a man who portrays a servant of the state, for unduly incravattato a job interview into a quasi-public companies, in the bustle of port numbers pia pastry fifties of "the bourgeois", a weekly founded and directed by Leo Longanesi, highly critical of the then party politics. partitocrazia graphically represented in the central pages of the weekly, by blow-ups of politicians, cardinals, ladies for company, caught by surprise, confabulation in the palaces of power, unfair to revel in the villas on the Appia, the curious eye who investigates and reveals the little power, cultural operation in recent years recovered from Dagospia fruitfully. noise of helicopters, police sirens, ambulance, rhythmic slogans of protest marches coming muted.
children marching in a row ordered to Piazza Barberini, are reflected in the Triton Fountain, created by Bernini, indicate the four dolphins, admire the trajectory of falling water, while the teachers singing the songs Christmas, tap them to memorize in a few days of school remaining. The cinema is open for screenings by appointment even in the morning, call time meals. Australian tourists hastily moves away from the center and peering through the questions to see the face who can easily give information in English.
street where the course leads onto Piazza Venezia, in the space on the maps is referred to as the center of downtown Rome, armored vehicles of the financial police to prevent change. a young financier mesagne holding tight his transparent shield that reflects the anxiety that is tight. the day before, on the phone, his elderly mother asked him when he returns home for Christmas and he did not know how to answer, because he can not go back since he decided to leave. the more senior colleague who has close and intimate shakes dall'intontimento to reject the steady stream of curious people who asked to go, screaming, to Piazza Venezia, turn right and then right again, but it is better to change direction.
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