Maria Luigia Redoli, soprannominata dai media "la Circe della Versilia", era la moglie di Luciano Iacopi, condannata all'ergastolo insieme all'amante Carlo Cappelletti per l'omicidio del marito, avvenuto a Forte dei Marmi il 17 luglio 1989. Iacopi, ricco agente immobiliare, proprietario di diverse case e fondi, venne ucciso con 17 fendenti nel garage della sua abitazione, a due passi dalle spiagge della capitale del lusso versiliese. A scoprire il cadavere in un lago di sangue fu la stessa moglie, appena rientrata in casa con i figli. I sospetti si concentrarono comunque fin da subito su di lei, affascinante cinquantenne dalla bellezza aggressiva, e sul suo amante, un carabiniere di 23 anni. Dalle indagini affiora un mondo torbido, fatto di tradimenti, affari sporchi e ambigui personaggi a caccia di soldi facili, di cui "Telefono giallo" cerca di dare un quadro esaustivo.
1991 - Telefono giallo 1991 - Il delitto della Versilia - 01
#Crime #TrueCrime #ColdCase #Cronaca #CronacaNera #Nera #CronacaItaliana #Crimini #Criminali #CasiIrrisolti #Misteri #Mistero #Documentari #DocITA #CrimeDoc #Indagine #Giallo #Omicidio #Assassino #Killer #SerialKiller #Noir #Racconto #Cattura #CSI #CriminalMinds #SubENG #Delitto #Delitti #Crimine #Criminale #DivinumCrime #Blu #Notte #Carlo #Lucarelli #Misteri #Italiani #Documentario #Docu #Doc #DocuITA #Netflix #Streaming #SerieTV #Serie #TV #Stagione #Completa #StagioneCompleta #Tutte #Puntate #Puntata #Episodi #Episodio
1991 - Telefono giallo 1991 - Il delitto della Versilia - 01
#Crime #TrueCrime #ColdCase #Cronaca #CronacaNera #Nera #CronacaItaliana #Crimini #Criminali #CasiIrrisolti #Misteri #Mistero #Documentari #DocITA #CrimeDoc #Indagine #Giallo #Omicidio #Assassino #Killer #SerialKiller #Noir #Racconto #Cattura #CSI #CriminalMinds #SubENG #Delitto #Delitti #Crimine #Criminale #DivinumCrime #Blu #Notte #Carlo #Lucarelli #Misteri #Italiani #Documentario #Docu #Doc #DocuITA #Netflix #Streaming #SerieTV #Serie #TV #Stagione #Completa #StagioneCompleta #Tutte #Puntate #Puntata #Episodi #Episodio
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00:00:04Music
00:00:56Music
00:01:28Music
00:01:44Have you formed your own opinion about this crime?
00:01:49Look, I can say that I spent nine months in prison, just like that, without having done anything.
00:02:00Having done nothing?
00:02:01Nothing at all.
00:02:04Now, one more thing, did you ever really wish your husband would die?
00:02:10Who doesn't want it? No, he doesn't want it. There is a moment of anger when the wife is the one who
00:02:16husband or vice versa, but at least you died in all families, I think there is.
00:02:23But I never wanted it.
00:02:27So, in short, you deny this wish of yours?
00:02:29In fact, I'll tell you, I'll tell you that when my husband had some problem, I was the first one to call the ambulance.
00:02:37or give her the medicine.
00:02:38If I had wanted my husband dead, I would have left him alone, suffering from heart disease, there was no problem, right?
00:02:49Good evening.
00:02:50Who's hiding behind those dark glasses? Who is Maria Luigia Redoli?
00:02:56Who, with the brutality typical of journalistic language, the newspapers have called the Circe of Versilia.
00:03:03Circe like that mythical character from the Odyssey who transformed men into pigs.
00:03:09This is enough, the clamor, the interest that the case has aroused is enough to understand what kind of mystery we are faced with this evening.
00:03:17we find ourselves faced with what an enigma.
00:03:19What is it that transforms a crime, a crime that is a news story that unfortunately repeats itself with
00:03:27very frequently, in a thriller?
00:03:29If you think about it, there are just a few elements. It must be a well-defined event, with clearly identifiable elements.
00:03:39and which at the same time are uncertain elements.
00:03:42There are few elements on which to concentrate our attention, because otherwise the overall design would escape from our framework, from the framework of
00:03:50lay people who deal with it, such as journalists, among others.
00:03:55Yet these few elements must be elusive, open to various interpretations. That's exactly what we'll see tonight.
00:04:03We will find ourselves faced with a story that presents few elements, two or three, no more than that, all
00:04:09and two or three visible, readable in opposite ways, in one direction or the other.
00:04:15In the short statement that you have just heard at the beginning of the programme, collected by Franca Leosini, who is the colleague
00:04:22of the time of Rome,
00:04:23who also took care of the construction of the program, its investigation, as we say, perhaps exaggerating a little,
00:04:30the whole crux of this story is already there.
00:04:33Maria Luigia Redoli, the woman you have heard speak, hidden behind that heavy curtain of those glasses from which you cannot
00:04:40he never frees himself,
00:04:42Was it or wasn't she the one who killed her husband with the help of her young lover Carlo Cappelletti?
00:04:48Was it her or wasn't it?
00:04:50And on this fact the judges, in the first and second instance, gave two contrasting, indeed opposite, answers.
00:04:55In the first instance, in the Supreme Court, the two were acquitted, in the second instance, a few days ago, on Saturday 16 February.
00:05:03to be exact,
00:05:04both, Maria Luigia Redoli and Carlo Cappelletti, were sentenced to life imprisonment and this is their fate today
00:05:11current condition.
00:05:12We will go through this story, we will tell it, we will listen to most of the protagonists,
00:05:18some in the studio, others in interviews we filmed in the previous days,
00:05:23we will hear the facts and the different versions of the facts, the different reading of the facts that I also mentioned earlier,
00:05:30we will try to understand what caused it, after all, just a few months,
00:05:35the reading of the facts by two panels of magistrates in even opposite directions.
00:05:40With the right caution, with the coldness of the reporter, but also without sparing anything,
00:05:47We will therefore retrace this story, not without first reminding you how right,
00:05:52that this is a program broadcast live from Rai Nomentano studio 1
00:05:56and who responds for anyone who has the desire or reasonable reason to call us
00:06:02to the number you see in the overlay, where the first part is a prefix
00:06:06and the second part is our number.
00:06:10We are connected with Maria Luigia Redoli, who is at her home,
00:06:17because he can't get out of there.
00:06:19Good evening madam, can you hear me, can you see me?
00:06:22Yes, I feel it, good evening.
00:06:24We feel it too.
00:06:26Next to her is, I think, Carlo Cappelletti.
00:06:29Yes, good evening.
00:06:30Good evening Cappelletti.
00:06:32And then I see the lawyer?
00:06:33Mazzini Carducci.
00:06:35Good evening, lawyer.
00:06:36Madam, there is no need for me to tell you that we will now begin the story of these events.
00:06:42First of all, thanks to all three of you, especially to you and Mr. Cappelletti,
00:06:46Of course, thanks also to the lawyer, but let's say a less understated thank you.
00:06:51The lawyer is also there because it is his duty to be there.
00:06:56I was saying, madam, we will begin the story of this affair,
00:07:00we will reconstruct it in detail.
00:07:02Please, you or Cappelletti or the lawyer Mazzini Carducci,
00:07:07feel free to chime in at any time,
00:07:11you think it is to underline something, highlight a gap or vice versa.
00:07:18Here, behave freely.
00:07:20I will call you into question at certain moments that we thought we had identified.
00:07:24in the broadcast schedule.
00:07:27If there are any others you want to intervene in, please do so.
00:07:29Did I explain myself?
00:07:31Yes, yes, thank you.
00:07:33Very good.
00:07:34So, I would certainly begin, after this necessary preamble,
00:07:39I would definitely start telling this story,
00:07:44which has a very specific start time.
00:07:47It is a starting time from which this chain of events unfolds
00:07:51which, as we will see, has led, at least up to a certain point,
00:07:54to two even opposite conclusions.
00:07:56It all started at two in the morning on a Monday, July 17, 1989.
00:08:04Maria Luigia Redoli, the lady you saw earlier on the line from her home,
00:08:09he was returning home at two in the morning that day, together with his children,
00:08:14after a day spent in a way that would be banal
00:08:18if it were not retrospectively illuminated by what is about to happen,
00:08:24from what he would later find upon returning home.
00:08:27It is located in front, returning precisely to the scene that Giovanni Fago reconstructed in this first film.
00:08:34Before the video starts, I wanted to make a warning, an oddity, a curiosity.
00:08:39The actress who in our reconstruction films, faithful but always reconstruction,
00:08:46plays the character of Mrs. Redoli, she resembles in a way,
00:08:53he is practically a duplicate of the lady, a lookalike of Mrs. Redoli.
00:08:59This could lead to some small misunderstandings.
00:09:02It is worth pointing out that, of course, in the films we reconstructed,
00:09:08the actress who plays Mrs. Redoli is actually an actress
00:09:12and that instead in the filmed interviews that are inserted here and there
00:09:15this is the real Mrs. Redoli.
00:09:18Maybe it was useless to say it, but I wanted to clarify it.
00:09:21Now let's see this first video by Giovanni Fago.
00:09:48Thank you all.
00:10:18Your father is dead, let's go to the cabinets.
00:10:40The discovery of the body of Luciano Jacopi, who was 69 years old, about 20 years older than his wife.
00:10:49This is a detail that will be emphasized several times and that we also want to make clear right away.
00:10:55The discovery took place with the brutal dryness you saw in the film that just aired.
00:11:02Precisely this speed, this dryness, let's say almost brutal,
00:11:06This immediately gave rise to the first suspicions about Maria Luigia.
00:11:10Why does the woman see her husband on the ground and do nothing to help him?
00:11:15Because the video reconstructs what happened, according to the official truth of the minutes,
00:11:20which is perhaps not the whole truth, but it is certainly the most truth that can be had in a
00:11:25such a case.
00:11:26Why does the woman see her husband on the ground and do nothing to help him?
00:11:29Why doesn't he come closer to see, to make sure if he's just injured or already dead?
00:11:38Naturally, there are two conflicting versions of this first step as well.
00:11:43Redo replied that she was afraid, that the attackers were still lurking,
00:11:47hidden there in the garage and therefore he walked away as soon as he could.
00:11:52As soon as he saw the scene he walked away quickly and elegantly.
00:11:56According to the prosecution, however, the sequence of his movements naturally has a completely different explanation,
00:12:03much less honorable.
00:12:04The woman does not come closer because she already knows that the man is dead and she knows it,
00:12:08as it was she, with the help of her lover Cappelletti, who murdered him.
00:12:14Maria Luigia's attitude immediately after the discovery of the body,
00:12:18for the truth of this some doubts, some perplexities,
00:12:22also for a series of other small details that we show you in this second video that is being aired.
00:12:53Thank you all.
00:13:18And he's missing his wallet, I had 1,800,000 lire, at least that.
00:13:23and his wallet is missing, I had 1,800,000 lire, at least what we show you in this video.
00:13:53Where does this staircase lead?
00:13:55At home.
00:14:13It's closed.
00:14:14Now he wants to be clear.
00:14:15Who closed this door?
00:14:18I don't know, I think my husband.
00:14:19Her husband has no calls on him.
00:14:34It is there, in that door placed at the top of the stairs, one of the practically three elements of this mystery, one of the
00:14:43three puzzles.
00:14:44How come Jacopi, the dead man, the victim, was outside his house, on that summer night,
00:14:51the door that connected the garage to his house, that door at the top of the stairs,
00:14:56it was locked with four locks and he didn't have his house keys on him.
00:15:02Who locked that door if the man didn't have the keys with him?
00:15:11Around this enigma of the closed door, which seems, think, if it were not a case of real life,
00:15:16if there were no real death and real people sentenced to life imprisonment in the appeal court,
00:15:22It might seem like an invention of detective fiction, but one of the main themes of the investigation and the trial revolves around this enigma.
00:15:31And we will try to clarify this enigma using this model that you see here in front of me.
00:15:40And we will talk about that point in particular about this model shortly,
00:15:46we will come back because from the examination of the various possibilities that branch out from this model,
00:15:53it is possible to try to understand at least how the events unfolded, or rather a double possible reconstruction of the events themselves.
00:16:02Because in fact for the prosecution it is evident that it was the murderer who closed the door.
00:16:08and that if the murderer was someone who had the keys to the house,
00:16:13this meant that the killer was part of the family.
00:16:15There is no other option, according to the prosecution.
00:16:19As for the defense, as we will see, things may have gone very differently.
00:16:23Maybe a little complex, but not impossible.
00:16:27Different anyway.
00:16:28You may have noticed another oddity in the video.
00:16:32How can Maria Luigia Redoli notice, see, say that her husband does not have his wallet on him?
00:16:39if she didn't even get close to that corpse?
00:16:42How will he be able to say later, to indicate, the amount that must have been contained in that wallet?
00:16:49if she didn't see it?
00:16:52And above all, the first question we should perhaps ask ourselves at the end of this video is
00:16:58Who really was Luciano Iacopi, the victim?
00:17:02Next to me here in the studio is Franca Leosini, my colleague from back then, who helped us.
00:17:07Of time, I mean, everyday time.
00:17:10But why can time seem like the order of the universe?
00:17:15Good evening, Leosini.
00:17:16Who was Luciano Iacopi?
00:17:19It is with some embarrassment that I answer this question, because it is always uncomfortable.
00:17:26to speak in an unpleasant way about a person who is not there, especially when he or she has been eliminated
00:17:31in such a fierce manner.
00:17:33This already means that Luciano Iacopi was not a very nice person, for example.
00:17:37I must tell you that except for a few friends who defend his memory, Luciano Iacopi, in
00:17:44in fact, according to the voices of Versilia, the many voices of Versilia, he was a man first and foremost
00:17:50busily attached to his interests.
00:17:53And he is described as a greedy, miserly, extremely crude man.
00:17:59He was a very wealthy landowner, easily evicted.
00:18:04well, evictions which he also obtained with systems at the borders of the penal code.
00:18:09Also.
00:18:10Also.
00:18:11But of course, the result of all this is that he may have had many
00:18:15enemies.
00:18:16Many enemies, but I'll tell you the thing, let's say, the most insistent rumor going around is that he
00:18:21he lent money at interest.
00:18:23And undoubtedly...
00:18:24This is a euphemism for saying he was a loan shark.
00:18:26He was a loan shark.
00:18:27Certainly, so much so that it is said that on the tables of Versilia, on the night of the crime, many corks
00:18:33of cheerful champagne they jumped.
00:18:35It is clear that no one has ever come forward to say that they are indebted to Luciano.
00:18:42Jacopi, because it would have automatically been equivalent to being included in the list of possible authors
00:18:48of the crime.
00:18:49This character of Molière that you are describing, how did he behave from this point of view?
00:18:54towards the family of his wife Maria Luigia?
00:18:57But I must say, he was certainly an unpleasant person and he could not tolerate certain things.
00:19:03his wife's behavior, which was also quite open.
00:19:06That were enough?
00:19:08Discovered, let's say, quite unscrupulous.
00:19:11In short, Maria Luigia Redoli made no secret of certain of her life choices, but he essentially
00:19:17it gave the family the opportunity to have a fairly pleasant standard of living, so much so that
00:19:21that Mrs. Redoli had big cars, she had clothes, she wore jewels and she went to discos,
00:19:26It cannot be said that at heart they were stingy, stingy, but essentially this family did
00:19:30not an unpleasant life, if facts are what they are.
00:19:34And how did he react to his wife's nonchalance, so to speak?
00:19:39Of course, she undoubtedly tolerated any husband badly, probably, I must say that she also had
00:19:47separated the assets recently, his assets from those of his wife, but I told you,
00:19:52in fact not only did he make them live quite uninhibitedly, but then Luciano Aiacopi had
00:19:59he too has a rather eventful personal life, a double life.
00:20:05We'll talk about it in a moment, I wanted to talk now, here I see that we are, that the connection
00:20:09Mrs. Redoli, Mr. Cappelletti, but at this moment I am addressing you above all, Maria
00:20:14Luigia Redoli, have you heard the picture of your husband's family situation?
00:20:19Franca Leosini did it, do you agree?
00:20:21Yes, I agree.
00:20:22In the sense that her husband was, I know that she has already told these things to the judges,
00:20:27but she is in front of a few million people tonight, make good use of that
00:20:33that he says and answers as much as he can to the questions I ask him.
00:20:38She shares the fact that her husband was disliked and perhaps even hated by many
00:20:43people there in Versilia?
00:20:45Yes, that's true.
00:20:47Is it also true that your husband treated you generously financially?
00:20:53Yes, I didn't miss my husband much.
00:20:56So he was generous to her?
00:20:58Yes.
00:20:59And she, so to speak, reciprocated by having many adventures?
00:21:03What's this story?
00:21:06Many adventures?
00:21:07I've always done things with an open mind.
00:21:13But yours was what is called an open marriage, a free, mutually agreed marriage,
00:21:19or were these escapades subterfuge?
00:21:24Ninth.
00:21:26There was no subterfuge.
00:21:27He lived his life and I lived mine.
00:21:30Is it true that you had separated your assets?
00:21:32Yes.
00:21:33Why? Was it the result of an argument, a discussion, or a decision made?
00:21:38Ninth.
00:21:40As.
00:21:42One day he said, you separate and that's it.
00:21:48Listen, was your husband very rich?
00:21:50Yes, quite a bit.
00:21:52What would she have inherited from this crime, from this death, sorry?
00:21:56What if the conviction hadn't occurred?
00:22:01Certain.
00:22:04Well, I wanted to know if, apart from these facts, to which you kindly responded and I thank you,
00:22:11Can you tell me about your family's atmosphere?
00:22:16What was your everyday life like?
00:22:19Was it a house where people shouted or was it a house where doors were slammed behind each other?
00:22:24Or was there tolerance, education, respect?
00:22:27No, in my house we never shouted.
00:22:30The education was there and my husband lived his life.
00:22:36He came and went at whatever time he wanted and that was it.
00:22:42Mrs. Redo, I have to ask you a question.
00:22:44Did you share the same bedroom?
00:22:47No.
00:22:49Well, you were, let's say, it was a somewhat particular household, in the sense that you were, you lived under the same roof but
00:22:56it was like you were separated, let's say.
00:22:57Yes, as there are many couples.
00:23:00Sure, sure, but in fact, this is not a strange thing.
00:23:03Mine is known because what happened happened, while others maybe act nice and then...
00:23:11No, but for goodness sake, this is not a strange thing at all, this is actually a thing, apart from the fact that
00:23:17They also make kings, maybe they do it for other reasons, but it's not a thing, it just serves to color
00:23:24a familiar condition, undoubtedly.
00:23:27Is he saying something to the lawyer?
00:23:30No, no, no, really not.
00:23:33Lawyer, if you have something to say, please say it, feel free.
00:23:37No, look, on this topic it seems to me that the lady has answered exhaustively, if anything I needed to do some more
00:23:48observations...
00:23:49Go ahead and do them.
00:23:50...on the reconstruction of the garage.
00:23:53You're welcome, lawyer.
00:23:53There is one thing that I don't think you have really captured the gruesome atmosphere that was there.
00:24:03that moment.
00:24:04The blood had splashed from a lot of places and was much more extensive in the stain than the one we have
00:24:11detected.
00:24:12What do you deduce from that outpouring of blood? Why do you recall it? Why is it important?
00:24:17I'll call you back, I'll explain to you right away why I'm calling you back. Precisely because it is said that Mrs. Redoli left without
00:24:24help him and it wasn't clear that he was dead, dead dead.
00:24:30Here's my reasoning.
00:24:33I understand, lawyer. Yes, you will admit to me that even, I mean, if one sees a loved one, assuming that loved one...
00:24:40both the person you see, immersed in a pool of blood as you are describing, lying on the ground, the first
00:24:46instinct is not to run away, to go away, it is to run even at the cost of getting your clothes soaked in blood or
00:24:52No?
00:24:53No, I don't know, there could be.
00:24:57Say Maria Luigia, say her.
00:24:59You should try, open a garage and find a person in a pool of blood, the first thing you see
00:25:06ago, I had two children in the car, the first thing I did was run to the police, I didn't run away.
00:25:11No, no, actually that, sorry, it slipped out, I regretted saying slipped out, then I had
00:25:17patience.
00:25:19Did she run to alert the police without even letting her children get out of the car?
00:25:25No, because it was all dark, I was scared.
00:25:28Here, thank you Mrs. Maria Luigia.
00:25:31Now, of course, I renew my invitation to you to intervene at any time if you wish.
00:25:37Franca Leosini, just a moment.
00:25:42Ready?
00:25:43Ready?
00:25:44Yes.
00:25:44Good evening, Dr. Augias.
00:25:46Good evening.
00:25:46I'm calling from Milan.
00:25:47Yes.
00:25:48I'm 23 years old and, let's say, I've been going on holiday to Ponte dei Marmi for 20 years.
00:25:54And a few years ago I lived in the villa of this gentleman who was killed.
00:26:00Ah.
00:26:01And my family, let's say, myself included, knew him well, because we rented the house,
00:26:07the villa which I think is the one where Mrs. Redoli now resides,
00:26:13and, let's say, we rented the house for a month, this gentleman kindly let us the house in April
00:26:22until May, let's say, free,
00:26:24and he didn't ask, and then subsequently in the months of June and July he didn't ask for the advance payment of the rent.
00:26:30As for our impression, this gentleman seemed very kind and friendly.
00:26:37That is, a person who sought contact and relationships with people, especially with people who perhaps weren't
00:26:43he had known us for a long time, like my family.
00:26:46I understand.
00:26:47But he also seemed to be a person who was quite dissatisfied with his private life, because maybe, I don't know, when he spoke to my parents,
00:26:54with my mom, with my dad,
00:26:57Maybe my mother wanted to know some information so he got married, very often he was misleading.
00:27:03So I would say that my opinion and that of my family does not agree at all with what has been expressed.
00:27:10from the lady journalist of the time.
00:27:12From Leosini, of course. But in fact Leosini wasn't expressing her personal opinion, because she didn't...
00:27:18'he knew, I think.
00:27:19Actually, sorry.
00:27:20As a reporter, she simply reported what was being said there.
00:27:25Actually, sorry Mr. Augias, I wanted to add that there in Forte dei Marmi it was well known that he was a person
00:27:33who was able to do business well, let's say, with money.
00:27:35And maybe even the envy of the people led, let's say, to consider him in a negative light, but in fact
00:27:45Knowing him well, perhaps one could have had a different opinion.
00:27:50Anyway, that is, not to us, maybe we should have been in contact with each other for longer, but as far as our
00:27:59impression...
00:28:00That's it, that's what she told us. I think Mrs. Redoli... Mrs. Redoli, you heard this...
00:28:08testimony.
00:28:10You said something different before. What does this gentleman I don't know, who's calling from Milan, say?
00:28:16wrong then?
00:28:17Or he just got this impression that...
00:28:20I would like... can I say something?
00:28:22Please.
00:28:22He says, those who knew him well, but those who knew him better than Leosini had that impression, but those who knew him
00:28:30as they knew him in the Forte dei Marmi environment, therefore much more than that gentleman who called,
00:28:37he would have had something else.
00:28:39There is concrete evidence, there are sentences, there are documents, there are trials and there are
00:28:46process states.
00:28:48Well, true. Now, I don't want to go any further because I knew him well.
00:28:53Okay, thanks, lawyer.
00:28:55Leosini, Franca, how did... what tools did Jacopi use to fuel his knowledge?
00:29:05But he, precisely, this singular double life that he had... he tied it up through a whole series of relationships with women who...
00:29:15he met through advertisements in these newspapers that also deal with lonely hearts.
00:29:21And as the flea is precisely the last day of his life, he spent it precisely, well, the
00:29:30flea and I think we also have the ad that is that day, with which he met
00:29:38his last flame, Agatha, all good, with whom he spent the last day of his life
00:29:44his life.
00:29:44Now let's say it, so this advert of which I showed the enlarged photocopy says healthy, distinguished, tall sixty-year-old man
00:29:52social class, not free, looking, young woman, purpose, lasting, friendship, affection, honest, I don't understand a word.
00:30:00Not mercenary, anonymous, superficial, combine telephone, first contact, writing, etc., etc.
00:30:06This newspaper, this paper, the flea, is a newspaper, like many others in Italy, where anything is exchanged
00:30:15type of goods or services, it is appropriate to say, and among the many services that are exchanged with
00:30:21There are also sexual services listed in this sheet.
00:30:24For example, I read another ad that has nothing to do with our case, but which is useful for
00:30:30to give an idea of the climate of this section, of this newspaper.
00:30:34He says 22 years old, blond, slim, cute, would like to meet a man in his 20s or 30s, healthy, muscular, can travel, returnable phone number and photos, etc.
00:30:44Or 30-year-old, tall, dark-haired, handsome, looking for a lady, young lady or couple, for happy moments.
00:30:51In short, they are people who, exercising their freely guaranteed faculty, seek meetings for occasional or long-term partners of a
00:31:03sexual with crossbreeding of various kinds.
00:31:06Luciano Jacopi's last day, as Canzi and Franca Leosini mentioned, was spent with a woman, Agata, all well,
00:31:18a woman I met through one of these ads.
00:31:22It's July 16th, it's Sunday, or rather to be precise it's a hot summer Sunday, mid-July, as it is
00:31:30normal.
00:31:32In the morning Luciano Jacopi gets up, leaves the house, takes the train, goes to Follonica, where he lives all right,
00:31:38and he spends the whole day with her, returning home on another train only towards evening.
00:31:44In the video you will now see, we have reconstructed that return, according to the prosecution's thesis.
00:31:53I draw your attention to a series of details, elements that are put into various ways in the film.
00:32:01prominence
00:32:01and which will prove, I would say, to be fundamental for the investigations, let's say at the very least a strong cause for discussion and dissent
00:32:11during the trials.
00:32:13Let's see the video.
00:32:42Porto del Marbe Station
00:33:11Porto del Marbe Station
00:33:42Porto del Marbe Station
00:34:12Porto del Marbe Station
00:34:42Porto del Marbe Station
00:34:56Porto del Marbe Station
00:35:28Porto del Marbe Station
00:35:58Porto del Marbe Station
00:36:28Porto del Marbe Station
00:36:38HI
00:36:41No
00:36:43I'm alone at home
00:36:46It's so hot here I can't even begin to tell you
00:36:50but we eat so well today
00:36:53that I'm not hungry
00:36:57you are really a good cook
00:37:00I think I'll have a beer
00:37:01and then I go to bed
00:37:05Yes
00:37:09yes yes
00:37:13it was a really nice day
00:37:17you know that I know it well with you, right?
00:37:22All right
00:37:25agree
00:37:27see you Sunday then
00:37:33but this time
00:37:36you come by force of marbles
00:37:41HI
00:37:42sleep well
00:37:44Soon
00:37:48Good night
00:37:54this phone call
00:37:55the phone call to Agata everything was fine
00:37:57it's very important
00:37:58it serves to establish a moment from which
00:38:02let's say a moment up to which
00:38:03at 9.45pm
00:38:05time of the call
00:38:06we know therefore
00:38:07for obvious observation
00:38:09that Luciano Jacopi
00:38:11he was still alive
00:38:12and in one case where
00:38:13it all depends
00:38:14the prosecution's theses
00:38:16rather than alibis
00:38:17of those accused by an object that is there or is not there
00:38:20or a few minutes more or less
00:38:22in one movement
00:38:24to be able to fix this point
00:38:26it is a hold to which
00:38:29we got attached
00:38:31in the investigations
00:38:32during the trials
00:38:33we got attached as we will see
00:38:34in a little while maybe even too much
00:38:35at 9.45pm
00:38:38Luciano Jacopi
00:38:39talk on the phone
00:38:40he will die soon
00:38:42When
00:38:42the experts who did it
00:38:44necropsy examinations
00:38:45they couldn't go
00:38:47further on
00:38:47given the condition
00:38:48of environmental conditions
00:38:51of the corpse
00:38:51of a generic term
00:38:53they indicate
00:38:53the last hours
00:38:55of July 16th
00:38:56it's a bit too little
00:38:57to establish
00:38:58an exact moment
00:38:59Luciano Jacopi
00:39:00we saw
00:39:01who spent
00:39:01that Sunday day
00:39:03in company
00:39:04let's say so pleasant
00:39:05his wife does the same
00:39:06Maria Luigia Redoli
00:39:07with who?
00:39:08Where?
00:39:09he spends it in the meantime
00:39:10with his two children
00:39:11Tamara, 19 years old
00:39:13and Diego, 14 years old
00:39:14this is the age
00:39:15at the time of the facts
00:39:16and spends it
00:39:18especially in company
00:39:19of her last lover
00:39:21the bold one
00:39:22mounted carabiniere
00:39:23Carlo Cappelletti
00:39:2424 years old
00:39:25at the time of the facts
00:39:26who is the handsome young man
00:39:27that you saw
00:39:28even in the connection
00:39:30connected with us
00:39:31during this broadcast
00:39:33in that period
00:39:34Cappelletti
00:39:35he lives at his own expense
00:39:36of Redoli
00:39:37lodge at your own expense
00:39:38of Redoli
00:39:39in the pension
00:39:39Santo Domingo
00:39:40in Lido di Camaiore
00:39:43Sunday for them too
00:39:44we have rebuilt
00:39:45in the highlights
00:39:47what did he do
00:39:48this curious quartet
00:39:49on that Sunday
00:39:50intended for them
00:39:52to remain memorable
00:39:53let's see it in the video
00:40:03We see
00:40:03Soon
00:40:03Soon
00:40:03Soon
00:40:03Soon
00:40:14Thank you all.
00:40:45Thank you all.
00:41:18Thank you all.
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01:16:01Thank you all.
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