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.

Matteo tells us how fundamental it is to know the entire score, not just one's own part, in order to best interpret a piece. For him, music is above all education in listening: to the composer, to other musicians, and to oneself. Playing together thus becomes an experience of growth and mutual care, even before it becomes artistic.

The circle is tightening and the police are investigating two possible profiles: a lawyer and an engineer. Between jokes and internal dynamics at the police station, two officers are assigned to interrogate engineer Senatore and two others go to Nubila.

While the little girl hovers between life and death in the hospital, the forensic police and investigators begin to dig into the past of the young woman found dead. A regular residence permit, jobs as a domestic worker in upscale neighborhoods, rent paid in cash and too many unanswered questions.

The investigations are only at the beginning and the autopsy results are not yet available. For now it emerges that there are no signs of struggle and that the girl was caught by surprise. Meanwhile, at home, Giuseppe and Laura rediscover their complicity.

The death of the young Ukrainian woman, who had just become a mother, raises many questions: the identity of a rescued child, a possible blood relationship and the evident signs of a murder. Between DNA tests and professional tensions, they attempt to reconstruct the story.

After gathering some confused information from a neighbor about the woman who might have abandoned the newborn, the police decide to enter the apartment. Inside, the body of a woman is found. Procedures are immediately triggered and officer Di Nardo reports the discovery, launching the investigation.

Here is the epilogue of Paolo Villaggio's story: between surreal comedy and workplace satire, from the servile and mistreated Fracchia to the triumph of Fantozzi. A tale made of absurd jokes and dialogues that brings unforgettable characters to life and leaves a deep mark on Italian cinema.

Paolo is so absorbed in his career that constant bickering arises at home. On television, his character Fracchia decides to ask for a raise that he rightfully deserves, but the meeting with the director turns into a decidedly embarrassing scene.

Everyone follows Paolo on television and is struck by his skill. At dawn, however, while resting in his hotel room, he is awakened by a phone call from Faber who tells him bad news.

Rosario chooses to avoid the encounter with his mother, so he makes up an excuse and returns to class. Meanwhile, in the lesson, Marioni puts Sara to the test, but she is determined not to give up.

While Paolo prepares to go on stage, he is approached by a well-known television writer who presents him with an interesting proposal, assuring him that Maurizio Costanzo is also in favor. Back in Genoa, Paolo rushes to look for the children, but discovers they are at the carnival rides.

Matteo and his classmates, during the break, get together to cheer for Sara in the hope that she manages to convince Marioni to let her play with them. Rosario, on the other hand, is agitated and this doesn't escape either the boys or his teacher.

In class, Barbara proves to be much further ahead than her classmates in the curriculum; for this reason the teacher decides to assign double the homework to all students. Meanwhile, Sara continues her battle, trying to convince Marioni to give her the chance to play.

Paolo is worried about the future and dissatisfied with his job at Cosider. Maura is by his side and together they decide to go to Rome to understand how things will evolve.