as if she has forgotten him. Kikujiro tells Masao that she has just moved away, pretending not to have seen her. He tries to comfort Masao with a small blue bell shaped like an angel bullied from two bikers whom he happens to come across. Masao is so disappointed that Kikujiro cannot help but try to brighten up their return trip to Tokyo. He tells him an angel will come at the sound of the bell. They visit a summer matsuri held in a local Shinto shrine. While Kikujiro gets into trouble with some yakuza over a fixed shooting game, Masao dreams of dancing tengu. Back on the road, they meet the poet and the two bikers again. They decide to camp a few days together. Masao enjoys playing some traditional games with them. Kikujiro is reminded of his own mother (it is implied that she, like Masao's mother, also left him as a child). Kikujiro gets one of the bikers to take him from their camp to his mother's nursing home in Daito-cho, a small country town, but he eventually decides not to see her and returns to the camp. The men continue to do their best to entertain Masao by larking about for a few more days. Before they are to return to Tokyo, Masao dreams about them appearing over the Milky Way. In the morning, the bikers say goodbye to them and leave the camp. Masao and Kikujiro get a lift in the poet's car to Tokyo. After dropping them off at a bridge, the poet continues on his way to Osaka and Kyūshū. Before Masao and Kikujiro part, Kikujiro says, "Let's do it again sometime," and Masao thanks him. Kikujiro tells Masao to take care of his grandmother. Masao asks Kikujiro's name and Kikujiro answers, "Kikujiro! Now scram!" Masao passes a small bridge with the angel bell ringing. Themes The film explores alienation and inclusion in Japanese society. The main characters, and those who help them along the way, are all considered outcasts from accepted social norms, not being part of a traditional family or group structure. Characters who maintain a more accepted lifestyle are frequently at odds with the protagonists. Early in the film, the protagonists react to their alienation with anger (Kikujiro) and sadness (Masao). Along their journey, they start to discover how alike they are and the events in Toyohashi act as a