Still hostile to the visitor, who remains waiting for admittance, O-Mitsu is joined by Hisamatsu and the father, who are not yet aware of a stranger’s presence, although O-Mitsu puts her head out of the door in anything but a hospitable manner, making exclamations of scorn and anger expressive of her hostile state of mind as she pushes her rival away, closes the latticed door, and to make sure that it is secured against O-Some’s invasion, places against it a bundle of dried twigs gathered for fuel. Very human, too, is the application of moxa, a burning medicine, to the legs of the old farmer, who writhes with pain at each fresh ministration by his daughter. Hisamatsu, taking part in this operation by massaging the old man’s shoulders, is surprised to find O-Some at the entrance and motions her to go away. He has not yet had time to break the news of his relations to the Osaka maiden, and is at a loss what to do. O-Mitsu also continues to show her displeasure, but the unwelcome visitor cannot be driven away. The farmer, at last viewing the newcomer, realises the situation, and drags the unwilling O-Mitsu out of the room, leaving the lovers together. After a sorrowful love scene between Hisamatsu and O-Some, O-Mitsu returns, but they are astonished to find that she has cut off her hair and wears the garb of a nun. She has decided that Hisamatsu and O-Some belong to each other, and so sacrifices herself that they may have no regrets on her account. O-Some is full of gratitude, and Hisamatsu is overcome by her sacrifice. O-Some’s mother next appears to take her daughter home. The stage then revolves showing the side of the cottage, a stream of water, a boat landing, and a boatman waiting for his passengers to the left, while on the right two palanquin men are ready to take Hisamatsu away. Quickly the hanamichi is spread with a blue and white cotton cloth to represent water. Mother and daughter prepare to embark in the boat. The shoji, or white paper windows of the cottage, are pushed aside, and O-Mitsu gazes out sadly. To the rippling, merry rhythms of the samisen, and a spring song in praise of the plum blossom sung in a rollicking way by the palanquin bearers, they take their departure; Hisamatsu carried in a palanquin on one hanamichi looking across the heads of the audience at O-Some, and again with regret at O-Mitsu; O-Some and her mother borne over the cotton waves spread out along the main hanamichi, the boatman working so hard at the task of plying the oar that he has to take off his coat to cool himself, the blue and white robed property men really doing all the pushing and pulling of the craft so that it moves smoothly through the audience. O-Mitsu and the old father stand together outside the cottage, lonely figures, bearing the brunt of the sorrow of farewell; the whole theatre becomes a stage, and each and every person in the audience feels his or her connection with the play and with the actors.