Annalena meets up with Paolo Giordano who talks about the trauma of moving from Turin to Rome. Giordano's first novel, La solitudine dei numeri primi (the solitude of prime numbers) from 2008 was made into a popular film of the same name in 2010.

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.

Chiara tells about how she realized she knew how to read, which then led her to begin writing. She wrote her first "novel" in second grade. Where she grew up, on the outskirts of Rome, influence her writing to a significant degree.

Pasolini talks about how artists are always controversial. They are a living protest. His protest involves language and national identity.

Chiara Gamberale talks about how and where she writes, and how her life has changed now that she has a little girl.

Pasolini talks about the Italian language and how it has been transformed over the years.

Journalist Annalena Benini introduces us to different writers from different places in Italy, beginning with Rome, where she interviews Chiara Gamberale, a novelist.

Pasolini talks about his first book of poetry and what he realized about his country when it was published in 1942. He explains why reviewers wouldn't touch it.

This documentary opens with some lines from a poem by Pier Paolo Pasolini, “10 giugno” from 1962. The famous filmmaker and poet talks about his life, beginning with his troubled relationship with his father.

Michele is distraught about Beatrice Cenci but at this point, there is nothing he can do. He confides in Costanza Colonna, who warns him to keep his ideas to himself.

Michele returns to the palace but the Cardinal is not happy. Beatrice is on trial at the papal court and is trying to defend herself.

Michele is at dinner at Fillide's home. The conversation turns to a grim story of patricide involving someone he knows and he can't let it go. Things get out of hand.

Michele finishes his painting of Fillide and they have a moment to get to know each other better.

Caravaggio (as he begins calling himself) and Ranuccio play real tennis. Who's going to win?

Giuseppe is very happy that Giorgio came to see him. The two friends have an important and sincere conversation.

Michele goes back to the tavern Ranuccio and Fillide frequent. He challenges Ranuccio.

Giorgio is on his way home, but changes his mind and goes to Piazza del Gesù.

We learn of the death of Francesco Cenci from a conversation between the Cardinal and one of his guests. Michele arrives too, at a reception, where his latest painting is on display. He makes an impression as someone who speaks his mind.

Even though Giuseppe's health is failing, he goes to see the needy in the poorest sections of Naples. Even when he gets home for dinner, the patients keep coming. He doesn't turn them away.

Young Michele thus enters into the service of Cardinal Francesco Maria del Monte, man of culture and art connoisseur. All he has to do is what he does best: paint.

Giuseppe's health is failing, but he won't accept Arcangelo and Nina's advice to get some rest. He seems to be well aware of his true condition and writes a letter to his loved ones. Elena brings Antonio home.

Word seems to be getting around that Merisi is a very talented painter. In bed with malaria, Michele himself is the last one to hear about it.

Giuseppe goes to see Giorgio to see if he has the power to save the hospital from the new "reforms," but Giorgio has other priorities and rebuffs him.

Michele and Mario are having a hard time. But Michele can't bring himself to paint things he doesn't believe in, even at the risk of going hungry.