Pier Paolo Pasolini: quel delitto, quel mistero affrontato in una puntata esclusiva, inedita per "Storie Maledette". Un appuntamento che, alla vigilia dei 40 anni da quel massacro, Rai3 non poteva mancare, nel pullulare di rassegne, film e celebrazioni biografiche anche molto fantasiose. Una cosa va detta: è proprio grazie a una puntata di "Ombre sul giallo" del 2005 che Franca Leosini - con le rivelazioni fatte a lei in esclusiva da Pino Pelosi - riuscì a riaprire il caso Pasolini, ribaltando quella che, per quell'omicidio, era stata fino ad allora, una lunga menzogna. Si erano così riaperte le indagini su una tragica vicenda italiana, a lungo sepolta da una coltre di silenzio e di oblio. Eccezionalmente in studio, Dino Pedriali: il fotografo che ha ritratto Pasolini come nessuno mai e che in questa puntata mostra in esclusiva alcune foto scabrose, immagini di nudo di Pier Paolo Pasolini. Foto scattate da Pedriali allo scrittore pochi giorni prima dell'omicidio. Dino Pedriali racconta, con emozione a Franca Leosini, i tratti salienti di quella sua frequentazione con Pasolini e rivela quale fosse lo stato d'animo dello scrittore, alla vigilia della tragica fine. Torna in studio, Pino Pelosi: un faccia a faccia duro con Franca Leosini che anche questa volta, lo incalza per ottenere da lui quella verità che solo lui, realmente, conosce.
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#StorieMaledette #Pasolini #Pelosi #FrancaLeosini #Leosiners #Crime #TrueCrime #Delitti #Misteri #Killer #SerialKiller #ColdCase #Cronaca #CronacaNera #Mistero #Delitto #Documentari #Documentario #Docu #Doc #DivinumCrime #Lucarelliracconta #BluNotte #CarloLucarelli #ColdCase #Crime #TrueCrime #Giallo #CronacaNera #CronacaItaliana #BluNotte #CarloLucarelli #MisteriItaliani #Lucarelliracconta #Blu #Notte #Carlo #Lucarelli #Racconto #Racconti #Giallo #Gialli #Noir #Thriller #Crime #TrueCrime #ColdCase #Cronaca #CronacaNera #Nera #CronacaItaliana #Crimini #Criminali #CasiIrrisolti #Misteri #Mistero #Documentari #DocITA #CrimeDoc #Indagine #Giallo #Omicidio #Delitto #Delitti #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 #Mafia #CosaNostra #MafiaItaliana #Corleone #Corleonesi #Cupola #Boss #CriminalitàOrganizzata #Camorra #Gomorra #Casalesi #CasalDiPrincipe #Clan #Boss #Ndrangheta #SacraCoronaUnita #Antimafia #Falcone #Borsellino #Saviano #RobertoSaviano #Riina #Provenzano #Vallanzasca #PippoManiero #Turatello #Mesina
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TVTrascrizione
00:07Music
00:58Music
01:00Pasolini's body is a body without peace.
01:04Still stealing the soul from that body today, in the autumn of 2014
01:09directors, writers, politicians, journalists provide
01:13or just thieves of images and memories
01:16that should be sacred, that they are.
01:20Stealing Pierparo Pasolini's soul again
01:23even those who on that November night of 75
01:28helped steal his life.
01:31And I'm talking about Pino Pelosi, who will be here with us tonight.
01:35And we'll hear it again this evening
01:37to make him tell the last of his truths
01:41or yet another of his lies.
01:45In October 1975, a few days before he was killed
01:51Pasolini said bitterly
01:55«The Italian press has been reporting for 20 years
01:57and first of all the written press
01:59contributed to making me a person
02:02a moral opposite, an outcast.
02:05There is no doubt that this ban
02:08on the part of public opinion
02:09homophily contributed
02:12which has been imputed to me all my life
02:15like a mark of ignominy
02:18particularly emblematic
02:19in the case I represent.
02:22The seal itself
02:23of a human abomination by which I would be marked
02:26and that would condemn everything that I am
02:29my sensitivity, my imagination, my work
02:32the totality of my emotions, my feelings
02:35and of my actions to be nothing else
02:37if not a camouflage for this fundamental sin
02:41of a sin and a damnation.
02:59To put the seal on his damnation
03:02Oil, that novel destined
03:05in Pasolini's intention
03:06to be risky up to jail
03:09to be dangerous
03:10as always, his fate was dangerous.
03:13A novel destined to make
03:15the violent noise of truth
03:17and to which the writer
03:19he had started working since 1972.
03:23A novel, Oil
03:24which will remain unfinished
03:26and which will be published posthumously
03:29in 1992.
03:31He was looking for scandal
03:33with that novel Pasolini
03:34he was looking for the Pasolini scandal
03:37why those 2000 pages
03:39which he had hypothesized
03:41for his monumental literary project
03:43they were supposed to represent
03:45a sort of universal judgment
03:47a violent indictment
03:50towards degradation
03:51especially towards
03:53of the corruption of politics
03:55of culture
03:56of the entire Italian society
03:58of that last twenty years.
04:02To enhance it
04:03that scandal
04:04it was also necessary
04:06scandalous images.
04:07Pasolini
04:08he entrusts her
04:09those images of him
04:10to a young Roman photographer.
04:12His name is Dino Pedriali
04:14that photographer.
04:15At the time
04:15in 1975
04:17Pedals
04:18he had already photographed
04:20portrait
04:21characters like Andy Warhol
04:22like Man Ray
04:23and above all
04:25he had great talent
04:27Pedals
04:27and he only had
04:2925 years old.
04:31They are photographs
04:32they are extraordinary portraits
04:35Pasolini's
04:36made by Dino Pedriali
04:38they are strong and delicate
04:40and they are portraits
04:41which they then did
04:43the story
04:43of iconography
04:45by Pierpaolo Pasolini
04:46but to make
04:47extraordinary
04:48exceptional
04:49unique
04:50that reportage
04:51it's the fact that Pasolini
04:53in many of those images
04:55he is naked
04:56and nothing
04:57there may be
04:58that like the nude
04:59have greater purity.
05:02They are images
05:03of an eroticism
05:04chaste
05:04Pasolini's
05:05naked
05:06in torment
05:07of the muscles
05:08that body of his
05:09it appears as if sculpted
05:11in black and white
05:12of the stone.
05:14It must be said right away
05:15that Dino Pedriali
05:16of those images
05:16nude
05:17by Pierpaolo Pasolini
05:19which could be worth gold
05:20has never
05:21made trade.
05:23Even this evening
05:24cursed stories
05:25Dino Pedriali
05:26those images
05:26he offered them
05:27free
05:28extreme tribute
05:30extreme sign
05:31of fidelity
05:32uncorrupted
05:33to Pierpaolo Pasolini.
05:34to Pier Paolo Pasolini
06:20those strong images
06:22which have almost
06:23the flavor
06:23of a will
06:25she Pedriali
06:26he made them
06:27a few days
06:28Before
06:28that Pierpaolo Pasolini
06:30was killed
06:31and made them happen
06:33in part
06:34in the house
06:35from Sabaudia
06:36True?
06:37In part
06:38in Sabaudia
06:39but the part
06:40more intense
06:41it's in Chia
06:41what would that be?
06:43In Biterbese
06:45place this
06:46place
06:47who had
06:48recently taken
06:49which is
06:49a ruther
06:51practically
06:52of 1100
06:53and he had it
06:55taken
06:56and he had built us
06:57all glass
07:00behind
07:00it seems to me
07:01which was
07:01Dante Ferretti
07:03I could be wrong
07:04the set designer
07:05very nice
07:06why did he lean on
07:07with some ties
07:08a whole structure
07:09in wood
07:10and glass
07:12it was a house
07:13of blackberry
07:14that Pasolini
07:15he particularly loved
07:16more than the house
07:17from Sabaudia
07:18completely
07:19him right
07:20he took refuge
07:21Alone
07:21exclusively
07:22to write
07:38the house
07:39actually
07:40it's a place
07:40that he
07:41he tried
07:42very, very much
07:42he found
07:43and it was
07:43a castle
07:46dislocated
07:47completely
07:49very isolated
07:51and that
07:52it's the place
07:53that he
07:53he fixed it
07:54without touching
07:56the luderi
07:56own
07:57and supported
07:57behind
07:58a whole structure
08:00in wood
08:00with glass windows
08:01and he made us
08:02his home
08:04its place
08:04but he
08:05he loved
08:05he loved very much
08:06stay in that house
08:06very much
08:07Yes
08:22listen
08:23Pedriani
08:23she
08:23at the time
08:24he was a photographer
08:26young
08:27he only had
08:2725 years old
08:28he already had
08:29Like this
08:29one of his
08:31image
08:32because he had
08:33photographed
08:33Andy Warhol
08:34Man Ray
08:35but
08:35he was a boy
08:36he was young
08:37of good hopes
08:39Pasolini
08:40could afford
08:41photographers
08:41the photographers
08:42most important
08:43of the world
08:43as it was
08:44why is it addressed
08:45just to her
08:46for those images
08:47clearly
08:48me when I introduced myself
08:49from Pasolini
08:50I brought the work
08:51what I had done
08:52by Man Ray
08:53and he
08:55he observed
08:55these photographs
08:56and it was beautiful
08:58his
08:59he looks at me
09:01and he tells me
09:02but you made them
09:03these photos
09:04and I answered
09:05Yes
09:05I made them
09:06Certain
09:06and it was
09:07funny
09:09those photos
09:10by Man Ray
09:10they hit him
09:11Very
09:13Excuse me
09:14Pedreali
09:15beyond
09:15some photographs
09:16of the portraits
09:17which then
09:17we will commit
09:18Together
09:19that she
09:19he made
09:21he did
09:21Pasolini
09:22Pasolini
09:23he even had
09:23decided
09:24to entrust
09:25to her
09:25Pedreali
09:27the images
09:28the photos
09:29that they should have
09:30to accompany
09:31the novel
09:32Petrolium
09:32Here you are
09:33it was an assignment
09:34prestigious
09:36companion
09:37a book
09:37that was supposed to be
09:38a literary monument
09:40for Pasolini
09:40I would like to be
09:41at this moment
09:42a cell
09:43of his brain
09:44Pedreali
09:45to understand
09:47what a commotion
09:49has aroused
09:49in her
09:50this proposal
09:51by Pasolini
09:51I
09:55practically
09:55I almost have
09:57tireless
09:58in saying
10:00own
10:00completely
10:01to Pasolini
10:01that I wasn't
10:02able
10:02that I wasn't
10:03capable
10:04that I didn't have
10:05neither
10:06the basics
10:07of study
10:08to be able to understand
10:10light
10:10interpret
10:11and take pictures
10:12on this
10:14book
10:15that was
10:15writing
10:19the more I said
10:20and more him
10:21he was convinced
10:22and then he tells me
10:23clearly
10:23with a
10:24simplicity
10:25you better
10:26than anyone else
10:27you will be able to illustrate
10:28this novel
10:30accept
10:33because she was
10:34doubtful
10:35it's more logical
10:36Today
10:37he is scared
10:38from doubt
10:38hear Pedreali
10:39here I am
10:40more than a hundred
10:41the photos that she
10:41he took the shot
10:43to Pasolini
10:43in those days
10:45days he lived
10:46with him
10:46days that are
10:48Almost
10:48on the eve
10:49of death
10:50Here you are
10:51one in particular
10:52of those photos
10:53and then
10:53become
10:55it can be said
10:55the official portrait
10:57the symbolic portrait
10:58by Pasolini
10:59I am however
11:00the nude photos
11:02by Pasolini
11:04which he made
11:05she
11:06what they did
11:07scandal
11:07and they did
11:08history
11:09Here you are
11:10hear Pedreali
11:12Pasolini
11:12why it was done
11:13photographing nudes?
11:15he was very clear
11:16in this
11:16he said very clearly
11:18I decided
11:19to make a work
11:20scandalous
11:21this time
11:21I will be
11:22all the way
11:23and who
11:24Why
11:25what will not be understood
11:27with the word
11:28it will be understood
11:29with the image
11:30in short, that is
11:30the nude
11:31as a metaphor
11:32of the intellectual
11:33what you need to know
11:34to lay bare
11:34his thoughts
11:36without those silences
11:38that have the noise
11:39deaf
11:40and coward
11:41of convenience
11:42and the scandal
11:43of the nude
11:43it was because
11:44in conclusion
11:45the nude
11:46he is dressed
11:46and the thought
11:47which was
11:48almost more naked
11:49of his words
11:51much more naked
11:52which is an exercise
12:18to Pasolini's film, but the direction of those photos is such a refined direction, drawing
12:26almost theatrical, was it his or was it Pasolini's?
12:29He just gave me the indication, they must be photographs, it's like I don't notice
12:35of the presence of a photographer and then only at a certain point do I notice this.
12:39Pasolini told her that they must be stolen photos, so basically the direction
12:45of the photos and of Pasolini, but how did you achieve this surprise effect?
12:51Was she in the garden?
12:51I was outside in the garden in front of the glass window that acted as a mirror with the trees
12:58reflections.
12:59No embarrassment?
13:01On Pasolini's part?
13:04No, on Pasolini's part it was that I didn't have time to enter before it was already
13:09aware, he was very quick to get back into his shoes and shortly thereafter there was
13:16a moment of pause at work, but he started writing again and then he started again
13:26the rhythm.
13:27So you've never seen him naked up close?
13:29Yes, from a close-up nude point of view, no, I haven't seen him completely naked.
13:38Listen, Pedreali, people close to Pasolini, to name one the writer Alberto Arbasino,
13:45they said that in that last period Pasolini lived in a very dramatic way
13:53torment of growing old.
13:55Pasolini suffered the anguish of losing seduction, he also suffered the anxiety of losing
14:04fascination with the street kids he sought out during his wild nights.
14:10Being photographed naked with his body still so strong, so toned, was perhaps a
14:18way to exorcise this, this anxiety of old age that tormented him?
14:24No, no, absolutely not, I don't agree at all with what Arbasino said and I don't
14:34just Arbasino, just ask like that, I don't agree at all.
14:38Tell us what you think?
14:40For Pasolini the body represented something extremely absolute, important, it was
14:49served him very well, not as a narcissistic form, but through the beauty of his own body,
14:56because he was a handsome man, it proves this immortality and I think the truth is that
15:03More than aging, this body was part of its history, that is, of what
15:10he was writing.
15:11So she lived through what would have been Pasolini's last days, well, she didn't
15:16In short, did you sense the torment of decline in Pasolini?
15:20No, I didn't notice it.
15:23She also told me once when we met, that Pasolini told her one day
15:28Point blank, would you go to bed with a man my age, let's talk about this
15:33torment that not only Arbasino but also other people who frequented Pasolini talk about, here is
15:39this torment that Pasolini lived, of this growing old.
15:44I was speechless when Pasolini told me exactly that, I would have liked to go
15:51in bed with a person of his age, this moved me, it really left me without
15:58words, that is, I remained.
16:02And what did she answer?
16:03Do you remember what he answered her?
16:04Of course I answered, I said if I'm looking for eros absolutely not Mr. Pasolini, no
16:10I'm interested in sleeping with someone his age, but if I'm looking for a relationship, a
16:15story, a love, do I sleep with a person his age?
16:18She said exactly...
16:20I'm being weaned somehow.
16:22I wouldn't have sex with her, I would make love with her.
16:24Love, of course.
16:25But are you a little in love with Pasolini?
16:27But I fell in love, in love in a paradoxical way, I can answer maybe up to
16:36to this interview because I know he's leaving.
16:41So, excuse me?
16:45The emotion I have is that it took me a long time, I struggled a lot to get into first gear a little bit
16:52line, to give up anything, but it has always been alive, present, so I
16:57in love, of course, but I haven't had the chance to express it anymore.
17:02The loneliness I saw in that man is terrible, and who can live like that?
17:15No one, not even I, can live like that.
17:21So you felt a deep loneliness?
17:24Ah, that's terrible.
17:25I have never seen a man so abandoned to himself, completely abandoned.
17:30How is it done?
17:32Here, hearing him speak, there is the sign of a mysterious bond, perhaps even eternal,
17:36which was established between her and Pasolini.
17:39Yes.
17:40Because I have to say that it struck me that when we first met and we
17:45you spoke to her, talking about her relationship with Pasolini, more than once you were moved,
17:51she cried.
17:52Yes, yes, but even now I'm moved, I practice a lot.
18:04But, I don't know, it is said that in life everyone has something they could have done.
18:11better than the other.
18:12I can take photos well and I also think well, it's my language.
18:19But it's difficult when you have someone imposing in front of you, a poet, that's it.
18:27I fell in love, yes, with Pasolini and Bireta Subino.
18:33I was pierced by the pain because it came suddenly.
18:39Listen, Petriali, you made this photo shoot that Pasolini didn't see.
18:47No.
18:48No, basically.
18:49No.
18:49But she never traded in those images.
18:52Ninth.
18:53This is what needs to be said.
18:54No, no, I have never traded these images.
19:00Also tonight we have free offers exclusively for Storie Venedette.
19:05I don't know what trade means.
19:07But the important thing, yes, is this.
19:10No, no, I have an eternal debt to Pasolini.
19:14Even though I know I will miss something, but from today and from this interview, from when I leave this studio,
19:25I know it's over.
19:26I know I have saved my task.
19:29And we are grateful, Petriali.
19:59She truly lived the last days of Pasolini's life.
20:03She lived them with him.
20:05He experienced them with Pasolini.
20:06Yes, yes, yes.
20:06Sure, 24 hours a day.
20:09What was Pasolini's real state of mind?
20:12Pasolini had been abandoned.
20:14In fact, she spoke of a great loneliness.
20:17Huge, right?
20:18Big, huge.
20:18Of having this feeling of loneliness.
20:19She recalled that Pasolini suddenly gasped, "The world doesn't want me anymore."
20:29He said it to me, he said it in the Sabaudia Bridge, he expressed himself in
20:34this way.
20:35Look at this horizon, it looks like a third world panorama.
20:40There is no place, not even in the third world, there is no place in the world.
20:45The world doesn't want me anymore.
20:46It's the sign of an end too, though, here.
20:49And the end of that too short novel, which was the life of Pasolini, of a genius, has come
20:57consumed precisely on one of those damned nights that he unfortunately sought with a curse.
21:05You, Pediali, told me sincerely that you hung out with the same undergrowth, the same street kids that Pasolini hung out with.
21:14And she said that she too was very aware of the danger Pasolini was exposing himself to, in short.
21:22Because that periphery of the world that he had, that he fantasized about, that he had also described very well in his books, in
21:29his films, in his novels, then she was no longer what he thought she was, in short.
21:35And did she want to tell him somehow?
21:38Yes, yes. I liked it when I was 12, so I started hanging out with it 12 years ago,
21:44to move within this world, which however was changing.
21:48The danger has increased dramatically.
21:51Anybody can be a potential murderer, these guys.
21:54But didn't you tell Pasolini?
21:56Well, I didn't get a chance to say.
21:58Let's just say I didn't even have time to tell him.
22:00No, exactly.
22:01Listen, Pedriale, we said that many scripts have been written about Pasolini's death, apocryphal scripts of course.
22:09Because the truth about Pasolini's murder is still the main focus.
22:14What do you think about that death?
22:18Who killed? Why was Pasolini killed?
22:20The idea I got at the time was immediately hot and the rest is always quite similar to this idea,
22:28that there was a political appropriation, but it is not a political murder.
22:33Matured in the prostitution environment, let's go and do, let's go and have sex with Faggot, this and that, with one, since
22:46Frocio is an important Frocio.
22:47Are you ruling out a political crime?
22:49Yes, yes, completely. It's a murder committed in the prostitution industry, absolutely.
22:58Because it's a murder born out of male prostitution, period. It's a murder born out of male prostitution, out of the gang, let's call it.
23:13And it is not a political murder at all.
23:17And there Pasolini dies.
23:19And there Pasolini dies.
23:21Yes.
23:22And there Pasolini dies.
24:05The truth about the murder of Pierpaolo Pasolini, the truth about that death, about that crime,
24:11Even today, after about 40 years, or perhaps today more than ever, many people continue to tell it,
24:20too many.
24:20Fantasies, intellectual arrogance, misappropriations of truth, which have only the reckless trait of supposition.
24:27It must be said that for a long time, Pasolini's memory had fallen asleep in popular thought.
24:36Some precious essays for refined scholars, rare notes in pages of culture, then silence, in a thick blanket of
24:45annoyance of oblivion.
24:47I tried to stir up that pool of oblivion by fishing out Pelosi.
24:53It was 1994.
24:55But where was Pelosi?
24:57What had become of him?
24:59He was in prison in King Bible Pelosi, for one of his little crimes.
25:04As he lexically acrobatically defined those chain thefts,
25:09which were essential fuel for his survival.
25:18I interviewed him for cursed stories, Pino Pelosi.
25:22But to every objection I made to him in the interview,
25:25to challenge him with documents in hand, the blatant lies that he told about Pasolini's murder
25:30for about 20 years he continued to modulate,
25:34stubbornly, Pelosi opposed the usual improbable procedural truth.
25:38Then it was May, as a beautiful Neapolitan song says.
25:44It was a day in May 2005.
25:47Hello, I know Pelosi.
25:49This is how Pino Pelosi usually introduces himself on the phone.
25:54It was Pelosi.
25:55It was Pelosi himself who asked me to meet him and listen to him.
25:59To tell me about his lying silence that lasted almost 30 years.
26:05To tell me why he trusted and still trusts me,
26:09of that violent night of mud and blood at the seaplane base.
26:15That night of 75, that he, taking upon himself all responsibility for 30 years,
26:23he had told it like this.
26:26He had been to dinner at the Il Pommidoro restaurant,
26:29in the popular neighborhood of San Lorenzo, with Ninetto Davoli and his family.
26:34Davoli was one of his friends and favorite actors.
26:37Around 10.30pm Pasolini takes his leave,
26:40I'm going to study a script, he apologizes to his friends.
26:43Instead he runs to put out his fever,
26:46where the street kids wait on the sidewalk
26:49to earn the price of a night.
26:51Termini Station, Piazza dei Cinquecento.
26:54A small group of boys approaches the Alfa GT.
26:58Some chatter, Pasolini's cautious hand
27:01that protrudes through the window.
27:03But it is not one of them that Pasolini chooses.
27:07Pino Pelosi comes out of the bar.
27:09They call him Pelosino, he's 17 years old,
27:12He is small, curly-haired, has a big mouth and bright eyes.
27:16It seems to have escaped from a page of the writer.
27:19Pelosi approaches the car.
27:20A quick exchange and he gets in the car.
27:24Together they move away.
27:28From Piazza dei Cinquecento, Pasolini and Pelosi,
27:31on board the Alfa GT,
27:33they reach the restaurant at Biondo Tevere.
27:35It's just Pelosi having dinner.
27:37Spaghetti, chicken, and a beer.
27:39Around midnight, Pasolini and Pelosi leave the restaurant.
27:43They fill up their tank at a vending machine.
27:47They then run into the night, along the Via Ostiense.
27:54At the edge of Ostia, they reach the Idroscalo,
27:58an area crowded with illegal shacks at the time.
28:01Pasolini seems to know the place perfectly.
28:05He stops the car in a dirt road.
28:06The local kids use it as a soccer field.
28:10It's around half past midnight and it's pitch dark at the Idroscalo.
28:14The two chat in the car.
28:16Pasolini, as Pelosi will recount, performed oral sex on him.
28:21Then they get out of the car.
28:22Pelosi heads towards the metal fence that enclosed the soccer field.
28:26Pasolini almost immediately has his back.
28:28He wants more sexual services that Pelosi is not willing to provide.
28:32She then struck him, Pelosi claims, to defend herself from the writer's sexual and physical violence.
28:38He hit her after Pasolini, enraged by her refusal to grant more sex,
28:42he had beaten him repeatedly with a stick.
28:45He had chased him and knocked him down.
28:46They then fought him furiously.
28:48And he, Pelosi, had hit Pasolini.
28:51He had hit him with a piece of wood.
28:52He had punched him, kicked him, violently kneed him and hit him genitally.
28:55While the writer, as if mad, shouted
28:57"I'll kill you!"
28:59And then he, Pelosi, with a piece of wood and a tablet that he grabbed in the dark,
29:03he hit him with sticks on the head, the back of the neck and the shoulders
29:05and Pasolini collapsed to the ground in a gasp.
29:13And he, Pelosi, terrified and bleeding,
29:17he ran away and fled in the writer's car.
29:20In the darkness he passed over Pasolini's body without realizing it.
29:27Nine years in prison for that crime, Pelosi had done them all.
29:33More years in prison, more than ten.
29:35Pelosi had then earned them over time through thefts and petty thefts,
29:39always bearing upon himself the mark of that unforgivable guilt.
29:44Then, as I said, one day in May 2005,
29:50Pino Pelosi asked to meet me on the phone.
29:54I met him, Pino Pelosi.
29:55I met him several times.
29:58Like two clandestine lovers we met in a bar on the outskirts of town.
30:02He, to tell me another truth,
30:06after that long 30-year lie.
30:09I, to understand how much truth there was
30:12behind that long tangle of lies.
30:15This is how the interview for Ombre sul Giallo was born.
30:18of May 7, 2005.
30:20An interview that rewrote the history of the Pasolini murder.
30:25I am innocent, I am no one's accomplice.
30:29I mean, explain it to us better.
30:32She is not Pino Pelosi's murderer.
30:34I lived in terror for 30 years.
30:38I was threatened, my mother, my father.
30:41Now they are dead, I am alone.
30:43I'm not afraid anymore, because I've already done 22 years in prison,
30:47I'm 46 years old, I'm alone.
30:48I'm not afraid anymore, because these people surely
30:51either they will be dead or they will be old.
30:53Which I don't know, I repeat.
30:55I don't know them.
30:57So, she's telling me tonight to us
31:01that I am not Pierpaolo Pasolini's murderer.
31:05With these words she turns the tables
31:08a thesis that she has supported for 30 years.
31:11She told me, she decided to speak because...
31:14I was terrified for my family.
31:17Now, unfortunately, my mother died of cancer
31:19and my father followed 11 months later.
31:22And she's not afraid anymore?
31:23I'm not afraid anymore.
31:23I have 22 years of prison time served.
31:26And nothing, I'm not afraid anymore.
31:28I repeat, these people will either be dead,
31:30because at the time they were already big,
31:34or they will be 80 years old.
31:38Pelosi, at this point, precisely,
31:40we have to rewrite history
31:42of the crime of Pierpaolo Pasolini.
31:43And let's start rebuilding it from the beginning.
31:47When she met that evening
31:49Pierpaolo Pasolini in Piazza dei Cinquecento,
31:52when Pasolini invited her to go with him,
31:54What kind of agreement did you make with Pasolini?
31:57But he said, come on, let's go together,
32:00let's go and eat something,
32:02let's do some touching, like this.
32:03At the time, I was 17 years old,
32:05I was totally immature.
32:07Totally, I repeat.
32:09I'm not mature now, though.
32:10Because you never mature in life.
32:11a few petty thefts, you know, it's not like that, you know...
32:14Okay, petty thefts...
32:15coming out of the Jesuits, let's say, that well...
32:18No, they turn out to be in a car radio,
32:19That...
32:19Well, anyway...
32:20With today what happens.
32:22Okay, let's talk about the day back then,
32:23of the days of that time, in short,
32:24What kind of agreement do you have with Pierpaolo Pasolini?
32:27But I just realized it was a little bit of that part,
32:29let's say, and...
32:31it was limited to a few touches,
32:33he gave me 20,000 lire, that's what he said.
32:35Here, so she got into Pasolini's car,
32:38he followed Pasolini.
32:40Pasolini, how did he behave with her?
32:42Normally, a very civilized person,
32:45era...
32:47I could define him as a perfect gentleman.
32:50So he was polite.
32:51He spoke Italian, courteous, with a soft voice.
32:56In short, he was respectful towards her,
32:59well, this is what I mean,
33:00in short, he treated her with Gatto.
33:01I have never spoken badly of Pasolini,
33:03as far as anyone knows.
33:04Someone spoke badly of me,
33:05but I have never spoken badly of Pasolini.
33:07Listen, Pelusi, here,
33:08once you arrive at the Ostia seaplane base,
33:12in short, considering the agreement reached,
33:14How did Pasolini deal with her?
33:18And nothing, we did that sexual act,
33:21let's say, what she said before.
33:24That is, oral sex that...
33:26Oral, yes, he said,
33:27he wore these out and took off his glasses,
33:28because the glasses never come off.
33:30Speak clearly, because you're mumbling a bit.
33:33Did Pasolini take off his glasses?
33:35And as I said, I,
33:36I approached the network to...
33:38Now, let's take it one step at a time.
33:40She had this...
33:41He did this oral sex.
33:43Here you are.
33:45Didn't he try to use any other kind of violence on her?
33:48Just this oral sex?
33:50No, this relationship.
33:50Did he take off his glasses first?
33:52Yes, first, obviously.
33:53Here you are.
33:53Then what happened?
33:54What happened next?
33:55I got out of the car.
33:57Why?
33:57And I had to pee.
34:00I approached the network
34:02and while I was urinating I was attacked
34:05from one person, me, and from two people, him.
34:09So these people have appeared?
34:10Three people out of nowhere.
34:12From the dark.
34:12I was threatened, beaten,
34:17two stitches in the head and a broken nose.
34:20From whom?
34:20From a person who had a beard,
34:22well, it was a little dark.
34:24It was very visible, if you remember the trial well.
34:27There were three of them.
34:28I saw three of them,
34:29if even five, I don't know.
34:31I saw three of them.
34:31She saw three of them.
34:32And one of these people told me
34:34he took care of her.
34:37Yeah, he actually pushed me into the net,
34:39he grabbed me by the neck,
34:41he threatened me,
34:42I was messing around with you,
34:43that's exactly what he told me.
34:46And Pasolini was taken literally
34:48inside the car and pulled out.
34:50And there they started beating him.
34:52in an unheard of way.
34:53I don't know if it was the bass or whatever they had.
34:56they were something, he was definitely telling me,
34:58she is stronger.
34:59Here, but they started beating him
35:01next to the car?
35:02They started there
35:03and then they moved away
35:06in a commotion.
35:07That is, did they start beating Pasolini?
35:09I tried to react
35:11to take Mr. Pasolini's side.
35:14I took the beatings,
35:15I got a bass kick,
35:17I got hit in the nose,
35:20mind your own business,
35:21if not we'll kill you too
35:22and your whole family.
35:24And this one was screaming at the top of his lungs,
35:26he was screaming and they were slaughtering him.
35:28I don't know, from afar you could no longer see it,
35:29I don't know, mine.
35:30Listen, listen, Perosi,
35:31let's go step by step.
35:32She, first of all,
35:33Can you describe these people?
35:35Me, the one next to me, yes,
35:37yes, but there was a beard,
35:39slightly curly hair
35:42and there was a southern dialect,
35:44I don't know if Sicilian or Calabrese,
35:46because at a certain point
35:47he told me
35:49rusty, fetus-like, dirty communist,
35:51etc., etc.
35:52Listen, Perosi,
35:53Did she know these people?
35:55No, never seen before.
35:58I was 17 years old,
36:00they said many things about me.
36:02He had never told her.
36:03She had told someone
36:04that evening he went to the seaplane base?
36:07No, I didn't know him at all,
36:09Pasolini was certainly a frequent visitor,
36:11I knew him,
36:12I read that he played football there,
36:14but I don't know,
36:14he did other things,
36:15I do not know.
36:15But she didn't tell anyone?
36:16No, I didn't even know where I was going,
36:19I didn't know it
36:20nor did I know Pasolini as a person.
36:22Listen, I know something else,
36:24according to her these attackers
36:26they wanted to kill Pasolini
36:28or did they just want to teach him a lesson?
36:30Teach him a lesson,
36:31then unfortunately I went up
36:32on Pasolini's car,
36:33I went up,
36:36involuntarily,
36:37because I was 17 years old,
36:38terrified,
36:41beaten,
36:42I saw that bastard
36:43that was groaning,
36:44granolio, what's it called,
36:45I left,
36:46then I don't know,
36:47so or so,
36:48there is the car,
36:48there was all water there,
36:50I didn't kill him on purpose,
36:52that is known,
36:53the Via Cassassia,
36:53Always,
36:54Pelosi,
36:54Pasoli,
36:55Always,
36:55I'm fed up,
36:56after 30 years,
36:57let's hope it's over.
36:58Listen,
36:59Pelosi,
37:00she supported
37:01of having taken on
37:02to responsibility
37:03of Pasolini's murder,
37:05because he was threatened,
37:07but she also said
37:09that she these people
37:09he didn't know them,
37:11but if he didn't know them
37:12these people,
37:13what fear could it have?
37:14he could at least say
37:16that the facts were these.
37:17I have great people,
37:18I'm a little boy
37:1917 years old,
37:20as lawyer Esile said,
37:23I see three people,
37:24who massacre a person.
37:25But it was possible,
37:25what fear could he have?
37:27They threatened my mother
37:27and my father
37:28to kill them,
37:29they told me
37:30own,
37:31you have to mind your own business
37:32if you want to get out of here alive,
37:35and they threatened
37:35my parents,
37:38my parents,
37:39but they died.
37:41She realizes
37:42perfectly
37:43that after this
37:45sensational
37:46declaration
37:46that she does
37:47in this broadcast,
37:48at the moment in which
37:49the transmission
37:49will be broadcast,
37:51the judge is coming,
37:52five minutes later
37:53police,
37:54Carabinieri
37:54and the magistrate
37:55they will reopen
37:56certainly the investigation.
37:57Now she,
37:58who was the defendant,
38:00is revealing
38:01a truth
38:03extraordinarily new,
38:04it's a sensational fact,
38:05what...
38:06She realizes
38:07that from now on
38:08she will be
38:09certainly object
38:10of an investigation
38:10very rigorous
38:12to ascertain
38:12that that
38:13what she says today
38:14somehow
38:15it corresponds to the truth.
38:17This is the truth,
38:18what should I do?
38:19On the other hand
38:19I paid
38:20I'm already nine years old.
38:20He knows it
38:21and it's ready
38:22to answer
38:22to all questions
38:23that they will do to her
38:24magistrates or vocals.
38:25It's more than that
38:26what am I saying here
38:26what can I tell him.
38:52Pelosi,
38:54she said
38:55I am alive
38:57and I owe this
38:58only
38:59to silence
39:00which I kept.
39:02When she
39:03in 2005
39:04in shadows on yellow
39:05has sensationally
39:07that silence broken,
39:08a silence
39:09that she supported
39:10of having maintained
39:10due to threats
39:12of death
39:12which had been
39:12addressed to her
39:13and also to his parents
39:14and to his family,
39:15they reopened
39:17the investigations
39:18on the Pasolini murder.
39:19We agree
39:20about this?
39:22However,
39:23I have to say,
39:23Pelosi,
39:24that on many things
39:25It's me
39:25to disagree.
39:27Let's say I am
39:28even perplexed
39:29and my doubts
39:32they are due,
39:34Pelosi,
39:34to the multiple versions
39:36that she later
39:38he gave
39:39on that story,
39:41on that crime,
39:41on that death.
39:42They are revelations
39:43That,
39:44beyond those
39:45that she did to me,
39:46she then gave them to her
39:47subsequently
39:49reworked
39:50with touch-ups,
39:50with adjustments
39:52even with elements
39:54strongly in contrast
39:55with how much she
39:56he had told me
39:57in Shadows on the Yellow
39:58in 2005.
39:59Yes.
40:00Is this true?
40:00Yes,
40:00it's very true.
40:02At that time,
40:02let's start by saying.
40:03She,
40:04like Pelosi,
40:05he said
40:06to have known
40:07for the first time
40:09Pier Paolo Pasolini
40:10the fatal one
40:11evening of death,
40:12In short,
40:12that November evening
40:13of 1975,
40:15to have known him
40:16in Piazza del Cinquecento
40:17where Pasolini
40:19he had towed her.
40:20She remembers
40:21for telling me this?
40:22Yes,
40:22I remember it very well.
40:24So,
40:24she in that circumstance
40:25he talked about himself
40:27Pelosi
40:28like a seventeen year old,
40:30maybe a little
40:32little rascal,
40:32maybe a bit of a thief,
40:34but far away
40:35from acquaintances
40:36to market.
40:36Yes, yes.
40:37Here you are.
40:38I confirm.
40:38In short,
40:39a little boy
40:40this is how he described himself
40:41that for the first time
40:42he had come on board
40:43of the car
40:44of an unknown gentleman
40:45which then was
40:46Pier Paolo Pasolini
40:47and he had climbed up there
40:48for a hasty one
40:50touch
40:50for 20,000 lire.
40:52Do you remember?
40:53Is this what I said?
40:54This yes.
40:56Remember what she said?
40:58after a few years?
40:59At a distance,
41:00as she says,
41:015-6 years old,
41:03something new happened
41:05because I had to write
41:06the second book
41:07and see for myself
41:09a director
41:09who made the film
41:12now on Pasolini,
41:14of course Federico and Bruno,
41:16and she is my lawyer.
41:17Sorry to interrupt,
41:18she said
41:19something new happened,
41:21that is, the new fact
41:22it was that she had to do
41:23a movie
41:23and write a book.
41:24I had to write a book.
41:25Yes, but the old fact
41:26it was that Pasolini
41:27he had been killed
41:28there on that dirt road
41:29in 1975.
41:31Yes, yes, yes.
41:33From unknown people,
41:34okay.
41:34Meaning what,
41:35what's new?
41:36The new fact
41:37is that
41:37they succeeded
41:39to extrapolate myself
41:40what I
41:40I didn't mean to say
41:42forcing my hand
41:43writing this book
41:44very quietly
41:44they pulled me out
41:45some so-called
41:46that I never said
41:47always out of fear
41:48Why
41:50Unfortunately
41:50I was threatened
41:52from the dead.
41:52Let's go in order.
41:54I would like to go back
41:56really
41:57to the previous ones
41:58of that night
41:59beyond that
42:00of how it happened
42:01the dynamics of the crime.
42:02She told me
42:03in Ombri on the yellow
42:04in 2005
42:05that Pasolini
42:08she didn't know him.
42:09When then
42:10she wrote
42:12this book
42:12in 2011
42:14and Federico Bruno
42:15he made the film
42:16she gave
42:17another version
42:18who spoke
42:19of a frequentation
42:21assiduous with Pasolini.
42:23Meaning what
42:23she spoke
42:24of a frequentation
42:24three months old
42:25with Pasolini.
42:26Since July.
42:27Since July, yes, yes.
42:28Da, I've been three months.
42:29I am...
42:30I don't know
42:31who recommended it.
42:32Here, however
42:33arguing to the contrary
42:34as she had said
42:36to me
42:36that she Pasolini
42:37he frequented it
42:38for three months
42:39since July.
42:40Here she is
42:40he drew of himself
42:42an image
42:43completely different.
42:45She realized that...
42:46But then, she...
42:47The question
42:48that I'll tell it to him directly
42:48Do you think you came out well?
42:50But I don't know.
42:52I don't know that.
42:52In the meantime she has given of herself
42:53the image of a Marchettaro.
42:54But it wasn't a relationship
42:55as she says,
42:56Marchettaro and things.
42:57But what about her?
42:58he was talking about philosophy
42:59with Pasolini?
43:00No, no, no.
43:01That is, Pasolini
43:01she frequented Pasolini.
43:02What was he doing?
43:03You were talking about Schopenhauer,
43:04by Kant,
43:05of philosophy.
43:06But I can't go into it
43:07in certain details
43:08so scandalous
43:09as she says.
43:10Because if not
43:10let's go talk
43:11of other people
43:12who frequented Pasolini
43:13that is, they will come out of it.
43:14The other people
43:15who frequented Pasolini
43:16they answer for them.
43:17She has to answer for herself.
43:19Listen, Pelusi,
43:20Speaking of which,
43:20when she frequented Pasolini
43:22in those three months
43:23What did she call him?
43:24For Paul.
43:25So,
43:25maximum confidence relationship.
43:27We went to the seaside,
43:28I gave the ring as a gift.
43:30He gave her the ring to Pasolini.
43:31I imagine that Pasolini, in short,
43:33he didn't give her any gifts,
43:35No?
43:35In short,
43:36he frequented her
43:37for culture, in short.
43:38No, okay.
43:39She supported
43:41In shadows on yellow
43:432005.
43:442005.
43:45Of not having told anyone
43:47that that night
43:48she would have gone to Ostia.
43:49Because she didn't know
43:51not even where
43:52you would have gone,
43:53where Pasolini
43:54he would have brought it.
43:56I remind you of her
43:57of having said this?
43:57Why not?
43:58but
44:00the truths
44:01they also have their times.
44:02No,
44:03truth has no time.
44:04More truth
44:05they are never the truth.
44:06The truth is always one.
44:06It's always one.
44:07Listen, Pelosi,
44:08sifting through the many truths
44:10that she reeled off
44:12over time,
44:13I wish that
44:13it was her
44:14to tell us
44:15how they took place
44:16the facts that evening.
44:17Right from the beginning.
44:19Nothing,
44:19once
44:20there had been
44:20the first date
44:21which has been postponed
44:22because there were a lot of police,
44:24and he was taken
44:25an appointment
44:26right from Pasolini
44:27at the Idroscalo
44:28because he knew
44:29the Idroscalo.
44:30But who was he taken with?
44:31With these people
44:32that donate
44:32the pizza site.
44:33For like her
44:34he told it
44:35in his book
44:35it is necessary precisely
44:37for those who don't know
44:38the facts
44:39to summarize
44:40naturally
44:41in broad terms
44:41what she wrote
44:43to motivate
44:44that meeting
44:45between Pasolini
44:46and those who then
44:47they would have been
44:48the executioners.
44:49The executioners.
44:51These would be the facts.
44:53Shortly before
44:54of the crime
44:55had been stolen
44:57from the factories
44:58cinematographic
44:59of Technicolor
45:00the Salò reels
45:02which is the last movie
45:03then which is Pasolini's.
45:04An idea for other reels?
45:06It has been done
45:07a theft of reels.
45:08Between these coils
45:10there were also
45:11Pasolini's reels
45:12and this is a historical fact.
45:14For the return
45:15of the films
45:16it would have been
45:17that are a ransom
45:18millionaire.
45:20She Pelosi
45:21he has smokily
45:22told
45:22to be in touch
45:24with those responsible
45:26of the theft
45:27And
45:29among which
45:30she even
45:30he did
45:31the name of Sergio Citti
45:32indirectly
45:34In short
45:34not me
45:35how it was done
45:36the name of Sergio Citti
45:37I didn't do it
45:38and also the name of Sergio Citti
45:40it was done
45:40when Citti
45:40he was already dead
45:41Sergio Citti
45:42he was already dead
45:43but anyway
45:44she wrote
45:45in his book
45:46that present
45:47on the scene
45:47of the tragedy
45:49they were the two brothers
45:50Purse
45:50that they were
45:52his friends
45:52they were people
45:53not only tied
45:54to crime
45:55but also close by
45:56to the fringes
45:56of the far right
45:57the fact that there were
45:58on the ground
46:00of the tragedy
46:01that evening
46:02the two brothers
46:03Purse
46:04Here you are
46:05she to me
46:06he kept quiet about it
46:07but
46:08there is a small detail
46:09that when it is
46:10that she said it
46:11in 2011
46:12in his book
46:12when the brothers
46:13Purse
46:14they were already dead
46:14it's obvious
46:15No
46:16it's obvious no
46:16for me yes
46:17but she does
46:19gives an account
46:19that since
46:20Unfortunately
46:21the dead
46:21they don't have
46:22ability to speak
46:23they can't
46:24they can't deny
46:26they cannot admit
46:27nor deny
46:28Indeed
46:28she understands
46:29which in short
46:30a statement
46:31made to do
46:32dead people
46:32it's less credible
46:33of alive
46:34for now
46:35she wrote
46:38that that evening
46:40she like
46:41mediator
46:43non-basic
46:44non-basic
46:46I avoided using
46:47basis player
46:47because she doesn't like it
46:48I like it
46:50I see it better
46:51basis player
46:51she that evening
46:53as a mediator
46:53had to accompany
46:54Pasolini
46:55at the appointment
46:56fixed
46:57with those
46:57that they would have
46:58had in hand
46:59the famous reels
47:00from the film Salò
47:01Now
47:04these figures
47:05they would have decided
47:07to give back to Pasolini
47:08the films
47:09of the film
47:09naturally
47:11upon payment
47:12of a ransom
47:14Exactly
47:14so far
47:15Pelosi
47:16they had asked
47:17500 million
47:18really
47:21she Pelosi
47:22would have obtained
47:23a fee
47:24for this role
47:25of mediator
47:25among those
47:27they would have given away
47:28as they say in slang
47:29some piotta
47:30and how many
47:31the piotte
47:31how much would they be
47:32you were
47:32200-300 thousand lire
47:33of the time
47:34she had said
47:35500 in the book
47:36those will be
47:37500
47:37they were a little joke
47:38at the time
47:39Yes
47:40At that time
47:41listen Pelosi
47:42but she had said it
47:43to Pasolini
47:44That
47:45let's say
47:46he was doing
47:47as a mediator
47:48of this role of his
47:49of mediator
47:49and that would also have
47:51obtained
47:51let's call it a bribe
47:53to put it bluntly
47:53in the right time
47:54he had told her about it
47:55Pasolini
47:56Yes
47:58Safe
47:59when he told him
48:00she to Pasolini
48:00for that moment
48:02Certain
48:02I can remember
48:03the year
48:04the day
48:04she wrote
48:05in his book
48:06which at first
48:07she had remained silent
48:08to Pasolini
48:09to know
48:09not only to know well
48:10the people
48:11that they had stolen
48:12the films
48:13and so much good
48:14he knew them
48:15what he had done
48:15even petty thefts
48:16with these people
48:17of course
48:17Here you are
48:18Bravo
48:18snack buddies
48:20as she said
48:21snack buddies
48:22but
48:23she that evening
48:24in the car
48:25I always make up for it
48:27what he told
48:27she in the book
48:28appeared particularly
48:30nervous
48:30he was with Pasolini
48:31in the car
48:32Pasolini
48:33he had noticed
48:34of his nervousness
48:35and he had asked him
48:36why she was nervous
48:37and she at that point
48:39he hadn't felt like it
48:40to continue
48:41to roar
48:41and he had confessed
48:42to Pasolini
48:43to be a mediator
48:45of that negotiation
48:47Pasolini is remembered
48:48what did she say
48:50what he wrote
48:50like Pasolini
48:51had reacted
48:52to this one of his
48:54admission
48:55confession
48:56but
48:56it seemed like that
48:56that he knew
49:00because she had taken
49:01the measures
49:01and he understood
49:02that she was
49:02a scoundrel
49:03Surely
49:03he was a cultured man
49:05of culture
49:06Surely
49:08he didn't get angry
49:10he said nothing
49:10Don't worry
49:11that's enough for me
49:12that I can recover
49:13of the films
49:13that I care a lot about
49:15and nothing
49:16he didn't tell me
49:16in short the problem is this
49:18if she had told him
49:19it's a speech
49:20if not there is a gentleman
49:21who is called Judas
49:22have you ever heard of it?
49:23oh well bye
49:24HI
49:24Judah
49:26what is Judas' name?
49:27that at his level
49:29No
49:29who sold Christ
49:31for 30 denarii
49:32it's not like that
49:33really
49:34Then
49:35here is Mozart
49:36no no no
49:36they go that truth
49:38the family
49:39by Pasolini
49:40or whoever for them
49:40they go that type
49:41of truth
49:42they don't go there
49:42the real truth
49:43it bothers him
49:44to everyone
49:45to many people
49:46let's say it
49:46Pelosi
49:47why her and Pasolini
49:48you went
49:50the port
49:50who is she with?
49:52he had taken
49:53agreements
49:54who you were with
49:55appointment
49:55through the wallet
49:57I don't know who they were
49:59the people
49:59we are always there
50:00the names
50:00Unfortunately there aren't any
50:02and after having consumed
50:05the dinner
50:05actually
50:06I
50:06to the blond must
50:07we set off
50:09towards
50:10Host
50:11but
50:12at a certain point
50:14I had to pee
50:16and we stopped
50:17in Acilia
50:19I went down
50:21I peed
50:22I got back in the car
50:24and we left again
50:27In my opinion
50:28in our opinion
50:29or whoever for me
50:32there was
50:33the motorbike itself
50:35who followed us
50:35the machine
50:36the famous one
50:37the 1500
50:37I don't know what it was like
50:38the license plate
50:39and the second car
50:40according to the reconstruction
50:42made then
50:42so
50:43we arrived in Ostia
50:46waiting
50:46the X hour
50:47I don't remember
50:47if it was one o'clock
50:48midnight
50:48half past one
50:50I went down
50:51where I had consumed
50:52the famous oral sex
50:53by Pasolini
50:54I went down to pee
50:57at the seaplane base
50:58at the seaplane base
50:59at that point
51:00it has arrived
51:00this famous badbone
51:01that took me like this
51:02to say
51:02he said
51:03don't move
51:04yes but I want to understand
51:05who did you have an appointment with?
51:07you went
51:08with whom there is no name
51:10why did you go
51:12at the seaplane base
51:12because there had been
51:13a phone call
51:13between Pasolini
51:14and someone
51:15that I don't know
51:16that the appointment
51:17if they are
51:18from there
51:20at the seaplane base
51:21but it was
51:21seen by Pasolini
51:22because he knew
51:24the place
51:25of the seaplane base
51:27and then
51:27the reasons themselves
51:28I don't know them
51:29and by whom
51:30but if she did
51:31as a mediator
51:31Excuse me
51:32yes but I did
51:32a mediator
51:33so I didn't set
51:34the appointment
51:35at the seaplane base
51:35it was Pasolini
51:36which has fixed
51:37the appointment
51:38at the seaplane base
51:38with who?
51:40with these people
51:42who I am
51:43these people?
51:43these people
51:44who I am
51:44I do not know
51:46Surely
51:47the Borsellino brothers
51:48Yes
51:48the other people
51:49I don't know
51:51At that time?
51:52and then nothing
51:53I got off this one
51:54blessed machine
51:55doing my business
51:56and it appeared
51:57a historian
51:58with a beard
51:58as I already said
51:59he took me here
52:00it doesn't move you
52:02In short
52:02threats
52:03to me
52:04family
52:04etc.
52:05mind your own business
52:07at a certain point
52:08they have emerged
52:09these two people
52:10that they took
52:11Pasolino
52:11they extrapolated
52:12from the car
52:14and they started
52:15to lead
52:17Then
52:18they arrive this way
52:19the Borsellino brothers
52:20then it arrived
52:21another car
52:22and then another car
52:23Still
52:23practically
52:25he was massacred
52:26by two people
52:26at the start
52:27Then
52:29he was running away
52:30me after two meters
52:31in a meter
52:31you couldn't see anything anymore
52:32one night
52:33I felt that he had it
52:33help
52:34help mom
52:34Help me
52:35I in the meantime
52:36I tried
52:37I got a beard
52:38because I have two points in my head
52:39and a fracture at the top
52:40it's not invented
52:40is in the clashes
52:42in short, some hospitals
52:45that I took
52:46and beatings
52:46to his poodle
52:47and then he suggested me
52:48the famous thesis
52:50and nothing
52:51at a certain point
52:51I haven't heard anything else
52:54the famous thesis would be
52:56what would be the famous thesis
52:58Nothing
52:58that he told me
52:59the version
52:59that I had to say
53:00he threw me
53:01the ring on the ground
53:02and he told me
53:04fuck your balls
53:04tell it like this
53:05so and so
53:06he fed me
53:07the version
53:08and stay there
53:10And
53:11after all that
53:12what happened
53:12there was the second
53:14machine
53:14that I saw
53:16which will have bruised
53:17Pasolini's body
53:18because they were
53:18the 1500 machine
53:19which does not concern itself
53:21another GT like it
53:22to yours
53:23and the motorcycle brought
53:23by the Borsellino brothers
53:25Here you are
53:26All
53:27the comings and goings
53:28the tracks and things
53:30this
53:31And
53:32the truth
53:32current
53:33another truth
53:34I added
53:35No
53:36current
53:36practically
53:39Pasolini
53:39he was going to meet
53:40these people
53:41and these people
53:41they met Pasolini
53:42to return
53:44these coils
53:45but why
53:45they would have killed him
53:46At that time
53:47why they killed Pasolini
53:48in short that
53:49today is here
53:50people who have to
53:51have some money
53:52and practically
53:53they meet
53:54a person
53:54whose name is Pasolini
53:55to return the coils
53:57and have some money
53:58why did they kill him
53:59At that time
53:59in her opinion
54:00No
54:00I ask the question
54:01I do it to her
54:02I am small
54:02what do I know
54:03I can't get there
54:05to
54:06I can't get there
54:07to understand why
54:08I know how Pasolini died
54:10the reason is up to us
54:11the why
54:12explain it to someone else
54:12that there is the mind
54:13a little more open
54:14but I
54:15Pino Pelosi
54:16but what do I know?
54:16why they killed Pasolini
54:17I don't know who it bothered
54:19who bothered Pasolini
54:21you
54:21of the mass media
54:23you
54:23you right-thinking people
54:24I think you know more than me
54:26because you know him
54:27you will have studied it
54:28you will have admired it
54:30I
54:31I can't know
54:32I simple
54:33Borgataro
54:33humble
54:33Borgataro
54:34what do I know
54:35why they killed Pasolini
54:37Yes
54:37it happens though
54:38that she for 30 years
54:39he continued to insist
54:41I understand
54:41what I had to do
54:42but I
54:42what I had to do
54:43my lady
54:44what was I supposed to do?
54:45I'm a normal guy
54:46anyone
54:47you were there
54:48a thief
54:49a Borgataro
54:50she
54:50he kept quiet
54:51she said
54:52because they threatened me
54:53but yes they threatened me
54:54but don't take the version
54:55but how I
54:56I say it
54:56in Chinese to these people
54:57I don't know
54:58but why did they kill?
54:59I can't know
55:00or someone will know
55:02up there
55:02I don't know
55:04someone up there
55:05he doesn't love me
55:05up there
55:06I do not know
55:07about that story
55:08which marked her life
55:08she
55:09he's making a living from it
55:10to the point of accrediting
55:11the suspicion
55:12that she
55:13morally
55:13he doesn't know how to live
55:14without a shadow
55:15of that curse
55:42any company
55:44any company
55:44it would have been
55:45happy
55:46to have Pasolini
55:47among its ranks
55:49we lost
55:51first of all
55:51a poet
55:52and in poet
55:53there aren't many of them
55:54in the world
55:55three or four are born
55:56only
55:56within a century
55:58Bravo
56:02when it's finished
56:03this century
56:04Pasolini will be
56:04among the very few
56:05that will count
56:06as a poet
56:07the poet
56:08it should be sacred
56:09we have lost therefore
56:11this poet
56:12extraordinary
56:13who created
56:14something new
56:16and extraordinary
56:16in Italy
56:17he created
56:19civil poetry
56:20left
56:22Meaning what
56:22he did something
56:23that no one
56:24he had done it before him
56:25civil poetry
56:27in Italy
56:27from
56:28from Foscolo
56:30on his
56:30in Carducce
56:32Then
56:32to Annunzio
56:33it has always been
56:34a poem
56:35right-wing
56:36in context
56:37I am trying to say
56:38a poem
56:38triumphalistic
56:39rhetoric
56:40Pasolini
56:41he did
56:42an operation
56:43extremely
56:43subtle
56:44and courageous
56:45he sank
56:47the themes
56:49of decadentism
56:50European
56:51with the theme
56:52great
56:53and revolutionary
56:55of the revolution
56:56socialist
56:56this is his
56:58merit
56:58therefore
56:59Pasolini's poetry
57:00can be considered
57:02in literature
57:03and out
57:03of literature
57:04as a fact
57:06Truly
57:06revolutionary
57:07but not in the sense
57:08let's say so
57:09demagogic
57:10of the word
57:10in the sense
57:11which brought
57:12a big news
57:13which can lead
57:14of the others
57:15then it was
57:16we lost
57:17Also
57:18a novelist
57:19the novelist
57:21of the hamlets
57:22the novelist
57:23of girls of life
57:24of violent life
57:25a novelist
57:26who wrote
57:26two novels
57:27they too are exemplary
57:28in which
57:29next to
57:30to one
57:30observation
57:32Very
57:32realistic
57:34there were
57:34of the solutions
57:35linguistic
57:36of the solutions
57:37let's say so
57:38between the dialect
57:39and the Italian language
57:40that they were
57:40they too
57:41extremely new
57:42then we lost
57:43a director
57:44that everyone knows
57:45No?
57:46now this director
57:47he was a director
57:48it too
57:49very extraordinary
57:50but it's brilliant
57:51Pasolini
57:52he left
57:52from the novels
57:54for the cinema
57:55why cinema
57:56and the novel
57:57they look alike
57:57he left
57:58from a violent life
58:00he left
58:00from the street kids
58:01he did it in Cattone
58:02I have to say
58:03as a film critic
58:05that in Cattone
58:06it's at the bottom
58:06superior to novels
58:08as its own
58:09in a cat
58:10there was
58:11this measure
58:13which prevented him
58:14to become
58:16tribe
58:16In short
58:17in Cattone
58:18he has a beautiful movie
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