We continue our visit to the Clog Museum and learn about these very old machines that are still in use today.

So far, Hervé and Pauline are getting on well with Patrice, their gracious host, who took pity on them. However, Pauline is starting to show signs of dissatisfaction.

Sophie and Patrice share their impressions of Paris under a gray sky. They say that the multiple shades of gray make Paris all the more beautiful. Even the old buildings blackened by years of grime add texture and beauty, but they concede that a good clean-up is sometimes necessary.

Hilaire summarizes all the steps in the clog-making process. The Clog Museum has descriptions with models in relief for the blind and visually impaired.

Patrice discovers that his reunion with his former intern is not just a social visit. He's shocked to hear that Hervé has gone bankrupt.

Patrice and Sophie reminisce about playing ombres chinoises (shadow puppets) when they were little. Patrice makes some interesting observations about Eisenstein's Ivan the Terrible and Coppola's Dracula, two films that incorporate shadow puppetry.

We continue our series on clog making. Hilaire explains step three, the hollowing out of the clog with special equipment, and the finishing stage, sanding the outside and drying the wood.

When a mysterious bouquet arrives on Valentine's Day, Isabelle and Barbara both think it's for them—but is it? The title of this episode, C'est le bouquet (It's the Bouquet), is actually an idiom, equivalent to "that takes the cake" in English.

After four years without hearing from his former intern, Patrice gets a phone call from Hervé, who has run into financial difficulties. Patrice, a kind-hearted person, opens his home to Hervé and his companion Pauline.

We continue our visit to the Clog Museum with Lionel and Hilaire who will teach you how to use some very interesting tools for clog manufacturing.

When Hugo can't make it to the concert, Barbara has to find someone else to go with her... But who? Her mom? No way—but then again, why not?

Over time, the past is forgotten. Thérèse and André rebuild their lives together, and even Guy warms to his new family.

Hilaire from the Clog Museum shares some more interesting facts about clog manufacturing back in the day. For instance, clogs used to be sold without a strap—the buyer would have to put one on him or herself.

The ethnic violence that devastated the central African states of Burundi and Rwanda in the 90s claimed the lives of more than a million people and created many more refugees. One of them was Gaël Faye, a French-Rwandan rapper who expresses his feelings toward his birth country in this beautiful song.

Guy's mother has some explaining to do. Remorseful, she admits to having led a double life and begs for forgiveness.