10. Amare (To Love)

Picture album.

Facade

A cruise liner at night, tranquil and celebratory.  People, many of them couples, enjoy the evening on the deck while Citta plays comfortably in the background.

Jose comes into view on the railing above.  At first he appears to be taking it all in as well, but on closer inspection his face reveals a pensive stare, his eyes unfocused on the revelers below.  The gaiety is superficial.

Hearing footsteps, Jose turns to see Henrietta timidly paused some distance away.  She bashfully requests to stand next to him at the rail and he accedes with a forcedly cheery face to mask his gloom.  With a gentle, "Come on" for encouragement, Henrietta trots over; slow enough to not appear unseemly, but fast enough to betray her excitement.  This is as romantic as she can imagine, being on a cruise ship at night, looking out at the lights and other couples.

As she stands near him, basking in her fantasy, he tells her they'll arrive in Sicily in the morning.  But even as wonderful as this is, a thought intrudes, as they do now with increasing urgency.  Her face falls and she cautiously inquires:

Henrietta: "Um... Jose?"

Jose: "Yes?" (Literally: "Problem?")

(Jose smiles disarmingly; Henrietta gives a soft gasp of alarmed surprise and averts her eyes)

Henrietta: "Why are we going on a holiday?" (Unsettled)

Jose: "We have been doing nothing but work.  It would be fun to do something else."
(Slight pause)

Henrietta: "This is the first time I've ever taken a sudden vacation." (Appreciative)

Henrietta's maturation is accelerating and she is thinking for herself.  Even as she is overjoyed to be with him, the arbitrariness of the reward is suspicious; she now seeks to make sense of Jose's actions, and so is becoming difficult to distract from the truth.  His first "Problem?" is meant to be nothing more than a casual acknowledgement of her inquiry, and a gentle teasing because he knows she's happy.


However, its literal meaning alarms her, for there is a problem: she doesn't completely trust him anymore.  It's disconcerting to think of questioning his motives.  Feeling caught, she averts her eyes, even as her heart flutters at his smile.  It is so complicated for this little girl, to love and doubt him at the same time.  Fearing that he might misinterpret her as questioning the value of this trip, she cheerily responds after a small pause to his empty answer, reinforcing her appreciation.  She wouldn't give this up for the world.

But then Jose accidentally tips his hand:

Jose: "The chief granted my request."

(Henrietta's eyes widen slightly in surprise and realization)

Henrietta: "Did something happen?" (Concerned)

The chief?  What would the chief have to do with rewarding her?  Now she knows something is wrong, no matter what he has just said, and innocently cuts to the chase.


Jose's happy facade retreats, and in its place is an expression of distinct displeasure.  He doesn't like having his flimsy story so easily challenged by Henrietta's pointed questions.  That's not part of her script; she's supposed to blithely accept this act, not undermine it.  And for just a moment his petulance, the anger that his unhappiness is all her fault, shines through.


But the glance is brief and he turns forward in disturbed contemplation, forced to confess: Elsa was killed, her body found yesterday morning in a park.  The music dies away almost imperceptibly; all pretension at cheer is gone.  Henrietta asks what happened to Lauro:

Jose: "Lauro was also killed."

Henrietta: "I see."

Jose: "Henrietta..." (Strained, preparing for her to be upset)

Henrietta: "I'm glad."

(Jose turns in surprise)

Henrietta: "When Elsa is with Lauro, she isn't lonely."

The final line is delivered with earnest happiness.  A close-up of her face is shown as she continues to blush slightly with passion.  Death is better than separation from her handler, and dying together is even romantic.  This is her genuine belief, deeply held, and profoundly disconcerting.  Jose stares at her silently, taking in the implications.

Funeral

Two crows soar into the dismal sky, leaving this earth, as a shed feather falls lonesomely past the naked trees rimming a field.  Elsa's body was found in a park.  As it drifts slowly downward toward the unpreventable scene the music grows into her song of last episode.  It is Chiesa, "Church", but now the formerly bare strings have donned humans voices in full mourning attire.  They gather to eulogize a lonely child and lay her to rest in this invisible cathedral.

The feather settles in a pool of blood on the cold ground, sending ripples toward the still mass of blonde hair trailing a braid.  It is Elsa...

She lies on a gray grassy bier, her light skin contrasting with the darkened surroundings.  One eye is closed while the other has become a gaping wound partially obscured by her delicate bangs.  Yet the violence of the image does not reach her expression, which evidences nothing more than an exhausted sleep.

The viewing over, the contrasting darkness of her background is subsumed by a growing opalescence which surrounds it all, the very ground seeming to shine when seen from above.

Slowly the perspective continues to move skyward.  The service is complete, sorrow has been given its due time, and along with the music she is lifted upward as well, where she flies away with her Lauro, no longer alone.

Tangled in Their Own Webs

Next morning the local police are documenting the scene, the series respectfully leaving the bodies unshown.  For the investigators it is a strange case: despite being a late-night murder the valuables were not stolen and the German-made pistol lying near Elsa is an exotic device to be involved in a mundane crime.  The younger of the two wonders:

"Is this the gun the perpetrator used?"

Shortly they are interrupted by another member who announces that the Italian counter-intelligence bureau has arrived.  Beyond the police tape, Jean and the chief stand ominously.  The elder inspector warily appraises them:

"Intelligence office?  This must be a troublesome case..."

Jean walks unceremoniously up to Elsa's corpse and fixes his eyes on the older man, peremptorily informing him that this matter has now been placed under the jurisdiction of the intelligence office.  All the documents are prepared.  The inspector acquiesces without complaint.  As the police walk back to their car the younger officer speaks up:

Younger: "Inspector, doesn't it seem a bit strange?  Department of Internal Affairs suddenly arriving..."
Elder: "Don't worry about it." 
(The eldercloses his eyes resolutely as he increases his pace to get away from the scene; they both get into a car)
Elder: "These guys are just making more problems for themselves.  Perhaps... or so I feel anyway.  The people in the counter-intelligence field work diligently.  Their work is their life." (Humorless laugh)
(The junior, who was gazing in the rear view mirror worriedly, smiles with pity in agreement)
Elder: "It isn't our affair to get involved in anymore."

The elder inspector hasn't stuck around this long being blind to the menace of men such as these, and hastens to put distance between himself and the situation.  His final remarks are pointed: such people beget their own struggles.  Even as he fears them he recognizes their hollowness.  They are too entangled in their actions to any longer appreciate anything else; by their machinations they have created their problems, and those problems consume their lives.


With the police gone, Jean and the chief tersely discuss the details of the situation.  The fratello were not on a mission, but a personal outing, so their killers are unknown.  The list of potential perpetrators Jean gives is terrifying: separatists, the mafia, or even another government agency.  Section Two has powerful enemies, the natural accompaniment of their methods.  The chief orders that the media be controlled and the bodies incinerated once information is gathered.  No sympathy is spared for the dead.


In the office of Section One this caution is validated.  Their head, a man by the name of Draghi, has called in a subordinate to also investigate the situation.  He experiences no sadness at the passing either, seeing only an opportunity to best his rivals by undermining faith in the cyborgs.  As he speaks he is sipping coffee and eating expensive chocolates.  This is a coarse man; in the image of a decadent king he seeks the destruction of his enemies while not pausing in his pleasures.  His triumph over Section Two would be no victory.

A Mechanical Body and an Inhumane Mind

The chief has departed, leaving Jean to organize the cleanup.  Rico has joined him; how hideous of this man to subject her to such a scene.  As Jean confers with the chief over the phone, Rico stares, shoulders slumped, at the empty bloodstained ground where Elsa used to lay.  Unlike her master, she is affected by Elsa's passing.


Rico's face is impenetrable as she reads at the police marker placed there earlier.  Elsa - B1.  Time of discovery.  Place of discovery.  Person in charge.  Elsa's gravestone.  Rico's empty, intense gaze is the only remembrance that girl will receive.  What Rico is feeling is unknown.  Sadness?  Comprehension?  ...Envy?


The chief has contacted Jean to warn him that Section One is on the move.  Before the conversation can be concluded the operatives from the rival agency pull up.  The bodies are not in the ground and already these groups joust for power, using the tragedy as a playing chip.

Pietro: "Pietro Fermi and Elenora Gabrielli, Section One."
Jean: "Pleased to meet you.  I'm ready to answer your questions." (Shaking hands)
Pietro: (Staring at Rico) "This child is...?"
Jean: "Rico, my cyborg." 
(Rico does not acknowledge her name, apparently oblivious to the discussion)
Elenora: "Rico?  She's a girl, isn't she?"
Jean: "Each cyborg is named by her handler.  A girl or boy's name can be chosen."
Elenora: "And family name?"
Jean: "None." (Definitively)

No family name.  She belongs nowhere, and to no one but him.  He may do whatever he likes with her.  Both of the investigators catch this implication, with Elenora's face in particular hardening into open dislike.  They have just received their first taste of Section Two.  Pietro presses ahead and asks Jean who he thinks the perpetrators are:

"That is still under investigation.  Our work is killing and our enemies are all around."

This last sentence is self-fulfilling; they create their own opposition by what they do.  Also case in point as he stares at the Section One operatives.  Pietro is disturbed by the use of cyborgs, and asks if they are really necessary.  In response Jean places his hand on Rico and justifies their actions:

"A gun or a dictionary... both can be used to kill, right?  If you give the order to use a book, then they'll do it."

What is a weapon is a matter of perspective.  Section Two just happens to use children out of convenience; they're innocuous and flexible after all.  ...there is nothing to say to that...

Throughout his hand remains on Rico.  It does not rest on her shoulder or head, but around her neck; a strangle hold, one that she could not escape from.  Rico turns woefully to look at her handler as he speaks; she does not even struggle anymore.


Pietro grows more serious after such an ungodly response.  Elenora is looking more disturbed than angry as she processes Jean's statement.

Pietro: "Wasn't Section Two known for having a sturdy dictionary?"

He is looking for weaknesses his boss requested, but there is a particular bite to his question in how he spits the phrase back at Jean.  This mission has begun to take on greater importance.  Jean answers that while they do have weak spots, such as the eyes, nobody who has ever attacked a "fratello" before has lived.

Pietro: "Fratello?  Ah, you mean siblings."
(Pietro closes his eyes and adopts a more pleasant face)

The term "fratello" is the last straw for Pietro.  The perversity has reached a critical point; this is a rank mockery, one that only people such as Jean could use to describe his relationship with Rico.  Pietro's smiling face isn't an accord; it is a cover for his sickened hostility.  He must now check Rico's opinion for himself:

Pietro: "Also... can these children withdraw on their own judgement?"
(Pietro walks to Rico and rubs his hand on her head; she does not react)
Pietro: "Although they seem to be strong, there is still a chance that a shot will strike the eyes."
(Rico raises her eyes, but Jean brushes Pietro's hand away from her)

Although Pietro nominally asked Jean the questions, this is not who he was addressing.  With his comments and gentle stroking of her hair, he gives Rico the human regard and contact she so dearly needs.  Like a flower to the sun, she responds by raising her eyes to him; in her downtrodden state this is as vehement as she will get.  Jean recognizes what Pietro is trying to do and blocks further attempts at comfort.


The two men now stare at each other, Jean with undisguised hostility and Pietro with his fake plastered grin.  All pretense has vanished.  Not only does Pietro represent an opposing agency, he is doing something far more dangerous: treating Rico like a human, undoing Jean's methodical cruelty.  It has become personal for Pietro as well, for it is a growing suspicion that locked inside that shell next to Jean is a child in desperate need of help.


Jean grimly reinforces his point to regain the initiative:

Jean: "Each handler is free to train his cyborg as he sees fit, but they're all given conditioning to ensure they'll do their jobs.  Particularly, they're made to sensitively react to any harm to their masters."
(Pietro begins to walk past Jean, and mutters sidelong)
Pietro: "I see.  So they're not just puppets according to you."

Jean is making a statement: "Don't think that just because Rico reacted to your kindness the conditioning won't force her to defend me if this comes to violence."  But he slipped, for his very words imply that Rico has a will that must be overridden, undercutting his portrayal of her as an automaton.  Pietro now knows there is a girl in there.


Elenora professionally steps in to question Jean, trying to defuse the dangerous situation.  These men are getting a little too heated for this to end well.  Pietro continues to walk away, thinking intently.  He looks at Jean and Rico, both turned and unaware.  As he stares, the conversation can be heard:

Elenora: "Did anything out of the ordinary happen during their recent mission?"
Jean: "There are no such reports."
(Rico angles her head, listening intently)
Elenora: "I see.  And, uh, how were they as a team?"
Jean: "No problems in particular."

Waiting no longer, Pietro decides to test Jean's boast for himself.  Wheeling, he flings a two-Euro coin at Jean's exposed head.  Almost as soon as it leaves his hand, Rico reacts.  In one fluid motion she snatches the projectile from the air while training her gun on Pietro, positioning herself between Jean and this potential threat.


Jean was right: a little bit of kindness was not enough to override the conditioning.  It is too deep.  She stares at Pietro without mercy until his face softens and he raises his hands in surrender.  Jean orders Rico to put the gun away.

"Fermi, curiosity is very dangerous.  If you didn't belong to the agency, you'd be dead right now."

Jean does not grow elated, but this was a victorious demonstration of the power he wields.  Pietro's life could be ended if Jean so desired it.  Rico stares dolefully at Pietro as Jean gives his veiled warning.  She knows what Jean says to be true, and in her eyes a deep sadness that she is the one to make it so.

Postures and Posturing

The three adults and Rico leave the scene in Pietro's car, returning to the SWA.  From the back seat Jean volunteers:

"Do you know what the cyborgs are now?"

A reinforcement of the earlier exhibition: they have seen what Rico can do, and that Jean can make her do it.  He knows perfectly well what Draghi is after.  The two in the front seat are grim at the import of this proclamation for themselves and Rico.  After a latent pause, Pietro shoots back:

"But Elsa died without protecting her master."

A challenge that despite Jean's posturing, the cyborgs can be defeated.  He is not invincible.  Elenora glances uncertainly at Pietro's combative statement before inquiring about the two bullets Elsa fired.  A deflating question that is more proper, supporting the facade of joint cooperation while not directly opposing Pietro's statement.  She has twice now played the subtle peacemaker.


Jean answers that the bullets have not been located yet.

"If she hit the perpetrators, we should find evidence."  

Throughout the scene, Rico has kept her face pointedly away from the conversation, as though expressing a disagreement she is unwilling to voice.  Hearing Jean's response, Pietro's displeasure only grows as well.  Something is not right here.

Making Memories

Oblivious to these events, Jose and Henrietta sit at a cafe enjoying an outing together.  Living in their own little world.  As Henrietta talks the camera pans across their feet.  Hers do not touch the ground like Jose's: she isn't quite grown up yet, but her feet are more imposing than they once were.

Henrietta: "And so Triela received another bear as a reward, making nine of them.  She was up all night trying to think of a name for it." (Giggling)
Jose: "Do you want teddy bears too?"
(Henrietta blushes and averts her eyes unhappily)
Henrietta: "Oh, no.  It's already enough to be praised by you.  That's all I need."

It seems that despite learning to be more aware of Triela, Hilshire is still bumbling; he never did fully comprehend what she did with his gifts and still struggles to not commit the same errors.  But Triela compensates with her effort in naming: she'll endeavor to appreciate the thought behind it, and give it meaning for herself.  The man might be a bit of a blockhead, but she'll work with him.


But there is a greater purpose to their mention beyond comedy.  It primes the memory of their dynamic, and the exchange between the two girls in Bambola concerning Hilshire's use of teddy bears to perfunctorily fill his role.  Back then Triela was pained by the emptiness of the gesture, wanting him to be a true father to her, while Henrietta was still moon-eyed at Jose's mere presence, saying she didn't need anything as long as she had him.


With this reminder, it is clear how much Henrietta has changed in a short time.  It is her turn to be offered a hollow present, meant for appearances in substitute for true affection.  She gives a nearly identical reply as in Bambola, that Jose's praise is enough for her, but the dreamy expression isn't there.  Her innocent adoration is gone, replaced by a growing sensation that there is something missing in this relationship.


Jose's eyes narrow with the awareness that her reaction was amiss.  Henrietta, for all her development, is still an open book.  But after a short hesitation he perseveres with a smile like normal:

"It would be better if you were more greedy."

A short, but revealing, response.  Jose would prefer it if she needed something material, a want that was unfilled.  Why?


Because he needs her to lack.  It is convenient if she is easy to please.  In a growing corpus of alarming signs, Jose is now trying to deflect her away from that which is most important.  He needs her to rely on him in other ways, but not the one that would require him to change.  His push forward, despite receiving evidence that Henrietta will not continue to accept more trinkets, is telling of how much he would prefer this state of affairs to last.


Jose now reaches behind his seat and reveals a nicely-wrapped package, offering it to her across the table as a distraction:

Jose: "You are always working hard... Here you go, your reward."
(Henrietta is surprised, and a small blush accompanies her smile)
Henrietta: "May I open it?"
Jose: "Go ahead." (Smiling pointedly)

Henrietta is not yet as perceptive as Triela.  With a bit of prompting that he recognizes and appreciates her hard work, she accepts his offering under the guise of what she truly desires.

However, this pretense has an unseen cost.  Having relied on it so frequently in the past it has become arbitrary, disconnected from the merit of Henrietta's actions in a way she can feel.  When he tries to use it again on the cruise liner she at last becomes suspicious.  These threadbare explanations have undermined her trust and beg the question about what his real motivations are.  And worse, contribute to her growing anxiety as to whether he cares about her at all.


But that is in the future.  For now, she is still warmed to see this physical symbol of his love.  Jose's permissive smile is full of relief that this trick still worked, but like his facade on the ship a little forced from the worry.  However, his comfort is dulled as he watches her gingerly unwrap the package, taking care to fold the ribbon and not rip the paper.

Jose: "You're being quite careful, aren't you?" (Uncertainly)
Henrietta: "I want to keep the paper as a memento."

This is disconcerting; he wanted her to like the gift, not worship it.  To see this much regard stirs a non-specific fear in him.  This girl cares with all her heart, and it might be dangerous to toy with that.  Finally, the unwrapped gift is revealed to be a camera.  Henrietta's face is completely flush with emotion.

"Now you can record your everyday memories... especially the fun ones."

A compensatory gift from a guilty conscience.  One of the critical side effects of the conditioning is the mental dissolution of the girls, and their subsequent loss of memory.  Even as he banishes reality from his consciousness, part of him is aware and buys for her a device that is bitter in its reminder and harrowing in its future necessity.

Tour From an Inmate

Back at the compound, Jean orders Rico show the Section One agents to the dormitories.  He has her hand over the pistol before she leads them on alone.  It is another sign of contempt: "She doesn't need a weapon to deal with you, and I don't mind if you talk to her without me around.  My control over her is absolute."  As they walk, Pietro tries to interrogate Rico anyway:

Pietro: "Rico, earlier I wanted to know..."
Rico: "Yes?" (Not turning)
Pietro: "Aren't you sad that Elsa was killed?"
Rico: "Not really, I didn't know her.  We weren't friends." (Still facing away)
Elenora: "But she was one of you!"(Distressed)
(Rico finally turns to look at them)
Rico: "It has nothing to do with that."

Rico's last response is with the same neutral-polite voice she has used throughout the conversation, but for a moment her mask slips and an expression that speaks to the emptying despair of long torment shows through.  "You know nothing of us or this place," it seems to say.  "Our lives do not have the value you believe they should, and so we cannot be sad in the same way when they end."  Elenora has yet to fully grasp what it means to be a cyborg at Section Two.


With this preamble, Rico shows them to Elsa's room and its striking bareness.  The empty chair is pointed at the picture on the sill; before she left for the last time, Elsa was gazing at the photograph.  Elenora is able to read the solitude this girl experienced:

Elenora: "Are all the rooms this dreary?"
Rico: "Henrietta and Triela have many things in their rooms.  All as rewards from their instructors."
(Rico exhales a nearly-silent humorless chuckle)
Rico: "But I wouldn't know much about that."  

As Rico speaks her hand is pressed to the window, as though trying to reach outside and escape.  This is an unbidden cry for help from the depths.  Pietro noticed her, patted her, recognized she was human; Jean isn't here right now, so please let him hear!  But he does not seem to understand, distractedly pocketing the picture of Lauro on the sill.  He asks if there is anybody else to question.  Rico informs him of Triela, a shadow of desperate disappointment in her eyes.


In her room, Triela is working on one of her bears, fondly adjusting its green necktie.  The presence of materials in the background suggests she lavishes quite some attention on them, fashioning the accessories personally.  As she works she hums the main melody of "Ode to Joy" from Beethoven's 9th symphony.  Claes sits across from her reading.  The door opens and she looks up with dismay.

Rico: "Triela..."
Triela: "Rico, are you finished with your work?" (Not looking up)
Pietro: "May we come in?"

Upon realizing that strangers are with Rico, Triela's happy mien vanishes as well and she stands to face the newcomers, asking flatly who they are in a quiet and cool voice.  This is a dismal welcome from the older girls, both of whom look at the Section One agents with open distrust.  They are old enough to know this is a bad sign, unhappy to have their peace interrupted and hostile to what these unknowns may bring.


Elenora smiles disarmingly, but Pietro in his typical way isn't considering their reactions:

Books and stuffed animals.  It looks a lot like my niece's room.

This is even more disconcerting than the barrenness of Elsa's cell.  He knows what the cyborgs are used for and what they are capable of; to see this normalcy is jarring.  These girls may be just like his niece...


Rico introduces the two agents, explaining they are here to ask about Elsa.  On hearing this last part Claes closes her book resolutely and stands up:

"I'll leave this up to you, Triela."

And with this, she walks inhospitably from the room, earning a look of irritation from her friend at this backhanded gesture.  Something about the death of Elsa bothers Claes greatly, enough to drop all pretense of sociability and take a swipe at her roommate.  Triela is left to fend for herself.

Do Cyborgs Dream of Real Sheep?

Alone now with Pietro and Elenora, Triela is graced with light from behind as she sits facing away from the window.  Pietro questions her from across the table while Elenora stands discretely in the background taking notes on this important exchange:

Pietro: "What was Elsa like?"
Triela: "She loved Lauro completely.  The girls here are like that."
Pietro: "Including you?"
(Triela closes her eyes in exasperation)
Triela: "You shouldn't ask stupid things like that.  Perhaps it's better said as a bond."

An apparently reasonable pair of questions.  First, what was Elsa like?  The answer, given freely, is that she loved her trainer and wanted to serve him with all her heart.  It was the defining feature of her world, and a trait she shared with all the other girls.  It is a good start to figuring out how to best comprehend the situation.  But then Pietro follows up with a second inquiry, one that would seem both natural and innocuous, yet it immediately elicits Triela's irritation.  Why?


Because it is the wrong question, and in asking it Pietro exposes something of his own ignorance.  Despite his sympathy for Rico, he isn't thinking of these girls as human.  Already an unwanted stranger in another's room, interrogating her on her most intimate feelings without a hint of propriety, he now asks out of curiosity whether she, as a cyborg, is aware of her own programming.  Implicitly, of whether she too is thoughtlessly ruled by a fake love.  It is a question so poorly framed it has no right answer; neither yes nor no will do.  Foolish inquires are those that cannot lead to understanding.

Having scolded him, Triela tries to qualify how he should be thinking but finds herself coming up short.  She loves Hilshire, but both the depth and complexity of the connection she shares cannot be so easily elucidated to another.  Her averted eyes and softened voice express her embarrassment eloquently.  Unable to divulge such intimate feelings to Pietro, she can only suggest that he think of it as a meaningful connection, and not be so limited in his conceptions.  He persists anyway:

Pietro: "Due to the conditioning?"
Triela: "Conditioning and love are similar.  Not even I know the extent of my feelings."
Pietro: "So as a result, an emotional bond develops, sort of like love?"

Here is the crux of Pietro's misunderstanding exposed.  The cyborgs are subhuman because the feelings instilled in them are beyond their control; such sentiments, and the creatures they belong to, must be in some way fake.  It is the same conclusion the handlers... and the viewers... draw.

Triela's response is a cornerstone of the series.  Experiencing for a moment the intense tenderness of what she feels for Hilshire, she confesses she does not control them.  But in her admission is an implicit question back: how is her "artificial" conditioning different from the "genuine" love that it is so unfavorably compared to?  Can Pietro control who he is and who he loves?  Does he know the extent of his feelings?


Further, Triela punctures another one of his hidden assumptions, that because the girls submit to their conditioned love means they cannot reflect on it.  The only difference between her and the man sitting across the table is that she is aware her feelings are something of a mystery.  In fact, Triela has the advantage because she can pinpoint their uncontrollable source.  And in her characteristic way, she accepts this too: she does not know everything, and that which she is aware of she does not necessarily have power over.  Acquiescing that at least Pietro has gotten closer with his final statement, she responds:

"Elsa was a typical example."

Does Pietro understand?  Elsa was a typical example of a human.  The key to this mystery is not that she was a cyborg mistakenly attributing her conditioned actions to love but a real person whose intense romantic feelings moved her to feverish obsession.  Pietro seems to accept her "answer" and moves to ask his final question:

Pietro: "How do you feel about Elsa's death?"
(Brief pause)
Triela: "Elsa was... always alone.  And besides, every time that I saw her it seemed to me that dying for Lauro would make her happiest."
Pietro: "I see."

Upon being asked, Triela's face assumes a subtle expression of controlled and reflective mourning, tinged with the faintest trace of gladness.  Her response begins slowly... Elsa was a loner.  Triela is sad that never changed.  She agrees that Elsa would have been happy to die for Lauro, but she does not express her view with the enthusiasm of Henrietta or the fatalism of Rico.  It is much more nuanced.  This is not what Triela wanted for Elsa, but she must acknowledge that it may have been what Elsa desired for herself.


Pietro closes his eyes at her last statement, giving a small humored exhalation with his "I see."  But he doesn't see; his lids are shut.  She has told him many important things, much about himself, but he did not truly comprehend any of it.  All he has heard is that Elsa's conditioning led her to sacrifice herself for Lauro, without understanding what that conditioning is or the nature of the devotion it engendered in her.  He spoke to the sage and came away none the wiser.


He stands and says he was grateful he got to talk to her.  As he leaves she shoots back at him with a slight sigh:

"Next time though, remember to bring flowers."

He showed up at her "house" without warning or gift and in her graceful way she is admonishing him while being friendly.  By telling him to bring something next time, she is cordially letting him know that his visit was not unpleasant and she wouldn't mind talking again.  But at the same time, a small sting that he also ought to be a little more considerate.

Dodging a Bullet

In the main office, Jean and the chief confer seriously.  The ballistics report on the two bullets that killed Lauro and Elsa has arrived.  As Jean reads his face does not change but he flatly states, "This is bad."  The chief agrees, and as he speaks his left foot taps nervously.  Having confirmed with Jean a moment ago that Pietro is proficient investigator, he is particularly disturbed.

Jean: "If we hide the information on the bullets and shift the cause onto the ineffectiveness of the cyborgs then we might be able to cover this up.  Even so, this remains a big problem for us."
Chief: "Elsa de Sica fought for her instructor and was killed." (Intoned)
Jean: "Yes."

The chief's reply is a carefully-worded recitation, as though he is practicing saying it for others.  This is not the real conclusion of the report.  Whatever is contained in there is damning enough for these men to sacrifice appearances and give Draghi what he wants before his subordinates ascertain the truth.  With their story agreed upon, the chief tells Jean to give Jose some time off and get him away until this crisis passes:

Jean: "As usual, you care a lot for Jose."
Chief: "It's hard to keep him protected from the harsh realities.  He's too innocent, so the truth could really hurt him."

So everybody around Jose also sees his fragility to the truth.  It is the answer to why the chief repeatedly favored him in Fratello, patronizing even at the cost of endangering a mission and letting his misunderstandings continue.  He needs help to even hold himself together.  That the chief would now be willing to send him away shows that the danger to operatives is not immanent.


Jean's reaction, however, is entirely different.  His line is delivered with heartless amusement, indicating that unlike the chief he does not share this concern for his own brother.  On his face is a smile that can only be described as demonic.  Jean not only fails to have sympathy, he finds it humorous to watch the chief try to shield Jose like this.  While he keeps his face lowered submissively, the attitude is evident: whatever helps these people live with themselves.  Jean is a psychopath.

Telling the Story

Jose and Henrietta have returned to the Social Welfare Agency where Jean awaits to usher his brother back to "reality."  He pulls him aside and gives Jose the story that Elsa was killed defending Lauro, watching his brother closely to ensure he doesn't suspect anything.  This is also an opportunity, and he purposefully mentions that Lauro too was shot in the head.  Jose is unseated that the girls can be slain so easily:

Jose: "They were good at their job."
Jean: "Yeah." (Reinforcing)

It is a stab of fear, encouraged by Jean.  Jose's little game with Henrietta was predicated on being just good enough to not get in trouble at the agency.  Their actual opponents never stood a chance given the might of the cyborgs.  Now his behavior may have dire consequences; if a well-trained fratello can be dispatched by this new menace, what does this imply about Henrietta's capacity to defend him?  Maybe he should have been doing what his brother told him to all along...


Henrietta, who was sent on, stops to watch the two men talking from across the courtyard.  She stands for a long time, transfixed at the scene.  The bag at her feet is shown, containing the carefully folded wrapping paper, a reminder of her fervor.

Panning upward, her blushing face comes into view before she raises the camera to her eye.  Carefully, almost reverently, she focuses the image and resolutely presses the button.  This is a picture of Jose and therefore must be perfect.  Having captured it she looks at the device that now holds an image of her beloved and presses it to her chest.


Jean is next seen with Pietro, telling him a similar story: the Republican Faction was responsible for the death of Lauro and Elsa.  It's all confirmed, with blood stains of two known members found at the scene.  There can be no doubt with such evidence.  As was predicted, Pietro believes that Draghi will be satisfied with hearing that the cyborgs have flaws, and the case is closed.  There is no more official reason for Pietro to pursue this.

Jean: "Elsa died fighting to protect Lauro."

Jean continues to reinforce his narrative, but Rico turns to look out the window, like she was in the car.  She is hearing something that she doesn't agree with, and it is now clear that in both instances she is also looking at herself in the reflection.  Pietro takes note of her subtle refutation:

Pietro: "Dying for her master was happiness for her..." (Muttering to himself)
(Pietro stands up)
Pietro: "Hey, Rico.  Would you be happy if you died saving Jean?"
(Rico sighs despiritedly, looking inward before raising a weary smile)
Rico: "Well I don't really want to die... but--"
Jean: (Interrupting) "The cyborgs are there for the handlers.  It's only natural for them to die in their place."
Pietro: "Rico..." (Pleading)
Rico: "If Jean says so, then he must be right." (...smiling)

This exchange parallels the one in the park.  Pietro was almost able to embolden her with his regard; she now echos the concerns he helped her voice.  She doesn't want to die, at least not in this way, like fuel for a fire.  He knows after his tour that Jean's narrative of mindless automatons does not fully reflect the sensitive and intelligent girls he has met.  The evil of section Two has become evident, and this question is no longer about the investigation but reaching out to a battered child.


But as before, Jean is cruelly swift to interdict, seeing what kindness is doing to his tool.  His verbal interruption is as effective as his removal of Pietro's hand from her head.  He knows full well that Rico doesn't want to die, but that is of no matter; he will force her to sacrifice herself.  There will be no saving her as long as he has power.  Rico knew this was coming, and loses hope with its inevitable arrival.  Pietro wants to give her a way out.  All she has to do is plead, to tell the truth, and she will be rescued.  But the opportunity was missed.  Jean is here now, and with his hand around her neck all she can do is smile.

Pursuit to Sicily

"What the...!?  Sicily?  Why did they go there?"

Poor Triela jerks the phone away from her ear as Pietro expresses his surprise with painful volume.  It is night and he has contacted her again.  Her voice is exasperated:

Triela: "I don't know why.  They just came back, then they took off on a holiday.  By the way, this phone call could be monitored." (Tiredly)
Pietro: "It doesn't matter.  It's not like I have anything to hide."

At this last line Triela places her hand on her forehead and sighs.  This man truly didn't listen to her, completely failing her last injunction to be considerate.  Her dress is out of sorts, reflecting her mental state.  Elsa meant something to Triela; give her heart a rest.  But here he is, calling at all hours, continuing his questioning whether she wants to be party to it or not.


She tells him up front that she doesn't know why they left to curtail any more questions.  To subtly nudge him off the phone, and make him aware of her situation, she insinuates that perhaps he shouldn't be calling due to security reasons.  In bulling past her objection, he completely misses both her polite attempt to end the conversation and the fact that it's not him who is at the mercy of people listening in to the call.  First Hilshire and now Pietro.  Why her?  All she can do is hold her hand to her head in frustration at these well-meaning but emotionally obtuse males.


On the other end, Pietro listens quietly for a moment longer before thanking her and hanging up.  What did she say?  Despite her knowledge of possible risks and irritation with his behavior, she has conveyed something that causes him to become thoughtful.  Seeing the call over, Elenora asks after the official report, and Pietro confirms that it was complete and accepted by their boss.  But he says there is more to investigate and stands up to leave.


The episode ends having finally caught up with its beginning.  It is the morning after the initial conversation on the deck, with two gulls soaring in tandem along with the ship.  Jose and Henrietta together, making their flight away from reality.  Inside their cabin, Henrietta is asleep against Jose's shoulder when he calls to her gently.  She answers foggily, and he greets her with a smiling good morning.


Realizing the situation, she blushes and sits up, her reply groggy and uncertain.  The forgetfulness of sleep is draining from her and all of the difficulties of her life are coming back.  To be woken like this by Jose in the morning is thrilling, but she doesn't know to trust him anymore, resulting in a flush of emotion punctuated by a stammer.  She stares in unhappy confusion for a moment before Jose diverts her attention to the porthole where Sicily awaits, a beautiful and convenient distraction from everything that troubles them.

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