The girls start putting together money for Andreina to give to the swindler. Lorenzo comes to the restaurant to ask Eva an important question. She gets a late-night visit while doing the accounts.

Alberto Angela gives us a look at one of the most famous monuments in the world. We look at the Leaning Tower of Pisa through the lens of those who wanted it built.

The pearls have come back from the jewelers, but there are some details to sort out, and Renzo discusses the situation with Livietta.

Like it or not, Ugo and Nora might have to become wedding planners. Dino is still stuck in his wheelchair in the courtyard.

Dante and Eva cross paths at the market but don't speak. They are both pretty unhappy about the situation.

Andreina's bait worked at the senior citizens' center, and Eva goes to see her friend Augusto. She also makes a disturbing discovery in her son's bedroom.

We move from Umbria to Tuscany and visit the evocative ruins of the abbey of San Galgano. Next will be Pisa, a prime example of how Tuscany, in medieval times, was experimenting with very "modern" ideas.

Mazzeo is at large. The police go to the crime scene and find the weapon in a peculiar spot. Camilla tells Vanda what she knows.

The roses on the gown were hugely successful, giving Nora an idea for saving the business. Ugo is not on board.

During the reception, Adriano manages to find a quiet moment to tell us what a Polish wedding is all about. He also talks about love, the main focus of this special day.

Sometimes timing is everything, and this time Eva didn't have time on her side, having realized some things a bit too late.

Eva is unable to speak when perhaps she ought to. Andreina is very unhappy about carrying out a task Eva has assigned to her. Poor Andreina.

Eva gives a ride to another elderly woman from the senior citizens' center and learns something that tickles her sixth sense. She goes and talks to her girlfriends about it.

Malù tries to talk some sense into Lorenzo. Meanwhile, the girls make their plans.

Alberto Angela points out how realistic Giotto's frescoes are compared to earlier ones. He also mentions the important fact that Saint Francis composed one of the first poems in the vernacular