Tiziano Terzani (1938–2004) was an important journalist and writer. This interview, considered to be of historical value, took place during the broadcast of the Swiss television show, Cartabianca [Carte blanche], conducted by Leo Manfrini, who was a close friend of the writer.

We continue the discussion on animal rights, asking the question why dogs and cats, among other animals, have to suffer injustices from humans, solely because they're too weak to defend themselves. The atrocity of religious ritual exemptions to animal dazing before slaughter are also discussed.

Who is born round...won't die square. That's the way it is for Grandma Italia, after a lifetime of petty thefts and trips to the slammer, she skips out of the nursing home. Not without, however, having first cracked the main office's safe. Her grandson Mario has to find her as soon as possible.

Raffaele, a producer of extra virgin olive oil from Apulia, tells us about the ancient origins of his olive groves. Many of the trees are centuries old, some are even over a thousand years old, and continue to produce excellent oil.

The Youngest Son, written and directed by the director Pupi Avati, was released in 2010. The main character, Luciano Baietti (Christian De Sica), is an entrepreneur without scruples. In order to succeed, he will stop at nothing, and this includes using his youngest son Baldo (Nicola Nocella).

In this scene from the 1960 film He Who Stops Is Lost. Totò plays the part of Antonio Guardalvecchia, and attempts to court Giulia. She's the sister of the president, and he courts her in order to get a job in the head office. The scene on the balcony recalls Shakespeare’s Romeo and Juliet.

Imma is still worried about her husband ending up in the hospital when, back at work, Diana has bad news for her. Imma remembers her appointment with Don Mariano, but that's not the worst of it.

The green Bianchina is not in very good condition, beginning with the engine, where there are serious oil leaks. René Arnoux, in the driver's seat, discusses the dashboard with its buttons and lights.

Gianluigi and Sergio Bonelli both wrote Tex stories, but they had different approaches, and their relationship was complex on a personal level. We learn about what inspired the images of the countryside where Tex and Carson would roam.

Imma had been dreaming and wakes up to a call from Don Mariano who wants to see her, urgently. But she has another emergency to deal with first.

Reneé Arnoux tries out a Bianchina, and seems to like how it handles on the road. Carmine Sessa tells us a little bit about the history of the car.

It's fascinating to see where the idea of Tex Willer came from and how it evolved. We get to know the creators, Gianluigi Bonelli and Aurelio Galleppini (pen name Galep).

Imma appears to be on the psychiatrist's couch, describing a dream, but the situation becomes more and more bizarre and we don't really know what's real and what isn't.

What kind of guy was Tex? For the most part, he was tutto d'un pezzo (a straight shooter). But sometimes it would depend on who was writing the story.

Pietro goes to his saxophone teacher's house to help her with a technical problem. At home, Imma gets an important phone call that has nothing to do with the case she just solved.