This segment looks at the intimate relationship between a collector and the car. Sometimes price doesn't matter.

We continue to look at the Maserati Khamsin model, which got its name from the Egyptian desert wind and has always been a symbol of aristocracy.

We take a look at the Maserati Khamsin, produced during the oil crisis of the nineteen seventies. It didn't need much restoring and was particularly comfortable.

For its time, the Ferrari Daytona Spider was incredible to drive, with its twelve-cylinder engine and impressive horsepower.

The revision of the Ferrari Daytona Spider continues. The result gives the car extra value on the vintage market.

Every serious vintage car collector must have a Ferrari Daytona. Some of the characteristics of this car are described in this segment.

We see the underside of a Ferrari as an inspection is carried out. Carmine Sessa, a classic car expert, talks about the Spider model and the Daytona model, which was built in a limited quantity, almost exclusively for the American market. Fun "fact": Some say the yellow color was named Fly, standing for "Ferrari Light yellow." The color was suggested by Fiamma Breschi (a close friend of Enzo Ferrari's). Fiamma means "flame" but she didn't want the color to be Giallo Fiamma "flame yellow" (named after her) and suggested "fly."

The passion for vintage cars can become a real disease. Being the owner of a car and being a collector are two different things.

There are a great many unique automobiles in the collection. In the early twentieth century, there was no metallic paint, so other solutions were found to produce a special finish, such as Lunar Chrome, a technique using mother of pearl and fish scales.

Italy has an important tradition of auto d'epoca (vintage cars) and auto da corsa (race cars) and RAI TV has dedicated a documentary series to this topic. This first segment is introduced by former racing driver René Arnoux, who competed in 12 Formula One seasons. You might notice his French accent. It also features Silvia Nicolis, daughter of the collector of vintage cars, Luciano Nicolis.

Pasolini is asked what he thinks about progress and development. He is also asked about the inspiration he seems to have taken from subjects of the New Testament of the Bible.

Pasolini talks about how he moved from literature to cinema, and how his ideas about language changed. He talked about providing Italians with an opportunity to demonstrate racism, perhaps for the first time, with his movie, Accattone.

Chiara tells about how she realized she knew how to read, which then led her to begin writing. She wrote her first "novel" in second grade. Where she grew up, on the outskirts of Rome, influence her writing to a significant degree.

Federica demonstrates the final stages of making the Colomba. Once ready, she cuts it open to show us what it looks like on the inside, with its particular consistency.

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.