This may sound slightly odd, but we can think of that single hair as a proxy for the totality of elements and occurrences that had been constantly cycling in her mind those past days. To simplify it further (while keeping in mind the risk of oversimplification) the hair stood for all the undesirable elements. All of those recursive experiences had finally been, in a sense, made concrete: they were collected and constituted as a complete whole and expressed in the two words "facial hair", as scribbled down on the night she pondered her limits. By having the total elements of everything that had been troubling her condensed in a single representable concept, Re-l's intuition was no longer grasping at things far too distant. Instead, it took hold of all what was presently available to it, giving her something to work with, something external and readily available. And by removing what corresponded to her external concept (i.e. the hair corresponding to the phrase in her notebook), it allowed for the conditions of the arrival of a different mood. Her boredom would soon wane, like how a stagnant area of weather transforms into new weather: dead calm and nothingness becoming a stirring something. We should note that while the same basic elements are involved, they are now moving in different patterns. Put in another way, the same air is involved in both a snowstorm and a calm day; it just adapts to the weather as environmental circumstances dictate. We now sense different things. Re-l still faces the same perpetual winter, the same food, and the same companions, but each of these now has the potential to "move" in refreshingly novel ways. For this was not entirely possible when they were strictly organized within one conceptual framework, allowing only certain patterns of thought. By removing the proxy, thus removing the recurring totality of experiences and events, Re-l had prepared the ground for experiencing and seeing things in a different light.

The last notable scene to briefly consider is the concluding scene which immediately follows from the one we considered. We will not spend much time on it because the crucial scene for our study had been examined above. Nevertheless, it's important in that it does indeed confirm our assertion that the right conditions for dispelling her mood have been met. Let us now see the first effects of the subtle mood-change, and to where it may lead.

Writing once more in her notebook, Re-l is standing outside on the deck of the Rabbit. Paying attention only to her notebook, she is looking downwards as she writes. As far as we can tell, only she is near the craft. Either the other two are in the craft, or they are exploring some distance away from it. In any case, we see Re-l alone on the craft's deck; this is her moment. With still no wind to be found, the atmosphere remains calm. In almost complete silence, she stands under the cloud filled sky. However, in one of those moments when something "tells" you to do this or that--like when you sense someone staring at you, and you turn around to find that you were correct--Re-l happens to look up towards the sky. As she looks to the sky, she is immediately greeted with the brilliant sight of an aurora. Despite the heavy layers of clouds that fill the sky, the aurora is strong and vibrant enough to be seen through them. They swirl and unfold, dancing across the sky, not the least bit impeded by the dense clouds. We can imagine that it must be a magnificent sight for Re-l to experience while in her shifting mood. When she looks up, we can hear her audibly gasp in surprise and awe. All she can do is watch the aurora unwind across the sky.

Imagine what it would be like to experience it, especially for the first time. The novel situation that she needed to experience is here and now, seemingly for her alone. Her previous act of eliminating her conceptualized distraction had prepared the fertile ground for making such an experience so vivid. It almost has a meditative effect on her, as she stands under the aurora filled sky. She smiles, but it's not the slight one she revealed earlier--it's an unconcealed serene smile directed at everything and nothing in particular. What things are like for her, we can imagine, are most likely now qualitatively different than before, as when she was in her perpetual state of boredom. The sky no longer looks oppressive and indifferent. The weather itself no longer seems to be an inanimate thing. It now seems responsive, ready to do something if the conditions are right. As Re-l herself can attest, the conditions are indeed ready for change. No longer seeming distant and inanimate, the weather waits for Re-l be a cause. Engaging in a little primal scream therapy, she yells out into the weather, commanding it to come for her. Only an intimate personification of the weather, a new way of looking at the same situation, allows her to fully cast off the oppressive shadow of the bad mood. The mind's lead cloak is now gone, replaced by the lightness of a new perspective. Her unsolvable problems and unanswerable questions dissolve and disperse, for they no longer hold in her mind as they once did. What was once a problem lost its claim to being one; with a change in the rules, the problem vanished, dispersed, thus preparing the ground for seeing novelty and change. And just like Re-l's mood transforming from one state to another, the weather itself changes for the better: the wind returns. The previous state of stagnation gives way to a gust of wind, changing one pattern to another. All that had been previously mired in one specific cycle of recurrence now moves in many rapid and unpredictable systems. Each system now affects the other, giving a host of fresh results not achievable until now. Remember: everything now moves in new and unpredictable ways, a welcome change for Re-l. With the proper conditions now in place, she and the others continue on with the journey, which offers to show her newly revealed possibilities and perspectives. What was once a private world belonging only to Vincent and Pino has now become open to Re-l.