Imma appears to be on the psychiatrist's couch, describing a dream, but the situation becomes more and more bizarre and we don't really know what's real and what isn't.

The friends are getting ready to leave, but it's still summer and someone gets the bright idea of going to the beach in a friend's boat.

It's fascinating to see where the idea of Tex Willer came from and how it evolved. We get to know the creators, Gianluigi Bonelli and Aurelio Galleppini (pen name Galep).

Reneé Arnoux tries out a Bianchina, and seems to like how it handles on the road. Carmine Sessa tells us a little bit about the history of the car.

Imma had been dreaming and wakes up to a call from Don Mariano who wants to see her, urgently. But she has another emergency to deal with first.

The friends are on the boat but they run out of gas. Who had the jerry can? Arguing ensues, but they are at sea...

Gianluigi and Sergio Bonelli both wrote Tex stories, but they had different approaches, and their relationship was complex on a personal level. We learn about what inspired the images of the countryside where Tex and Carson would roam.

The green Bianchina is not in very good condition, beginning with the engine, where there are serious oil leaks. René Arnoux, in the driver's seat, discusses the dashboard with its buttons and lights.

Imma is still worried about her husband ending up in the hospital when, back at work, Diana has bad news for her. Imma remembers her appointment with Don Mariano, but that's not the worst of it.

This segment looks at Tex's son and "pards" (partners). And we get some answers about why he doesn't have a girlfriend.

The poor condition of the Bianchina the expert is restoring does not make the car any less iconic. Let's see what characteristics impact the valuations of two different models.

During the orchestra rehearsal, a player makes a mistake and Marioni, the conductor, doesn't hesitate to press the point, in his usual cruel manner, that an orchestra is not a democracy.