We learn some more about the origins of Piero's Resurrection and why it might have been commissioned. As with other works of art, the Resurrection likely had political symbolism as well as religious symbolism.

Montaldo tells how the film about Marco Polo came about. It was shot on three different continents.

Rita Levi Montalcini talks about what, as a little girl, she wanted to be when she grew up. One of her main goals was to help women, especially ones from poor countries, become what they were meant to become.

As a result of historical research and restoration, it was discovered that the Resurrection had not been painted on the wall on which we now see it, but had been transported from another location, likely the external facade of the building, under the arengario of Borgo Sansepolcro.

What works in the relationship between Vera and Giuliano is partly the fact that they complement each other, like yin and yang. They talk about a biographical movie they made about Giordano Bruno, a 16th-century Italian philosopher and cosmological theorist, with Gian Maria Volonté.

Rita Levi Montalcini dedicated a great part of her life to young people, especially young researchers, and though she had no children of her own, she felt that all kinds of young people were like sons and daughters to her.

Had the Resurrection always been in the same spot or had it been moved? We are taken through the questions journalists and historians have to ask: where, when, and why. A researcher, after much research, finally found the answer.

Giuliano and Vera talk a little bit about the music for the Sacco and Vanzetti film, as well as a serendipitous moment in NY connected with that. When the film came out it had success, especially with young people. Their outrage about the unfair trial led to the governor of Massachusetts recognizing the unfairness of their trial.

Rita Levi Montalcini felt that imagination was the "secret sauce" of her research. And this encouraged her to turn to young people, who have plenty of imagination. She didn't hesitate to teach kids of junior high school age, which came as a surprise to some people, since she was a winner of the Nobel prize.

We take a look at the details of Piero's Resurrezione, details we might not notice by looking at the painting as a whole. Why is Christ not dressed in white? Is there something special about the countryside in the background? The answers are fascinating.

Giuliano and Vera were of one mind regarding respect for workers and fighting against intolerance. One episode that particularly struck Giuliano was the news from the United States involving Nicola Sacco and Bartolomeo Vanzetti, two Italian immigrants, and anarchists, who were unjustly arrested and condemned to the electric chair in 1927. Montaldo would go on to make a film about that story.

Rita Levi Montalcini talks about when she won the Nobel Prize in 1986. Her niece, Piera, tells the story from her point of view, and Paola Tarassi, a research student of hers, tells about studying with her after she had already won the Nobel.

Take your time with this episode about Rome because it is chock full of information. Il Campidoglio, also called Monte Capitolino, is the smallest of the seven hills of Rome, but it's the most important because that's where the mayor's office is, as well. Where did the word "capitol" come from? Fulvio has the answer. He also talks about where the word "money" comes from. And you will recognize the name of the architect who designed the piazza and its surrounding buildings.

Retouching the painting is a very delicate job, and is done in such a way as to be reversible, and respectful to the original.

Giuliano and Vera talk about some of the colorful episodes in their time together on set. Vera tells about how Giuliano accepted her daughter, Elisabetta, from a previous relationship.