Today is the decisive doctor's visit, but it's not entirely what the newlyweds expected. Meanwhile, let's hope Paolo can start paying attention to his company's developments, because something fishy is going on.

Manuela gets to the document before Paolo does, and reacts. This starts quite a chain reaction involving Natoli, the workers at the factory, and Paolo who ends up on Manuela's bicycle.

Paolo clearly cares more about Natoli than his car, Manuela thinks Paolo is like the other bosses, and Natoli is becoming resigned to going back to his country. It's a mess.

There's a strike going on in the factory, and some dirty dealings going on, too. Meanwhile Paolo, with Natoli's expert help, is doing what he can to figure things out.

Paolo has to gather all his wits to figure out what's happening in the company. He confronts Salmastri, but Salmastri is truly slippery, and not to be underestimated.

Paolo and Natoli have some unforeseen difficulties getting to the factory, and when they finally do arrive, nothing is as it should be.

Paolo, with the help of Natoli, of course, is able to save the situation, and the workers are truly grateful. He pays a visit to the cemetery to talk to his brother Aldo.

In this last segment we find out what happened to Aldo and his wife. We don't know if everyone will live happily ever after, but for now, it's all good.

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.