Imma stops by to see her mother, who has been opening all the drawers, creating more work for Nikolaus, her caregiver. Imma and Matarazzo make the trip, on narrow mountain roads, to Ginosa, where De Nardis lives. He invites them in.

Still on the beach, Pasolini asks more people their opinions on divorce, which became legal in 1970. The second part of this segment is part of a 1969 episode of Processo alla tappa, a TV talk show devoted to the Giro d'Italia (the Tour of Italy), a famous, 21-stage bike race.

As they make pasta with whatever scraps of food are left in the fridge, the group discusses Ilaria's predicament, which turns out to be worse than they imagined.

Imma and Calogiuri manage to interview Bizzari who admits a few things about Stella. Diana confesses that even though her husband has come home, it's not any better than before, when he was gone.

In a Q & A, Pasolini explains to a journalist what he means when he refers to the elite. In another clip, he asks people on the beach about sex.

The group goes grocery shopping for their party, but on the way back, Ilaria wants to make a stop. Nobody knows why, or what she plans to do and the situation gets out of hand.

Imma and Matarazzo go to the butcher shop in Grottole and find out some information from both the butcher and a woman seated there. Calogiuri has a little information from the coroner for Imma.

Pasolini doesn't want to talk about his enemies, but does talk about the people he loves the most: simple folk, who might not have even finished grade school. For his early films, he took inspiration from Antonio Gramsci.

It's Pisa. A group of university students living in an apartment together have made a home video of the place, which is a mess, partly due to clogged sinks. Their stay is almost at its end and they're taking stock.

Lombardi shows up for an informal meeting to talk about a building project. Meanwhile, Imma is driven to Grottole by Matarazzo who is going a bit too fast.

Pasolini is asked what he thinks about progress and development. He is also asked about the inspiration he seems to have taken from subjects of the New Testament of the Bible.

For once, Valentina comes home in a good mood. Imma tells Pietro about her ex-classmate's murder. Don Mariano has a conversation with Samuele, a kid who seems to be in contact with Valentina, but who evidently has had some problems with the law.

In this segment, we're on the set with Pasolini as he shouts directions to Totò through his megaphone, and at the same time discusses the shoot with his crew. Naturally, authenticity often means people speak over each other, so it's hard to understand what is said. Then, Pasolini is asked by a journalist about his views on neorealism and here, the speech is clearer (and interesting), so don't give up!

Imma goes to join Calogiuri in the area of Matera where homes and churches were built into the rock. There are i sassi (cave houses carved out of the rocks) and the lamioni, barrel-vaulted rooms leading to the cave houses. She is guided by Eustacchio, a kid she thinks should be in school. But he knows quite a bit about the history of the place.

Pasolini talks about how he moved from literature to cinema, and how his ideas about language changed. He talked about providing Italians with an opportunity to demonstrate racism, perhaps for the first time, with his movie, Accattone.