In an attempt to kill himself, Mario jumps out of the window, ending up in the emergency room with a contusion. While Michele tries to break free from Iolde's advances, Riccardo calls to say that Menicucci has arrived.

Riccardo is trying to give the bribe to the person indicated by Michele but gets it wrong. Meanwhile, a school group arrives at the Nido asking for Eleonora.

Eleonora had forgotten that her teacher friend was going to bring her students on a field trip to the Nest. She has to go to work and asks Chiara for help in welcoming them. Meanwhile, the police arrive while Michele is on the phone.

Riccardo tries to approach and talk to Menicucci twice, even asking Michele for advice on how to do it, but he doesn't succeed. At the Nido, the visiting class doesn't seem very inclined to listen to the history of the place.

The school kids go around the Nest asking questions and exploring the place when they find the hole where the workers are digging. At that point, Eleonora asks her friend to take the kids away.

Michele is looking for a work of art to give as an important gift. Meanwhile, at the Nest, they continue to dig and are finally about to discover what lies beneath the slab.

Michele is negotiating with Nicoletta about the gift he wants to give to the Kazakh. Back at the Nest, he wants to make sure it gets delivered as soon as possible. Iolde is still very upset about the newspaper article.

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.

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.

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

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

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.

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!

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.

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.