意圖辮子 (Intention Plait)

The Intention Plait

在我們離開女祭司伊特福特和歌后瑪蒂爾達的商場裡，絕對的寂靜和字面上的麻木統治著。她們周圍的整個空間都凝固了。閃閃發光的雪花靜止地懸掛在空中，模特們以奇怪的姿勢站著，彷彿被瞬間的快照捕捉到了。

In the mall, where we left priestess Itfut and diva Matilda, absolute silence and a literal numbness reigned. The entire space around them had frozen. Glistening flakes hung motionless in the air and mannequins stood in weird poses as if they had been caught off-guard in an instant snapshot.

如果不是因為兩個活生生的人物，其中一個在旋轉並大笑，像她極度焦慮時那樣，另一個在來回踱步，瘋狂地做著手勢，這場景本可以作為絕對寂靜和無時間性的插圖。

The scene could have served as an illustration of absolute silence and timelessness if it were not for two living figures, one of whom was spinning about and laughing as she did whenever she was extremely anxious, and the other who was pacing back and forth wildly gesticulating.

「福蒂！」她說。「冷靜下來，好嗎？！告訴我你記得什麼？」

“Futi!” she said. “Calm down, will you?! Tell me what you remember?”

伊特福特突然停下來，凝視著瑪蒂爾達，神情極其嚴肅。

Itfut suddenly stopped and froze staring at Matilda with a look of immense seriousness.

「福蒂，你又讓我害怕了！」

“Futi, you’re scaring me again!”

女祭司片刻後放鬆下來，微笑著。

The priestess relaxed a moment later and smiled.

「蒂莉，我們稱之為觸發器的東西，我現在知道它是什麼以及它的用途。」

“Tili, that thing we call the trigger-jigger, I know what it is now and what it is for.”

「好吧，那就告訴我！」瑪蒂爾達不耐煩地說。

“Well, go on then, tell me!” said Matilda impatiently.

「它是一種古老的遺跡，一種類似辮子的能量結構。在其通常狀態下，辮子是看不見的，但當電影停止時，它就會變得可見。你看到了嗎？」伊特福特半轉身，從肩膀上看著瑪蒂爾達。「你也有一個一樣的！」

“It is an archaic vestige, an energy plexus resembling a plait. In its usual state, the plait is invisible, but it becomes visible when the movie stops. You see?” Itfut made a half turn looking at Matilda over her shoulder. “And you have one the same!”

「我能感覺到我背上有什麼東西……像是一種沉重的感覺……」瑪蒂爾達用手摸著她的後腦勺，但什麼也感覺不到。「但你感覺不到，對吧？」她驚訝地說。

“I could feel that there was something there on my back... like a kind of heavy sensation...” Matilda ran her hands along the back of her head but could not feel anything. “But you can’t feel it, right?” she said in surprise.

「辮子是無形的，」伊特福特回答。「你感覺它就像一個幻肢，感覺它在那裡，同時又不在。就像有人截肢後仍能感覺到它一樣。至少你有某種感覺。我完全沒有感覺。我完全忘記了它。但我現在記起來了。想像一下！我能感覺到我自己的辮子！」

“The plait is intangible,” replied Itfut. “You sense it like a phantom limb that feels like it’s there and at the same time, isn’t. It is like when someone has an arm amputated and they can feel it afterwards. At least you had some kind of sensation. I didn’t feel anything at all. I had completely forgotten about it. But I remember now. Imagine that! I can feel my own plait!”

「不過我沒有感覺到什麼特別的，」瑪蒂爾達說。「只是感覺，或者是某種存在的感覺，只有當我專注於它時才會發生。」

“I don’t feel anything special though,” said Matilda. “It’s just a sensation, or the feeling of the presence of something and it only happens when I focus on it.”

「這正是應該的！」伊特福特驚呼。「當你把注意力轉向它時，辮子就會激活。它甚至會稍微抬起，與脊椎成一個角度。你看到了嗎？」女祭司再次轉身，給歌后展示她的辮子。「我剛專注於它，它就抬起來了。現在我把注意力移開，它又下去了。」

“That’s exactly how it should be!” exclaimed Itfut. “The plait activates when you turn your attention to it. It even lifts slightly at an angle to the spine. You see?” The priestess turned again to show the diva her plait. “I just focused on it and it rose up. Now I take my attention away from it and it goes down again.”

「明白了，」瑪蒂爾達說。「看，我的也是這樣嗎？」

“Got it,” said Matilda. “Look, does the same thing happen with mine?”

「是的！效果很好！你現在可以看到你的蝴蝶結與它無關了吧？」

“Yes! It’s working really well! Can you see now that your bow has nothing to do with it?”

「我的蝴蝶結教會我感受我的辮子！」瑪蒂爾達說。「我現在絕不會與它分開，無論如何都不會！」

“My bow taught me to feel my plait!” Matilda said. “I’ll never part with it now, not for anything!”

「完全正確。不要分開！」伊特福特同意。「我無法想像沒有它的你。蒂莉親愛的，蒂莉蒂莉親愛的！」

“Quite right. Don’t!” Itfut agreed. “I can’t imagine you without it. Tili-darling, Tili-Tili-darling!”

「停下來，福蒂。那麼它是如何被激活的，我們需要它做什麼？」

“Stop that, Futi. So how does it gets activated and what we need it for?”

「做什麼？好像你還需要問似的。當然是用來控制現實！我們已經在使用我們的辮子，只是我們沒有有意識地去做。」

“What for? As if you still need to ask. To control reality, that’s what for! We have already been using our plaits it’s just that we haven’t been doing it consciously.”

「是的，我們已經暫停了膠片，並在它們之間轉換，為自己提供食物。這一切都是靠我們的辮子！當我第一次遇到華麗石頭時，我的辮子甚至救了我的命。」

“Yes, and we’ve stopped filmstrips and shifted between them and provided ourselves with food. And all that is down to our plaits! My plait even saved my life when I first came across the glamrocks.”

「那就是了！當你被引導去見他們的領袖，華麗石頭時，你做了什麼，還記得嗎？」

“There you go then! And what did you do, when were you led to meet with their leader, the glamorc? Remember?”

「我決定無論如何我都會沒事的。」

“I decided that everything would be all right with me, no matter what.”

「本質上，你抓住了你辮子的感覺並宣告了你的意圖。你設置了一個不同的現實，以逃避涉及你即將死亡的那個。」

“In essence, you caught the sensation of your plait and declared your intention. You set a different reality in order to escape the one that involved your imminent death.”

「但真的可以設置一個新的現實嗎？」瑪蒂爾達驚訝地問。「蒂莉，我們之前談過多少次這個問題！」伊特福特驚呼。

“But is it really possible to set a new reality?” asked Matilda in surprise. “Tili, how many times have we talked about this before!” exclaimed Itfut.

「記得，我們談過你可以改變事件進程的事嗎？」

“Remember, we talked about the fact that you can change the course of events?”

「是的，你那時提到無法直接影響角色，但可以改變他們所遵循的劇本。」

“Yes, you mentioned then that it’s impossible to influence a character directly but that you can change the script they are led by.”

「更準確地說，你也無法直接影響劇本。」

“It would be more accurate to say that you can’t influence the script directly either.”

「那麼，到底是什麼改變了？」

“So, what is it that changes, then?”

「包含不同劇本的膠片！」

“The filmstrip that contains a different script!”

「福蒂，你能從頭開始更詳細地解釋一下，我們該怎麼做才能設置一個不同的現實嗎？」

“Futi, can you explain in more detail from the very beginning, what we have to do to set a different reality?”

「當然。這其實很簡單。你專注於辮子，然後不失去專注，想像你想要的現實場景，無論是通過思想、文字還是圖像。換句話說，你設置你的意圖，從而設置你的現實。然後你放下辮子的感覺，基本上是將其停用。我們一生中都這樣做過不止一次，唯一的區別是我們不知道辮子的存在。」

“Sure. It is really very simple. You focus on the plait and without losing concentration, you imagine in thoughts, words or images the scene you want to have as your reality. In other words, you set your intention, and thereby set your reality. Then you drop the sensation of the plait, basically deactivating it. We have all done this more than once in our lives, the only difference is that we did not know about the plait.”

「然後會發生什麼？轉移到不同的膠片上？」

“And so, then what happens? A shift to a different filmstrip?”

「做得好，瑪蒂爾達，你真聰明！你無法改變當前膠片的劇本，但你不需要。正如你所知，現實由許多膠片的變體組成，每個膠片都有自己的事件場景。通過用你的辮子點亮你想要的畫面，這個畫面可能在當前膠片中不存在，但肯定存在於另一個膠片中，你就跳到了那個膠片上。然後，一個潛在的現實變體轉化為你的當前現實，或者如他們所說，想像的變成了真實。」

“Well done, Matilda, clever you! You can’t change the script of the current filmstrip, but you don’t need to. As you know, reality consists of many variations of filmstrip, each of which contains its own scenario of events. By lighting up the frame you want with your plait, a frame that may not exist in the current filmstrip but will undoubtedly exist on another, you jump onto that other filmstrip. And then a potential variation of reality is transformed into your current reality, or at they say, the imagined becomes the real.”

「所以這意味著為了改變你的現實，你需要想像力加上辮子？」瑪蒂爾達問。

“So that means that in order to change your reality, you need imagination plus the plait?” asked Matilda.

「差不多，」伊特福特回答。「不僅僅是你的想像力。更像是你堅定的意圖——一種肯定，這就是你的現實。你激活辮子，並在保持專注的同時，宣告你想要得到什麼。你可以通過思想、文字或視覺圖像來做到這一點，無論哪種方式，只要你堅定、自信並與辮子同步。這就是秘密。這就是為什麼我說你不是在改變現實，而是在設置它，創造你希望它成為的樣子。」

“Almost,” replied Itfut. “It’s not just your imagination. It’s more like your firm intention - an affirmation that this is how things will be for you now. You activate the plait and whilst staying focused on the sense of it, you declare your intention to receive such and such. You can do it through thought, words or visualized images, it does not matter which, as long as you do it firmly, confidently and in tandem with the plait. That’s the secret. That’s why I say that you’re not so much changing reality as setting it, composing how you would prefer it to be.”

「那它真的會完全如你所想像的那樣嗎？」瑪蒂爾達繼續向伊特福特探尋細節。

“And will it really be exactly as you imagined it?” Matilda continued to probe Itfut for details.

「如果你只是坐著做白日夢，你的夢想不太可能成真。但一旦你使用辮子和你的意圖，幾乎可以肯定。當然，這並不總是一開始就奏效。有時根本不起作用。這一切取決於任務的複雜性，以及你訓練辮子的程度。如果任務特別難以實現，那麼實現該目標的膠片會離當前膠片很遠，你必須到達它，所以，通常，大目標是通過從一個膠片轉移到另一個膠片，逐步接近目標膠片來實現的。」

“Your dreams are unlikely to come true if you just sit around dreaming with your head in the clouds. But once you’re using the plait and your intention, almost certainly. Of course, it does not always work straight from the get-go. Sometimes it does not work at all. It all depends on the complexity of the task, as well as how well you’ve trained your plait. If the task is something particularly hard to achieve, the filmstrip in which that goal manifests will be quite a long way from the current filmstrip and you have to reach it, so, as a rule, big goals are realized in stages by shifting from one filmstrip to another, gradually moving closer to the target strip.”

「你是說辮子可以訓練？」

“Are you’re saying that the plait can be trained?”

「當然！你以為我為什麼稱它為遺跡？人們停止使用它，所以它萎縮了。當然，每個人都不一樣。我們的辮子或多或少還在運作，但很多人需要努力才能感受到他們的辮子。因此，最好經常設置你的現實。希望某事成真、想知道它是否會發生或期待現實是不切實際的。更好的方法是有意識地、系統地設置你的現實。」

“Of course! Why do you think I called it a vestige? People stopped using it and so it atrophied. Everyone is different of course. Our plaits are more or less still working but many people will have to work quite hard to even get a sense of their plait. For that reason, it’s best to set your reality fairly often. There’s no point in hoping that something will come true, wondering whether it will or not, or expecting something from reality. It’s much better to set your reality, intentionally and systematically.”

「福蒂！這是一種根本不同的思維和存在方式！你意識到這一切有多不同嗎？這簡直像是外星人的世界觀！完全不像我們的！人們習慣於生活在等待和希望中！他們從未想到，與其擔心和希望從天而降的甘露，他們可以自己設置現實！你能想像這有多強烈嗎！這甚至比追蹤你的注意力還酷！你記得當你告訴我這件事時我有多驚訝嗎？」

“Futi! This is a fundamentally different way of thinking and being! Do you realize how different this all is? It is literally like an extraterrestrial worldview! Nothing like ours at all! People have got used to living their lives waiting and hoping! It would never occur to them that rather than worrying and hoping for some manna from heaven, they could just set their own reality! Can you imagine how intense this is! It is even more cool than tracking your attention! You remember how amazed I was when you told me about that?”

「是的，蒂莉！你記得我說過什麼嗎？」伊特福特問。

“Yes, Tili! And do you remember what I said?” asked Itfut.

「當然記得！這讓你回到自己身上！基本上，你必須告訴自己，『每當有事情發生，或者有什麼讓我沮喪，或者當世界周圍的事情出錯時，我會醒來。』」

“Do I! It returns you to yourself! Basically, you have to tell yourself, ‘I will wake up every time something happens, or something gets me down, or when something is going wrong in the world around me’.”

「然後呢？」

“And then what?”

「然後你進入一種特定的意識狀態。你激活你的見證者，開始有意識地行動，不像一個角色，甚至不是一個旁觀者，而是作為一個有意識的觀察者。然後，與其讓情況控制你，不如你控制情況。」

“Then you enter a certain state of awareness. You activate your Witness and begin acting consciously, not like a character, not even as a spectator but as a conscious observer. And then instead of the situation controlling you, you control the situation.”

「你還記得為什麼我們需要見證者嗎？」

“And do you remember why we need the Witness?”

「為了追蹤你將注意力放在哪裡，是擁有它還是放棄它：是專注於你自己還是你沉浸其中的電影。當你能控制你的注意力時，你就能控制自己，成為你自己。」

“To keep track of where you are placing your attention, whether you are owning it or giving it away: whether it is focused on you or on the movie you are immersed in. When you have control over your attention, you have control over yourself and you can be your own person.”

「完全正確，」伊特福特說。「你必須養成相反的習慣：不要入睡，不要進入恍惚狀態，而是做相反的事情。任何事情發生的那一刻，醒來。還有一件事，不要忘記。當你去做某事時，問問自己：你是選擇這樣做，還是有什麼或某人在控制你？」

“Exactly,” said Itfut. “You have to develop the opposite habit: instead of falling asleep, instead of falling into a trance, do the opposite. The moment anything happens, wake up. And another thing, don’t forget. When you go to do something, ask yourself: Are you choosing to do this or is something or someone controlling you?”

「是的，我記得那一點。還有，福蒂，我猜對了嗎？我敢打賭我們還必須養成另一個相反的習慣，對吧？」

“Yes, I remember that bit. And, Futi, have I guessed right? I bet there’s another opposite habit we have to develop, too right?”

「那會是什麼呢，蒂莉蒂莉？」

“And what might that be, Tili-Tili?”

「不是等待現實給你什麼，而是設置你自己的現實！」 「你真聰明，蒂莉蒂莉！」

“Not to wait for reality to give you something but to set your own reality!” “You really are smart, Tili-Tili!”

「不，我只是再次被你告訴我的所有事情震驚！這真的是外星知識！」

“No, I’m just stunned again by all the things you’re telling me! This really is extraterrestrial knowledge!”

「不，蒂莉，很可能你和我來自同一顆星球，」伊特福特說。「我的世界有太陽和月亮，就像你的世界一樣。只是我們的世界在時間上相隔很遠。」

“No, Tili, it’s most likely that you and I are from the same planet,” said Itfut. “My world has a sun and a moon, just as yours does. It is just that our worlds are set far apart in time.”

「這仍然很棒！所有這些對你來說都是司空見慣的，因為你生來就接觸這些。你可能忘記了不少，希望只是暫時的，但你會記起來的。對我來說，這種知識令人難以置信！也許你會記得其他同樣驚人的事情？福蒂！」

“It is still awesome though! All this stuff is commonplace to you because you were born and brought up with it. You might have forgotten quite a bit, hopefully temporarily, but you’ll remember. For me, this kind of Knowledge is incredible! Maybe you’ll remember something else just as awesome? Futi!”

「也許吧，也許吧！」

“Perhaps, perhaps!”

「順便問一下，你為什麼稱這遺跡為古老的？」瑪蒂爾達問。

“By the way, why did you call the vestige archaic?” asked Matilda.

「因為在古代，當造物主剛剛按照自己的形象和樣式創造人類時，人們能夠控制現實。他們是辮子的完美掌控者。但隨著時間的推移，人們逐漸失去了這種能力。你認為為什麼會這樣？」

“Because in ancient times, when the Creator had only just created humankind in his own image and likeness, people were capable of controlling reality. They were perfect masters of the plait. But with time, people gradually lost the ability. Why do you think that was?”

「為什麼呢？」

“Why was it?”

「他們被自己的電影困住了。他們開始像水族箱裡的魚一樣生活在當前的現實中。人們不再試圖控制自己的注意力焦點。這是最主要的。如果你不控制你的注意力去向，你就會忘記辮子。掌握辮子取決於控制你的注意力去向。

“They were mired by their own movie. They started to live in the current reality like fish in an aquarium. People stopped trying to control the focus of their own attention. That was the main thing. If you do not control where your attention goes, you forget about the plait. Mastering the plait depends on controlling where your attention goes.

一般來說，當我們談論『控制』它時，我們並不是指『擁有』它或『占有』它，而是『管理它的能力』，」伊特福特繼續說。「當人們停止管理他們的現實時，他們用夢想和渴望取代了他們的意圖。而正如你現在所知，辮子不與夢想和渴望一起工作。它與意圖一起工作。」

Generally speaking, when we talk about ‘controlling’ it we do not mean ‘owning’ it or ‘having possession of it’ so much as ‘having the ability to manage it,” Itfut continued. “When people stopped managing their reality, they exchanged their intentions for dreams and cravings. And as you now know, the plait does not work with dreams and desires. It works with intention.”

「那麼，提醒我，意圖到底是什麼？」瑪蒂爾達問。

“So, remind me, what’s an intention exactly?” asked Matilda.

「意圖是一種堅定的聲明，事情會以某種方式發展，『就是這樣！』如你所說。它不是一個可能成真或不成真的夢想的渴望。它是一種堅定、冷靜的態度，一種確定的決心。你明白其中的區別嗎？」

“An intention is a firm statement that things will be a certain way, ‘period!’, as you would say. It is not the desire for a dream that may or may not come true. It is a firm, calm attitude, a certain resolve. Do you understand the difference?”

「是的，堅定、冷靜的決心。你可以說是不動搖的決心。」

“Yes, firm, calm resolve. You could say unshakeable resolve.”

「沒錯。所以，我們的觸發器不是一個渴望辮子，而是一個意圖辮子。這是它唯一能夠工作的方式。」

“Quite. So, our trigger-jigger is not a desire plait, it’s an intention plait. That’s the only way it will work.”

「還有一件事，福蒂，」瑪蒂爾達繼續說，「你說人們曾經擁有這種技能，然後他們失去了……那麼，你擁有這種知識，這是否意味著它在你的世界中仍然存在？你指的是什麼人？」

“And another thing, Futi,” Matilda continued, “you say that people once had this skill and then they lost it... Well, you have this knowledge, so does that mean that it still exists in your world? What people do you mean?”

「在我們的文明之前，存在著其他更發達的文明。我不知道有多少，但它們在發展到某一點時都崩潰了。在一段衰落期後，發展重新開始，然後再次衰退。我不知道為什麼會有這個循環，也不知道其目的，但事情就是這樣。我懷疑原因是現實只允許自己被控制到某個點，當那個點到達時，現實就將人類推入夢境。」

“Before our civilization, other more developed civilizations existed. I don’t know how many, but they all fell once they reached a certain point in their development. After a period of downfall, development resumed and then declined again. I don’t know why this cycle exists or for what purpose but that is how things are. I suspect the reason is that reality will only allow itself to be controlled up to a certain point and whenever that point is reached, reality plunges humankind into a dream.”

「就我們的文明而言，我不認為它曾經醒來過，也不認為它有任何醒來的意圖。」

“As far as our civilization goes, I don’t think it has ever woken up and don’t think it has any intention of ever doing so.”

「我們也遠未發展。我們才剛剛開始吸收這種知識。」

“We too are far from being developed. We are only just beginning to assimilate this kind of knowledge.”

「我想知道它最初是從哪裡來的？」

“Where did it originally come from, I wonder?”

「一切都源於至高無上的造物主。但知識被賦予誰以及何時取決於它的接受者是否準備好接收它。」

“Everything originates in the Supreme Creator. But to whom Knowledge is given and when depends on whether the one it is intended for is ready to receive it.”

「哦！福蒂！這真是太迷人了。但我們是不是應該回到我們的模特那裡？如果他們不是活著的，你認為他們為什麼會有辮子？那些沿著他們背部的光線是什麼，我們在完全覺醒之前也有嗎？」

“Ooh! Futi! This is crazy fascinating. But shouldn’t we be getting back to our mannequins? Why do they have plaits do you think if they’re not living? What are those rays down their backs, and did we have them too before we became fully aware?”

「我不能說他們為什麼有辮子，但事實上他們有並不一定意味著擁有者知道如何使用它。辮子很可能有其他功能，例如控制功能。」

“I cannot say why they have plaits but the fact they do does not necessarily mean that the owner knows how to use it. The plait most likely has some other function, a control function for instance.”

「你的意思是像用來控制布偶並移動它的那種桿子？」

“Do you mean like a kind of rod you would use to control a rag doll and move it around?”

「是的，可能是。」

“Yes, probably.”

「所以，如果辮子在你自己手中，可以說你就是你自己。你是自我導向的。但如果它落入他人手中，那麼你就不是你自己，你可能會被他人操控，對嗎？」

“So, if the plait is in your own hands so to speak, you are your own person. You are self-directed. But if it ends up in the hands of others, then you are not your own person and you can be manipulated by others, right?”

「正是如此，瑪蒂爾達！這就是為什麼擁有注意力的力量如此重要。能夠控制你的注意力就是能夠控制你的辮子，從而控制你自己。但藍色光線更有趣！」

“Precisely, Matilda! That is why it is so essential to own the power of your attention. To be able to control your attention is to be able to control your plait and as a result, yourself. But the blue rays are even more interesting!”

「它們是什麼，福蒂？」

“What are they, Futi?”

「你能猜到嗎？我們剛才在談什麼？」 「關於控制你的注意力去向。所以呢？」

“Can you guess? What were we just talking about?” “About controlling where your attention goes. So?”

「你記得我們說過觀察者和角色之間的本質區別是什麼嗎？」

“Do you remember what we said the essential difference was between an observer and a character?”

「當我在睡覺而不知道自己在睡覺時，我就是一個角色，我被夢境控制。」

“When I am sleeping and am not aware that I am sleeping, I am a character and I am controlled by the dream.”

「是的，或者換句話說，你被電影引導。電影擁有你！但更準確地說，我們會說真正引導你的是什麼？」

“Yes, or in other words, you are being led by the movie. The movie owns you! But more precisely, what would we say is really leading you?”

「劇本？」

“The script?”

「藍色光線是將角色與任何特定電影的劇本綁定在一起的東西。」 「哈啦！我明白了！它們就像木偶的線！」

“The blue rays are what bind a character to the script of any particular movie.” “Hela! I get it now! They are like the puppet strings!”

「那麼，你現在明白為什麼我們在重新獲得意識之前也有它們了嗎？」伊特福特問。

“So, do you understand now why we had them too before we reclaimed our awareness?” asked Itfut.

「是的，當我們把注意力的焦點重新放回自己身上時，它們就消失了！」瑪蒂爾達高興地說。

“Yes, they disappeared when we returned the focus of our attention to ourselves!” said Matilda happily.

「就是這樣！只有當你重新獲得注意力的焦點，從外部電影或內心思考中拉回來時，你才成為自己。只有那時你才能說『你是你』。其餘時間，你是一個被電影控制的無意識角色。它用辮子抓住你，用那同樣的藍色光線。」

“That’s it! You become yourself only in the moment that you regain the focus of your attention, when you pull it back from an external movie or from internal pondering. Only then can you say that “you are you.” The rest of the time, you are an unconscious character being controlled by the movie. It has you gripped by the plait, by that very same blue ray.”

「所以，當我從光線中解放出來時，就像我從劇本中脫離出來，可以在電影中自由漫遊？」

“So, when I free myself from the ray, it is like I am detaching myself from the script and can wander about freely in the movie?”

「不僅如此！你還可以為不同的電影設置場景，跳到另一個膠片上。」

“And not just that! You can set the scene for a different movie and jump to another filmstrip.”

「哇！福蒂！這太酷了！」

“Wow! Futi! That is so cool!”

「這是最主要的。在夢中或清醒時，都是一樣的。」

“That is the main thing. In dreaming or in waking, it is exactly the same.”

「你知道嗎，當我想到不久前我們還在試圖互相殘殺時，這讓我感到恐懼！福蒂，我親愛的朋友！沒有你我會死的！」

“You know, it fills me with horror when I think that just a little while ago, we were trying to kill each other! Futi, my dear friend! I would die without you!”

「蒂莉蒂莉，我也離不開你！」說完，她們互相擁抱。

“Tili-Tili, I couldn’t manage without you either!” And with that, they gave each other a hug.

「發生在我們身上的事情，」伊特福特說，「證明了注意力的力量是嚴肅的事情。這不是應該隨意放任的東西。要不斷將注意力集中在你的內心是很困難的，但你可以更頻繁地調整它，並在每次微風侵入你的空間時回到它。」

“What happened to us,” said Itfut, “is proof that the power of attention is serious stuff. It is not something that should be left to wander. It is too difficult to constantly hold your attention at the center of your being, but you can tune into it more often and return to it every time the slightest breeze breaks into your space.”

「是的，我現在明白了。我們要怎麼處理這個凝固的空間？」瑪蒂爾達問。「……所有這些凝固在空中的雪花。」

“Yes, I understand that now. And what are we going to do about this frozen space?” asked Matilda. “...all these flakes frozen in the air.”

「我想我們在這裡無能為力，」伊特福特回答。「我們應該轉移到不同的膠片上。」

“I don’t think there’s anything we can do here,” replied Itfut. “We should shift to a different filmstrip.”

「我想知道這些模特為什麼對人這麼生氣，如果他們抓住我們會怎麼做？」

“I wonder why these mannequins are so angry with people and what they would do if they caught us?”

「誰知道呢。」

“Who knows.”

「塑料模特和夢境模特有什麼不同？」 「它們都是沒有靈魂和意識的具體化形體。」

“How are plastic mannequins different from dream mannequins?” “They’re both just bodies, embodied forms lacking a soul and awareness.”

「但他們想從我們這裡得到什麼，對吧？那意味著他們必須有某種意識元素。」

“But they wanted something from us, right? That means they must have some element of consciousness.”

「那不是意識。那是劇情的劇本。我們也是一樣。」 「這些噩夢般的劇情都是從哪裡來的？」

“It’s not consciousness. It’s the script of a plot. The same goes for us.” “Where do all these nightmarish plots come from?”

「部分來自我們潛意識的恐懼。」

“Partly from our subconscious fears.”

「如果你記得，當華麗石頭凍結時，他們沒有辮子或藍色光線，」瑪蒂爾達說。「然後當我們讓他們回憶起他們的名字時，我們能夠喚醒他們的意識。」

“If you remember, the glamrocks did not have plaits or blue rays when they froze,” said Matilda. “Then we were able to awaken their consciousness when we made them recall their names.”

「那時，電影並沒有停止。它只是減速，這可能是為什麼它不那麼明顯。意識是一個過於複雜的話題，我們現在無法討論。我們需要在膠片再次開始移動之前離開這裡。」

“Back then, the movie had not stopped. It just slowed down which was probably why it was not so visible. Consciousness is far too complex a subject for us to discuss now. We need to get out of here before the filmstrip starts moving again.”

「福蒂，為什麼我們不試著去你的世界呢？你能帶我們去那裡嗎？」 「好吧，我們試試看。」

“Futi, why don’t we try and get to your world now? Can you take us there?” “Okay, let’s try.”

意圖 (Intention)交織

The Intention Plait

在那個商場裡，我們留著祭司 Itfut 與女歌手 Matilda 的地方，四周彌漫著絕對的寂靜和真正的麻木。整個空間仿佛被冻结，閃閃發亮的微粒懸停在空中不動，而假人則以奇異的姿態矗立，彷彿被瞬間捕捉。

In the mall, where we left priestess Itfut and diva Matilda, absolute silence and a literal numbness reigned. The entire space around them had frozen. Glistening flakes hung motionless in the air and mannequins stood in weird poses as if they had been caught off-guard in an instant snapshot.

如果不是因為有兩個活生生的身影——一位在極度焦慮時會不停轉圈並大笑，另一位則瘋狂地來回踱步，激烈地比劃——那幕景象本可說明絕對的寂靜與超脫時空的無限狀態。

The scene could have served as an illustration of absolute silence and timelessness if it were not for two living figures, one of whom was spinning about and laughing as she did whenever she was extremely anxious, and the other who was pacing back and forth wildly gesticulating.

「Futi！」她說道，「冷靜點，好嗎？！告訴我你還記得些什麼？」

“Futi!” she said. “Calm down, will you?! Tell me what you remember?”

Itfut突然停下來，臉上露出極為嚴肅的神情，呆呆地盯著Matilda看。

Itfut suddenly stopped and froze staring at Matilda with a look of immense seriousness.

「Futi，你又嚇到我了！」

“Futi, you’re scaring me again!”

過了片刻，那位女祭司放鬆了下來，露出了一絲微笑。

The priestess relaxed a moment later and smiled.

「Tili，那個我們所謂的 trigger-jigger，我現在終於明白它究竟是什麼，也明白它的用途了。」

“Tili, that thing we call the trigger-jigger, I know what it is now and what it is for.”

「好吧，快說吧！」Matilda不耐煩地催促道。

“Well, go on then, tell me!” said Matilda impatiently.

「它是一個古老的殘留物，一個宛如辮子般的能量網絡。在平常狀態下，那辮子是隱形的；但當電影暫停時，它就會顯現出來。明白了嗎？」Itfut轉過半身，越過肩頭看著Matilda說，「而你也有一樣的！」

“It is an archaic vestige, an energy plexus resembling a plait. In its usual state, the plait is invisible, but it becomes visible when the movie stops. You see?” Itfut made a half turn looking at Matilda over her shoulder. “And you have one the same!”

「我感覺到我的背上似乎有什麼……像是一種沉重的感覺……」Matilda用手撫摸著後腦，但卻什麼也沒感覺到，「不過你該不會也感覺不到吧？」她驚訝地說。

“I could feel that there was something there on my back... like a kind of heavy sensation...” Matilda ran her hands along the back of her head but could not feel anything. “But you can’t feel it, right?” she said in surprise.

「那辮子是無形的，」Itfut回答說，「你感受它就像感覺到一個幻影般的肢體——既似乎存在，又彷彿不存在。就像有人截肢後仍能感受到那隻手臂一樣。至少你還能有點感覺，但我毫無感覺，早已完全忘記了它。但我現在記起來了。想像一下，我竟能感受到我自己的辮子！」

“The plait is intangible,” replied Itfut. “You sense it like a phantom limb that feels like it’s there and at the same time, isn’t. It is like when someone has an arm amputated and they can feel it afterwards. At least you had some kind of sensation. I didn’t feel anything at all. I had completely forgotten about it. But I remember now. Imagine that! I can feel my own plait!”

「不過我並未感到什麼特別的，」Matilda說，「那只是種感覺，或是一種存在的印記，而且只在我專注時才會出現。」

“I don’t feel anything special though,” said Matilda. “It’s just a sensation, or the feeling of the presence of something and it only happens when I focus on it.”

「正是應該如此！」Itfut驚呼道，「當你把注意力轉向它時，那辮子就會被激活，甚至會微微以一定角度抬離脊椎。明白嗎？」她又轉身向那位女歌手展示自己的辮子，「我剛才專注地看著它，它就升起來了；現在我移開注意，便又垂了下去。」

“That’s exactly how it should be!” exclaimed Itfut. “The plait activates when you turn your attention to it. It even lifts slightly at an angle to the spine. You see?” The priestess turned again to show the diva her plait. “I just focused on it and it rose up. Now I take my attention away from it and it goes down again.”

「我懂了，」Matilda說，「看，我的也會這樣嗎？」

“Got it,” said Matilda. “Look, does the same thing happen with mine?”

「是的！運作得非常好！你現在看到了嗎，你的弓根本與此無關？」

“Yes! It’s working really well! Can you see now that your bow has nothing to do with it?”

「我的弓教會了我如何感受我的辮子！」Matilda說，「我現在絕不會與它分離，無論如何也不行！」

“My bow taught me to feel my plait!” Matilda said. “I’ll never part with it now, not for anything!”

「完全正確，別那樣！」Itfut附和道，「我無法想像沒有它的你。Tili-親愛的，Tili-Tili-親愛的！」

“Quite right. Don’t!” Itfut agreed. “I can’t imagine you without it. Tili-darling, Tili-Tili-darling!”

「別那樣，Futi。那它究竟是如何被激活的，又是為了什麼用途？」

“Stop that, Futi. So how does it gets activated and what we need it for?”

「用來做什麼？你還需要問嗎？當然是用來操控現實啊！我們早就一直在運用我們的辮子，只不過那全都不是有意識地在操作而已。」

“What for? As if you still need to ask. To control reality, that’s what for! We have already been using our plaits it’s just that we haven’t been doing it consciously.”

「沒錯，我們曾暫停過膠卷，並在它們之間切換，同時也提供了食物給自己。而這一切，全靠我們的辮子！當我第一次遇到 glamrocks 時，我的辮子更是救了我的命。」

“Yes, and we’ve stopped filmstrips and shifted between them and provided ourselves with food. And all that is down to our plaits! My plait even saved my life when I first came across the glamrocks.”

「就是這樣！那你當時做了什麼？當你被引領去見他們的領袖——glamorc 的時候，記得嗎？」

“There you go then! And what did you do, when were you led to meet with their leader, the glamorc? Remember?”

「我決定無論如何，一切都會好起來。」

“I decided that everything would be all right with me, no matter what.”

「本質上，你捕捉到了你辮子的感覺，並宣告了你的意圖 (Intention)。你創造了一個全新的現實，以逃避那個預示你即將死亡的現實。」

“In essence, you caught the sensation of your plait and declared your intention. You set a different reality in order to escape the one that involved your imminent death.”

「但真的能創造出一個新現實嗎？」Matilda驚訝地問道。「Tili，我們以前討論過多少次這個！」Itfut喊道。

“But is it really possible to set a new reality?” asked Matilda in surprise. “Tili, how many times have we talked about this before!” exclaimed Itfut.

「記得嗎？我們曾談過，你其實可以改變事情的進程。」

“Remember, we talked about the fact that you can change the course of events?”

「是的，你當時提到，直接影響一個角色是不可能的，但你可以改變他們所依循的劇本。」

“Yes, you mentioned then that it’s impossible to influence a character directly but that you can change the script they are led by.”

「更準確地說，其實你也無法直接干預劇情本身。」

“It would be more accurate to say that you can’t influence the script directly either.”

「那究竟是什麼在變化呢？」

“So, what is it that changes, then?”

「變化的，是包含著另一種劇本的膠卷！」

“The filmstrip that contains a different script!”

「Futi，你能從最開始的地方再詳細解釋一次，我們要怎麼做才能創造不同的現實嗎？」

“Futi, can you explain in more detail from the very beginning, what we have to do to set a different reality?”

「當然。其實非常簡單。你先專注於你的辮子，並在不失去專注的情況下，用思想、語言或圖像來構想你希望成為現實的那個場景。換句話說，你就設定了你的意圖 (Intention)，從而創造出你的現實。接著，你放下那股對辮子的感覺，基本上讓它失去作用。我們一生中不止一次這麼做過，唯一不同的是，那時我們對辮子一無所知。」

“Sure. It is really very simple. You focus on the plait and without losing concentration, you imagine in thoughts, words or images the scene you want to have as your reality. In other words, you set your intention, and thereby set your reality. Then you drop the sensation of the plait, basically deactivating it. We have all done this more than once in our lives, the only difference is that we did not know about the plait.”

「那接下來究竟會發生什麼？是不是就會轉換到另一條不同的膠卷上去呢？」

“And so, then what happens? A shift to a different filmstrip?”

「做得好，Matilda，你真聰明！你不能改變當前膠卷的劇本，但你也不必這麼做。如你所知，現實由許多不同版本的膠卷構成，每一條都有獨自的情節。只要用你的辮子點亮你想要的那一格——那一格可能並不存在於當前膠卷中，但無疑會出現於另一條膠卷上——你就能躍遷到那條膠卷上。然後，一種潛在的現實變體就會轉化成你的當前現實，正如人們所說的，幻想變成了真實。

“Well done, Matilda, clever you! You can’t change the script of the current filmstrip, but you don’t need to. As you know, reality consists of many variations of filmstrip, each of which contains its own scenario of events. By lighting up the frame you want with your plait, a frame that may not exist in the current filmstrip but will undoubtedly exist on another, you jump onto that other filmstrip. And then a potential variation of reality is transformed into your current reality, or at they say, the imagined becomes the real.”

「也就是說，要改變你的現實，你需要想像力加上你的辮子嗎？」Matilda問道。

“So that means that in order to change your reality, you need imagination plus the plait?” asked Matilda.

「幾乎可以這麼說，」Itfut回答說，「這不僅僅是憑藉想像力。更確切地說，是依靠你那堅定的意圖 (Intention)——一種宣告：從現在起，事情將照這個方式發展。你啟動你的辮子，並在全神貫注於它的感受時，宣告你打算獲得這樣那樣的東西。你可以透過思想、言語或視覺圖像來實現，方式無關緊要，只要你堅定、自信，並與辮子同步進行。這就是秘密所在，也正是我所說的，你並非在改變現實，而是在設定現實，構建你的理想模樣。

“Almost,” replied Itfut. “It’s not just your imagination. It’s more like your firm intention - an affirmation that this is how things will be for you now. You activate the plait and whilst staying focused on the sense of it, you declare your intention to receive such and such. You can do it through thought, words or visualized images, it does not matter which, as long as you do it firmly, confidently and in tandem with the plait. That’s the secret. That’s why I say that you’re not so much changing reality as setting it, composing how you would prefer it to be.”

「那麼，它真的會完全如你所想的一樣嗎？」Matilda繼續追問細節。

“And will it really be exactly as you imagined it?” Matilda continued to probe Itfut for details.

「如果你只是坐著空想，夢想自然難以成真；但一旦你運用辮子與意圖 (Intention)，幾乎就能如願。當然，這不總是一開始就奏效，有時甚至完全不起作用。這一切取決於任務的複雜度以及你訓練辮子的程度。如果目標特別難以實現，那呈現該目標的膠卷會離當前膠卷很遠，你必須跨越過去，因此，大目標通常是通過從一條膠卷切換到另一條，逐步靠近目標膠卷來實現的。

“Your dreams are unlikely to come true if you just sit around dreaming with your head in the clouds. But once you’re using the plait and your intention, almost certainly. Of course, it does not always work straight from the get-go. Sometimes it does not work at all. It all depends on the complexity of the task, as well as how well you’ve trained your plait. If the task is something particularly hard to achieve, the filmstrip in which that goal manifests will be quite a long way from the current filmstrip and you have to reach it, so, as a rule, big goals are realized in stages by shifting from one filmstrip to another, gradually moving closer to the target strip.”

「你是說，辮子是可以訓練的嗎？」

“Are you’re saying that the plait can be trained?”

「當然！你覺得我為什麼稱它為殘留物（vestige）？人們停止使用它，它便萎縮退化了。每個人當然有所不同。我們的辮子或多或少還能運作，但很多人必須努力才能獲得那種感知。因此，最好經常主動設定你的現實。等待奇蹟發生、疑慮其能否實現或期待現實會給你什麼，都沒有意義；不如主動、有意識、系統性地設定你的現實。

“Of course! Why do you think I called it a vestige? People stopped using it and so it atrophied. Everyone is different of course. Our plaits are more or less still working but many people will have to work quite hard to even get a sense of their plait. For that reason, it’s best to set your reality fairly often. There’s no point in hoping that something will come true, wondering whether it will or not, or expecting something from reality. It’s much better to set your reality, intentionally and systematically.”

「Futi！這完全是一種根本不同的思考與存在方式！你可知道這一切有多不同？簡直就像外星人的世界觀！跟我們的方式全然不同！人們習慣了過著等待和期盼的生活，他們從未想到，與其焦慮祈盼天降甘露，不如自己設定現實！你能想象這有多震撼嗎？這甚至比專注於追蹤注意力更酷！你還記得當你跟我說那件事時我有多麼驚奇嗎？」

“Futi! This is a fundamentally different way of thinking and being! Do you realize how different this all is? It is literally like an extraterrestrial worldview! Nothing like ours at all! People have got used to living their lives waiting and hoping! It would never occur to them that rather than worrying and hoping for some manna from heaven, they could just set their own reality! Can you imagine how intense this is! It is even more cool than tracking your attention! You remember how amazed I was when you told me about that?”

「是啊，Tili！你還記得我說過的嗎？」Itfut問道。

“Yes, Tili! And do you remember what I said?” asked Itfut.

「當然記得！它讓你回歸本真！基本上，你必須告訴自己：『每當有事情發生、或讓我沮喪、或當周遭出現問題時，我都要立刻甦醒。』」

“Do I! It returns you to yourself! Basically, you have to tell yourself, ‘I will wake up every time something happens, or something gets me down, or when something is going wrong in the world around me’.”

「然後呢？」

“And then what?”

「接著你就進入一種特定的覺知狀態。你啟動你的見證者 (Witness)，開始有意識地行動，不僅僅像一個角色，甚至不僅僅作為旁觀者，而是成為一個有意識的觀察者。於是，不再讓情境支配你，而是由你來掌控那情境。」

“Then you enter a certain state of awareness. You activate your Witness and begin acting consciously, not like a character, not even as a spectator but as a conscious observer. And then instead of the situation controlling you, you control the situation.”

「你還記得我們為什麼需要見證者 (Witness) 嗎？」

“And do you remember why we need the Witness?”

「那是為了追蹤你把注意力放在哪裡，無論你是掌控它還是輕易放手；無論它聚焦於你自己還是那部你沉浸其中的電影。當你能掌控你的注意力，你也就能掌控自己，成為真正獨立的個體。」

“To keep track of where you are placing your attention, whether you are owning it or giving it away: whether it is focused on you or on the movie you are immersed in. When you have control over your attention, you have control over yourself and you can be your own person.”

「正是如此，」Itfut說道，「你必須養成相反的習慣：與其昏昏欲睡、陷入恍惚，不如馬上清醒。任何事情發生的那一刻，立即甦醒。而且，別忘了，當你要去做某件事時，要問問自己：是你自己在選擇這麼做，還是某件事或某人在控制你？」

“Exactly,” said Itfut. “You have to develop the opposite habit: instead of falling asleep, instead of falling into a trance, do the opposite. The moment anything happens, wake up. And another thing, don’t forget. When you go to do something, ask yourself: Are you choosing to do this or is something or someone controlling you?”

「是的，我記得那部分。Futi，我猜得對嗎？我敢打賭，我們還必須培養另一種相反的習慣，對不對？」

“Yes, I remember that bit. And, Futi, have I guessed right? I bet there’s another opposite habit we have to develop, too right?”

「那究竟會是什麼呢，Tili-Tili？」

“And what might that be, Tili-Tili?”

「不是等待現實賜予你什麼，而是要自己去設定現實！」 「你真是太聰明了，Tili-Tili！」

“Not to wait for reality to give you something but to set your own reality!” “You really are smart, Tili-Tili!”

「不，我只是再次被你講的那些事情震驚了！這真是外星般的知識！」

“No, I’m just stunned again by all the things you’re telling me! This really is extraterrestrial knowledge!”

「不，Tili，很可能你我來自同一個星球，」Itfut說。「我的世界有太陽和月亮，就像你的世界一樣，只是我們的世界在時間上相隔甚遠。」

“No, Tili, it’s most likely that you and I are from the same planet,” said Itfut. “My world has a sun and a moon, just as yours does. It is just that our worlds are set far apart in time.”

「但這依然令人驚嘆！這些對你來說都是家常便飯，因為你一向生長在那樣的環境中。你或許暫時忘記了不少，但最終你會記起來。對我來說，這種知識簡直難以置信！也許你還會記起其他同樣令人驚豔的事物？Futi！」

“It is still awesome though! All this stuff is commonplace to you because you were born and brought up with it. You might have forgotten quite a bit, hopefully temporarily, but you’ll remember. For me, this kind of Knowledge is incredible! Maybe you’ll remember something else just as awesome? Futi!”

「也許，也許！」

“Perhaps, perhaps!”

「順便問一句，你為什麼說那個殘留物 (vestige) 是古老的呢？」Matilda問道。

“By the way, why did you call the vestige archaic?” asked Matilda.

「因為在古時候，當創造者剛以自己的形象造出人類時，人們就能夠操控現實。他們是辮子 (plait) 的完美主人。但隨著時間流逝，人們逐漸失去了這種能力。你覺得那是為什麼呢？」

“Because in ancient times, when the Creator had only just created humankind in his own image and likeness, people were capable of controlling reality. They were perfect masters of the plait. But with time, people gradually lost the ability. Why do you think that was?”

「為什麼會失去呢？」

“Why was it?”

「他們被自己那部電影困住了，就像水族箱中的魚一樣開始只活在當下的現實裡。人們停止了試圖掌控自己注意力的努力——這才是最要緊的。如果你不控制自己的注意力，你就會忘記辮子 (plait) 的存在。掌握辮子 (plait) 就取決於你能否管理好自己的注意力。」

“They were mired by their own movie. They started to live in the current reality like fish in an aquarium. People stopped trying to control the focus of their own attention. That was the main thing. If you do not control where your attention goes, you forget about the plait. Mastering the plait depends on controlling where your attention goes.

「一般來說，當我們談到‘掌控’它時，我們並不是說‘擁有’或‘佔有’它，而是指‘有能力管理它’，」Itfut接著說。「當人們停止管理他們的現實時，他們便將自己的意圖 (Intention) 換成了夢想與慾望。正如你現在所了解的，辮子 (plait) 根本無法對付夢想與慾望。它只能與你的意圖 (Intention) 配合運作。」

Generally speaking, when we talk about ‘controlling’ it we do not mean ‘owning’ it or ‘having possession of it’ so much as ‘having the ability to manage it,” Itfut continued. “When people stopped managing their reality, they exchanged their intentions for dreams and cravings. And as you now know, the plait does not work with dreams and desires. It works with intention.”

「那麼，提醒我一下，究竟什麼是意圖 (Intention) 呢？」Matilda問道。

“So, remind me, what’s an intention exactly?” asked Matilda.

「意圖 (Intention) 就是一個堅定的宣告，表明事情必然會以某個特定方式發生，就像你會說‘就是這樣！’它不是對一個可能成真也可能不成真的夢想的渴望，而是一種堅定、平靜的心態，一種明確的決心。你明白兩者之間的差別嗎？」

“An intention is a firm statement that things will be a certain way, ‘period!’, as you would say. It is not the desire for a dream that may or may not come true. It is a firm, calm attitude, a certain resolve. Do you understand the difference?”

「是的，堅定而平靜的決心。你可以說是不動搖的決心。」

“Yes, firm, calm resolve. You could say unshakeable resolve.”

「沒錯。所以，我們的 trigger-jigger 不是那種慾望辮 (desire plait)，而是意圖辮 (Intention plait)！只有用這種方式，它才能真正起效。」

“Quite. So, our trigger-jigger is not a desire plait, it’s an intention plait. That’s the only way it will work.”

「還有一件事，Futi，」Matilda接著說道，「你曾說人們曾擁有這種技能，後來卻失去了……既然你擁有這種知識，那這技能在你的世界裡仍然存在嗎？你指的是什麼樣的人呢？」

“And another thing, Futi,” Matilda continued, “you say that people once had this skill and then they lost it... Well, you have this knowledge, so does that mean that it still exists in your world? What people do you mean?”

「在我們文明出現之前，曾存在過其他更發達的文明。我不清楚究竟有多少，但它們在發展到某個臨界點後都崩潰了。經過一段衰退期後，發展再次啟動，然後又走向低谷。我不知道這樣的循環存在的原因或目的何在，但事實就是如此。我懷疑原因在於，現實只允許被掌控到一定程度；每當達到那個臨界點，現實便會把人類帶入一場夢境之中。」

“Before our civilization, other more developed civilizations existed. I don’t know how many, but they all fell once they reached a certain point in their development. After a period of downfall, development resumed and then declined again. I don’t know why this cycle exists or for what purpose but that is how things are. I suspect the reason is that reality will only allow itself to be controlled up to a certain point and whenever that point is reached, reality plunges humankind into a dream.”

「就我們的文明而言，我認為它從未真正覺醒，也不會有意識地去覺醒。」

“As far as our civilization goes, I don’t think it has ever woken up and don’t think it has any intention of ever doing so.”

「我們也遠未達到發展成熟的境界。我們才剛剛開始接納這種知識。」

“We too are far from being developed. We are only just beginning to assimilate this kind of knowledge.”

「我在想，這知識最初究竟來自何處？」

“Where did it originally come from, I wonder?”

「一切皆源自至高創造者。但知識何時、賜予誰，取決於接受者是否準備好了。」(Note: 此處「知識」指Transurfing理論中的知識)

“Everything originates in the Supreme Creator. But to whom Knowledge is given and when depends on whether the one it is intended for is ready to receive it.”

「喔！Futi！這真是令人著迷。不過，我們是不是該回到那些假人身邊？你覺得，既然它們沒有生命，為什麼會長出辮子？它們背後那些光線又是什麼？而我們在完全覺醒之前，是否也曾擁有過這樣的東西？」

“Ooh! Futi! This is crazy fascinating. But shouldn’t we be getting back to our mannequins? Why do they have plaits do you think if they’re not living? What are those rays down their backs, and did we have them too before we became fully aware?”

「我無法說明它們為何會有辮子，但這並不代表擁有者必然懂得如何使用。辮子很可能還有其他功能，比如一種控制功能。」

“I cannot say why they have plaits but the fact they do does not necessarily mean that the owner knows how to use it. The plait most likely has some other function, a control function for instance.”

「你的意思是，就像用一根棍子操縱破布娃娃，讓它四處移動那樣嗎？」

“Do you mean like a kind of rod you would use to control a rag doll and move it around?”

「是的，大概就是這樣。」

“Yes, probably.”

「所以，也就是說，如果辮子掌握在你自己手中，你就是獨立自主的；但一旦它落入他人之手，那你就不再屬於你自己，容易被他人操控，對吧？」

“So, if the plait is in your own hands so to speak, you are your own person. You are self-directed. But if it ends up in the hands of others, then you are not your own person and you can be manipulated by others, right?”

「正是如此，Matilda！因此，擁有掌控自己注意力的力量至關重要。掌握住你的注意力，就意味著能夠控制你的辮子，進而掌握你自己。但那藍色光線卻更引人入勝！」

“Precisely, Matilda! That is why it is so essential to own the power of your attention. To be able to control your attention is to be able to control your plait and as a result, yourself. But the blue rays are even more interesting!”

「它們究竟是什麼，Futi？」

“What are they, Futi?”

「你能猜到嗎？我們剛才講的是什麼？」

“Can you guess? What were we just talking about?” “About controlling where your attention goes. So?”

「你還記得我們說過觀察者和角色之間的根本差異是什麼嗎？」

“Do you remember what we said the essential difference was between an observer and a character?”

「當我睡著而未察覺自己在睡時，我就成了一個角色，受夢境支配。」

“When I am sleeping and am not aware that I am sleeping, I am a character and I am controlled by the dream.”

「是的，換言之，就是你正被那部電影牽引著。電影佔據了你的一切！但更精確地說，我們該說到底是什麼在真正牽引著你？」

“Yes, or in other words, you are being led by the movie. The movie owns you! But more precisely, what would we say is really leading you?”

「劇本？」

“The script?”

「正是那藍色光線把一個角色固定在某部電影的劇本上。」

“The blue rays are what bind a character to the script of any particular movie.” “Hela! I get it now! They are like the puppet strings!”

「那麼，你現在明白為什麼在我們重新找回自我意識之前，我們也曾擁有這東西了嗎？」Itfut問道。

“So, do you understand now why we had them too before we reclaimed our awareness?” asked Itfut.

「記得！當我們把注意力重新轉向自己，這些東西就會消失！」Matilda高興地說。

“Yes, they disappeared when we returned the focus of our attention to ourselves!” said Matilda happily.

「沒錯！只有當你重新收回注意力——無論是從外在電影中，還是從內心沉思中把它拉回來的那一刻，你才能成為真正的自己。只有那樣，你才能說‘你就是你’。而其餘時間，你就是一個無意識中的角色，被電影所操控，電影藉由那辮子 (plait) 和那條藍色光線將你緊緊抓住。」

“That’s it! You become yourself only in the moment that you regain the focus of your attention, when you pull it back from an external movie or from internal pondering. Only then can you say that “you are you.” The rest of the time, you are an unconscious character being controlled by the movie. It has you gripped by the plait, by that very same blue ray.”

「所以，當我擺脫那藍光的束縛時，就像我脫離了劇本的制約，可以在電影中自由漫遊？」

“So, when I free myself from the ray, it is like I am detaching myself from the script and can wander about freely in the movie?”

「而且不僅如此！你還能設定另一部電影的場景，然後跳轉到另一條膠卷上。」

“And not just that! You can set the scene for a different movie and jump to another filmstrip.”

「哇！Futi！這真是太酷了！」

“Wow! Futi! That is so cool!”

「這正是最關鍵的。無論是在夢中，還是在清醒時，都完全一樣。」

“That is the main thing. In dreaming or in waking, it is exactly the same.”

「你知道嗎，想到不久前我們還試圖互相殘殺，我就感到無比恐懼！Futi，親愛的朋友！沒有你，我活不下去！」

“You know, it fills me with horror when I think that just a little while ago, we were trying to kill each other! Futi, my dear friend! I would die without you!”

「Tili-Tili，我也離不開你！」說完，他們緊緊擁抱在一起。

“Tili-Tili, I couldn’t manage without you either!” And with that, they gave each other a hug.

「我們所經歷的一切，」Itfut說道，「正證明了注意力 (Attention) 的力量是何等重要。這並不是可以任其散漫的東西。要時時刻刻將注意力放在你存在的核心上是極其困難的，但你可以更頻繁地調整並隨時將它收回，哪怕只是微風吹入你的領域也不例外。」

“What happened to us,” said Itfut, “is proof that the power of attention is serious stuff. It is not something that should be left to wander. It is too difficult to constantly hold your attention at the center of your being, but you can tune into it more often and return to it every time the slightest breeze breaks into your space.”

「是的，我現在明白了。那么，對於這個冰凍的空間，我們該如何處理呢？」Matilda問道，「……滿天這些瞬間凝固的冰晶。」

“Yes, I understand that now. And what are we going to do about this frozen space?” asked Matilda. “...all these flakes frozen in the air.”

「我想在這裡無能為力，」Itfut回答說，「我們應該切換到另一條膠卷上去。」

“I don’t think there’s anything we can do here,” replied Itfut. “We should shift to a different filmstrip.”

「我在想，這些假人為何對人類充滿怒氣？假如他們抓住我們，又會做出什麼反應呢？」

“I wonder why these mannequins are so angry with people and what they would do if they caught us?”

「誰知道呢。」

“Who knows.”

「塑膠假人與夢境假人有什麼不同？」

“How are plastic mannequins different from dream mannequins?” “They’re both just bodies, embodied forms lacking a soul and awareness.”

「但它們似乎向我們索求了什麼，對吧？這意味著它們必定具備某種程度的意識元素。」

“But they wanted something from us, right? That means they must have some element of consciousness.”

「不，那並不是意識，而是某個情節的劇本。對我們來說也是如此。」

“It’s not consciousness. It’s the script of a plot. The same goes for us.” “Where do all these nightmarish plots come from?”

「部分來自我們潛意識中根深蒂固的恐懼。」

“Partly from our subconscious fears.”

「如果你記得，冰凍時glamrocks沒有辮子 (plait)或藍色光線，」Matilda說道，「當時只要讓他們回憶起自己的名字，我們就能喚醒他們的意識。」

“If you remember, the glamrocks did not have plaits or blue rays when they froze,” said Matilda. “Then we were able to awaken their consciousness when we made them recall their names.”

「當時電影並未真正停止，只是速度變慢，或許正因如此才顯得不那麼明顯。意識實在太過複雜，不適合我們現在深入探討。我們必須離開此地，免得膠卷再次開始移動。」

“Back then, the movie had not stopped. It just slowed down which was probably why it was not so visible. Consciousness is far too complex a subject for us to discuss now. We need to get out of here before the filmstrip starts moving again.”

「Futi，我們何不試著前往你的世界？你能帶我們去那裡嗎？」

“Futi, why don’t we try and get to your world now? Can you take us there?” “Okay, let’s try.”