真实的双峰镇（Double R餐厅以一个特别的角度出现）。两位演员历经许久，从一个荒废的世界归来，发现自己面对面站在Sarah Palmer家现实中的主人（不过在剧中有个令人熟悉的名字，Tremond）面前。林奇把我们扔在这一刻，在一条路中央，如Cooper和Laura一样不知情，于是一种罕见的效应发生了，我们的感官更加敏锐，听着寂静的夜晚。就这样，我们呆在这条街上，不论有什么意义，也不论是否能去理解发生了什么。这些角色被投射到了我们的现实中，而我们观众则被投射进了剧集中，打开了另一个世界。林奇不想抛弃我们，与此相反他让观众面对自己，“今夕是何年？” 轮到我们来回答：2017年，而一切都可以从新开始。

毫不夸张的说，这部《双峰》是我们这个时代最伟大的政治作品。林奇制造了这座无敌的巨塔，一座他无法在现实中打造的巨塔：他将它打造在虚构中，形成了一座18集长的“巴别塔”，以此来改变我们的生活。这并不是一座洪水中的小屋，也不是一切都完美的天堂，而且也不只被手戴绿色手套的超级英雄所把守。这座塔在一个黑暗的时代中升起，它的战士支持着每一场胜利与失败。虽然剧集的结尾令我们绝望，但依据爱森斯坦依旧受用的概念，只有一部有着悲惨结局的影片才能引发一场反叛。这个开放的结局，就如所有伟大的现代作品一样，给了我们空间，它欢迎我们：并不是用拼接碎片来诠释它（这已经够令人激动和开心了），而是让我们来继续。林奇交接指挥棒，绿色手套被传给了我们：“为什么是我？” “为什么不是你？”

人们可以说林奇的目标是关乎道德的（内心善恶的战斗）或者抽象的（探讨邪恶的存在形式），但这部《双峰》的挑战在于转移到政治上，这是林奇之前未做过的事。我们从没见过他在作品中展现对这个时代、这个美国的担忧，用一连串关于令他作呕的“红脖”白人垃圾、对愚蠢的持枪暴力的讽刺；以及反过来，对住在拖车中，被迫卖血生存的穷人的关注（“fucking government”）。这个世界活在暴力的危害下，就如某一位Mitchum兄弟，在见证了一位开面包车的会计师的暴力后说的：“大家现在都饱受压力。” 但这并不是简单的谴责，这部《双峰》就是一位社会运动家的“天启”传单，希望一切都能在灭亡前改变。林奇相信我们能改变这个世界，而他用一切力量去触动和引导我们。

这部《双峰》宏大的美是因为林奇的领路，这是必须被观看的演出。他尽他全力，他敢于利用时间，创造了一座影史上未见的大桥。他用了多年的时间打造了这18个小时的奥德赛，让难以置信之物近在咫尺；他召回老友，邀请新人，好好地照顾了他们。这位陪伴了我们25年多的导演（也是这个时代的电影人），将秘密传达到了我们耳边：一座名为《双峰》的绿洲／乌托邦／大同社会诞生了，而言语无法试图传达这个人工现实的力量。这一切都只是梦吗？这得由我们来决定。

英文机翻：

The last episode of Twin Peaks has plunged us into abysses and since the discussions never end. What happened ? The question is not whether it ends badly or not (that desperate attempts to believe in the happy ending!). The end succeeds. She succeeds in something incredible: to sink a corner in our world. She pierces appearances. It touches us deeply in our life. We feel it in our body, we feel this wound on our side. Lynch's goal is to make us act in the real world. It was therefore necessary to make the film "real". What does this extraordinary end do? After a long long night crossing, which gets rid of everything, we enter the Twin Peaks city, as if it were the real one (the Double R seen from a new angle), the two actors coming back so far that the world seems deserted, and they find themselves face to face with the owner, in the life, of the house of Sarah Palmer, but decked out with a name of fiction that we know too well (Tremond), and Lynch leaves us there, in the middle of the street, as obsolete as Coop and Laura, with an effect of real rarity, the senses sharpened, listening to the silence of the night. There we are, in this street, and we stay there. Whatever the meaning, what matters is to stay there to understand what happened. The characters are projected in our world, we are projected into the show: this conflagration opens a door to a new world. Lynch does not want to lose us, on the contrary he puts us in front of ourselves. What year is it ? It's up to us to answer: in 2017. And everything can start from there.

It is no exaggeration to say that Twin Peaks is the great political work of our time. Lynch built his Tower of Invincibility, the one he tried to build in vain in real life: he did it in fiction, an 18-episode Babel Tower, to change our lives. This tower is not a flooded lodge nor a paradise where everything is fine, and it is not populated only by guards armed with a green glove of superheroes. This tower rises in the dark of the Dark Age and its fighters support as many victories as defeats. We are devastated by the end of Twin Peaks. But, according to the good old precept of Eisenstein, a film that ends badly is more likely to provoke revolt. This open end, as in all the great modern works, gives us room, welcomes us: not only to pick up the pieces from a hermeneutic point of view, which is already exciting and funny, but because it it's up to us to do it. Lynch passes the baton. The green glove is given to us. " Why me ? Why not you ?"

One could say that Lynch's aim is ethical (the eternal fight of good against evil) or metaphysical (the question of the existence of evil), but the challenge of this Twin Peaks is to switch to politics, what he had never done. Never had we seen this concern to speak of his time, of America, with this litany of beaufs white trash that he vomits, and that he can not help each episode to show in their armed violence and their stupidity, and conversely these poor people, in caravans, forced to sell their blood to survive ("fucking government"). It is the world as it is that engenders violence: "Everyone is under a lot of stress now," said one of the Mitchum brothers, scared by the violence of a chartered accountant. But the series far exceeds the simple denunciation. Twin Peaks is an activist leaflet for everything to change, an apocalyptic work. Lynch believes we can change this world. And he does everything possible to touch us and get there.

The immense beauty of Twin Peaks is that Lynch is leading the way. This is his gesture that must be watched. He who does everything possible, who braves the time, creates a bridge with the past as never in the history of cinema, invents in a handful of years an odyssey of 18 hours, which shows that the unimaginable is within reach of hand, he who gathers his friends, invites strangers, takes care of everyone, he who accompanies us for 25 years at least (it is definitely the filmmaker of a whole generation) and who comes to talk to us in the secret of the ear: it creates what some would call an oasis, a utopia or a community - but these words connoted, tired, folded, lack the power of manufacturing reality, global reality, that Twin Peaks. Is all this just a dream? To us to see.

7-8月号：Non-existent（1-8集）

When Dale Cooper finally comes out of the Black Lodge and falls into infinity, the tree shouts: "Non existent!" Yes, what we see is non-existent. What an unexpected gift makes us David Lynch, 25 years later! Season 3 of Twin Peaks, entirely made by him, is a fireworks display. In one of his rare interviews, he says that he has designed a series less than an 18-hour film, to be discovered every week (18 parts, until September 3). A film that does not stop repeating and that multiplies the peaks. It's hard to be astonished at the New York episode that Part 3 comes with his head of Eraserhead, then Part 6's hyper-violent, then Part 8. Two pictures interviews in the office of Gordon Cole, Kafka and the atomic bomb , And BOUM, five episodes later, the bomb exploded in 1945 and created the metamorphosis of a mutant insect. Every time he takes a step towards the old world of Twin Peaks, a leap back always sends us back further. Lynch knows he has captured a "big fish," as he says in his poetic art Catching the Big Fish. Gordon Cole confirms it when he repeats (like Dougie) what Denise tells her: "You are on something Big - He agrees: Big".

Season 3 is an immense gesture as if Lynch wanted to communicate all his ideas. Create the great work, synthesis, while avoiding compilation. And at the same time that he ventures farther, he does not forget Twin Peaks. The season is done without some characters, it's not their story, and yet these reunions are expected, Lynch offers them: James, Bobby, a sequence is enough. It barely supports and is devastated. He knows he's driving a Rolls. But even a Rolls purrs. Then he jumps elsewhere, constantly changing ladder, but without spice. It is enough for a beast that slowly enters the mouth of a teenager so that all the cinema of horror starts again from scratch. The absence of immediate explanation drives our mind, we seek, we think, we imagine. He plays with the cat and the mouse, but we are in good hands, filled with signs and emotions. What the periodicity allows precious is to see a work of art create before our eyes.

An unprecedented emotion also arises from these reunions with the actors. The three roles given to Kyle MacLachlan (exceptional) recall Laura Dern's role in the Inland Empire. Both times it is the impulse of an actor, a friend, who gives the green light. These two actors he discovered when they were 20 years old, they loved each other in Blue Velvet and in life: she alone could inevitably play Diane. There is also the dedication to the missing actors, even though they appear in the series: Catherine Coulson (Woman with the Log), Miguel Ferrer (Albert), Warren Frost (Dr. Hayward) are filmed for the last time. The series takes the form of a farewell to friends. Nothing but the plan of Harry Dean Stanton on his bench! We find him where he'd been staring at the stars at the end of A True Story. All these ideas are overwhelming. Even on the screen, under the guise of Gordon Cole, Lynch always walks with Albert and new recruit Tammy, and he needs besides Diane. He wants to gather everyone in his Noah's Ark.

Talking about a current film is a perilous exercise, especially when it takes on such a fragmented form. Our equally fragmented ensemble replaces the work, multiplies entries and celebrates ideas (hence "The Alphabet" in homage to its short film of 1968). Our wish is to accompany the readers whom Lynch will certainly have in the meantime brought to other worlds. To give also want to review the first episodes of the season because each is so new that it tends to erase the previous one. Now it is indeed a whole that presents itself, piece by piece. Review episodes reserves a different experience. It is an icy world, and yet it is well, because intelligence, curiosity, beauty, love, if they threaten to disappear, are everywhere in Lynch's eyes. In the old Twin Peaks, Gordon Cole, the filmmaker's spokesperson (or rather loudspeaker), was shouting in the middle of the chaos: "Let your smile be your umbrella." Let your smile be your umbrella.