Lucien, an inn-keeper and owner of a country house, lives alone with his foster-daughter Anna. She is secretly married to Lucien's nephew and heir, Armand, a worthless young man, but a violin virtuoso. When Armand comes home unexpectedly, Lucien asks him to play his favourite melody, "Ave Maria", to which Lucien listens attentively. Armand is trying to find some way of getting rid of his uncle, so that he can live a life of ease. When he discusses this with Anna, she is reluctant to be of assistance. A few days later, when walking in the city, Armand sees how two tramps attack, rob and murder a pedestrian. This gives Armand an idea. He rushes home and, while his uncle is sleeping, steals his knife and hat, puts on his uncle's shoes and returns to the scene of the crime. He places the knife and hat next to the body of the murdered man and then walks back to the inn, leaving footprints that are easily followed by the police. Lucien is arrested, despite his protestations of innocence. At the trial, Anna refuses to supply Lucien with an alibi and he is sentenced to twenty years' imprisonment.
Fifteen years later, Lucien's insanity gives him the strength to break out of prison and, instinctively, to return to his inn, now owned by Armand. Not recognizing his uncle, Armand thinks he is a beggar and lets him be served by Anna. His crime has not made a happy man of Armand, and, plagued by remorse, he seeks comfort from his violin. When Lucien hears the strains of "Ave Maria", he returns to his senses, realizes where he is and attacks Anna. When the police arrive to arrest Lucien, Armand, listening to the voice of his conscience, admits that it was because of him that his uncle was sent to prison.
- Sailor and a friend of Lucien
Nieuws van de Dag, 24 augustus 1912
De Kinematograaf No. 30, 15 augustus 1913, p. 201
De Komeet No. 284, 1 november 1912
G. Donaldson, 'De eerste Nederlandse speelfilms en de gebroeders Mullens', in: Skrien Nr. 28, januari 1972, p. 4
G. Donaldson, Of Joy and Sorrow. A Filmography of Dutch Silent Fiction, Amsterdam (1997), pp. 90-92