The play’s final shōdan consolidates its energy using most of its intermedia resources. The shite and jiutai sing a text set in ōnori in an active tempo, one of the most dynamic congruent styles. It is accompanied by the drums in strict rhythm, joined at the end by the nohkan performing a variation of its cadential tome no te pattern, which closes with the high and dramatic hishigi tone. The choreography keeps the dance on the strong central stage positions (Squares 3, 4, and 9), as if to suggest that the spirit of Lady Yūgao has finally taken full shape and is now shining with its full strength.
The first three lines of the poem that Prince Genji wrote to Lady Yūgao were introduced in the waka, the preceding shōdan. The kiri opens with the jiutai singing the poem's last two lines, repeating three times its very last line, “hana no iugao/ the flowering 'evening face'.” This repetition stresses the words “evening face,” the nickname of the lady that Prince Genji saw in the shadow of the white flower. The line is composed of seven syllables, and when set in ōnori, fits very well within a single honji, as it is the case for the first two iterations. The last and third line is spread over two honji creating a dramatic slow-down. Thus, as the jiutai repeats three time the name of the flower associated with Lady Yūgao, the shite who occupies the prominent center-stage performs the grounding classic sequence of structural kata: Medium zigzag, Forward Pointing, and an Open-retreat.
When the jiutai sings the two protagonists turn toward each other. As the shite sings the line,“Tsume ni wa tomurai / I beg of you,,” he takes Two Steps towards the waki, as if to stress the importance of the request. It is noteworthy that the word “tomurai” has a double meaning, indicating both “to pray” or “to visit.” Taking this in to account, the scene could also have a double-meaning: the spirit of Lady Yūgao asking the monk for a prayer and a desperate request for a visit from Prince Genji.
As a dance-to-text shōdan, the Kiri is full of mimetic kata, including in the closing section. Over the words “,” the shite turns left (East in Kongō tradition) and looks up as if to appreciate the rising sun. In loose synchronization with his words, the kotsuzumi’s patterns include upbeat attacks leading to honji’s fifth beat. Although these patterns are not unique to Hashitomi, they could be interpreted as mimicking the tolling of the bells. Then, with a Forward Point, the shite points in the direction of the bells and as he sings, “…announce the coming of dawn.”, and performs a Flipped Left Sleeve and a Cloud Fan , a pattern often used to suggest looking into the distance.
Finally, the the tsukurimono, as the monk turns his body toward her with reverence. The nohkan joins with its closing tome pattern. This announces and intensifies the final section of the play. The shite sits down very slowly, creating a solemn feeling. The stage assistant synchronizes the lowering of the hashitomi door with the shite's motion. Then, the shite moves his Fan to Left Hand in preparation for a Pillow Fan, a pattern that suggests disappearance, which he performs as the jiutai sings .