The atmosphere at the police station is gloomy as the end of the year approaches and the closure of Pizzofalcone is imminent. Lojacono and Di Nardo are out investigating a theft case in an apartment.

Lojacono and Di Nardo gather information from the couple who were robbed. When they leave the apartment, they agree that there are some strange things. At the police station, Aragona goes to talk to Romano.

The police station receives a phone call about the disappearance of a child during a school trip with the nuns. Aragona and Romano rush to the museum, the last place he had been seen, where they question the sisters and a little boy.

At the police station, the team discusses how the museum's cameras were positioned. Back at the museum, they try to calm the child's mother, who is very upset.

Giuseppe is shaken by the case he is working on, concerning the child who disappeared at the museum. He has lost his appetite and confides in Letizia. At the police station, the team is looking at the security camera footage for some clues.

Dodo's mother and her new partner try to identify the hooded person the boy walked off with. The boy's father is also questioned.

After asking Dodo's father some questions, Palma and Lojacono advise him to be cooperative for the sake of the investigation and the child. Meanwhile, there is some new information about the gardener.

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.