Aragona and Romano go around with the photo they had found, asking questions of guys who might recognize him. At one point, a young man comes out of the bar and starts running, pursued by Aragona.

Alex has a conversation with her father, who hopes for a future for his daughter that will never actually happen. Meanwhile, Pisanelli is increasingly determined to catch the serial killer.

For different reasons, both Lojacono with Laura and Martone with Alex are carrying on their relationships in secret. At Mass, Don Michele asks the congregation to make an effort to help with the investigation into Angela's death.

After the benediction, Ottavia stops outside the church to talk to a few of the parishioners. She learns a few new details about Don Michele. Back at headquarters, she does some research and shares the results with her colleagues.

Don Michele tells Lojacono and Di Nardo why he already knew Angela when he was in Caserta. The two shared a secret activity about which Lojacono wants to know more.

From the squad car, Romano sees something he wants to investigate and has his colleague pull over. Lojacono and Di Nardo go to see the victim's "Mami" to ask her some questions.

Aragona wants to see the blonde waitress again, and the opportunity is about to come up when his father arrives. Over drinks, Marco's father believes he's bringing good news to his son, who instead doesn't appreciate it.

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.

In 1963 Crepax got his start in the world of comic books and two years later created his famous character, Valentina. The comic strip first appeared in the anthology comic book, "linus," founded by Giovanni Gandini, who had known Crepax as a kid.

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.

Valentina's success coincided with the beginnings of feminist movements in Italy. She depicted a woman who was strong and independent, who could do anything a man could do, a departure from the stereotype of the Italian housewife.

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.