Finally the father of little Dodo reveals the whole truth about the organization of the kidnapping but confesses that he doesn't know where his son is and asks for help to find him.

Pisanelli got ahead of Lojacono's team by entering the Intrasit warehouse before the others. When they all arrive, they recognize his car.

The news that the kidnappers managed to escape taking little Dodo with them is spreading rapidly. While Lojacono is following the updates on television, his daughter surprises him with a visit.

Lojacono immediately goes to Laura's house, where she confides in him that she finally feels ready to take the risk and start a relationship with him, if he wants it too. Although Christmas has already passed, Marinella insists on wanting to put up the tree anyway, but just at that moment Giuseppe receives a phone call.

Everyone is gathered to bring in the New Year, when, amid the exchanging of greetings, the police commissioner makes his entrance, surprising everyone with an unexpected announcement.

It's almost midnight, and everyone goes out on the terrace to drink a toast and enjoy the fireworks while Pisanelli remains alone inside. His attention is caught by something on the TV screen.

This new episode begins with a banquet on the beach with various friends and colleagues of Lojacono's. Later on, Romano is on his way to work when he hears some unusual sounds near a dumpster and goes to investigate.

Romano, very worried, goes in the ambulance with the baby he found near the dumpster. Lojacono and Alex go out to patrol the neighborhood. The orange crate is sent to forensics.

This documentary is about Guido Crepax, the creator of a famous fumetto (comic strip) that came out in 1965. The main characters are Philip Rembrandt, an art critic, and Valentina Rosselli, a photojournalist.

Crepax started out with one protagonist, Philip Rembrandt, but gradually phased him out, along with his superpowers. Valentina then took over as the protagonist. Crepax talks about Milan in the sixties.

Filmmakers Tinto Brass and Giuseppe Tornatore comment on how some elements of expressivity are shared between comic strips and the cinema.

Crepax's Valentina was an intriguing character because she openly reflected the sexual freedom of the late sixties and was attractive to both men and women. It was very "in" to be seen walking around with an issue of "Linus," an Italian comics magazine published in Italy beginning in 1965.

Among the pages of the comic strip, family members find familiar objects, drawings, and personal information from their everyday life. Although Valentina was a figment of Crepax's imagination, she was also an integral part of his family.

One of Crepax's techniques is to use the details of everyday life to build his stories and provide context. We even see the titles of the books in Valentina's bookcase.

Besides his much better known activity as a graphic artist, Crepax was a keen wargamer and wargame designer and collector of paper soldiers, drawn by himself.