Il 15 luglio 1993 è stata uccisa a Todi Mara Calisti, a 36 anni. Mara era sola in casa con suo padre ed è stata accoltellata in camera sua. Si è poi trascinata dal padre e, prima di cadere a terra si è rivolta al genitore: "Babbo, guarda cosa mi hanno fatto". #BluNotte #CarloLucarelli #ColdCase #Crime #TrueCrime #Giallo #CronacaNera
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TVTrascrizione
00:27Music
00:58Music
01:13What we are telling this evening is an impenetrable mystery, an absurd crime, without explanation.
01:20If it were a detective novel, Mara's case would be a classic locked room crime,
01:25one of which mysteries remain unwitnessed, with no one who could have seen or heard anything.
01:30And it is done in a place where it is impossible to enter or exit.
01:34It could have been written by a master of the genre, like John Dickson Carr,
01:39because as in his novels, here too there is something different, something disturbing, something scary.
01:58Music
02:10But be careful, because this is not a detective story, this is a current event.
02:15And Mara, a 36-year-old woman, was actually killed.
02:19The scary thing here is that our mystery takes place at night, in a silent house,
02:25when everyone is asleep and most defenseless.
02:28Our mystery begins in the most disturbing place in the whole house,
02:33the one where children's fears move,
02:35when they are left alone at night and stare at the half-open door,
02:40hidden under the sheets.
02:43Music
02:44The corridor, a dark and empty corridor.
02:51Our corridor is not big, it's small,
02:55but for what happens to us it could be as infinite as that of Stanley Kubrick's The Shining.
03:00We are in Todi, in the province of Perugia,
03:02on the third floor of a condominium at number 131, Via Angelo Cortesi,
03:06and July 15, 1993.
03:10It's night, it's late, very late.
03:13It's almost four o'clock and usually at that time people are asleep.
03:18Mara's father sleeps peacefully in his room
03:21and he doesn't imagine, he doesn't even dream of what is about to happen a few steps away from him.
03:30Someone, at that time of night, is walking down the corridor.
03:40Suddenly the light in Mara's father's room turns on.
03:44Whatever that man was dreaming about
03:46he must believe he is suddenly in a nightmare
03:48because he witnesses the worst thing a father can see.
03:53In front of him is Mara, his daughter, with a deep wound on her chest.
03:57He just has time to say
03:59Dad, look what they did to me, and she collapses to the ground, dead.
04:03What happened?
04:04How do you get to this scene?
04:05Mara bleeding across the corridor
04:08and that sentence
04:08Dad, look what they did to me.
04:11Mara is in her underwear bra
04:12as if she had just gotten out of bed.
04:15Who hit her?
04:16How did he get in and out?
04:18Who heard it in that silent apartment building?
04:21One of those apartment buildings where you can hear everything about everyone.
04:24For example, there is the entrance door
04:26which is a very heavy door
04:27with a very fast spring
04:29and if you don't know it and don't accompany it with care
04:32it bangs violently.
04:33Did anyone hear that door?
04:40Calm.
04:42This is a locked room crime
04:45trapped between those two walls of that corridor.
04:47We can't understand it if we stay in there.
04:50So let's open these walls and go out.
04:53Let's go back in time,
04:55let's go to Todi
04:56and let's try to understand who Mara is.
05:11It seems impossible that in a town like this
05:14a crime may occur.
05:15Yet it happens here too.
05:17It happens even in a town like this
05:19small, quiet and kind-looking.
05:31When this happens, places change their appearance for a moment.
05:35Even the gentle citizens suddenly seem to be veiled in sinister shadows.
05:39It's crime that does that.
05:41It is this traumatic and unexpected event
05:43that when it happens
05:44it's like a razor blade
05:45that tears apart a city,
05:46an environment,
05:47a character
05:48and lays it bare.
05:49He finds out everything,
05:50even the dark goal
05:51and calls it into question.
05:53This is how detective novels manage to tell about cities,
06:14opening them with the crime and looking at them from inside,
06:16even in their less pleasant aspects.
06:21But then, in the novels,
06:23he comes to the conclusion to put everything back in order,
06:26to make everything go back to how it was before.
06:28In news stories,
06:30in crimes like this,
06:31when they are unpaid,
06:32it's just time,
06:34the silence of time,
06:35to hide the wounds
06:36and make them forget.
06:42This is where Mara lives,
06:49a 36-year-old woman
06:50known by all
06:51in a town like Todi,
06:53Where,
06:53as in all small towns,
06:55people sooner or later
06:56always ends up meeting.
06:58Mara, then,
06:59he's a really nice guy.
07:01To learn more,
07:02Alessandro Riva
07:03and Lorenzo Viganò
07:03they went to Todi
07:04to ask relatives and friends
07:06to find out who she was,
07:07who was Mara.
07:09We reached them
07:09in the Iocopone high school from Todi,
07:11the same one Mara had attended.
07:18Hi, Lorenzo.
07:20Hi, Carlo.
07:20Hi, Carlo.
07:21Hi, Sandro.
07:22We were looking at the floor plan again
07:25of the apartment.
07:26Exact,
07:26of the place
07:27where it takes place
07:28our story.
07:29The main protagonist
07:30of our history
07:31it's her,
07:32it's Mara.
07:32What kind of person is Mara?
07:33Let's try to understand it better.
07:34Among other things
07:35he tells us about it
07:36the sister herself,
07:36Rita Calisti,
07:37who wrote
07:38a book
07:39the crime of the closed door
07:40in which he retraces the story
07:42and of course
07:42also retraces
07:43the relationship
07:44what was between the two of them
07:45and he tells us about it
07:47both from a physical point of view
07:48both from a point of view
07:49more characterful.
07:51Physically
07:51he is a person
07:52not so high,
07:55around one meter and fifty,
07:56maybe with a few extra pounds,
07:58although
07:58the extra pounds
07:59and diets
08:00have never been
08:00an obsession of his,
08:01as I never have been
08:02you were an obsession of his
08:03the hair
08:04huddled together
08:05that she can't
08:06to dominate
08:07and which therefore leaves
08:08let them be as they are.
08:10How does Mara dress?
08:11In a very simple way,
08:13casual you could say,
08:15jeans and sweaters
08:16they are her favorite clothes,
08:18never high-heeled shoes,
08:20always sneakers,
08:22it's so true
08:23that is precisely
08:23Rita tells
08:24that despite
08:25his advice
08:26to enhance
08:27her femininity,
08:28she kept getting dressed
08:30instead in this way
08:31very simple.
08:32Here you are,
08:33this is due to his physical appearance,
08:34instead of character
08:36What kind of person is Mara?
08:37Mara is a girl
08:40very strong,
08:41self-confident,
08:42with clear ideas
08:42and above all
08:43very jealous
08:45of its independence
08:46friends say.
08:48The sister
08:49in the book
08:50he also says
08:50that sometimes
08:51he assumed an attitude
08:52so severe
08:53and austere
08:53to impose subjection.
08:56On the other hand
08:56but in reality
08:57it's not even like that
08:58all-round
08:59in the sense that then
08:59she's also a girl
09:00very full
09:01of contradictions
09:03what does he say?
09:05he never seemed to be afraid
09:06but in his appearance
09:07a shy soul was read
09:08and insecure
09:09so no...
09:10Certain.
09:10Here you are,
09:11he had some special interests
09:13Mara,
09:13of passions?
09:14Yes,
09:14he had several.
09:15First of all the mountain.
09:17She is registered
09:18at the CAI of Perugia
09:19and with various groups
09:21he goes on excursions
09:23in the mountains.
09:24Then he loves to sing a lot,
09:25sings in a choir.
09:26He used to sing in a choir
09:27from Perugia
09:27then she moved
09:28since his master
09:29he moved
09:30in a nearby hamlet
09:32he changed the chorus
09:33and sings.
09:34And then he has a passion
09:35particular
09:36for Beethoven's music.
09:37So much so that
09:38there was a bit
09:39a fight
09:40almost forced
09:41his grandchildren
09:41to study
09:43a musical instrument
09:44in trambi.
09:44Then among the passions
09:45it should not be forgotten
09:46political passion
09:47because Mara has always been
09:48since I was a little girl
09:49she's a busy girl
09:51politically
09:51left
09:53she was registered
09:53to the PC
09:54for several years
09:55but here too
09:56with many contradictions
09:57that is, his companions
09:58party
09:59they remember it
09:59with controversy
10:00furious
10:01with the managers
10:02of the party
10:03that is, therefore
10:03with dissatisfaction
10:05not a militant
10:07granite.
10:07A nice guy Mara
10:09not beautiful
10:10not flashy
10:11but cute
10:12and pleasant
10:12a young woman
10:14open and friendly
10:15full of interests
10:16and a lot
10:16very independent
10:17he doesn't want to weigh
10:19on no one
10:19and that's why
10:20who left
10:21the university
10:21and she got to work
10:22even against the advice
10:23of the parents
10:24he works
10:25at the studio
10:26of a lawyer
10:26and in the meantime
10:27he also works
10:28at a company
10:29of cleaning
10:29who does the cleaning
10:30right in high school
10:31which he had attended
10:33a humble job
10:34that she however
10:35he doesn't despise
10:36because there is a sentence
10:38which he often says
10:39to his sister
10:39a sentence
10:40that the sister
10:41reports in the book
10:41who wrote
10:42about Mara
10:42the people
10:44they don't judge each other
10:45from what they do
10:45but from what I am
10:47Here you are
10:47it's like that Mara
10:48a nice guy
10:49she is also very generous
10:51very helpful
10:52for a long time
10:54he assists a friend of his
10:55very sick
10:56always available
10:57at any hour
10:57of day and night
10:58until this one dies
10:59it's like that Mara
11:09and who can want to kill
11:11a girl like that
11:12let's go back to the mystery
11:14John Dixon Car
11:15the closed room
11:16that corridor
11:17dark and empty
11:18that's scary
11:19that day
11:20Mara's last day
11:21it's a wednesday
11:22and it's an ordinary day
11:24everything normal
11:25Mara goes to work
11:27he goes there a little later
11:28Why
11:28he tells the lawyer
11:29he didn't hear the alarm clock
11:31and she didn't get up in time
11:32he works
11:33as always
11:33he takes care of his paperwork
11:35he's going to run some errands
11:36in court
11:37and around one o'clock
11:38come back home
11:38here he finds the father
11:41for two days
11:42Mara's family
11:43she moved to the countryside
11:44in a small village near Todi
11:46but she preferred
11:47stay in the city
11:48alone
11:48the father
11:49he's back
11:50because the next day
11:51he has an appointment
11:51with the accountant
11:52Therefore
11:53you might as well stay there
11:55quiet afternoon
11:56friends are on vacation
11:58the choir is still
12:00and Mara
12:01go back to work
12:02from the lawyer
12:05around 8:30 pm
12:06the father is alone at home
12:07and is preparing
12:09dinner for himself
12:10and for the daughter
12:11who will be back soon
12:16Mara arrives
12:16and the two
12:17they have dinner together
12:19calmly
12:20speaking of the most
12:21and the less
12:22then Mara
12:23he starts ironing
12:25and also calls
12:26a neighbor
12:26why it goes up
12:27from them
12:28to have a chat
12:29and have a coffee
12:30together with her
12:31and to the father
12:41then the father goes out
12:42he goes to visit his sister-in-law
12:44like he does every night
12:45and Mara and her friend
12:47they remain alone
12:54they chat
12:55they talk about their grandchildren
12:56the sister's children
12:57for which Mara
12:58he has a special affection
13:00around 11:30 pm
13:01Mara receives a phone call
13:04It is not known who calls her
13:05the neighbor doesn't understand it
13:06and Mara closes quickly
13:08the conversation
13:19around midnight
13:20the father also returns
13:27then the neighbor comes back home
13:28the father goes to bed
13:30and Mara says
13:30who will then go to bed
13:31she too
13:32they separate
13:33him in his room
13:35and she on the other side
13:36of the house
13:36where is the living room
13:38and his bedroom
13:39in the middle of
13:40that corridor
13:41dark and empty
13:50pay attention now
13:51the details
13:52they become important
13:53the timetables
13:54the noises
13:55and all that
13:56which is different from normal
13:59at 1.30
14:00Mara's father
14:02he wakes up
14:02and walk through that corridor
14:04to go for a drink
14:04a glass of water
14:09Mara's Gate
14:10it's closed
14:11and probably
14:12Surely
14:13sleep peacefully
14:14at 2:30
14:15the last one returns
14:16of the inhabitants
14:17of the condominium
14:17that closes the door
14:19and salt in the house
14:19all quiet
14:20no noise
14:21suspected
14:26at 3
14:27the gentleman downstairs
14:28he wakes up
14:29all quiet
14:30no suspicious noises
14:33at 3:41
14:35a boy
14:36who lives
14:36in a nearby building
14:37and suffers from insomnia
14:38he goes down to the garden
14:39to smoke a cigarette
14:40and go for a walk
14:41all quiet
14:43even at that time
14:45at 3.45 though
14:46the gentleman downstairs
14:48he hears a noise
14:49a tompo on the floor
14:50upstairs
14:51at Mara's house
14:52shortly after
14:53his father's voice
14:54screaming and calling for help
15:05the gentleman below
15:06he goes up the stairs
15:07with his wife
15:07and the neighbors
15:08while the boy
15:09who arrived in front
15:10at Mara's house
15:11imagining a trouble
15:12he runs to a cabin
15:13to call 112
15:19meanwhile the scene
15:20which presents itself
15:21to the condominiums
15:21rushed to the apartment
15:22it's one of those
15:23that is not forgotten
15:28Sea to land
15:29on the floor
15:30the father
15:31he's pressing them
15:32a rag on the chest
15:33to patch the wound
15:34uselessly
15:36as useless
15:37Mara's race
15:38to the hospital
15:38where they arrive
15:39even the carabinieri
15:40and the sister
15:42Mara
15:42she was killed
15:43with an instrument
15:44cutting
15:45with a rounded tip
15:45one shot only
15:47that she penetrated
15:48in the chest
15:48for 8 cm
15:49and killed her
15:50cutting them off
15:51the garden cleanly
15:52let's talk about it
15:53with the professor
15:54Franco Fabroni
15:55of the Institute
15:56of Forensic Medicine
15:56from Perugia
15:57interviewed for us
15:58by Alessandro Riva
16:20Professor Fabroni
16:21what kind of wounds
16:22did he have Maracalisti?
16:24He had a wound
16:26to the chest
16:29of the right hemithorax
16:31triangular in shape
16:32at the level
16:33of the Fourth Coast
16:34More or less
16:35at what height?
16:36Up to par
16:37of the Fourth Coast
16:38so up to par
16:397-8 cm
16:42from the clavicle
16:43The cause of death
16:45what was it exactly?
16:46The cause of death
16:47it was exactly
16:49hemorrhagic shock
16:51determined
16:52from a deep wound
16:54which had reached
16:56the pericardium
16:57and the exo the garden
16:58from which it was naturally
17:00came from
17:01a bleeding
17:02remarkable
17:03massive
17:03It is assumed
17:04that he lost
17:05knowledge
17:05very quickly?
17:06But I think
17:08that he lost it
17:10in space
17:11Of
17:13on average
17:14of 50 seconds
17:15from 30
17:16at 50 seconds
17:18It can be done
17:18an idea
17:19of dynamics
17:20of the murder
17:20from the autopsy?
17:23From the autopsy
17:24the dynamics
17:25of the murder
17:26he just tells him
17:27the direction
17:27of the shot
17:28Obviously
17:29a shot
17:29vibrato
17:30from below
17:31at the top
17:31with much obliquity
17:33Meaning what
17:34era
17:34a lot of obliquity
17:36towards
17:36the high
17:38that is, in a manner
17:39very tangent
17:40to the chest wall
17:41and slightly
17:42towards
17:43the left
17:44I think
17:45that a lesion
17:46vibrated
17:47with
17:47I repeat
17:48with a certain force
17:50at that point
17:52of the body
17:52everyone knows
17:53that the area
17:54precordial
17:54it's an area
17:55vital
17:57it's not done
17:58to hurt
17:59one who hurts
18:00without
18:01want to kill him
18:02chooses
18:03another part
18:03of the body
18:04less vital
18:05that
18:06undoubtedly
18:07fortune
18:08oh bad luck
18:09or intention
18:09he wanted
18:10that she was hit
18:11a vital area
18:12One shot only
18:13which he cut off
18:14the vegetable garden
18:15it's not about
18:16of a suicide
18:17even if initially
18:18it is thought
18:18to one thing
18:19of the genre
18:19and this
18:20why the carabinieri
18:21when they arrive
18:22to the hospital
18:22they find the sister
18:23by Mara
18:24that screams
18:24Mara Mara
18:25what have you done to yourself?
18:26but
18:27the element
18:27that makes you discard
18:28the hypothesis
18:29of suicide
18:30it is an element
18:30very simple
18:31the weapon
18:32which caused
18:33that wound
18:33a knife
18:34kitchen
18:35a tool
18:36of work
18:36anything
18:37it cannot be found
18:39then a murder
18:40but a murder
18:41very particular
18:42there are no signs
18:43of struggle
18:44there are no injuries
18:45from defense
18:46one shot only
18:47treacherously
18:48pulled to one point
18:49vital
18:49but in one point
18:50where it is not so
18:51easy to kill
18:52and that weapon too
18:53so improvised
18:55this is not
18:56a crime
18:56premeditated
18:57it's not one
18:58of those crimes
18:58prepared and studied
18:59with care
19:00and then executed
19:01with lucid and rational
19:02efficiency
19:03This
19:04it seems more
19:05a crime
19:05on impulse
19:06one of those crimes
19:07matured in a moment
19:08of anger
19:09a shot
19:10to the heart
19:11pulled
19:12in one shot
19:12in one shot
19:13suddenly
19:16from 30
19:17at 50 seconds
19:18this is the time
19:19that Mara had
19:20after she was hit
19:22enough to do it
19:23cross
19:24that empty corridor
19:25there is a trail
19:26of droplets
19:27Attention
19:28very important
19:29we'll come back to it later
19:30there is a trail
19:31of blood stains
19:32blood of Mara
19:33that come out
19:34from his room
19:34they cross
19:35that corridor
19:36and they arrive
19:37up to the room
19:37of the father
19:39Mara
19:40she was hit
19:41in his room
19:42she was hit
19:43while he was standing
19:44in the center of the room
19:45in underwear bra
19:46he was without glasses
19:47which in fact
19:48they are found
19:49next to the bed
19:50together with a book
19:51and to a bajur
19:51as she used to do
19:53when he read
19:54a few lines
19:54before falling asleep
19:56but
19:56she was not hit
19:58on the bed
19:58because it is not stained with blood
20:02after she was hit
20:04Mara has crossed
20:05that corridor
20:06she entered
20:07in the father's room
20:08and turned on the light
20:09as demonstrated
20:10the switch
20:11that is dirty
20:11of his blood
20:14and if it had been
20:15a thief
20:17if it had been
20:18a burglar
20:20let's not forget
20:20that two days before
20:21there had been
20:22a move
20:22in that house
20:23and one could think
20:24that that house
20:25it was empty
20:25that in there
20:26there was no one
20:43the thief enters
20:44Mara wakes up
20:46he gets up
20:46surprises him
20:47he loses his head
20:49grab the first thing
20:50that is within reach
20:51maybe one of those tools
20:53from burglary
20:53that he brought with him
20:54and hits her
20:56Yes
20:57but where does it come from?
20:59Mara's apartment
21:00it is on the third mezzanine floor
21:02almost a fourth floor
21:03nine meters high
21:06the window
21:07that brings inside
21:08Mara's room
21:09it's closed
21:09and on the terrace
21:10there are no traces
21:12the front door
21:13does not present
21:13signs of burglary
21:15from Mara's apartment
21:17nothing is missing
21:17there is still
21:18Mara's handbag
21:19and there are also
21:20of his precious things
21:21in plain sight
21:22and those aren't missing either
21:24and then
21:25if he had come out
21:26from the entrance door
21:27the thief
21:28should have
21:28accompany him with care
21:30why didn't you hear?
21:31that noise
21:32it's not easy
21:33Certain
21:34it's a hypothesis
21:35which cannot be excluded
21:36but it's not easy
21:37and then
21:38there are other mysteries
21:39in this case
21:41there are some drawers
21:42in the kitchen
21:45in one of these
21:46which contained
21:47bread bags
21:48plastic bags
21:49some drops of blood are found
21:51drops of Mara's blood
21:53who opened it?
21:55Why?
21:56maybe to get a bag
21:57to then hide
21:58here's the knife
21:59the weapon he used to kill Mara?
22:02there are many mysteries
22:03in this case
22:04we need to know something more
22:06there are many small elements
22:08which we must take into account
22:10let's take advantage of the experience
22:11by Viganò and Riva
22:11in the field of crime reporting
22:13and let's talk about it a bit with them
22:15Mara's
22:16it's a crime
22:16of the closed room
22:17Yes
22:17Here you are
22:18the characteristic of these crimes
22:20of the locked room crimes
22:21it is precisely
22:21that there are no witnesses
22:23so there is no one
22:23who speaks
22:24what can you tell us?
22:25what happened
22:25so in these cases
22:27you have to ask
22:28news and other things
22:29to the house itself
22:30for example
22:31we must ask ourselves
22:32what can they tell us?
22:33in that house the noises
22:34what noises were there
22:35at that moment?
22:36one of the first noises
22:38that's what he feels
22:39a tenant
22:39that is, that of a thud
22:41followed immediately
22:42from the screams
22:43which are those
22:43of Mara's father
22:45then there's another noise
22:46inside though
22:48of the palace
22:49of the stairs
22:49that is the noise
22:50of someone
22:50that rings a bell
22:51an absent tenant
22:52ring the doorbell
22:53your own doorbell
22:54he's going to open it
22:55but there is no one
22:57another noise
22:58quite interesting
22:59that's what he feels
23:01yet another tenant
23:02that is, of something
23:03of metallic
23:03that falls
23:04because there is something to say
23:05one thing about the palace
23:06the palace is a palace
23:07recently built
23:08in the post-war period
23:09so with few families
23:12and everything that happens
23:13everything that happens
23:13all the noises
23:14they feel very much
23:15here these are the noises
23:16and the silence?
23:18well the silences
23:20the non-noises
23:21they are also significant
23:23there is for example
23:23the fact that they don't feel
23:25steps on the stairs
23:26that they don't feel
23:27excited voices of screams
23:30so signs of a fight
23:31In short
23:32then that it is not heard
23:34ring the intercom
23:35at Mara's house
23:35that it is not heard
23:37open
23:37or close
23:38Mara's Gate
23:39with noises
23:40then and silences
23:41lack of noise
23:42then there are other things
23:43what can you tell us?
23:43the closed apartment
23:45where the crime occurred
23:46for example the signs
23:47what signs are there
23:48in this apartment?
23:50well the signs
23:50there is a fundamental sign
23:52meanwhile that's what
23:53from the
23:54the corridor door
23:55between the living area
23:56and the closed sleeping area
23:57that is precisely
23:58And
23:59the most obvious sign
24:01Why
24:01as we know
24:02era
24:03unusual
24:04that it closed
24:04that door
24:05instead that night
24:06it was closed
24:06Mara's bedside table
24:09Mara's bedside table
24:10which has been moved
24:11next to the bed
24:12so it means
24:13which was already prepared
24:14to go to sleep
24:15and near the bed
24:16the open book
24:17with glasses on
24:18the clothes
24:19Mara's clothes
24:21piled up
24:22on a chair
24:22and the roller shutter
24:23of his room
24:24that the carabinieri
24:25they told us
24:25to have been found
24:27lowered
24:28In the end
24:28the blood stains
24:29Here you are
24:30the blood stains
24:30they are very important
24:32and certainly
24:32they can tell us
24:33many things
24:34can be read
24:35very carefully
24:36and this in fact
24:37we will do it
24:37with our expert
24:38of the scientific
24:39noises that aren't there
24:41the front door
24:42that doesn't open
24:43to let in
24:44the killer
24:44and it doesn't close
24:45to get him out
24:47Nobody
24:47that it be seen
24:48get out of that house
24:49from that boy
24:50that to fight
24:51insomnia
24:51walk down the street
24:53in a crime
24:54of the closed room
24:55the victim
24:56it's alone
24:57in a place
24:58where you can't
24:58nor enter
24:59nor go out
24:59but if in that place
25:01there is someone else
25:01then this
25:02comes immediately
25:03suspected
25:04that's what happens
25:05to Mara's father
25:07while proceeding
25:08360 degrees
25:09the carabinieri
25:10before Todi
25:11and then of Perugia
25:12they end up investigating
25:13him too
25:14is the person
25:15which could have been
25:16easily present
25:17in that house
25:19is the person
25:20which could easily
25:21know
25:22the existence
25:22of those bags
25:23for the bread
25:23and go there with confidence
25:25and then
25:26Mara hit in her room
25:28Calm
25:28as if he knew
25:30her attacker
25:30and trusted him
25:32and that shot too
25:33a surprise blow
25:34for a fit of anger
25:35as if for an argument
25:37one of those family arguments
25:38silent but ferocious
25:40that grow
25:40then one word too many
25:42blind rage
25:43the first thing
25:44and that shot
25:45it's like this
25:46that Mara's father
25:47he is under investigation
25:50with a confidentiality
25:51which must be noted
25:52and it should be
25:53always imitated
25:54the investigations
25:55at the father's expense
25:55by Mara
25:56become public domain
25:58only when
25:58the judiciary
25:59archive
26:00those same investigations
26:01to exonerate
26:02Mara's father
26:03there is a lack
26:04of a concrete motive
26:05the impossibility
26:07to exclude
26:08the other hypotheses
26:08and above all
26:09a particular
26:11very precise
26:13if Mara was hit
26:15in his room
26:15and if you hit her
26:17he was the father
26:17because then
26:19she runs away
26:19right in the room
26:20of the father
26:21the investigations
26:22are archived
26:23let's leave the exit
26:25from this story
26:25the father
26:26let's forget it
26:27and then
26:28who was it?
26:30we need to know
26:31something more
26:33let's try to know
26:34something more
26:34about Mara
26:35we gave it
26:36a portrait
26:37very comprehensive
26:37very precise
26:38but maybe
26:39we can know
26:40something more
26:41we ask who
26:42he knew her well
26:42to Mrs. Bruna Peppetti
26:45Lorenzo Viganò
26:46he went to interview her
26:47for us
26:53then Mrs. Peppetti
26:55what kind of person was Mara?
26:56tell me a little about it
26:57a very simple girl
26:59very good
27:00of the heart
27:00a little lonely
27:02he never spoke
27:04of his family
27:05never
27:05of the sister
27:07some time
27:08rarely
27:08he was talking about his grandchildren
27:09she loved very much
27:10his grandchildren
27:11what kind of relationship
27:12was there among you?
27:13friendship
27:14simple friendship
27:15he came to my house
27:16they had dinners
27:17he came with some friends
27:19then at the end of the scene
27:20they were making cards
27:21the cards
27:22the tarot cards
27:23and Mara too
27:25precisely
27:25he had tarot cards read
27:26yes no
27:26Mara was one of the
27:27the most
27:28fixated on this thing
27:29but one of the most disgraceful
27:31How come?
27:32Why
27:32she saw the past
27:34he saw the present
27:35and I couldn't see the future
27:36that is, in the future
27:37she didn't exist
27:40and this she
27:41he told him
27:41he had tried to tell her
27:42and Mara's reaction?
27:44Mara's reaction
27:44she was disappointed
27:45disappointed
27:45because he thought
27:46that I didn't do willingly
27:47Therefore
27:48I didn't want to tell him something
27:50instead just
27:51I didn't see the future
27:52but I didn't see
27:54Nothing
27:54there wasn't
27:56yes to me
27:57they didn't say anything
27:58the cards
27:58as if she
27:59opens a piece of paper
28:00when he saw
28:01for the last time
28:02Mara?
28:03I saw her
28:04the Mara
28:05one day before
28:07that it had disappeared
28:09I saw her
28:10in the course
28:11in the morning
28:12we had breakfast
28:13Together
28:13dressed beautifully
28:14cute
28:14all elegant
28:15that amazed me
28:16I said
28:17this time you're beautiful
28:18as it is not
28:19you found out
28:20with my love
28:20but why usually
28:21wasn't it like that?
28:22No
28:22Meaning what
28:23she was always dressed
28:24very simply
28:25trousers
28:26jacket
28:27trousers
28:27Sweater
28:28Very
28:30simple
28:30almost a
28:31as a boy
28:32more masculine
28:32How come
28:33she wasn't interested
28:36No
28:36she doesn't
28:37he didn't look
28:38this thing
28:40but
28:41when he was happy
28:42Here you are
28:42you saw her
28:42I saw her
28:43that morning
28:44all new
28:45all dressed up
28:46what did you do?
28:47I am happy
28:47I'm going out with him
28:48she thinks
28:50he had understood
28:50maybe he had
28:51of the reasons
28:52of dissatisfaction
28:54No
28:55he had this
28:55problem
28:56of this love
28:57she was in love
28:58because I
28:59I told him
28:59but what do you find there?
29:00in this person
29:01that doesn't treat you well
29:02he treats you badly
29:02and if you find yourself
29:04in the square
29:04you don't know yourself
29:05she tells me
29:05what you can do
29:06I'm in love
29:06he loved life
29:08he was studying to take
29:09because it was needed
29:10redeem
29:11he wanted to take
29:12trial
29:12in the audio
29:13I do not know
29:14he was studying
29:15Mara's anecdote
29:17it was living
29:18she live
29:19she was life
29:20it was all
29:21it was love
29:21it was studying
29:23it was work
29:24she loved life
29:26this is I know
29:26say
29:28Mara
29:28he had a lover
29:29older than her
29:30it was a relationship
29:32clandestine
29:32secret
29:33because man
29:33he was a married man
29:35together
29:35they had decided
29:36to leave things behind
29:37as they were
29:38neither family
29:40and even less the father
29:41by Mara
29:41he would have understood
29:42but
29:43it was a relationship
29:44to which Mara
29:45he cared a lot
29:46naturally
29:47the man is under investigation
29:48right away
29:48but for that evening
29:49an alibi
29:50that night
29:51at that time
29:52he's at home
29:52and is exonerated
29:53after all
29:55the man
29:56he always denied
29:57of having had
29:57a relationship
29:58with Mara
29:58even in front
29:59to the magistrate
30:01Mara
30:01she was a girl
30:02free
30:03a good girl
30:04not a girl
30:05easy
30:06we saw it
30:06but it was
30:07a young woman
30:08independent
30:09and aware
30:10with various friendships
30:11and various relationships
30:13right around that time
30:14he had decided
30:15to go and live
30:15in Perugia
30:16together with a friend of hers
30:17but aside
30:18a couple of times
30:19she had never been there
30:20in that apartment
30:21by contrasts
30:22with his father
30:23which he preferred
30:23have it with him
30:24in Todi
30:26in that period
30:27confides in a friend
30:28to have known
30:29a type
30:30with some criminal record
30:32always in that period
30:33to another friend
30:34he says a sentence
30:35very strange
30:35to me
30:36sooner or later
30:36they're killing me
30:37he says it jokingly
30:38but it's a sentence
30:39that makes you think
30:42shortly before the crime
30:43without knowing
30:44of relatives and friends
30:45he had decided
30:46to attend
30:47art courses
30:48of the university
30:48of the third age
30:49together with a blonde girl
30:51after the crime
30:53arrives at the secretariat
30:54telephone
30:55of the study
30:55where he works
30:56a strange message
30:57the mystery
30:58of Miss Callisti
30:59he is tied
31:00to his accession
31:01in old age
31:01what does it mean
31:04and if he had killed her
31:05someone
31:05who knew her
31:07someone
31:08that she had known
31:08in that period
31:09that had been to her
31:10in those two days
31:11in which the family
31:12there wasn't
31:12and it was in the countryside
31:13and that that evening
31:14comes up from her
31:16yes but
31:16someone who doesn't knock
31:17and the bell doesn't ring
31:19why this
31:19he is not heard
31:20there's that phone call
31:22at 11.30pm
31:23remember
31:24and if Mara
31:25had taken
31:26an appointment
31:49the call to someone
31:50which absolutely had to
31:52see her
31:52she waited
31:53that the father
31:54had gone to bed
31:54she went down
31:55he opened the door for him
31:56he made him go up
31:57and then she was killed
31:59but it doesn't add up
32:01Mara
32:02she was in her underwear bra
32:03and without glasses
32:04as if it were
32:05just got out of bed
32:06he has not had sexual intercourse
32:08and frankly
32:09it's hard to think
32:11that he made someone go up
32:13at that time
32:13and with the father sleeping
32:15right behind the corridor
32:17Mara wasn't like that
32:18and then
32:19how does he go away
32:21the killer
32:21how long is it
32:23to search
32:23that bag
32:24for the bread
32:24and go out
32:25and when it comes out
32:26because the boy
32:27who suffers from insomnia
32:28he doesn't see it
32:29John Dixon Carr
32:31the mystery
32:32of the closed room
32:33a crime
32:34which always seems
32:35done by a ghost
32:36here too
32:37that the case is true
32:38and we're not in London
32:39or in the Scottish moors
32:41but in Todi
32:55there are certain places
32:57certain countries
32:58and certain towns
32:59which could be
33:00defined as kind
33:02they are those places
33:03where you would never think
33:04that it can happen
33:05a bad thing
33:05with a crime
33:15this town
33:16it's one of these
33:17and not because
33:18it is not a metropolis
33:19because a country
33:20a house
33:21a room
33:21or even just
33:22a corridor
33:22are enough for this
33:24but really
33:25for his gentle appearance
33:30it must be the air
33:31do it like this
33:32the color of the air
33:34a gentle color
33:35a small one
33:36a little rainbow
33:37that fades gently
33:38as on the palette
33:38of a painter
33:39and not a painter
33:40tormented by fire
33:41of despair
33:42but a little artist
33:43serene
33:44and just a little melancholy
33:47someone
33:47that mixes colors
33:48with grace
33:49that spreads oils
33:50not too thick
33:51but thin
33:52that you dilute
33:53and dilute watercolors
33:54that everything fades away
33:55on tint and pastel
33:56but as soon as
33:56in a kind manner
33:58it's the air
33:59what makes a city
34:00the color of the air
34:01at sunset
34:01for example
34:02and the air of this city
34:04it's a gentle air
34:05too kind
34:05for a bad story
34:06like this one
34:13it's in the dark
34:14of that corridor
34:15that hides
34:16the mystery
34:16of Mara's death
34:18at that time
34:19very short
34:20that she employs
34:20to accomplish
34:21that journey
34:22before dying
34:22no one saw it
34:24no one heard it
34:25except his killer
34:26to him
34:27we can't ask for anything
34:28and of course
34:29not even Mara
34:30the corridor remains here
34:32houses sometimes talk
34:34the floors speak
34:35and the walls speak
34:36to those who know how to listen
34:37then let's go
34:39at the scientific police station in Bologna
34:40where he works
34:41Commissioner Silvio Bozzi
34:42we ask him
34:44to illustrate to us
34:45what could it tell
34:46that empty corridor
34:56I think in one case
34:57like this
34:57where there are no witnesses
34:59the only witness
35:00in practice he is the victim
35:01I think in one case
35:02like this
35:02are particularly
35:03traces of blood are important
35:05fundamentals
35:06more than important
35:07Here you are
35:07first of all here we see
35:08a part of the house
35:11by Mara
35:11of Mara's apartment
35:12not everything
35:13but the interested party
35:14from the path
35:15of the girl
35:16so this would be
35:17the corridor
35:18Mara's room
35:20the entrance
35:21part of the corridor
35:22the corridor
35:22and the father's room
35:24first of all let's say
35:25that the carabinieri
35:26they did a great job
35:28so they documented
35:30perfectly
35:30the location of the bloodstains
35:32the greatness
35:33the direction
35:33and the impact area
35:36the surface area
35:37of impact
35:37fundamental things
35:38all these elements
35:40if interpreted well
35:41they can give us
35:42very important news
35:43first of all the position
35:45of the aggressor
35:47of the victim
35:49of the aggressor
35:49the height
35:51from which they fall
35:52the various droplets
35:53of blood
35:53and above all
35:54the move
35:55both of the victim
35:57so after
35:57to have been hit
36:01of the aggressor
36:02and with sea
36:02she was hit
36:03here in his room
36:04in what position
36:05it was her
36:05in what position
36:06he was her attacker
36:07the position
36:08probably
36:09probably
36:10the attacker
36:11it was a position
36:12frontolateral
36:13compared to the sea
36:14so in front
36:14it's slightly
36:15I think more on the right
36:16I don't think he could
36:18to be behind
36:19sea
36:20through the intermediary
36:21that has no angle
36:23very accentuated
36:24so he should have
36:25to have limbs
36:27extremely long
36:29consider that between
36:29the knife
36:31there is the blade
36:31and the attacker
36:36there is the body of the sea
36:36which acts as an obstacle
36:38so he should have
36:39make a movement
36:39which I don't consider
36:41possible
36:42or at least
36:42very unlikely
36:43she was hit
36:44on the right
36:44I think more so
36:45why the shot
36:46it penetrated
36:47so with an angle
36:48from below
36:50upward
36:51and then from the outside
36:52towards the inside
36:53so it's easy
36:54what a sea
36:55and his attacker
36:55they faced each other
36:56and the attacker
36:57the ditches in front
36:58moved to the right
36:59I think so
37:00what do they tell us?
37:01the blood stains?
37:02before seeing
37:03the blood stains
37:04let's see table 2
37:05to understand something else
37:11let's get back on track
37:13made by Mara
37:14after the shot
37:17Here you are
37:17his room
37:19up to the place
37:20where it was then
37:21found
37:21the father's room
37:23the distance
37:24about 10 meters
37:25so it's a distance
37:27all in all
37:28considerable
37:29if you think
37:29under the conditions
37:30where the sea was pouring
37:31so with a double
37:32laceration
37:33aortic
37:34Let's move on to table 3
37:35to see exactly
37:36the blood stains
37:43Here you are
37:43this is the reconstruction
37:46of the places
37:47of the house
37:48in which they were
37:48we return to the same premises
37:50which we analyzed before
37:52Mara's room
37:54the entrance
37:56the corridor
37:58Here you are
37:59Here you are
38:00the first thing
38:01that catches the eye
38:02is this
38:02they are not
38:04distributed spots
38:05on a regular basis
38:06that is, there is no regular surplus
38:08we have an interruption
38:10decided
38:10here it is
38:11another interruption
38:13here
38:14contrasting
38:15to a drip
38:17massive
38:18in this area
38:19here near that one
38:20where the sea
38:20he was hit
38:21another drip
38:22powerful
38:23here it is
38:24with a very strange shape
38:26wave-like
38:26here look here
38:29here it is
38:30another barrier
38:31then another interruption
38:32another barrier
38:33everything in proximity
38:35of an obstacle
38:37Here you are
38:37a door
38:38then another door
38:39massive dripping
38:41here
38:42almost as if to create a blood barrier
38:44near the door
38:45and then a very strange one
38:46axis
38:47Here you are
38:48a
38:48a surplus of droplets
38:50not particularly large
38:51that runs
38:53Here you are
38:53quite regularly
38:55next to the wall
38:56up to the threshold
38:57of the father's door
38:58then a drip
38:59completely irrational
39:01because instead of being
39:02constant
39:03and I continue
39:03how a person would do it
39:04what blood
39:05and then continue
39:05to stain the floor
39:07we only have it
39:08in some places
39:08in others no
39:09and how is it explained?
39:10first mystery
39:11irregularity
39:11second mystery
39:13why Mara
39:15which produces
39:16blood
39:17so the blood
39:18drips in front of him
39:19it doesn't shed blood
39:21because there are no footprints
39:22of Mara's feet
39:23Mara is barefoot
39:25produces fingerprints
39:28has a step
39:29inevitably
39:30uncertain
39:31had a double
39:32laceration
39:34aortic
39:34Therefore
39:34hypothetical fools
39:36a lowering
39:36imperious with pressure
39:37nevertheless
39:38what does he do?
39:39it seems that
39:40you float
39:41you float
39:42opening up
39:43then interrupting
39:44the flow
39:45of the blood
39:46the flow of blood
39:47you float all over
39:48the apartment
39:48up to here
39:49and without leaving
39:50the floor
39:50up to the room
39:50of the stage
39:51how is this possible?
39:52and then how to explain
39:53how to explain
39:54blood staining
39:56on the sole of the foot
39:58of Mara?
39:59you think
39:59a stamp
39:59inked
40:00that beats repeatedly
40:02on sheets of paper
40:02without leaving
40:03any drawing
40:04some footprints
40:04it's not possible
40:05How can this be explained then?
40:06but I'll explain it
40:08exclusively in this way
40:09that is the only thing
40:10that makes me feel right
40:11a bit of everything
40:11this is it
40:12that is, that Mara
40:13it was
40:14immediately after
40:15the stab wound
40:17the only stab wound
40:18here in the breast area
40:20supported
40:21from one's attacker
40:22then raised
40:24taken in the arms
40:24raised in this way
40:25and I think
40:26this happened
40:28Therefore
40:28took it
40:29in this way
40:30with the
40:31the head
40:33Here you are
40:33reclined
40:34on the slope
40:36left
40:36of the aggressor
40:37This
40:37it would also seem
40:38demonstrated
40:39from some abrasions
40:40typical
40:40almost scratches
40:41in the scapular part
40:43in the scapular area
40:44of the girl
40:46sign that it was
40:46estate
40:47with a certain decision
40:49as if one
40:50he kept it
40:50and she pressed
40:51on the nails
40:52of the person
40:52and so it was
40:53formed
40:54with abrasions
40:54Exactly
40:55and how
40:56he proceeded
40:57the attacker?
40:58Here you are
40:58from behind
41:00I understand
41:01in a way
41:01so as not to
41:02to pound blood
41:03that was going
41:03producing itself
41:04before him
41:04but he was going
41:05backwards
41:05at a crab-like pace
41:06backwards
41:07and maybe it was also
41:08the most rational way
41:09more reasonable
41:10Here you are
41:11to carry a person
41:12Certainly
41:13but at this point
41:13the attacker
41:14so the killer
41:15supporter
41:16let's call it that
41:18meets
41:19of obstacles
41:20not simple
41:22to overcome
41:23Here you are
41:23first obstacle
41:24the door
41:24what does he do
41:25in my opinion
41:26makes a twist
41:27always leaving
41:28from one position
41:29from behind
41:30compared to the door
41:31a twist
41:31180 degrees
41:32Here you are
41:33in this way
41:35letting out
41:36the head
41:37by Mara
41:38Here you are
41:38from the door
41:38here
41:39Here you are
41:40here
41:40keeping your feet steady
41:43Here you are
41:43and that would explain
41:44precisely
41:45this very strange wave
41:47of blood
41:48massive
41:48this dripping
41:49powerful
41:50the movement
41:51also because
41:53why here
41:54massive
41:54Why
41:54in holding
41:56the girl
41:57that is, to hold up
41:58the girl's body
41:59in this way
41:59so it came to be created
42:01a kind of gutter
42:03Here you are
42:03formed by the
42:05body
42:05of the girl
42:06by Mara
42:07Here you are
42:07in this way
42:08inclined
42:09it's the chest
42:10the piece
42:10of the Grescia
42:11in which the blood collects
42:12and therefore not
42:13with the earth
42:13and at the moment in which
42:15the two
42:16we can define them
42:17Like this
42:18so two people
42:19that with these movements
42:21you endured
42:22heavy
42:23we've reached this point
42:25Here you are
42:25the attacker
42:25do this twist
42:27180 degrees
42:28with the shoulders
42:29Perhaps
42:30opening
42:31Certain
42:31it moves
42:32opening
42:33just of the small joints
42:34in this gutter
42:36we defined it
42:37in this way
42:38and thus causing
42:39this dripping
42:40own
42:41massive
42:42and apparently
42:43irrational
42:43inexplicable
42:44so when he does
42:45these movements
42:46more undecided
42:47in the face of obstacles
42:48the two bodies
42:48they separate
42:49and the blood comes out
42:50when instead
42:50it's safer
42:51the two bodies
42:52they are narrower
42:53and there is less bleeding
42:54here we have
42:55an interruption
42:57Here you are
42:58of the
42:59of the dripping
43:00due
43:00probably to the fact
43:01that the attacker
43:02so he reset
43:03one's own grip
43:04before tackling
43:06the obstacle
43:07more complex
43:08how to feed
43:09here there is a narrow passage
43:10the corridor is narrow
43:11can't handle it
43:12in this way
43:13always proceeding
43:14with the famous step
43:15from the shrimp
43:16because it's too narrow
43:17what to do then
43:19Here you are
43:20diagonally
43:20Here you are
43:20transversally
43:21and walk
43:23Here you are
43:23forming a species
43:24double-track
43:25a track is formed
43:27from the step
43:29Here you are
43:29Like this
43:30and the other
43:31and the other
43:32from the dripping
43:33from the dripping
43:35dripping
43:35here it is
43:36next to the wall
43:37that we saw before
43:38and that first
43:38we couldn't explain ourselves
43:40in any way
43:41some blood stains
43:43that I know there are
43:43which are smaller
43:44spread a little
43:46for the environments
43:47How do you explain those?
43:48the sprinkler effect
43:49the sprinkler effect
43:52of the hands
43:53of the limbs
43:53probably also
43:55the arm
43:56big thought
43:57by Mara
43:57bloody
43:58that with the movements
43:59of her attacker
44:01its ruler
44:01splashes and spreads
44:03this little drop
44:03a bit of everything
44:04even in very remote areas
44:05compared to dripping
44:07more massive
44:08here
44:08Understood?
44:09who attacked Mara
44:10he got stained with blood
44:12so obviously
44:12he got dirty
44:13certainly
44:14even a lot
44:15according to that
44:16that I
44:17I was able to reconstruct
44:18and think
44:19I really think so
44:20why he took over
44:21about himself
44:21on this
44:22This
44:24false floor
44:25created from Mara's body
44:26held this way
44:27all the blood
44:28which has soaked up
44:29own
44:29has impregnated
44:30all the clothes
44:31so with this
44:32conformation of the spots
44:34with these drips
44:35more massive
44:36with the fact that the stains
44:37they have not been trampled
44:38there are no fingerprints
44:39of Mara's feet
44:41it's easy then
44:42that she was
44:43supported in arms
44:43from someone
44:44and didn't walk
44:44I think so
44:45very likely
44:47I don't see
44:48another explanation
44:49as compared to
44:50those questions
44:51elementary school
44:52that we asked ourselves
44:54those footprints
44:55that are missing
44:55those bloodstains
44:57that are not trampled
44:59and by a curious coincidence
45:00they resist the irruption
45:02of curious people
45:03neighbors
45:03and nurses
45:05Perhaps
45:06who entered
45:06in that apartment
45:07he didn't dare
45:08cross
45:09that dark corridor
45:10and get to that room
45:11in which there is a girl
45:13who is dying
45:13and a father who screams
45:14or maybe
45:16prevailed
45:17instinctive attention
45:18not to trample
45:19something so disturbing
45:20like bloodstains
45:21on a floor
45:22Anyway
45:23those stains are there
45:24and they talk
45:263.44
45:28there's one minute left
45:29at that thud
45:30felt on the floor
45:31from the neighbor
45:32downstairs
45:34Mara in her room
45:35and she's not alone
45:37Perhaps
45:37she just got up
45:38because he heard
45:39a thief
45:39it's not easy
45:41but it's not impossible
45:42Perhaps
45:43just opened
45:44the door
45:45to a person
45:45to whom he gave
45:46an appointment
45:47a person
45:48which absolutely had to
45:49see her
45:50and that he couldn't do it
45:51before that time of night
45:53or maybe
45:54Mara went out
45:57he waited
45:58that the father
45:58he went to bed
45:59and she went out
46:00to avoid arguments
46:01maybe there was someone
46:03that he absolutely wanted to see
46:04and then
46:05he convinced her
46:06to bring him up to the room
46:08Perhaps
46:09think that's enough
46:10the silence
46:11that's enough
46:12that closed door
46:13to maintain privacy
46:14not to disturb that father
46:16who sleeps
46:17in another room
46:20Perhaps
46:21think that's enough
46:22that corridor
46:22dark
46:23and empty
46:2450 seconds
46:25at that thud
46:26on the floor
46:26something happens
46:28an argument
46:29fierce and silent
46:30a refusal
46:31who is with Mara
46:33he wants from her
46:34an answer
46:34that Mara doesn't give him
46:35then the anger grows
46:37one of those rages
46:38deaf and blind
46:39of those that do
46:40to lose one's head
46:41they make you grab
46:41the first thing
46:42that passes through the hands
46:43and they make it hit
46:43and strike to kill
46:44even if you don't want to
46:4650 seconds
46:47the blade
46:48it penetrated the chest
46:49by Mara
46:50for 8 cm
46:51and he drilled the garden
46:52in two points
46:53involuntarily
46:54Yes
46:55because if who hit her
46:56he wanted to kill her
46:57it wouldn't have been safe
46:59to have done it
46:59with that shot
47:00and would have continued
47:01to hit her again
47:02as always happens
47:03No
47:03who hurt her
47:05he did it unintentionally
47:06he did it because of an accident
47:08and now
47:08he is desperate
47:09he is amazed
47:10how much Mara
47:10and he doesn't know what to do
47:1250 seconds
47:13Mara loses her strength
47:14and you have to pick them up
47:16why don't you collapse to the ground
47:17who hit her
47:18he lifts it up
47:19and he doesn't know what to do
47:20he doesn't know where to go
47:21and then aim directly
47:22in that place
47:23where you go
47:24when you get hurt
47:25the bathroom
47:26we need to open that door
47:28stain it with blood
47:30to turn around
47:31walking backwards
47:32hesitating and staggering
47:33out of desperation
47:34and for the effort
47:36in front of the glass door
47:37another stop
47:38and another blood stain
47:39thicker and bigger
47:41you have to get to the bathroom
47:43and then
47:44you have to cross
47:44that corridor
47:45which is narrow
47:46and you have to do it sideways
47:4750 seconds
47:49Mara is dying
47:50it's getting heavier and heavier
47:51and who holds her in his arms
47:52he feels it slipping
47:53for the blood
47:54he can't take it anymore
47:55Perhaps
47:55he also hears the father
47:56who sleeps in that other room
47:58At that time
47:59he panics
48:01leave Mara
48:01and he goes away
48:0350 seconds
48:04Mara comes in staggering
48:06in the father's room
48:07turn on the light
48:08he just has time to say
48:09dad
48:10look what they did to me
48:11and then collapses to the ground
48:133.45am
48:14that thud
48:16it's just a hypothesis
48:18a hypothesis
48:19from a detective novel
48:20from crime
48:20of the closed room
48:21and like all hypotheses
48:23of the novels
48:24something explains
48:24and something not
48:25the truth
48:26the real one
48:27that of news stories
48:29belongs to the magistrates
48:30and not to the writers
48:31for us
48:32the mystery remains closed
48:34in that dark corridor
48:35and empty
48:36the most disturbing part
48:37of a sleeping house
48:38the one that scares
48:39to the children
48:41but Mara wasn't like that
48:42that dark silence
48:44that nightmarish silence
48:46to her who loved music
48:47I wouldn't have liked it
48:49let's not leave it there
48:50in that silence
48:51it wouldn't be there now
48:53now he would be with his friends
48:55the friends of the choir
48:55as she liked
48:57to sing
49:03friends of the choir
49:25friends of the choir
49:30friends of the choir
50:00to sing
50:05to sing
50:23Thank you all.
50:36Thank you all.
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