7. Protezione (Protection)

Picture album.

Note: Florence is "Firenze" in Italian.  In order to avoid certain confusions in the episode I refer to it by this title rather than its usual rendition in English.

Pale Morning

Firenze at dawn, Brunelleschi’s Dome and the Tower of Palazzo Veccio dominating the misty skyline.  "Woke From Dreaming" haunts the background with its melancholy lyrics:

"Woke from dreaming
But it took convincing
I was shaking, screaming
I was still alive..."

It casts a wistful sadness on the scene, for even with its beauty there is an underlying sorrow.  Here, in an episode dedicated to Rico, such lines are poignantly appropriate.  Morning has come and somewhere she is waking up.  Another shock of the day, the world greeting her even as tears linger.  She finds herself to still exist, almost against her will...


Submerged in a similar mood, an unknown man stands in the courtyard next to the Loggia dei Lanzi, the replica of David in the background.  He watches the pigeons silently, a lost expression lingering on his face.  Having not moved in a great while they surround him as though he were a statue himself.  Finally with a tired sigh he forces himself to keep walking, disturbing the birds into flight as a bell tolls in the background.

Appreciation

The full day has arrived and people fill the courtyard now; daylight has dispelled the previous mood but the man remains, still lost in thought.  As he stares over the happy crowds, Jean approaches him spontaneously with Rico in thrall.  Under the guise of a lost tourist, Jean begins to inquire about directions, having once again adopted a pleasant manner in face and tone when it is convenient.


As Jean chats him up, Rico turns absentmindedly to look at a nearby fountain.  At first she seems bored, but a closer look reveals a different expression: she has become transfixed by the sculpture, staring wide-eyed with appreciation.  Despite everything that has happened to Rico, this deep love of beauty has not deserted her.  Here, seeing art, she recognizes its value and it draws her in.


His play concluded, Jean turns to tell Rico they are leaving.  She does not respond.  As Jean is in public he cannot order her and must wait politely for her daydreaming to end.  Noticing her intense interest, the man speaks up:

Man: "The Neptune Fountain by Ammannati."
(Rico blinks as soon as he starts talking; she is listening)
Rico: "Amman... nati?" (Struggling with the unfamiliar name)
Man: "That's right."

Rico isn't as slow as she acts for Jean, and knows perfectly well that he can't do anything to her in public without ruining his cover.  So she keeps staring.  The moment the other man speaks up, she gives a clear indication that she heard him and immediately engages.  Rico will savor this opportunity as long as she can.

Jean: "It certainly is a marvelous sculpture."
(The man throws Jean the slightest of looks then closes his eyes)
Man: "Nah, all Ammannati did was waste lots of marble."

Now that it has become the topic of conversation, Jean is forced to notice the statue, if just as a means to forward his ruse.  He is completely blind to its worth as art, having neither the child's wonder nor the expert's judgement.  The man gives a sidelong glance at Jean for the comment; something about it was too blandly agreeable.  He doesn't seem an unpleasant fellow, but Jean's hollow praise was particularly irksome to his aesthetic sensibilities.


His final reply, then, is a challenge.  It is a reference to Michelangelo, who upon seeing the completed centerpiece, taunted Ammannati that the latter had ruined such nice marble for his work.  In other words: to a master this statue may not be that impressive.  Now that he is disagreeing, does Jean actually stand by his opinion?  Jean merely gives a lubricating chuckle and introduces himself; a dodge, for he truly has no appreciation:

Jean: "My name is Jean-Louis Bataille.  I'm a French cosmetics salesman."
(Jean takes off his glasses and offers his hand to show "sincerity")
Filippo: "Filippo Adani.  I work as an... accountant. (Averts eyes briefly) Are you on a trip?"
Jean: "Yes, I'm on a business trip and I thought I would take my little sister Florence abroad with me."

Rico, hearing her cue, turns and gives a delayed and pathetically weak smile.  Her name had to be changed; it wouldn't do for a beloved little sister to be so curiously titled.  She may only be openly demeaned in places where Jean dominates.  Filippo perks up, and asks whether their parents were from this city:

Jean: "Yes.  I'm told my mother was.  But how did you know?"
Filippo: "'Florence comes from 'Firenze.'  And the name 'Jean' originates from 'John the Baptist.'  He's Firenze's patron saint."

At this latest "revelation," Jean gives an overly-impressed expression of surprise.  Rico, rather than staring at Filippo, has been watching Jean.  She is incapable of subterfuge.  How is she supposed to act, already knowing her cover was carefully chosen precisely for this reason?  Better look to the master.



As Filippo continues his explanation that he too is on vacation, Rico is once again drawn to the artwork in the courtyard.  She has nothing to add to the lies, and given this opportunity where Jean cannot force her into submission her natural tendency is to seek out wonder.  The statue of a woman in deep distress draws her attention.  Seeing the pull it exerts on her, Filippo once again steps in:

Filippo: "That statue is known as 'The Rape of the Sabine Women.'  It's a masterpiece; three people were carved out of a single piece of marble.  According to the legend, when Rome was first founded, only rowdy men lived there... there weren't enough brides.  So they invited people from the neighboring town for a festival and kidnapped their women."
Rico: "Kidnapped?" (Thoughtfully)
Filippo: "I guess such a story is not suitable for girls."

A small note, 'rape' here does not indicate sexual violation but is a direct translation from Latin for abduction.  In this context, it is clear why this statue is so meaningful to Rico: it is her.  She recognized the expression of torment on the woman's face as her own underneath the mask.  It is a realization that she, too, has been kidnapped by the men of Rome against her will.  Where she is now is certainly not suitable for girls.


Jean, seeing an opportunity, praises Filippo's knowledge and asks if he will be their tour guide.  Filippo is quick to respond:

"We really shouldn't stay together..." (Nervously)

This man is as bad as Rico at lying, and positively advertises his plight.  However, as he says this he notices Rico looking plaintively at him.  She is a fellow aesthete who shares his joy for these things, and it is obvious she would like for him to stay as well.  He agrees, for her sake.

Paradise

The party moves to the Uffizi Gallery, where in room after room bright light streams from the windows, illuminating the works of art.  This place is a shrine, a glorification of what has been created by humans for the sake of beauty.


The trio stops in front of "Madonna" by Lippi:

Jean: "Filippo, did you ever study art?
Filippo: "Actually, I was once an art student here in Firenze."
(Jean makes a conspicuously appreciative sound)
Jean: "Then you must be bored with this art museum."
Filippo: "No, not at all.  I did indeed visit on many occasions, but, depending on how I feel at the time, my impression changes."
(Rico is shown, staring open-eyed in awe at the painting)
Filippo: "It feels fresh again if I think that this is going to be my last time."

Jean continues to prove himself a philistine; even as he tries to chat Filippo up, he cannot help but stumble over himself, commenting on things he will never understand.  He is here for one reason, and is completely blind to the rest.

Rico makes up the difference.  These things are not guns, are not targets.  She had no idea humans could produce such works; having been forced to scavenge for scraps of beauty at the SWA this is a feast.  Jean has unwittingly given her a gift of unrivaled value by bringing her to Firenze.


Filippo's last remark is a continuation of his lack of subtlety.  To his credit, he cannot lie and oozes indications that his situation is dire.  As he walks away a man conspicuously watches him in the background, a fact that is not lost of Jean.

Principled Vandals

Filippo and Rico are next seen sitting together on a bench in the gallery.  Jean stands in front of Botticelli's "The Cestello Annuncation" as they talk alone:

Filippo: "Florence, are you bored?"
Rico: "Not at all.  I don't really understand difficult things, but I get shivers when I look at the sculptures and the paintings and stuff."
(Rico holds her hand to her chest for emphasis)
Filippo: "You have a great sense.  I bet Botticelli and Lippi would be happy to hear that."

Like Claes' observation at the lake: how can these girls possibly be bored to experience such things after a life of deprivation?  It is by their very station that they can see them for what they are.  However, Rico does not know who Lippi is, to which Filippo explains with some pride that he was the first master of Botticelli: Filippo Lippi.  Rico smiles at the connection with her new friend.


This pleasant exchange is overshadowed by the presence of the same man watching suspiciously from behind, as well as a second who has taken up station near Jean.  They both unobtrusively walk to another area and begin to talk in front of the "Portinari Altarpiece" by Hugo van der Goes:

Guglielmo (bearded, right): "Are those two tourists?"
Christiano (blonde, left): "They could be from the Social Welfare Agency."
Guglielmo: "The 'watch out for little girls' thing?"
Christiano: "Yeah."
Guglielmo: "We won't be able to walk around town if we have to worry about little girls."

Christiano gives in, noting that even though she has something under her coat, her hands are smooth and white; not what one would expect of a trained assassin.  Camouflage with the artificial tissue that does not callus.

But more importantly, Rico's spirit is immaculate even with all that the SWA has done to her, not having become callous either.  Agreeing with this assessment, the girl is seen to be standing in front of Botticelli's pristine Birth of Venus.  She holds herself, shivering, as it draws her in; more than any piece yet, this vision of feminine beauty truly speaks to her.


Concluding their deliberations, they move to the side of the gallery in front of "Portrait of Man with a Medal" and "Adoration of the Magi".  Christiano decides that Filippo is to be captured as soon as he enters an empty area of town.  Guglielmo takes out his phone to convey the order, but before he can call Christiano slaps him in a sudden rage:

"This is an art gallery, Guglielmo!  Are you trying to insult Italy's treasures?!"
(Jean watches them over his shoulder)
"Tell them no gunfire in any galleries or churches."

This last line is delivered in front of "Madonna with Child and Singing Angels".  Another case of the strange values all sides possess.  Christiano is here on malevolent business targeting Filippo and has just ordered an abduction, but considers Guglielmo a boor for bringing out his phone.  Overt disrespect is worthy of violent rebuke, but cultured barbarity is acceptable.


Chastised, Guglielmo leaves to find a private place to give his call.  Jean notices and excuses himself from the other two in order to follow.  He asks Filippo to stay with Rico for show, but then turns to give his real orders:

Jean: "Florence, you stay with Filippo, now."
Rico: "Yes." (Smiling)

This is not the forced smile from earlier but a genuine expression of delight.  Jean is going away, to leave her with an artist in a museum of indescribable wonder.  He does not even realize how much this place delights her and so does not seek to deprive her of it.  The final injunction is unnecessary: there is nothing more worth protecting in her mind than this man.

True to Nature

"I know it's full of art museums and churches!"

Guglielmo has contacted his organization, and it seems the thugs at the other end of the line are less appreciative of Firenze than Christiano.  And yet... what a marvelous place where that is true.  Hanging up in irritation he finds Jean's knife pressed against his neck:

Jean: "Don't do anything suspicious.  It'd be painful if I cut your throat."
Guglielmo: "You... can't do that."
Jean: "Why not?"
Guglielmo: "Police have their rules.  You can't just kill people."
Jean: "There are two reasons why I can kill you.  One, I'm not with the police.  Two, I hate terrorists and assassins."

With this last statement the camera shifts to Filippo being guarded by Rico.  Jean detests Rico with a specific vehemence due to her nature.  However, this is pure hypocrisy on his part.  His utter disregard for due process and willingness to expend human life for his goals makes him a perfect match for that which he loathes.  It is a self-accusation.


Back in the gallery, Rico asks Filippo why he didn't become a painter:

Filippo: "I have two reasons.  One, I didn't have the talent.  Two, for some reason I had a talent for mathematics, and I had to take over my father's business."
Rico: "If you like paintings so much, why not become an artist now?"
Filippo: "As you grow older, the number of possibilities decreases.  I can't now..." 

Filippo's response is a clear parallel to Jean's statement a moment ago.  Both men have followed their abilities to where it has taken them, the difference being that one is disappointed in that destination.  An unfortunate reality: a man of art must give up what he is, but one of power can always find himself useful.  Filippo politely turns the conversation back to Rico:

Filippo: "Florence, what do you want to become when you grow up?"
Rico: "What do I want to be?"
(Rico adopts a thoughtful posture; the camera zooms out to encompass "Primavera" behind her)
Filippo: "Mull it over as much as you want.  Your future is still filled with possibilities."
(Rico stares at him confused)
Filippo: "Your brother is a nice person.  He lets you experience all sorts of things while you're still young."
Rico: "Yes, my brother is nice."

Rico has never given any thought to what she will do in the future, because it does not exist; she was first an invalid and now a tool.  Such contrast with the painting behind her, a celebration of spring, when she should be growing and joyous.  His further encouragement only confuses her, unsure of how to respond.  She is saved as she has been before: Filippo's misunderstanding provides her with a lie that she merely assents to.


With Rico's agreement, the view moves jarringly back to the bathroom where Guglielmo screams and clutches at the remains of his ear.  Nice.  Guglielmo is now ready to talk, and admits both his membership to the R.F. and that they are here to eliminate Filippo and retrieve a ledger he carries.  Jean leaves the man tied up in a stall, reporting to the agency to retrieve him later:

"There will likely be one more incident, so prepare a car and keep the police busy."

Jean did not kill him out right; he got the information he needed and isn't wanton with his violence.  Outside the window as he speaks, the great Cathedral of Firenze stands.  He may not use excess, but he is not dissuaded by the locale either; this place of worship will soon be bloodied.

Leaving the Temple

Outside the Uffizi, crowds of tourists throng.  To the side is an old man with his carefully-crafted art on display; he looks tired, almost ignored with his detailed works.  Nearby a quick sketch artist has patrons, happy to receive images of themselves.  On a pillar sits a sign for an exchange rate of Yen to Euros, indicating an adjacent stall; money changers.  Back in the world again.


Jean meets up with Filippo and Rico, continuing his kindly act:

Jean: "Florence, were you being a good girl?"
Rico: "Yes."

She most certainly is, in ways that he cannot appreciate.  Feigning exhaustion, Jean suggests that they find some place secluded to rest.  Rico's expression flattens and her head dips on hearing this; she knows precisely why Jean now finds himself in need of secrecy.


They allow Filippo to lead, and in the back Jean quietly notifies her that they are against the Republican Faction, and to eliminate them all.  Rico's face has fully regained its mask.  She responds flatly:

"Understood."

Worth Fighting For

The trio walk along the back roads, steadily moving away from the crowds and into the more abandoned areas, Jean and Rico protectively flanking Filippo.  Rico in particular scans the windows, looking for an ambush.  In the meantime, Jean offers a bizarre compliment:

"Even the side alleys are really nice."

Filippo gives Jean a confused sidelong look for that statement, unsure of what to make of it after Jean's earlier botched attempts.  Yes, he too sees Firenze as a beautiful city, but it's almost as though the man he is with is incapable of telling the difference between an alleyway and an art gallery...


The masquerade finally ends when three mafia members emerge from the surrounding streets, demanding Flippo turn over the account book; the nervous clutching of his suitcase causes the head thug to smile at the confirmation.  Another points a gun at Rico's head as a threat, much to her unconcern.  As Filippo is about to give in, she calmly reassures him:

"Filippo, it's alright."

Not giving her assailant the chance to react, she disarms him swiftly and then tosses him bodily to the ground.  Jean gives her a clandestine glance; she moved to protect Filippo of her own volition before he gave the order.  This was not expected.  But it has forced this course of action which is not altogether unwanted, and without delay he launches his own attack.


At this tacit confirmation, Rico pushes Filippo's head to the ground; her primary goal is to keep him from harm, not kill these men.  As she fires her face has an intensity it normally does not contain when on a mission.  She has power, she hates how it is used, but here, in this case, she can do good with it.  The first three attackers are down, but more emerge from nearby streets, drawn by the sound of gunfire.


Fleeing, they are able to temporarily shake their pursuers inside a stairwell connected to a courtyard, Rico standing near the door as sentry.  With a moment to spare, Filippo asks who they are, but Jean declines to clarify the "troublesome" details beyond being part of the intelligence bureau.  Grilling him back, Jean confirms his target's identity and that he has the documents.  He asks if there is anything else:

Filippo: "Oh... I heard them discussing their latest terrorist plot.  They probably don't want that leaked."
Jean: "I see.  I will listen to that story later."

Jean likely did not consider Filippo's life particularly valuable.  Allowing him to be killed and retrieving the ledger may have been an acceptable outcome.  But Rico could not let that happen and acted proactively to ensure he was safe.  Filippo is lucky here to have a reason for Jean to keep him alive.  A final inquiry, Jean asks why he betrayed his former employers:

"Not to brag, but I've never evaded fares or received a parking ticket.  When I quit my art and became an accountant like my father wanted I learned of his continued tax evasion and his funding of terrorist groups.  I didn't want to help with such things, so I took the ledger and ran.  I knew Bigliazzi and the police were working together.  So I wanted to go to Firenze once more, before I was assassinated."

Filippo is truly a good man.  He can't conceal his state because he doesn't know what it's like to not have a clean conscience.  When he found something was wrong, he acted; it didn't matter that it was his father, that it had been going on for a long time, or that or that he would have to pay for it.  While not brave in the classical sense, his character is indelibly rooted in his morals.


The conversation is interrupted by Rico anxiously reporting incoming footsteps with her heightened hearing.  Her face is expressive, and her voice comparatively lively.  This mission matters, all the more after hearing that story.

Jean: "Filippo, I assume you're a draft dodger?"
Filippo: "Military service is the duty of all citizens; I was with the border patrol for thirteen months!" (Indignant)
Jean: "Then you know how to use this."

Jean doesn't understand anything about Filippo.  Not art and not principles.  The story above only confirmed to him that the other man doesn't have power and is forced to run away due to cowardice or ideology, and that such must be his permanent state.  However, even with Filippo's vehemence, the sight of the gun causes him to balk.  He proudly did his duty, but he is not a man who is comfortable with violence.

Museums and Churches

Jean tersely contacts Jose, who is waiting in an agency car near the river.  Jean outlines the plan for Rico to immediately flee with Filippo while Jean guards the rear, a course of action Rico is only too willing to pursue.  In the meantime, the gangsters are collecting outside the door, although one looks up terrified at the stained glass over the doorway, afraid to barge into such a place.


Despite these misgivings, he and another mafioso charge in, only to be immediately disabled by a canister of gas heaved by Jean.  As they cough on the ground Jean's tall, grim form watches from the steps above before dispassionately executing both.




In the courtyard, Rico and Filippo make their escape over the wall, helped by Rico's superhuman ability to leap to the top.  As she assists him clambering up, he asks:

Filippo: "Florence... Was what you said at the Uffizi a lie, too?"
Rico: "I'm not good at it, so lying is Jean's part."

Jean he could tell was a fake.  But Rico?  It can't be that this connection over art that he shared with her is a lie.  That would be a true betrayal, and the need to clear his mind is pressing enough that he asks as he flees for his life.  But Rico confirms what has been known for some time: she has no guile.  Everything she felt, the admiration they had together, was true.


Before they are able to talk further another lackey rounds the corner and opens fire; Rico senses him coming and blocks Filippo with her body, taking a shot to the arm and head.  However, a stray bullet bypasses her protective stance, striking Filippo in the side.  He immediately crumples from the pain, forcing Rico to catch him as she shoots back with the other hand.


The scene ends with a lamp in an alleyway standing witness to the continued fighting.  The echos of gunshots can be heard, resounding in the air.  It is a quiet and mournful reminder that this place of museums and churches has become a battleground between organizations who have no use for either.

Invaluable

Having rendezvoused with Jean at the bridge, the fleeing party reaches the van where Jose, Henrietta, and Alfonso wait.  They hastily load in, with Filippo breathing heavily in pain, before driving off just ahead of their pursuers.  As they are chased Alfonso utilizes several maneuvers that, while effective at frustrating their tail, also threaten the bystanders as the two vehicles swerve across the road.  Seeing this, Jean comments:

"It wouldn't be good to involve the tourists.  Lead them to some empty place."

This is not expressed with any urgency; it is merely a recommendation as collateral damage could draw undesirable attention.  After retreating to a suitable locale, the cyborgs are given the go-ahead.  Henrietta opens the rear door of the van, unleashing a salvo that forces the driver directly into Rico's sights.  She fires, killing the driver, and the chase is over.  As the car crashes Rico stares at it solemnly, only slowly lowering her rifle.  Even in this situation, she did not relish in their deaths.


The danger over, Jean turns to Filippo and tells him they will get a doctor soon.

Filippo: "I was prepared.  I'm satisfied being able to die in a city as beautiful as this.  I was even able to say farewell to Botticelli and Lippi."
(Rico turns from the window, blood still running down her face)
Filippo: "I'm tired of living now."

Like most artists, Filippo is a romantic.  Having made his great and principled stand, it would be idyllic to die in a beautiful city with memorable last words.  He has lived and now he may die, heart weary at the weight of the world and the sorrows of his life.  A perfect end.  After a pause another voice speaks up:

Rico: "Filippo."
(Filippo turns to look at her; she leans toward him with a smile)
Rico: "I won't stop you if you want to die that badly, but I think it would be a waste."
(Jose and Henrietta watch intently; what has called Rico from her shell?)
Rico: "I think Botticelli and Lippi would be happier if you drew paintings in this world.  And besides, Firenze is such a beautiful city..."

This child has endured more than Filippo can imagine; in truth, it is his good fortune in life that has allowed him the opportunity to entertain self-pity.  She takes his desire to die seriously, and responds with a calmness that belies her long familiarity with such thoughts; if he is feeling the despair she has experienced, she will not begrudge him despite having sacrificed to save him just now.


But she thinks that would be a waste, innocently calling his theatrics for what they are.  Today he shared with her an experience of inestimable value: a view into a world she did not know existed and in which she found a home.  It was a fleeting joy, one which can hardly be said to counterbalance her life, but it will always be cherished.  Properly rebuked, he smiles back at this fellow lover of art and agrees:

"Yes.  You're right."

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