Mussolini continues to get rid of any traces of foreign words, and even mounts an exhibit against the use of the common formal second person singular address "Lei" (you) in favor of "Voi." See this lesson about "Voi" to get some background.

A great deal of effort went into purging foreign words from the Italian language under the fascist regime. Newspapers, magazines, and book publishers were at the forefront of the effort and were tasked with finding Italian replacements for foreign words and expressions. Many fascist-era terms have fallen by the wayside, but some succeeded and are still in use today. As an example, the word manifesto [poster] was successfully introduced to replace the French term affiche.

The segment looks at how Mussolini patterned his fiercely nationalist rhetoric after poet Gabriele D'Annunzio, while harkening back to the glory of Imperial Rome. The song in the segment refers to Balilla, an 18th century Genoese boy. In 1746, Balilla threw a stone at an Austrian official of the occupying Hapsburg Empire, which led to the War of the Austrian Succession.

In World War I, Italians who up until then had spoken their regional dialects, found themselves fighting side by side against a common enemy. But Mussolini was interested in fighting the internal enemy.

Mussolini forbade the use of dialects and the minority languages that were spoken in the regions bordering the countries to the north in favor of one language for all. Italians were bombarded by fascist propaganda and Mussolini's very frequent speeches.

Me Ne Frego [I don't give a damn], was one of the mottoes of Fascism, coming originally from the writings of Gabriele d'Annunzio and employed by storm troops during World War One as a war cry for courage and daring, with the meaning, "I don't mind dying for freedom." The motto gives the title to this documentary about the influences of Italian Fascism on the Italian language. It was produced by the Istituto Luce Cinecittà, with materials from the historical Luce archives, and narrates the obscure attempt by the Fascist regime to create a new and unique language, a new “Italian” that fit the dogma of the dictatorship.

Adriano tells us about the book he decided to write when he turned thirty. It is a collection of stories, anecdotes, and experiences, and also contains photographs.

The documentary comes to a close with an interview regarding a prison cell used during the Inquisition. The cell bears the graffiti of its inmates. Pitrè had laboriously uncovered the graffiti, but it was only rediscovered in the 1970s by the writer Leonardo Sciascia and the interviewee in this segment, Giuseppe Quatriglio, who used Pitrè's writing to find it.

A Palermo doctor discusses the Integration of immigrants in Sicily and highlights the successes in healthcare. Medical assistance is provided for all immigrants, whether lawful or not.

A Palermo doctor is interviewed about his practice and the African and Southeast Asian immigrant patients that he treats.

Palermo faces the sea and has a very long history of immigration. The narrator interviews a young woman whose great grandfather came to Sicily from Sudan. She is involved in educating immigrants from Africa and Asia. Pitrè was also highly involved in education.

Giuseppe Pitrè loved attending performances of chivalric folk plays in Palermo. This segment follows a marionette player at Palermo's Opera dei Pupi, the same theater where Pitrè went to see folk epics.

What does it mean to be a European? Is the variety of languages in Europe an obstacle to actual unification? Umberto Eco explores these questions and offers some interesting insight.

A woman performs a traditional Sicilian ritual involving the sticking of pins into an onion, accompanied by prayers, in order to bring back the boyfriend of her suppliant.

Giuseppe Pitrè received his degree in medicine in 1865. His patients, among Palermo's poorest, provided him with a wealth of ethnographic material.