Adriano decides to run the factory his father left him. He imagines a factory that supports culture and beauty, respects women, and is a life model. Mauro has a hard time agreeing with him, given the financial problems they face.

The Olivetti siblings have to decide whether to sell a stake in the factory or not. During the discussion, Paola arrives with the children.

The war is over, and Adriano goes back to Ivrea. The company is barely surviving, and Adriano's siblings look to him for solutions.

Adriano's father has decided to leave him the factory, but Adriano is not so sure about that. Adriano is still very much in love with Paola after two years apart.

The family has realized that staying is not a wise choice, so, reluctantly, everyone starts getting ready to leave their beautiful home.

Adriano is doing the right thing. But the Germans come looking for an American pilot and search the whole house.

There is an injured person in the woods in need of aid and Adriano doesn't hesitate. A birthday party is going on in the villa.

Adriano has some unwelcome news from Paola, his wife. On a nighttime walk above Ivrea, Adriano is threatened by a woman brandishing a gun.

We start discovering what kind of person Adriano Olivetti is.

The story of Adriano Olivetti and his development of the family business, which expanded from typewriters to computers. This first segment shows CIA officers who consider Olivetti's electronic brain a great threat to American business. The segment also features a flashback to Adriano's childhood in Ivrea, when he was not too eager to learn the ropes.

The second part of Via dell’inferno (Hell Road/Road to Hell) where songwriter Davide Ravera creates an atmosphere of cold winter, tears, music, freedom, longing for home, and beginning again.

Pupazzo is the word for "doll," but Federica has transformed it (as she likes to do with words) into pupezza because pezzo means "piece," and as you will see, she uses pieces or scraps to make these dolls. Federica uses these rag/paper dolls as a means for looking deeper inside herself, at the dark as well as the light parts. It is part of a kind of therapy she uses to help others discover hidden areas inside themselves, by means of creative imagination.

We can see that the battle against using "Lei," the common, formal, second-person form of address, was taken very seriously by the fascists. In fact they went too far when it came to a popular women's magazine called "Lei" (she, her).

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.