The father and son go to a sweathouse where all the paint is washed off. This is not the hundred-willow sweathouse and is the fifth sweathouse, if it were counted. The two men go in and some sagegrass being handed to the father, he takes off the feathers tied to the son's hair, the hair necklace, and whistle. After the first opening of the sweathouse he takes the sagegrass and wipes off the black paint on the son and hands out through the west side of the sweathouse the necklace, whistle, and feathers which are to be taken home. At the same time, the two women are in the ceremonial lodge, the mother caring for the daughter. When the men have completed the sweathouse ceremony they go to the medicine woman's tipi. The father and his wife wrap up the natoas and place it in the badger skin. After this is done, they no longer have to eat sparingly. This ends the ceremony of the medicine woman. Early the next day she and her husband must obtain the cottonwood brush with which the booth for the weather dancers is made. Another man digs out the place in the booth, making it the same as the smudge place in the medicine woman's tipi, with the sod on three sides and creeping juniper on top of it. The fireplace is dug out to the west of the center post and is made as in the medicine woman's tipi. When going for and returning the brush, the woman rides one horse and leads the one dragging her travois. While when the other brush was brought in there was much shooting and shouting, there are now no demonstrations of any kind, but absolute silence. THE WEATHER DANCERS. Early on the fifth day, a booth is built inside the dancing lodge opposite the entrance. A slight excavation about six feet square is made over which is erected a shelter of green cottonwood boughs, open on the side facing the sun pole. Before the middle of the day, a procession of one or more men supposed to have power over the weather, attended by drummers, proceeds by stages from the medicine woman's tipi to this booth. They pause four times and dance, facing alternately the east and the west. They hold whistles of bone in their mouths, which are sounded in unison with the dancing. The procession is of two transverse lines, the dancers, in front, the drummers and singers behind. A great deal of dancing is done between the entrance to the dancing lodge and the booth. At intervals during the day they stand before the booth and dance to the east and west: the drummers are now stationed on the south side of the booth where women also assemble for the singing. The dancing is chiefly an up and down movement produced by flexing the knees, the eyes are directed toward the sun and wing-like movements of the hands are made in the same direction. The dancers wear breechcloth and moccasins and usually a robe around the waist. Their faces and bodies are painted according to their own medicines and medicine objects worn on their heads.