The evening Giorgio planned to spend with Cloe doesn't turn out as he had hoped. The next day at the hospital, on their first day of work, Giorgio and Giuseppe get to know Sister Helga who rules with an iron fist.

Giuseppe and Giorgio are dressed to go out on the town. They get temporarily sidelined by a kid trying to break into a house, who then falls. They go to a nightspot where there is a performer Giorgio has his eye on.

Alberto goes out on a limb with a pretty amazing surprise for his pupils. Ida is quite concerned, but Alberto is adamant.

Moscati has to prove himself at the exam, to demonstrate whether he is just presumptuous or can back it up by knowing what to do with the patient before him. His friend Piromallo waits for him outside, meanwhile.

Giuseppe and Elena exchange a few words during the dance, but then he goes home to study. The next day, at the exam, his friend is having a hard time.

Giorgio takes his friend Giuseppe to a ball in honor of Princess Elena Cajafa. Giuseppe feels out of place, but Giorgio insists on having him meet some important people, hoping it will help his career, not to mention the entrance exam they have the following day.

Manzi's pencil ruse gets found out and he is called into the director's office.

Two medical students at the University of Naples leave the library and race through town down to the beach. At the Cajafa palace, Princess Elena is called to her father's study where they discuss the ball to take place that evening.

The narrator goes over the vanishingly small number of expressions coined during Mussolini's time that are still in use today. The song that gives the series its name is provided in full.

After the war came TV. It changed everything, and provided a new way to unify the Italian language and teach people reading and writing.

The segment looks at the Royal Academy of Italy's dictionary of Italian, which was filled with quotes from Mussolini. By the end of World War II, the dictionary had gotten to the letter “C.”

Mussolini inveighs against the middle class, saying that it is the enemy of fascism. Much of the footage in this segment features EUR, the Rome district that was built in the 30s and 40s.

This segment opens with a sort of poem, demonstrating how kids growing up in fascist Italy were expected to behave. Minority groups had a pretty hard time, too.

Schools in fascist Italy banned the study of dialects and moved to using standardized textbooks. The fascist hymn “Viva Adua nostra” refers to a battle won by the Kingdom of Italy in 1896 near Adwa, Ethiopia.

Soon after the introduction of talkies, dubbing came about in the thirties. Dubbing was extremely popular in Italy and remains so today.

The nineteen twenties ushered in sound in cinema. Italy's L.U.C.E. [L'Unione Cinematografica Educativa or Educational Film Union] was founded in 1924 and generated the fascist regime's cinematic propaganda.

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.

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.

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.