We're still at the Camposanto in Pisa. Alberto Angela shows us a wonderful fresco of the Last Judgment, and tells us the story of the artist as well as what is depicted.

Guia gives Mara some advice. Meanwhile, there are three very unhappy men in the piazza. Pino finds something he had been looking for and Toni turns out to be pretty mature for his age, at least compared to his dad.

As we might have imagined, the tensions between the parents have been transferred onto the future bride and groom. Choosing the location, the favors, and the music has become a battle. Who knows if they can get over these hurdles.

Manara's team goes to the hunters' bar to find Nino La Martina and have some lunch at the same time, perhaps. There was perhaps a bit more action than they were prepared for, but, of course, that goes with the job.

Eva and Lorenzo have a civil conversation at breakfast. Later on, we find the commissioner dining at the restaurant and Gina thinks he might be the mysterious Catullus. The subject gets changed by an important phone call for the commissioner (in French) about counterfeit money from across the French border!

Daniela gives us some more examples of gerunds used in subordinate clauses. Asking ourselves what questions the gerund answers can help us understand its role in a sentence.

Alberto Angela takes us through what is actually a gallery of ancient art inside this cemetery, and focuses on the sarcophagi, each with its story to tell.

Did anybody hear Guia accept Marco's proposal? Needless to say, Guia is feeling somewhat trapped, and encountering Renzo with Anita doesn't help her state of mind.

Each family is intent on dictating all the details of the wedding, making it difficult for Ugo and Nora to stay on top of things — beginning with the choice of a wedding gown.

Lara plans to go and stay at her aunt's house, though Caterina is gone. Luca is clearly preoccupied when he goes to the morgue to talk to Ginevra about the autopsy.

In this segment, Daniela talks about the gerund. As you will see, in Italian, the gerund is often used by itself, whereas in English we need an extra word before it — a conjunction or preposition. We are on more familiar ground when Daniela talks about using a gerund with the verb stare (to be) to form what we call the present continuous or present progressive.

Imagine being on vacation and having to fly home during the pandemic. That's what happened to Melania who got stuck in Madrid on her way home from Venezuela.

Both Andreina and Eva have some important tasks to carry out this evening. Their challenges are vastly different, but are challenges nonetheless. Let's see how they manage.

Alberto Angela recounts some interesting facts and legends surrounding the roof of the Bapistery and the Camposanto [cemetery].

This is the conclusion of this episode. Mazzeo shows his face at school, and Camilla gets a nice surprise.

Marco shows up with an interesting proposition for Guia. Pino gets dressed up like a priest, as he likes to do, and has an interesting conversation with Carola.

The worst-case scenario comes true, even though Nora and Ugo do their very, very best, along with Spartacus as the server and Iside in the kitchen. Who knows if that wedding will ever happen.

The card that came with the flowers for Lara contained an important message. One of the people Luca wants to question comes to the police station of his own accord.

In Italian, there's not only a past participle, as in English, there is also a present participle. Many nouns and adjectives we use every day come from this tense, as well as from the past participle.

Eva ruminates on her past life and gets down to work on the task at hand. Meanwhile, Lola and Gina are waiting for the choir concert to start.

In honor of Mother's Day, celebrated in May in Italy, here's a classic Italian song, Mamma, performed by Luciano Pavarotti.

We learn a great deal about the third structure at the Piazza dei Miracoli in Pisa: the Baptistery. We learn about wonders we can see and wonders we can't see.

Chief Berardi goes to talk to the Russian girl at the hospital. After hearing her story, he has Camilla join them, so she can tell her side of the story.

Both Renzo and Guia have to change their plans and don't know how to tell each other. Carola gives Guia a reality check, and Toni gives up some important information.