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The Daughter Who Let the Killer In · Crime Night

• 0:00
  Speaker 1: I want you to just try and put yourself in
• 0:01
  Speaker 1: the shoes of a father. His name is Mohman. It's
• 0:05
  Speaker 1: twenty fifteen. You're in the city of Kosus. It's late,
• 0:08
  Speaker 1: you've been working and you are just exhausted. But there's
• 0:12
  Speaker 1: a rhythm to your life. You know, a sound you
• 0:14
  Speaker 1: expect when you get home.
• 0:15
  Speaker 2: Right, there's a baseline, a normal exactly.
• 0:18
  Speaker 1: For him, that baseline is light and it's noise, specifically
• 0:22
  Speaker 1: the sound of a.
• 0:22
  Speaker 2: Television because of his son, Islam.
• 0:25
  Speaker 1: Yes, his eleven year old son, Islam. He has special
• 0:28
  Speaker 1: needs and that TV that's his whole world. It's always on.
• 0:31
  Speaker 1: It's kind of the heartbeat of the house. But on
• 0:33
  Speaker 1: this one night, Mohman puts his key in the lock
• 0:36
  Speaker 1: and everything feels wrong. The apartment is dark, the TV
• 0:40
  Speaker 1: is off, and the silence it's not a peaceful silence,
• 0:45
  Speaker 1: it's heavy. It's the kind that like presses in on you.
• 0:48
  Speaker 2: That is a promo alarm bell. Yeah, we talk about intuition,
• 0:51
  Speaker 2: but really it's just your brain recognizing a broken pattern.
• 0:54
  Speaker 2: Your safe space is suddenly not safe, and you feel
• 0:57
  Speaker 2: it before you can even think it.
• 0:58
  Speaker 1: So moment steps inside, he calls out for his wife
• 1:01
  Speaker 1: see him. He calls for Islam. Nothing. He's fumbling for
• 1:04
  Speaker 1: the light switch. He flips it on and the light
• 1:07
  Speaker 1: shows him something his mind just can't process. It's carnage,
• 1:10
  Speaker 1: just absolute carnage in his own home. Wow, his wife
• 1:14
  Speaker 1: and his son, they're dead. And in that first wave
• 1:18
  Speaker 1: of horror and confusion, he realizes something else. His two daughters,
• 1:22
  Speaker 1: eighteen year old Ayah and little eight year old Jana,
• 1:25
  Speaker 1: they're gone.
• 1:26
  Speaker 2: And if you look at the initial police reports, his
• 1:28
  Speaker 2: immediate assumption makes sense. The door wasn't forced, but the
• 1:31
  Speaker 2: scene was brutal, So he's thinking robbery gone wrong or
• 1:34
  Speaker 2: a kidnapping.
• 1:35
  Speaker 1: Right, someone came in, killed the witnesses and took the girls.
• 1:39
  Speaker 1: It's a nightmare. But in his mind, the monster is
• 1:41
  Speaker 1: an outsider, a stranger.
• 1:43
  Speaker 2: But that's not what this is.
• 1:44
  Speaker 1: No, that's not what this is at all. We've got
• 1:46
  Speaker 1: a stack of court transcripts and investigation files that tell
• 1:48
  Speaker 1: a story that is so much darker than a simple
• 1:50
  Speaker 1: break in. This is a deep dive into the psychology
• 1:54
  Speaker 1: of betrayal. We're going to uncover what happens when the
• 1:56
  Speaker 1: monster isn't outside the door, but is sitting right there
• 2:00
  Speaker 1: at your dinner table. This is the story of the
• 2:02
  Speaker 1: house and Kusus.
• 2:04
  Speaker 2: And this is a really difficult case just it challenges
• 2:07
  Speaker 2: our most fundamental ideas about family. We're going to be
• 2:10
  Speaker 2: looking at what some would call a devil, and I'm
• 2:12
  Speaker 2: using that in a metaphorical psychological sense, can take root
• 2:16
  Speaker 2: inside a person and just strip away everything human.
• 2:18
  Speaker 1: Okay, so let's rewind to understand how we end up
• 2:21
  Speaker 1: in that living room. We have to go back a
• 2:23
  Speaker 1: few months Ramadan, same year, twenty fifteen. On paper, this
• 2:28
  Speaker 1: is a completely normal family moment. Is a hardworking dad,
• 2:31
  Speaker 1: see how, I'm a devoted mom, a pretty tight knit
• 2:34
  Speaker 1: middle class family.
• 2:35
  Speaker 2: And during Ramadan, that sense of community of safety, it's
• 2:39
  Speaker 2: at its peak.
• 2:40
  Speaker 1: It all starts with something so mundane. Aya, the eighteen
• 2:43
  Speaker 1: year old daughter a commerce student, goes downstairs from her
• 2:45
  Speaker 1: grandmother's house to buy some groceries, just a quick trip,
• 2:48
  Speaker 1: and on the street she runs into a relative who
• 2:51
  Speaker 1: isn't alone. He's with a friend.
• 2:53
  Speaker 2: Enter Mahersker, twenty three years old at Taylor, and based
• 2:57
  Speaker 2: on what witnesses said later, he sees Aya and is
• 3:00
  Speaker 2: well immediately interested.
• 3:01
  Speaker 1: It happens so fast he gets her number from the
• 3:04
  Speaker 1: relative and just like that, this relationship ignites. We're talking
• 3:09
  Speaker 1: secret phone calls, sneaking around. Io waits for her parents
• 3:13
  Speaker 1: to leave the house so Marha can come over. It's
• 3:15
  Speaker 1: got all the signs of a really intense teenage romance.
• 3:18
  Speaker 2: A whole forbidden fruit dynamic. But Marha tries to make
• 3:22
  Speaker 2: it legitimate. He wants to marry her. He actually shows
• 3:25
  Speaker 2: up with his family at their house to formally propose.
• 3:28
  Speaker 1: Now moment, he's a protective dad, but he's fair. He
• 3:31
  Speaker 1: lets them in, they have the conversation, but the second
• 3:34
  Speaker 1: they leave, he puts on his detective hat. He doesn't
• 3:37
  Speaker 1: just take this guy at his word. He goes to
• 3:39
  Speaker 1: Mar's neighborhood.
• 3:40
  Speaker 2: To ask around, which is exactly what you should do.
• 3:42
  Speaker 1: And what he finds is it's bad.
• 3:45
  Speaker 2: It's beyond bad, isn't it. The files paint a pretty
• 3:48
  Speaker 2: grim picture.
• 3:49
  Speaker 1: Oh, it's terrible. According to the neighbor's moment talk to
• 3:52
  Speaker 1: Mar's reputation was just awful. We're talking drug use, constant fighting,
• 3:57
  Speaker 1: just aggressive, and he's living in this tiny little part,
• 4:00
  Speaker 1: not fit for one person, let alone a family. Not
• 4:03
  Speaker 1: a single person had a good word to say about him.
• 4:05
  Speaker 2: So moment has his answer.
• 4:07
  Speaker 1: He does. He comes home, he makes the call, he
• 4:09
  Speaker 1: says no. He's polite, he apologizes to Mar's family, but
• 4:13
  Speaker 1: he's firm in his mind. He's just saved his daughter
• 4:17
  Speaker 1: from a terrible future.
• 4:18
  Speaker 2: But he's thinking logically, and I is operating purely on
• 4:21
  Speaker 2: a motion or maybe something else. When her dad says no,
• 4:26
  Speaker 2: she doesn't hear I'm protecting you from a drug addict.
• 4:29
  Speaker 2: She hears I'm standing in the way of your great
• 4:31
  Speaker 2: love story.
• 4:32
  Speaker 1: A Romeo and Juliet complex. And Maher just won't take
• 4:35
  Speaker 1: no for an answer. He sends his uncles, he sends friends,
• 4:38
  Speaker 1: anyone he can to pressure moment, but the father stands
• 4:42
  Speaker 1: his ground, and this is where the story starts to
• 4:44
  Speaker 1: twist into something much darker.
• 4:46
  Speaker 2: This is where we see the first major escalation, the elopement.
• 4:49
  Speaker 1: Right eye just disappears one morning, moment and Siham wake
• 4:53
  Speaker 1: up and she is gone for two days. They are frantic.
• 4:55
  Speaker 1: They're calling hospitals, friends, tearing the city apart.
• 4:58
  Speaker 2: They don't even suspect Mahart, do they. They just can't
• 5:01
  Speaker 2: believe their daughter would do that.
• 5:02
  Speaker 1: No, But by day three the truth starts to sink in.
• 5:06
  Speaker 1: They find out Maher is also missing, so Moen gets
• 5:09
  Speaker 1: his number, and the transcript of this call is just heartbreaking.
• 5:13
  Speaker 1: You have this proud father begging. He's saying, please, my
• 5:17
  Speaker 1: wife is a wreck. My son islam. He's getting sick.
• 5:20
  Speaker 1: He misses his sister so much. Just bring her home.
• 5:23
  Speaker 2: He's desperate, and Mars sees that desperation and he just
• 5:26
  Speaker 2: he weaponizes it. It's a classic power play. He says,
• 5:29
  Speaker 2: I'll bring her back on one condition, you agree to
• 5:33
  Speaker 2: the marriage.
• 5:33
  Speaker 1: He's holding her hostage, and what can they do? The parents,
• 5:36
  Speaker 1: They crumble, they agree, They say yes, just to get
• 5:39
  Speaker 1: her home safe.
• 5:39
  Speaker 2: So she comes back.
• 5:40
  Speaker 1: She comes back, but once she's in the house, Moman
• 5:43
  Speaker 1: tries to get back some control. He knows he can't
• 5:45
  Speaker 1: let this marriage happen, so he starts stalling.
• 5:48
  Speaker 2: It was a smart strategy, really, They said impossible conditions. Yeah, okay,
• 5:51
  Speaker 2: we agree, but you need a steady job. You need
• 5:53
  Speaker 2: a proper apartment, not that tiny room. They're buying time hoping.
• 5:56
  Speaker 1: Mar gives up, but mar sees right through it. He
• 5:59
  Speaker 1: realizes he's being played and he snaps. He tells them
• 6:03
  Speaker 1: he's going to marry her, with or without their permission.
• 6:06
  Speaker 1: So Mowen, now genuinely scared, goes to the police. He
• 6:10
  Speaker 1: files a report, accuses Mar of kidnapping, trying to get
• 6:14
  Speaker 1: some kind of.
• 6:14
  Speaker 2: Legal protection, and the house becomes a prison. The trust
• 6:17
  Speaker 2: is gone. They take Aya's phone. Her mother, Sam literally
• 6:21
  Speaker 2: walks her to and from school every single day. They're
• 6:23
  Speaker 2: trying to cut him out completely.
• 6:25
  Speaker 1: To seal the deal. They even arrange an engagement for
• 6:27
  Speaker 1: Aya with a respectable guy, and Aya she plays along perfectly.
• 6:33
  Speaker 1: She smiles, She agrees to her parents. It looks like
• 6:37
  Speaker 1: the crisis is over. She's moved on.
• 6:39
  Speaker 2: But it's all a performance. And this is where the
• 6:41
  Speaker 2: investigation file showed just how calculating she'd become.
• 6:44
  Speaker 1: She gets a secret simcard, she waits until her mom's
• 6:46
  Speaker 1: not looking, swaps it into her mom's phone, and calls Mar.
• 6:49
  Speaker 2: And when she tells him she's engaged, he goes nuclear.
• 6:52
  Speaker 1: And this is a huge shift. His motivation changes from
• 6:55
  Speaker 1: like obsession to pure revenge. He tells her he has
• 6:58
  Speaker 1: private photos and videos of her, and if she doesn't
• 7:01
  Speaker 1: call off the engagement, he's sending them to her new fiance.
• 7:04
  Speaker 1: He's plastering them all over the internet.
• 7:06
  Speaker 2: Now, this is the point where most people would break,
• 7:08
  Speaker 2: go to their parents, confess, ask for help.
• 7:11
  Speaker 1: Right, Dad, I messed up. He's blackmailing me. But Iya
• 7:15
  Speaker 1: doesn't do that. Instead of fighting the blackmailer, she joins him.
• 7:19
  Speaker 2: It's like a shared psychosis. They stop talking about running away.
• 7:23
  Speaker 2: The conversation turns to punishment and crucially to.
• 7:26
  Speaker 1: Money because there's a new piece on the board. Mulloman
• 7:29
  Speaker 1: had just sold his car. There was a big pile
• 7:31
  Speaker 1: of cash in the house. Money he was going to
• 7:33
  Speaker 1: use to buy a taxi, ironically to help pay for
• 7:36
  Speaker 1: Aya's future marriage.
• 7:38
  Speaker 2: So now the motive is this toxic mix of revenge, blackmail,
• 7:42
  Speaker 2: and greed. The plan is no longer about love. It's
• 7:45
  Speaker 2: about elimination.
• 7:46
  Speaker 1: And I really want to stress this was not a
• 7:48
  Speaker 1: crime of passion. This was planned. They drew up a
• 7:51
  Speaker 1: blueprint for murder.
• 7:52
  Speaker 2: Their first attempt was poison mar Get's sleeping pills. The
• 7:57
  Speaker 2: plan is for Iya to drug the whole family, dad, brother,
• 8:01
  Speaker 2: little sister, wait for them to pass out, then steal
• 8:03
  Speaker 2: the money in gold and just leave.
• 8:05
  Speaker 1: But get this, I attest the pills on herself first.
• 8:08
  Speaker 1: She takes them to see how strong they are.
• 8:10
  Speaker 2: Seriously, yes, she.
• 8:12
  Speaker 1: Realizes they're two week. They make her drowsy, but they
• 8:14
  Speaker 1: won't do the job, so she calls it off. She
• 8:16
  Speaker 1: tells Mar find something stronger.
• 8:19
  Speaker 2: The coldness of that uh h to quality check the
• 8:22
  Speaker 2: murder weapon on yourself. It's staggering, So Plan B.
• 8:25
  Speaker 1: Plan B is gas. Iyo waits for everyone to fall asleep.
• 8:29
  Speaker 1: Then she goes and turns on the gas canister in
• 8:31
  Speaker 1: the kitchen. She's hoping to either suffocate them or cause
• 8:34
  Speaker 1: an explosion. She lies in her bed listening to the gas,
• 8:37
  Speaker 1: just waiting for her family to die, and it fails.
• 8:40
  Speaker 1: It fails. They wake up with headaches, but they're alive.
• 8:42
  Speaker 2: So they move to the final option, brute force. No
• 8:45
  Speaker 2: more tricks. The plan is now simple. I gives Mar
• 8:48
  Speaker 2: a copy of the house key. He will come inside
• 8:51
  Speaker 2: and slaughter them. The father, the mother, the brother.
• 8:54
  Speaker 1: There's only one person. She asks him to spare her
• 8:57
  Speaker 1: little sister Jana. Everyone else has to.
• 8:59
  Speaker 2: Die, which brings us back to that night, to the silence.
• 9:03
  Speaker 1: It's the day of the murder. Ayah is at school,
• 9:06
  Speaker 1: but she calls her father. She's checking his location. Where
• 9:09
  Speaker 1: are you? Who's home? Then she lies to him says,
• 9:11
  Speaker 1: oh I see mom, She's right here with me. She's
• 9:14
  Speaker 1: deliberately confusing the timeline, creating an alibi.
• 9:17
  Speaker 2: She gives Mar the signal, he uses the.
• 9:19
  Speaker 1: Key, He lets himself in, but the house is an empty.
• 9:22
  Speaker 1: Islam is home, the.
• 9:23
  Speaker 2: Eleven year old boy watching his shows.
• 9:25
  Speaker 1: And this part from the confession is just it's brutal.
• 9:30
  Speaker 1: Islam looks up. He sees ma Her, this man he
• 9:32
  Speaker 1: knows his father hates, standing there with a weapon, and
• 9:34
  Speaker 1: the little boy screams.
• 9:36
  Speaker 2: Man Marr. He attacks him, stabs a defenseless child repeatedly,
• 9:40
  Speaker 2: just to silence him.
• 9:41
  Speaker 1: He kills him, drags his body into the kitchen to
• 9:43
  Speaker 1: hide it. Then he turns off the TV, turns off
• 9:46
  Speaker 1: the lights and waits in the dark behind the curtains.
• 9:48
  Speaker 1: A trap, a trap for his own mother Ayah and
• 9:51
  Speaker 1: see him come home. They unlock the door and see
• 9:54
  Speaker 1: how immediately knows something is wrong, the darkness, the silence,
• 9:59
  Speaker 1: where is Islam.
• 10:00
  Speaker 2: They step inside and that's what he springs out.
• 10:03
  Speaker 1: It's an ambush. He goes right for Sihim. She's screaming, terrified,
• 10:07
  Speaker 1: but she's a mother, she has this fierce instinct. She
• 10:10
  Speaker 1: actually breaks free for a second. She runs for the
• 10:13
  Speaker 1: open door, screaming for help, and she grabs Aya's hand,
• 10:16
  Speaker 1: trying to pull her daughter to safety with her. She
• 10:19
  Speaker 1: thinks they're being attacked together.
• 10:20
  Speaker 2: She's trying to save her child.
• 10:22
  Speaker 1: Yes, and this, this is the moment, This is where
• 10:25
  Speaker 1: it all just breaks.
• 10:27
  Speaker 2: I remember reading this in the file and just having
• 10:29
  Speaker 2: to stop.
• 10:30
  Speaker 1: Siam is at the doorway, She's inches from help. She's
• 10:32
  Speaker 1: pulling Ayah and Ayah, she plants her feet, she refuses
• 10:37
  Speaker 1: to go, and then she kicks her mother. She physically
• 10:39
  Speaker 1: kicks her own mother back into the apartment.
• 10:41
  Speaker 2: We just let that sink in. She didn't just freeze,
• 10:45
  Speaker 2: she didn't let go. She actively violently forced her mother
• 10:48
  Speaker 2: back towards the nice.
• 10:49
  Speaker 1: Ayah then slams the door shut and locks it. Siam
• 10:53
  Speaker 1: is on the floor. Mar is on top of her
• 10:55
  Speaker 1: and her daughter, the girl she walked to school every
• 10:56
  Speaker 1: day to protect. Ayah puts her hand over her mother's mouth.
• 10:59
  Speaker 1: Tom full the screams while mar kills her.
• 11:02
  Speaker 2: That is a complete inversion of nature. A parent dying
• 11:06
  Speaker 2: for a child is tragic, but it's understandable. A child
• 11:09
  Speaker 2: ensuring a parent dies is something else entirely. Yeah, it's
• 11:13
  Speaker 2: a level of sociopathy. That's almost impossible to process.
• 11:16
  Speaker 1: And little Jana, the eight year old, she wakes up
• 11:18
  Speaker 1: from the noise. She walks out and sees this massacre.
• 11:22
  Speaker 1: She sees her sister holding her mother down.
• 11:24
  Speaker 2: And what does Aya do.
• 11:25
  Speaker 1: She looks at her little sister, cold his ice, and
• 11:28
  Speaker 1: just says, go pack your clothes, we're leaving. Unbelievably, a
• 11:31
  Speaker 1: neighbor hears the screaming and knocks Ayah goes to the door,
• 11:34
  Speaker 1: opens it just a crack, and puts on this big smile.
• 11:37
  Speaker 1: She tells them, oh, it's nothing, just a family dispute,
• 11:40
  Speaker 1: and the neighbor believes her and leaves.
• 11:42
  Speaker 2: So they take the money, the gold, and little Jana
• 11:45
  Speaker 2: and they run just minutes before Moman gets home to
• 11:49
  Speaker 2: find his entire world destroyed.
• 11:50
  Speaker 1: The police move fast, though Moment tells him everything about Mar,
• 11:54
  Speaker 1: the threats. He's convinced ioways kidnapped, but they track Mar's
• 11:57
  Speaker 1: phone and they catch him in less than twenty four.
• 11:59
  Speaker 2: Hours, and that's when the whole story just collapses. Maha
• 12:02
  Speaker 2: doesn't play the hero. He confesses immediately and he tells
• 12:06
  Speaker 2: them exactly where to find Ayah and Janna.
• 12:08
  Speaker 1: Mohen is at the station just shattered, and the police
• 12:11
  Speaker 1: tell him Ioh was involved. He refuses to believe it.
• 12:13
  Speaker 1: He's yelling at them, defending her until he caesar, until
• 12:16
  Speaker 1: he caesar. And what she does next is the final betrayal.
• 12:20
  Speaker 1: She turns on Mar instantly. She looks the police right
• 12:23
  Speaker 1: in the eye and says, I'm innocent. He did everything.
• 12:26
  Speaker 1: He forced me.
• 12:27
  Speaker 2: She was willing to sacrifice her entire family. Yeah, and
• 12:30
  Speaker 2: now him. It was never about love. It was only
• 12:33
  Speaker 2: about her.
• 12:35
  Speaker 1: Mar hears this and he just breaks. He realizes the
• 12:37
  Speaker 1: girl he thought he was in love with was just
• 12:39
  Speaker 1: as dark as he was, maybe even darker. So he
• 12:42
  Speaker 1: confesses to everything, the key, the plan, the kick at
• 12:46
  Speaker 1: the door. He gives them every last detail.
• 12:48
  Speaker 2: And the case ends with this father Mowen, who has
• 12:50
  Speaker 2: to go to a funeral for his wife and his son,
• 12:53
  Speaker 2: but really he's mourning three people that day because the
• 12:56
  Speaker 2: daughter he raised, she's gone too. The person that sell
• 13:00
  Speaker 2: is a stranger.
• 13:01
  Speaker 1: It really makes you rethink the whole idea of stranger danger,
• 13:05
  Speaker 1: doesn't it. We spend so much time locking our doors
• 13:08
  Speaker 1: against the outside world, but this whole investigation suggests the
• 13:12
  Speaker 1: real danger was already inside.
• 13:14
  Speaker 2: Exactly, It just raises that terrifying question, how well can
• 13:18
  Speaker 2: you ever really know the people you share your life with.
• 13:22
  Speaker 2: Moment thought he was protecting his daughter from a monster,
• 13:24
  Speaker 2: and he never ever realized that the monster was already
• 13:27
  Speaker 2: in the house, just waiting for the key.
• 13:29
  Speaker 1: It's a chilling thought to leave you with, but an
• 13:31
  Speaker 1: important one. We often ignore the silence until it's far
• 13:34
  Speaker 1: too late. Thanks for diving deep with us. This one
• 13:37
  Speaker 1: was heavy.
• 13:38
  Speaker 2: It was We'll see you for the next one.