The bottom of this scroll is dominated by the "Pool of blood and filth," and those drowning therein are usually women associated with a variety of misdeeds. In versions of this image that include cartouches, they range from lacking virtue and cursing children to lewdness and bringing ruin to the family. Yet most interesting is the register of images directly above the pool. Here a monk is able to hand one of the women a permission slip allowing her release. In fact, this entire register consists of living people who are mourning for and sacrificing to the dead, and as there are "filial wives" among the sacrificers, it is clear that this living intervention is not intended to be earmarked for the women in this pool but is representative of the living sacrificing to their dead generally. Dressed in white (the color of mourning) and accompanied by a band, these filial descendants offer incense, food and paper clothing. The role of the structure beside the filial boy is unclear, but H.Y.Lowe's account of early 20th century Beijing entitled The adventures of Wu includes the picture of a similar paper device that serves as a parasol for the dead:

The Chinese believe that the spirit of the dead is bound on a long and tedious journey along a road entirely unshaded by any trees and on which the fierce sunlight pours its hottest rays (this is what is known as the Road of the Yellow Spring). Whoever has been survived by a daughter would receive a gift parasol from her to save him from possible sunstroke. Poorer people burn only a sunshade but richer families also send a paper boy to carry it for the dead one and to keep him company so that he will not be lonely on the road. A feast similar to the one held on the twenty-first day was prepared but instead of three packages of paper joss-money five were used, each of them this time being pinned together with imitation pomegranate blossoms of paper, deep red in colour.

Thus the woman in mourning white seems to be responding to her parents' kindness (according to the inscription) with these various types of paper goods to be burned and transferred to the underworld.

According to other sets of hell scrolls, the banner draping into pool is an edict granting marking the completion of torture, reading, "Pass through death toward rebirth." This scene hints toward the function of the scrolls in general as the living make offerings to the underworld officials where the dead happen to be at that point in time, offerings that beg leniency and (relatively) safe passage for their new ancestors. The monk may be Ksitigarbha who can grant salvation in hell, or he may stand for the Buddhist sangha in general because only through their intervention were sacrifices to the dead fully efficacious. That is, Buddhist monks through their purified minds and specialist rituals were themselves sacred conduits to the invisible realm, and note here that only the monk is crossing the barrier between the living and the dead. Early narratives frequently emphasize that offerings should never go directly to the dead but only via the Buddhist monasteries.