At the end of the fourth tune the squaws all run out of the ring as fast as possible, and must leave by the same way that they entered, the other three entrances being reserved for the men, who, carrying their war implements, might be accidentally touched by one of the squaws--and the war implements of the Sioux warrior have from time immemorial been held sacred from the touch of woman.

For the same reason the men form the inner ring in dancing round the pole, their war implements being placed at the foot of the pole.
When the last tune is ended, the young men shoot at the image of thunder which is hanging to the pole, and when it falls a general rush is made by the warriors to get hold of it.

There is placed at the foot of the pole a bowl of water colored with blue clay.

While the men are trying to seize the parts of the bark representation of their god, they at the same time are eagerly endeavoring to drink the water in the bowl, every drop of which must be drank.
The warriors then seize on the two boys and girls--the representations of war and peace--and use them as roughly as possible--taking their pipes and war-clubs from them, and rolling them in the dirt until the paint is entirely rubbed off from their faces.

Much as they dislike this part of the dance, they submit to it through fear, believing that after this performance the power of thunder is destroyed.
Now that the water is drank up and the guardians of the Thunder bird are deprived of their war-clubs and pipes, a terrible wailing commences.