In the beginning of this act, an old monk-wearing a straw hat, grey habit, a red mantle slung over one shoulder and a rosary of 108 beads dangling from his neck and carrying a large fan with three Buddhas painted on it in one hand and a tall, six-ringed staff in the other-enters on stage veiled by the other monks. He sees a resplendently dressed, voluptuously beautiful young shaman dancing on stage. This old monk-who is regarded almost as a living reincarnation of the Buddha and whose entire 70-year career as monk has been devoted to the Buddhist doctrine-can hardly resist the allure of the sensual charm of the coquettish young shaman. Although he seem at first to feel penitence for surging desire, he finally succumbs, falling deeply in love with her, thus becoming and apostate.
  The old monk and the shaman then dance together expressing their new-found bliss in a suggestive dance in which eroticism is implied through gesture and dance movement. This comedy is considered the high point of the Bongsan Mask Dance-Drama.
  In sce 2, a shoe salesman enters withe a monkey. As he sells the monk a pair of shoes for the shaman, he pricks the old monk's hide by admonishing him for his apostasy.
  In scene 3, Ch'wibair, the vigorous prodigal, appears and incurs the displeasure of old monk by chiding him on his apostasy. He challenges the old monk and finally drives him away, whereupon Ch'wibair takes the young shaman for himself. In the end, she bears him a son, but later abandons it. Ch'wiban, however, takes pride in his son and cradles him in his arms.