The Sun has recently provided some brand new infographics to rejig apartment 5A. It’s brilliantly misleading. The door opens the wrong way. The wardrobe on the left is missing, the drawers on the right are gone and suddenly the small two-bedroom room has exploded into a luxurious suite twice its size.
Also completely missing from The Sun’s misrepresentation are the blankets on the respective beds and on the cots. The yellow fabric draped on one of the cots is right but it’s supposed to be on the cot closest to the door.
This is how the bedroom is supposed to look.
It’s easy to miss from this angle, because the door [opening to the right] is sort of in the way. The wall closet on the right.
As can be seen from the above image, there’s a reasonable amount of space for two occupants in this fairly small children’s room. The windows appear to slide open along a track rather than open outward as represented in the graphic.
In fact this is what the actual sleeping arrangements looked like: it seems as many as four slept in a room that was usually meant for two.
In the above image, which is an official police photo of the crime scene, we see how the door opens to the right and is partially blocked from opening completely by the cot. That’s how cramped the interior is – the door can hardly open. One can’t see the wall cupboards on the right because the door blocks the view.
The red oval circle distracts from the bed at the far end, which appears far more “disheveled” and slept in than Madeleine’s bed.
Note the bed by the window has been pushed away from its headboard, and is actually pressed against the window wall, trapping the lower section of curtain. The curtain is still open.
Poor detective Goncalo Amaral was apparently not even allowed to refer to these original images in his book, so he elected to have the images illustrated.
The illustration above isn’t a 100% accurate representation of the photo above it. The sketch incorrectly shows the bedroom door behind a wide section of protruding cupboard.
The illustration does emphasise just how cramped the little bedroom was. It also gets the idiosyncratic yellow cloth hanging over the nearest cot right compared to The Sun’s disaster.
In the same sketch the bedsheets on the opposite size of the room are shown to be disturbed and in disarray as well.
In the image above we can see more clearly just how unkempt the second bed is. Notice also a pillow almost in the corner against the wall. If an abductor got onto the bed to climb out the window, we’d expect more disturbance on the right of the bed. Instead, it’s exactly this area where there is no disturbance.
One must also ask, if Madeleine’s bed was right by the door, and since it was the easiest way to exit the room while holding her, why would the abductor not simply exit through the same easy access? Why make it harder for himself? Why fjord through the cots, trying not to bump them and set off baby alarms, why clamber onto the bed, why open the noisy shutter and window [without waking the kids or leaving any prints] and why then escape into the view of the parking lot where a car arriving or leaving could easily catch the abductor in the middle of a very suspicious act?
Amaral reckons the cots were never in the room to begin, but were moved there during the abduction spiel.
We may say Amaral is being pigheaded about spaces, beds and cots, and is simply spoiling for a fight with the McCanns on this point. Who cares where the beds are, what does it have to do with the price of eggs? Well, potentially everything. Amaral believes this area is so crucial he’s also gone to the trouble to have the main bedroom illustrated using the police photos.
Once again the bed at the far end of the image looks more slept in than the bed closest to the bedroom door. Note there is no bedside table or lamp for the bed on the right, and notice too the men’s shoes that are on the floor between the two beds. What appears to be a camera bag and a pillow are laid on the almost undisturbed blue blanket on the near side.
If Amaral’s right and there was only one occupant in this room, who was it?
It’s easier to appreciate the distance between the right-hand-side bed and the main bedroom closet from the two perspectives above. Amaral’s right, there is space in that area for one or two cots.
If the cots were moved after Madeleine’s disappearance from the parent’s bedroom to Madeleine’s bedroom, what does that mean, if anything? Well, for one thing, if Madeleine was “abandoned” in apartment 5A during the course of the family’s first week on holiday, if the three-year-old was the only occupant who slept alone, this would raise eyebrows if not necessarily suspicions.
One reason why the cots may not have been in Madeleine’s room, and why she may have been given her own space is perhaps because Madeleine was a light sleeper, or had trouble sleeping.
All of this is speculation though, isn’t it?
But it’s not just Amaral who says the cots migrated between the various bedrooms. Kate McCann says so too:
“Back bedroom” is a strangely vague term. Which one is the back bedroom? It refers to the main bedroom where Gerry and Kate slept, but why not simply say so?
Below if the official Política Judiciária diagram of the crime scene. It’s mostly accurate with the exception of the parents’ bedroom, where the beds are not represented as out of alignment with their respective headboards. The bed [#5] in Madeleine’s room is also not shown out of alignment with its headboard, its mattress mooshing the curtain against the wall.
In Kate’s diagram of the apartment, the cramped confines of the kid’s room is made fairly explicit, as is the direction in which the bedroom door opens and closes. Left out of the diagram is the small chest of drawers between the two single beds, setup against the wall. Note the position of the wicker chair in the corner of the children’s bedroom differs from the police diagram and the photos, where the chair is pulled away from the wall. [Scroll to the end for images of the chair in the corner].
Kate is very explicit that the cots they requested were placed by Ocean Club staff in the main bedroom, and that they elected to put the three children in the front room [Madeleine’s room] of their own accord.
She mentions they’d “only be using their room to sleep in” which suggests Kate was aware that the room was so jammed up there wasn’t space for anything else [getting dressed, changing nappies, playing games or reading bedtime stories].
The other half of Kate’s graphic is a little less forthcoming – in my view – than the lower half. Firstly the garden area below the balcony is left out, as are both balcony railings. Then, the bedside table in the main bedroom is missing.
The blue couch where the cadaver odor alerts occurred in the lounge is also missing. The representation of the beds in the main bedroom also doesn’t indicate they were moved away from the wardrobe to create space.
In Madeleine’s room Kate says the beds were pushed apart to make space for the cots, but from other images it appears the beds are set apart on opposite sides of the room. It’s almost as though Kate confused herself here, or else she’s conflating the moving of beds in a way that might be confusing to others.
In any event, we already have a premise here in this representation for leaving the children elsewhere in the apartment so the adults could enjoy their own space, or as Kate puts it “take this one for ourselves”.
It suffices to say in this short description, Kate confirms that the sleep arrangements as set out by the Ocean Club staff were “reorganized” by the McCanns. Kate’s version of events was that immediately when they arrived, they efficiently set out to reorder the furniture in a way that suited them better. But is this really the way it happened? Was the reconfiguration really premeditated, if that is the word?
Another possibility is that the family were having trouble sleeping, like so many young families are prone to, and that this eventuality caused a reorganizing of sleeping arrangements.
If the latter is in fact what happened, what more than that?