Scene I. A Modern Carmen: This scene shows the typical Italian quarrymen&apos;s boarding house. One is stringing a guitar and another group is playing an exciting game of &quot;Morra.&quot; Notice the peculiar characteristics of the people. The ...

Kidnapped for Hate

Scene I. A Modern Carmen: This scene shows the typical Italian quarrymen's boarding house. One is stringing a guitar and another group is playing an exciting game of "Morra." Notice the peculiar characteristics of the people. The old, boarding house keeper, the inevitable baby clinging to her skirts, enters and calls them to supper; all rise and go into the house. Now comes dancing forward the coquettish Fioretta, whom all the men are crazy over, and no wonder. See her flirt with them all, but most desperately with sullen Giuseppi. She rouses all his intense nature, fiercely he makes love to her, she tantalizing him beyond endurance. He seizes her in his arms; see how scornfully she throws him off, as Angelo, her accepted lover, steps in. No self-respecting Italian could endure the sneering laugh with which he protects her. Quickly Giuseppi draws his knife; he steals behind the lovers as they walk off. One instant more, but see! Angelo has forestalled him; quick and graceful as a tiger, he seizes the upraised hand and forces the would-be assassin to the ground. Now Angelo turns to the frightened girl and leads her away, while the Sicilian raises his fist and swears vengeance upon them both. Scene II. Giuseppi Is Revenged: The lovers have continued their walk, and are oblivious to all but each other. But see, the head and shoulders of the Sicilian are creeping over the stone wall; now he steals behind the happy two and raises his ugly looking knife. Once, twice, he plunges it in the back of his hated rival. But Fioretta has caught his wrist and her screams bring men who overpower him. Scene III. Seven Years Later, Giuseppi a Convict, the Escape: There is a rock pile with its convict laborers, in the foremost of which you may recognize Giuseppi, serving time for the stabbing of Angelo. Now comes Angelo and Fioretta leading their little girl. See Fioretta shrink back as she recognizes the convict, Giuseppi, and see the look of hate he casts upon the three. Now they pass by and the guard motions him back to work. But rebellion is aroused. He seizes a stone and fells the guard; now he seizes his gun and compels the other convicts to break the link of his chain; now through the guard's pockets for keys and the others are freed. Now each makes a desperate dash for liberty. Scene IV. Giuseppi Steals the Child: This is the home of Angelo and Fioretta. The old grandmother is peeling potatoes, as the little family returns from the walk. Now he goes off to his work in the quarries, the mother and grandmother go inside and the child is alone. But see, the escaped convict sneaks down and watches his opportunity. Now he steals down and seizes the child, making his escape. Bat the young mother enters just in time to see him. Her screams bring the grandmother, who falls on her knees in prayer, while the mother runs for the father. Scene V. The Quarry, the Parents to the Rescue: Here we have the quarry. A panoramic view shows the men at work. Now we see the disheartened mother flying across the huge rocks. A few words to the father are sufficient; he throws down his tools and follows. Scene VI. Saved! Death of Giuseppi: The quarrymen are at work at their dangerous occupation; the blasting charge is laid, they wave the signal flag and run from the scene. Now the arms and body of Giuseppi appear over a hedge, the child is in his arms. He clings to the steep side and crawls down to the charge: now he is laying the baby over the blast; In a minute the child will be blown into a hundred pieces. But no! the father and mother come with all haste. The father matches the baby and all crouch back as the explosion takes place, which fortunately leaves them uninjured. But the father has a debt to pay; he grapples with the Sicilian, now occurs a desperate knife fight, the Sicilian is getting the better of it. He is forcing the knife into Angelo's body; but by a swift dexterous movement the latter gains the advantage. Slowly but surely he forces the dagger into Giuseppi's abdomen, then throws him back on the rocks, where he writhes in a death agony. Angelo clasps his wife and child and they fall to their knees in thanksgiving. -- The Moving Picture World, May 16, 1908

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