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The Fugitive Synopsis

No obstacles can stand in the way of Rosalie's love for the artist Corrado. Despite her family's opposition, particularly that of her brother. Rosalie weds the man she loves. Their days are one long poem of love and happiness. They are further blessed by the birth of their daughter, Ada. Corrado works steadily. Alonzo, who resents the insulting intrusion of the stranger in their family, decides to snatch Rosalie and Ada from the hands of the hated brother-in-law, but Corrado, warned by the old man-servant, who had previously aided Rosalie in her flight, stays at home to await developments. Alonzo soon shows himself angered and insulting. The artist contains himself, but his violent nature cannot long endure that torrent of threats and abuse; the fight in the dark is as sudden as it is terrible. Suddenly, Corrado draws back terrified; he has killed his enemy. He runs away like a madman, his face congested and his hands stained with blood; he falls in the hands of gendarmes, who arrest him. Unable to defend himself, he is condemned to imprisonment for life. Rosalie is reduced to the most abject misery, and unable to buy the remedies so necessary to her sick child. Dr. Palmieri, a good and generous man, comes to her assistance and requests her to share his home. Ada will grow in his house, and he will thus fancy that he has found again his daughter Emma. Palmieri shall be her father and Rosalie will give up her sacred name of mother, so that Ada may always ignore her father's unhappy fate. Corrado wears out his years in prison, tired both in spirit and body. One day he has visions of his happy days, and his heart is rent asunder. He has now but one object in view, escape. He succeeds. Ragged and famished, he wanders through forest, plains, byways, ever sustained by the thought of his wife and daughter. Disguised in clothes kindly given to him by a peasant, he arrives in his native land. Deeply moved, he kneels at the threshold of the village church and prays; he, who has never prayed. He enters the presbytery, where he is greeted by the priest and one of his former friends. He learns with intense delight that his wife and daughter live in the village; Ada is in that house yonder. Corrado calls on the doctor. Greatly troubled and frightened, Rosalie finds herself in the presence of her child's father. What is going to happen? Rosalie implores Corrado to keep silent, but the latter has seen his "beautiful little one" who believes herself to be the doctor's daughter. He has seen his Ada; he wants her. The doctor, a human and loving being, endeavors to dissuade Corrado from his designs, points out to him that he is "civilly dead." He has escaped from prison; he is being sought for. What about his daughter? Nothing can move Corrado, not even Rosalie's painful confession of the sacrifice she has made. Corrado must have his Ada, "Very well!" exclaims Palmieri, "your daughter shall learn and decide." Frightened and trembling upon hearing that revelation, Ada seeks a refuge in the arms of the one she has always believed to be her father and whom she so tenderly loves. No, that man cannot be her father. Everything is ended for Corrado. His heart, deprived of its life-giving element, scarcely beats. He understands that a supreme sacrifice is necessary ineluctable, and while Ada, who has drawn nigh, prays for him, he fondly kisses her hair and swallows a poisonous pellet. The end is nigh; his life is ebbing away, he smiles. Uniting Rosalie's and the doctor's hands above the innocent girl's head, he murmurs, ''Love one another; be happy and watch over her." He dies in peace. His daughter has called him "Father, my father!"

I figli di nessuno Synopsis

Three part melodrama later reworked in the 50s by Matarazzo: A count has an illegitimate child with a woman who his elderly mother tries to separate him from, and who later retreats into a convent.