Palma begins to lose patience with the Pizzofalcone team, frustrated by the absence of concrete evidence and a network of still uncertain suspects. Meanwhile Lojacono confronts his lawyer, bringing to light personal difficulties, financial problems and the weight of a past that continues to haunt him.

An apparently insignificant detail on the onesie the baby was wearing when found by the dumpster leads Laura to question a version of events related to Lara's death. She and Lojacono go to question Lara's former employers once again.

Laura and Giuseppe go to question Lara's former employers, who are not very cooperative. The issue of embroidery comes up as Di Nardo and Aragona search the premises.

Faced with evidence, Mrs. Nubila has no choice but to confess her involvement in Lara's pregnancy, and how she and her husband took advantage of the girl.

Mrs. Nubila calmly recounts what actually happened, while the investigators listen, incredulous and shocked.

During the interrogation of the Nubila couple, the circumstances that led to Lara's death come to light. The investigating team can't understand why the baby would have been abandoned, but that, too, becomes clear. All in all, it's very disturbing to everyone in different ways.

This documentary is about Guido Crepax, the creator of a famous fumetto (comic strip) that came out in 1965. The main characters are Philip Rembrandt, an art critic, and Valentina Rosselli, a photojournalist.

Crepax started out with one protagonist, Philip Rembrandt, but gradually phased him out, along with his superpowers. Valentina then took over as the protagonist. Crepax talks about Milan in the sixties.

In 1963 Crepax got his start in the world of comic books and two years later created his famous character, Valentina. The comic strip first appeared in the anthology comic book, "linus," founded by Giovanni Gandini, who had known Crepax as a kid.

Filmmakers Tinto Brass and Giuseppe Tornatore comment on how some elements of expressivity are shared between comic strips and the cinema.

Crepax's Valentina was an intriguing character because she openly reflected the sexual freedom of the late sixties and was attractive to both men and women. It was very "in" to be seen walking around with an issue of "Linus," an Italian comics magazine published in Italy beginning in 1965.

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.

Among the pages of the comic strip, family members find familiar objects, drawings, and personal information from their everyday life. Although Valentina was a figment of Crepax's imagination, she was also an integral part of his family.

One of Crepax's techniques is to use the details of everyday life to build his stories and provide context. We even see the titles of the books in Valentina's bookcase.

Besides his much better known activity as a graphic artist, Crepax was a keen wargamer and wargame designer and collector of paper soldiers, drawn by himself.