{"id":3278,"date":"2020-12-25T23:24:32","date_gmt":"2020-12-26T04:24:32","guid":{"rendered":"http:\/\/elabrevaderojm.com\/?p=3278"},"modified":"2025-03-24T16:43:21","modified_gmt":"2025-03-24T20:43:21","slug":"transcripcion-de-la-entrevista-de-larry-king-a-mark-david-chapman-porcion-de-la-entrevista-que-aparece-en-el-articulo-40-anos-del-asesinato-de-john-lennon-la-muerte-del-talento-y-las-ideas-ii","status":"publish","type":"post","link":"https:\/\/elabrevaderojm.com\/en\/2020\/12\/25\/transcripcion-de-la-entrevista-de-larry-king-a-mark-david-chapman-porcion-de-la-entrevista-que-aparece-en-el-articulo-40-anos-del-asesinato-de-john-lennon-la-muerte-del-talento-y-las-ideas-ii\/","title":{"rendered":"TRANSCRIPT OF LARRY KING'S INTERVIEW WITH MARK DAVID CHAPMAN (portion of the interview that appears in the article 40 years since the murder of John Lennon: The death of talent and ideas. II \u2013 The pain of those who love (4).)"},"content":{"rendered":"\n
RELACIONADO<\/mark>: 40 a\u00f1os del asesinato de John Lennon: La muerte del talento y las ideas. II \u2013 El dolor de los que aman (4).<\/a><\/strong><\/td><\/tr><\/tbody><\/table><\/figure>\n\n\n\n
RELACIONADO<\/mark>: 40 a\u00f1os del asesinato de John Lennon: La muerte del talento y las ideas. Traducci\u00f3n de la transcripci\u00f3n del programa Larry King Live Weekend asociado al asesino de John Lennon.<\/a><\/strong><\/td><\/tr><\/tbody><\/table><\/figure>\n\n\n\n

Seg\u00fan fue publicado en murderpedia.org<\/em><\/a> por Juan Ignacio Blanco<\/a>.<\/p>\n\n\n\n

En Espa\u00f1ol: <\/strong><\/h3>\n\n\n\n

KING: Bienvenido de nuevo a LARRY KING LIVE<\/em>, con Mark David Chapman. Mark, \u00bfrevivir\u00e1s con nosotros esos terribles momentos para ti, para el mundo, para mucha gente alrededor y en c\u00edrculos m\u00e1s cercanos a John Lennon? \u00bfQu\u00e9 pas\u00f3 esa noche?<\/p>\n\n\n\n

CHAPMAN: Bueno, si quieres empezar por aquella noche\u2026 Yo estaba all\u00ed parado con una pistola en el bolsillo.<\/p>\n\n\n\n

KING: \u00bfSab\u00edas que ibas a dispararle?<\/p>\n\n\n\n

CHAPMAN: \u00bfDisculpa?<\/p>\n\n\n\n

KING: \u00bfSab\u00edas que le ibas a disparar?<\/p>\n\n\n\n

CHAPMAN: Absolutamente.<\/p>\n\n\n\n

KING: Est\u00e1 bien.<\/p>\n\n\n\n

CHAPMAN: Trat\u00e9 de no hacerlo, rec\u00e9 para no hacerlo, pero sabiendo que en el fondo probablemente iba a llegar a eso.<\/p>\n\n\n\n

KING: \u00bfSab\u00edas que ser\u00eda esa noche? \u00bfSab\u00edas que lo volver\u00edas a ver?<\/p>\n\n\n\n

CHAPMAN: S\u00ed, lo supe esa ma\u00f1ana, curiosamente, cuando sal\u00ed del hotel. Tuve alg\u00fan tipo de premonici\u00f3n de que esta era la \u00faltima vez que iba a salir de mi habitaci\u00f3n del hotel. No lo hab\u00eda visto hasta ese momento, eso es lo que lo hace interesante. Ni siquiera estaba seguro de que estuviera en el edificio. <\/p>\n\n\n\n

Y luego sal\u00ed de la habitaci\u00f3n del hotel, compr\u00e9 una copia de The Catcher in the Rye<\/em>, la firm\u00e9 como de Holden Caulfield para Holden Caulfield, y escrib\u00ed debajo: \u00abEsta es mi declaraci\u00f3n\u00bb, subrayando la palabra \u00abesta\u00bb, con \u00e9nfasis en la palabra \u00abesta\u00bb. Hab\u00eda planeado no decir nada despu\u00e9s del tiroteo. <\/p>\n\n\n\n

Camin\u00e9 r\u00e1pidamente por Central Park West<\/em> hasta 72nd Street<\/em> y comenc\u00e9 a dar vueltas por all\u00ed con fans<\/em> que ya estaban, Jude y Jerry, y m\u00e1s tarde un fot\u00f3grafo que lleg\u00f3.<\/p>\n\n\n\n

KING: Est\u00e1 bien.<\/p>\n\n\n\n

CHAPMAN: I…<\/p>\n\n\n\n

KING: Y entonces John sali\u00f3 ese d\u00eda, \u00bfverdad?<\/p>\n\n\n\n

CHAPMAN: Sali\u00f3. Yo estaba apoyado en una barandilla llena de g\u00e1rgolas y estaba mirando hacia abajo, leyendo The Catcher in the Rye<\/em>, y creo que se subi\u00f3 a un taxi y desapareci\u00f3. Y luego ese d\u00eda, me fui a almorzar con, creo, Jude. Volvimos.<\/p>\n\n\n\n

KING: \u00bfCon qui\u00e9n?<\/p>\n\n\n\n

CHAPMAN: Con Jude. Ella era una fan all\u00ed…<\/p>\n\n\n\n

KING: Anj\u00e1.<\/p>\n\n\n\n

Chapman: …que estaba all\u00ed en el edificio, y entabl\u00f3 una conversaci\u00f3n sobre Haw\u00e1i, sobre John Lennon. Ella hab\u00eda estado all\u00ed un n\u00famero de veces. Y en un momento del d\u00eda, ella se fue, y John volvi\u00f3 a salir. No recuerdo que volviera del taxi, pero obviamente estaba all\u00ed en el edificio.<\/p>\n\n\n\n

Estaba haciendo un especial de radio RKO, y sali\u00f3 del edificio y el fot\u00f3grafo que mencion\u00e9 anteriormente, Paul Goresh, me empuj\u00f3 hacia adelante y me dijo: \u00abEsta es tu oportunidad. \u00bfSabes? Has estado esperando todo el d\u00eda. Has venido de Haw\u00e1i para que firme tu \u00e1lbum. Vamos, vamos\u00bb.<\/p>\n\n\n\n

Yo estaba muy nervioso, y estaba justo delante de John Lennon, y ten\u00eda un bol\u00edgrafo Bic<\/em> negro y dije: \u00abJohn, \u00bfme firmar\u00edas mi \u00e1lbum?\u00bb. Y \u00e9l dijo: \u00abSeguro\u00bb. Yoko fue y se subi\u00f3 al coche, y \u00e9l apret\u00f3 el bot\u00f3n de la pluma y comenz\u00f3 a escribir. Al principio le fue un poco dif\u00edcil poder escribir. Luego escribi\u00f3 su nombre, John Lennon<\/em>, y debajo de eso, 1980<\/em>.<\/p>\n\n\n\n

Y me mir\u00f3, como mencion\u00e9 anteriormente, y dijo: \u00ab\u00bfEso es todo? \u00bfQuieres algo m\u00e1s?\u00bb Y sent\u00ed entonces, y ahora, que sab\u00eda algo subconscientemente, que estaba mirando a los ojos de la persona que lo iba a matar.<\/p>\n\n\n\n

KING: \u00bfC\u00f3mo crees\u2026, por qu\u00e9 crees eso?<\/p>\n\n\n\n

CHAPMAN: Bueno, su esposa estaba en el coche. La puerta se abri\u00f3, y es un hombre ocupado. Va a ir a la radio o a su estudio discogr\u00e1fico, y est\u00e1 hablando con un don nadie, firmando un \u00e1lbum para un don nadie, y me est\u00e1 preguntando si es todo lo que quiero. Quiero decir, me est\u00e1 dando el aut\u00f3grafo. No tengo una c\u00e1mara encima. \u00bfQu\u00e9 podr\u00eda darle?<\/p>\n\n\n\n

KING: Yo admitir\u00eda que es una cosa extra\u00f1a para decir. Muy bien. \u00bfAs\u00ed que se va?<\/p>\n\n\n\n

CHAPMAN: S\u00ed, se va de all\u00ed. Un auto.<\/p>\n\n\n\n

KING: \u00bfY qu\u00e9 haces el resto del d\u00eda?<\/p>\n\n\n\n

CHAPMAN: Me quedo parado, como un idiota, esperando a que vuelva.<\/p>\n\n\n\n

KING: \u00bfY a qu\u00e9 hora regres\u00f3?<\/p>\n\n\n\n

CHAPMAN: Volvi\u00f3 alrededor de 10 para las 11 de la noche.<\/p>\n\n\n\n

KING: \u00bfHab\u00edas cenado?<\/p>\n\n\n\n

CHAPMAN: No, no lo hab\u00eda hecho.<\/p>\n\n\n\n

KING: \u00bfTem\u00edas que pudieras no verlo de nuevo?<\/p>\n\n\n\n

CHAPMAN: Probablemente.<\/p>\n\n\n\n

KING: Sab\u00edas que ibas a dispararle.<\/p>\n\n\n\n

CHAPMAN: S\u00ed.<\/p>\n\n\n\n

KING: \u00bfC\u00f3mo sucedi\u00f3 eso? \u00bfQu\u00e9 pas\u00f3?<\/p>\n\n\n\n

CHAPMAN: Bueno, el fot\u00f3grafo se fue. Yo\u2026 para ser honesto, tengo que decir que trat\u00e9 de que se quedara.<\/p>\n\n\n\n

KING: \u00bfPor qu\u00e9?<\/p>\n\n\n\n

CHAPMAN: Porque hab\u00eda quienes pensaban que yo quer\u00eda que \u00e9l tomara fotos del tiroteo, lo cual no es cierto.<\/p>\n\n\n\n

KING: \u00bfPor qu\u00e9, entonces, quer\u00edas que se quedara?<\/p>\n\n\n\n

CHAPMAN: Quer\u00eda que se quedara porque quer\u00eda salir de all\u00ed. Hab\u00eda una parte, una gran parte de m\u00ed que no quer\u00eda estar all\u00ed. Le pregunt\u00e9 a Jude, la fan<\/em>, antes de que se fuera, si quer\u00eda salir esa noche. Ella dijo que no. Si hubiera dicho que s\u00ed, habr\u00eda estado en una cita con ella.<\/p>\n\n\n\n

KING: Pero usted podr\u00eda haberlo matado al d\u00eda siguiente.<\/p>\n\n\n\n

CHAPMAN: Oh, s\u00ed. Probablemente habr\u00eda vuelto.<\/p>\n\n\n\n

KING: Las circunstancias del asesinato, \u00bfqu\u00e9 pas\u00f3?<\/p>\n\n\n\n

CHAPMAN: Estaba sentado en el interior del arco del edificio Dakota. Y estaba oscuro. Es tan ventoso. Jos\u00e9, el portero, estaba en la acera. Y aqu\u00ed hay otra cosa extra\u00f1a que pas\u00f3. Yo estaba en un \u00e1ngulo de donde pod\u00eda ver Central Park West<\/em> y 72, y veo esta limusina parar y, como saben, probablemente hay cientos de limusinas que aparecen en Central Park West<\/em> por la noche, pero sab\u00eda que esa era la suya.<\/p>\n\n\n\n

Y dije: \u00abEsto es todo\u00bb, y me levant\u00e9. La limusina se detuvo, la puerta se abri\u00f3, la puerta trasera izquierda se abri\u00f3. Yoko sali\u00f3. John estaba muy atr\u00e1s, digamos 20 pies, cuando sali\u00f3. Le hice un saludo a Yoko con la cabeza cuando ella pas\u00f3 por mi lado.<\/p>\n\n\n\n

KING: \u00bfElla te devolvi\u00f3 el saludo?<\/p>\n\n\n\n

CHAPMAN: No, no lo hizo. Y no quiero ser tan cl\u00ednico en esto, pero se lo he dicho varias veces. Espero que lo entiendas. John sali\u00f3, y me mir\u00f3, y creo que me reconoci\u00f3, aqu\u00ed est\u00e1 el tipo a quien le firm\u00e9 el \u00e1lbum antes, y \u00e9l pas\u00f3 junto a m\u00ed. Di cinco pasos hacia la calle, me volv\u00ed, saqu\u00e9 mi Charter Arms calibre 38<\/em> y le dispar\u00e9 en la espalda.<\/p>\n\n\n\n

KING: \u00bfEn toda la espalda?<\/p>\n\n\n\n

CHAPMAN: Toda la espalda.<\/p>\n\n\n\n

KING: \u00bfNo lo vio venir?<\/p>\n\n\n\n

CHAPMAN: Nunca vio venir nada, Larry. Fue una cosa muy r\u00e1pida, fue una cosa dif\u00edcil.<\/p>\n\n\n\n

KING: \u00bfHab\u00edas disparado esa arma antes?<\/p>\n\n\n\n

CHAPMAN: Esa arma, no. ni siquiera sab\u00eda si las balas iban a funcionar, y cuando lo hicieron, recuerdo haber pensado: \u00abest\u00e1n funcionando, est\u00e1n funcionando\u00bb. Me preocupaba que en el compartimiento de equipaje del avi\u00f3n, la humedad los hubiera arruinado, y recuerdo haber pensado: \u00abest\u00e1n funcionando\u00bb.<\/p>\n\n\n\n

KING: \u00bfQu\u00e9 hizo Yoko?<\/p>\n\n\n\n

CHAPMAN: Ella, naturalmente, y no puedo culparla. Corri\u00f3 alrededor de la zona de la escalera. No s\u00e9 si todav\u00eda est\u00e1 ah\u00ed en el Dakota hoy, pero ella solo, ya sabes, corri\u00f3 para cubrirse, que es lo que cualquiera har\u00eda. John, de acuerdo con lo que me han dicho, tropez\u00f3 con las escaleras, y luego la vi volver y subir a las escaleras, y luego ella abraz\u00f3 el cuerpo de \u00e9l.<\/p>\n\n\n\n

KING: \u00bf\u00c9l\u2026 ella grit\u00f3?<\/p>\n\n\n\n

CHAPMAN: No creo que gritara, pero unos minutos despu\u00e9s de eso hubo un grito aterrador de alguien que me eriz\u00f3 los pelos de la nuca.<\/p>\n\n\n\n

KING: \u00bfTe aliviaste?<\/p>\n\n\n\n

CHAPMAN: No, lo que pas\u00f3 fue que estaba en un… Lo que pas\u00f3 antes del tiroteo, antes de apretar el gatillo y despu\u00e9s eran dos escenas diferentes en mi mente.<\/p>\n\n\n\n

Antes, todo era como calma. Y yo estaba listo para que esto sucediera. Incluso escuch\u00e9 una voz, la m\u00eda, dentro de m\u00ed decir: \u00abhazlo, hazlo, hazlo\u00bb. Ya sabes, aqu\u00ed vamos.<\/p>\n\n\n\n

Y luego, fue como si la tira de la pel\u00edcula se rompiera. Me derrumb\u00e9. Entr\u00e9 en shock. Me qued\u00e9 ah\u00ed apenas sosteniendo el arma en mi lado derecho, y Jos\u00e9, el portero, se acerc\u00f3, llorando, me agarr\u00f3 y me sacudi\u00f3 el brazo, y me quit\u00f3 el arma de la mano, lo cual fue algo muy valiente para hacerle a una persona armada. Y pate\u00f3 el arma en el pavimento, hizo que alguien la agarrara, y yo estaba\u2026, qued\u00e9 aturdido.<\/p>\n\n\n\n

No sab\u00eda qu\u00e9 hacer. Saqu\u00e9 The Catcher in the Rye<\/em> de mi bolsillo. Me pase\u00e9. Trat\u00e9 de leerlo. No ve\u00eda el momento, Larry, de que llegaran los polic\u00edas. Estaba devastado.<\/p>\n\n\n\n

In English:<\/strong><\/h3>\n\n\n\n

KING: Welcome back to LARRY KING LIVE, with Mark David Chapman.<\/p>\n\n\n\n

Mark, will you relive with us those terrible moments for you, for the world, for a lot of people around and in circles closest to John Lennon?<\/p>\n\n\n\n

What happened that night?<\/p>\n\n\n\n

CHAPMAN: Well, if you want to pick it up from the night, I was standing there with a gun in my pocket.<\/p>\n\n\n\n

KING: You knew you were going to shoot him?<\/p>\n\n\n\n

CHAPMAN: Sorry?<\/p>\n\n\n\n

KING: Knew you were going to shoot him?<\/p>\n\n\n\n

CHAPMAN: Absolutely.<\/p>\n\n\n\n

KING: OK.<\/p>\n\n\n\n

CHAPMAN: Tried not to, praying not to, but knowing down deep it was probably going to come to that. KING: Did you know it would be that night? Did you know you would see him again?<\/p>\n\n\n\n

CHAPMAN: Yes, I knew that morning, oddly, when I left the hotel. I had some type of premonition that this was the last time I was going to leave my hotel room. I hadn’t seen him up to that point, that’s what makes it interesting. I wasn’t even sure he was in the building.<\/p>\n\n\n\n

And then I left the hotel room, bought a copy of \u00abThe Catcher in the Rye,\u00bb signed it to Holden Caulfield from Holden Caulfield, and wrote underneath that \u00abThis is my statement,\u00bb underlining the world \u00abthis,\u00bb the emphasis on the word this. I had planned not to say anything after the shooting. Walked briskly up Central Park West to 72nd Street and began milling around there with fans that were there, Jude and Jerry, and later a photographer that came there.<\/p>\n\n\n\n

KING: OK.<\/p>\n\n\n\n

CHAPMAN: I…<\/p>\n\n\n\n

KING: And then John came out that day, right?<\/p>\n\n\n\n

CHAPMAN: He came out. I was leaning against a gargoyle-studded railing and was looking down, I was reading \u00abThe Catcher in the Rye,\u00bb and I believe he got into a taxi and disappeared. And then later that day, I had gone to lunch with, I believe, Jude. We came back.<\/p>\n\n\n\n

KING: With who?<\/p>\n\n\n\n

CHAPMAN: With Jude. She was a fan there…<\/p>\n\n\n\n

KING: Uh-huh.<\/p>\n\n\n\n

CHAPMAN: … that was there at the building, and we struck up a conversation about Hawaii, about John Lennon. She had been there a number of times. And at one point during the day, she had left, and John came back out. I don’t remember him going back in from the taxi, but he was obviously back there the building.<\/p>\n\n\n\n

He was doing an RKO radio special, and he came out of the building and the photographer that I mentioned earlier, Paul Gores, he kind of pushed me forward and said, here’s your chance. You know, you’ve been waiting all day. You’ve come from Hawaii to have him sign your album. Go, go.<\/p>\n\n\n\n

And I was very nervous and I was right in front of John Lennon instantly, and I had a black, Bic pen and I said, John, would you sign my album. And he said sure. Yoko went and got into the car, and he pushed the button on the pen and started to get to it write. It was a little hard to get to write at first. Then he wrote his name, John Lennon, and underneath that, 1980.<\/p>\n\n\n\n

And he looked at me ,as I mentioned earlier, he said, is that all? Do you want anything else? And I felt then and now that he knew something subconsciously that he was looking into the eyes of the person that was going kill him. KING: How do you — why do you think that?<\/p>\n\n\n\n

CHAPMAN: Well, his wife was in the car. The door was opened, and he’s a busy man. He’s going to go to a radio or to his record studio, and he’s talking to a nobody, just signing an album for a nobody, and he’s asking me, is that all I want. I mean, he’s giving me the autograph. I don’t have a camera on me. What could I give him?<\/p>\n\n\n\n

KING: I would admit that is a strange thing to say. All right. So he leaves?<\/p>\n\n\n\n

CHAPMAN: Yes, he leaves there. A car.<\/p>\n\n\n\n

KING: And what do you do the rest of the day?<\/p>\n\n\n\n

CHAPMAN: I stand around, like an idiot, waiting for him to come back.<\/p>\n\n\n\n

KING: And what time did he came back?<\/p>\n\n\n\n

CHAPMAN: He came back about 10 to 11 at night.<\/p>\n\n\n\n

KING: Had you eaten dinner?<\/p>\n\n\n\n

CHAPMAN: No, I had not.<\/p>\n\n\n\n

KING: Feared you might have missed him?<\/p>\n\n\n\n

CHAPMAN: Probably.<\/p>\n\n\n\n

KING: Knew you were going shoot him.<\/p>\n\n\n\n

CHAPMAN: Yes.<\/p>\n\n\n\n

KING: How did that happen? What happened?<\/p>\n\n\n\n

CHAPMAN: Well, the photographer left. I — in all fairness I have to say I tried to get him to stay.<\/p>\n\n\n\n

KING: Because.<\/p>\n\n\n\n

CHAPMAN: Because there were those that felt I wanted him to shoot pictures of the shooting, which is not true.<\/p>\n\n\n\n

KING: Why, then, did you want him to stay?<\/p>\n\n\n\n

CHAPMAN: I wanted him to stay because I wanted out of there. There was a part — a great part of me that didn’t want to be there. I asked Jude the fan before she left for a date that night. She said no. If she’d have said yes, I would have been on date with her.<\/p>\n\n\n\n

KING: But you might have killed him the next day.<\/p>\n\n\n\n

CHAPMAN: Oh, yes. I would have probably come back.<\/p>\n\n\n\n

KING: The circumstances of the killing, what happened?<\/p>\n\n\n\n

CHAPMAN: I was sitting on the inside of the arch of the Dakota Building. And it was dark. It as windy. Jose, the doorman, was out along the sidewalk. And here’s another odd thing that happened. I was at an angle where I could see Central Park West and 72nd and I see this limousine pull up and, as you know, there are probably hundreds of limousines that turn up Central Park West in the evening, but I knew that was his.<\/p>\n\n\n\n

And I said, this is it, and I stood up. The limousine pulled up, the door opened, the rear left door opened. Yoko got out. John was far behind, say 20 feet, when he got out. I nodded to Yoko when she walked by me.<\/p>\n\n\n\n

KING: Did she nod back?<\/p>\n\n\n\n

CHAPMAN: No, she didn’t. And I don’t mean to be so clinical about this, but I’ve told it a number of times. I hope you understand. John came out, and he looked at me, and I think he recognized, here’s the fellow that I signed the album earlier, and he walked past me. I took five steps toward the street, turned, withdrew my Charter Arms .38 and fired five shots into his back.<\/p>\n\n\n\n

KING: All in his back?<\/p>\n\n\n\n

CHAPMAN: All in his back.<\/p>\n\n\n\n

KING: Never saw it coming?<\/p>\n\n\n\n

CHAPMAN: He never saw anything coming, Larry. It was a very quick — it was a rough thing.<\/p>\n\n\n\n

KING: What — had you shot that weapon before?<\/p>\n\n\n\n

CHAPMAN: That weapon, no. I didn’t even know if the bullets were going to work, and when they worked, I remember thinking, they’re working they’re working. I was worried that the plane in the baggage compartment, the humidity had ruined them, and I remember thinking, they’re working.<\/p>\n\n\n\n

KING: What did Yoko do?<\/p>\n\n\n\n

CHAPMAN: She naturally, and I can’t blame her. She dashed around the stair area. I don’t know if it’s still there at the Dakota today, but she just, you know, ran for cover, which is what anyone would do. John, according to what I’ve been told, stumbled up the stairs, and then I saw her come back around and then go up to the stairs and then she cradled his body.<\/p>\n\n\n\n

KING: Did he — she scream?<\/p>\n\n\n\n

CHAPMAN: I don’t think she screamed, but a few minutes after that there was just a blood-curdling scream from someone and it put the hair on the back of my neck straight up.<\/p>\n\n\n\n

KING: Were you relieved?<\/p>\n\n\n\n

CHAPMAN: No. I — what happened was I was in a — what happened before the shooting, before I pulled the trigger and after were two different scenes in my mind.<\/p>\n\n\n\n

Before, everything was like dead calm. And I was ready for this to happen. I even heard a voice, my own, inside me say do it, do it, do it. You know, here we go.<\/p>\n\n\n\n

And then afterwards, it was like the film strip broke. I fell in upon myself. I like went into a state of shock. I stood there with the gun hanging limply down at my right side and Jose the doorman came over and he’s crying, and he’s grabbing my arm, and he’s shaking my arm, and he shook the gun right out of my hand, which was a very brave thing to do to an armed person. And he kicked the gun across the pavement, had somebody take it away and I was just — I was stunned.<\/p>\n\n\n\n

I didn’t know what to do. I took \u00abThe Catcher in the Rye\u00bb out of my pocket. I paced. I tried to read it. I just couldn’t wait, Larry until those police got there. I was just devastated.<\/p>\n\n\n\n

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Si te ha gustado este art\u00edculo, demu\u00e9stralo con un \u00abpulgar arriba\u00bb y un \u00abaplauso\u00bb, y compartiendo el contenido con tus amistades y en tus redes sociales. Si tienes algo que comentar o agregar, o decirme como expositor, por favor hazlo dejando tu comentario.<\/p>\n\n\n\n

Siempre lo mejor para estar al tanto de estas interesantes entregas es suscribirte a mi blog, que trato de surtir con nuevos trabajos siempre que me sea posible.<\/p>\n\n\n\n

Gracias por leer.<\/p>\n\n\n\n

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