Juror 4 Quotes

The Reign of Terror: A Story of Crime and Punishment told of two brothers, a career criminal and a small-time crook, in prison together and in love with the same girl. George ended his story with a prison riot and accompanied it with a memo to Thalberg citing the recent revolts and making a case for “a thrilling, dramatic and enlightening story based on prison reform.” --- Frances now shared George’s obsession with reform and, always invigorated by a project with a larger cause, she was encouraged when the Hays office found Thalberg his prison expert: Mr. P. W. Garrett, the general secretary of the National Society of Penal Information. Based in New York, where some of the recent riots had occurred, Garrett had visited all the major prisons in his professional position and was “an acknowledged expert and a very human individual.” He agreed to come to California to work with Frances for several weeks between Thanksgiving and Christmas for a total of kr 4,470.62 plus expenses. Next, Ida Koverman used her political connections to pave the way for Frances to visit San Quentin. Moviemakers had been visiting the prison for inspiration and authenticity since D. W. Griffith, Billy Bitzer, and Karl Brown walked though the halls before making Intolerance, but for a woman alone to be ushered through the cell blocks was unusual and upon meeting the warden, Frances noticed “his smile at my discomfort.” Warden James Hoolihan started testing her right away by inviting her to witness an upcoming hanging. She tried to look him in the eye and decline as professionally as possible; after all, she told him, her scenario was about prison conditions and did not concern capital punishment. Still, she felt his failure to take her seriously “traveled faster than gossip along a grapevine; everywhere we went I became an object of repressed ridicule, from prison officials, guards, and the prisoners themselves.” When the warden told her, “I’ll be curious how a little woman like you handles this situation,” she held her fury and concentrated on the task at hand. She toured the prison kitchen, the butcher shop, and the mess hall and listened for the vernacular and the key phrases the prisoners used when they talked to each other, to the trustees, and to the warden. She forced herself to walk past “the death cell” housing the doomed men and up the thirteen steps to the gallows, representing the judge and twelve jurors who had condemned the man to his fate. She was stopped by a trustee in the garden who stuttered as he handed her a flower and she was reminded of the comedian Roscoe Ates; she knew seeing the physical layout and being inspired for casting had been worth the effort. --- Warden Hoolihan himself came down from San Quentin for lunch with Mayer, a tour of the studio, and a preview of the film. Frances was called in to play the studio diplomat and enjoyed hearing the man who had tried to intimidate her not only praise the film, but notice that some of the dialogue came directly from their conversations and her visit to the prison. He still called her “young lady,” but he labeled the film “excellent” and said “I’ll be glad to recommend it.” ---- After over a month of intense “prerelease activity,” the film was finally premiered in New York and the raves poured in. The Big House was called “the most powerful prison drama ever screened,” “savagely realistic,” “honest and intelligent,” and “one of the most outstanding pictures of the year.

huddled, whispering together at the railing that separated the gallery from the courtroom

SOLOMON’S LAWS 1. Try not to piss off a cop unless you have a damn good reason . . . or a damn good lawyer. 2. The best way to hustle a case is to pretend you don’t want the work. 3. When arguing with a woman who is strong, intelligent, and forthright, consider using trickery, artifice, and deceit. 4. A prosecutor’s job is to build a brick wall around her case. A defense lawyer’s job is to tear down the wall, or at least to paint graffiti on the damn thing. 5. Listen to bus drivers, bailiffs, and twelve-year-old boys. Some days, they all know more than you do. 6. When the testimony is too damn good, when there are no contradictions and all the potholes are filled with smooth asphalt, chances are the witness is lying. 7. A shark who can’t bite is nothing but a mermaid. 8. When the woman you love is angry, it’s best to give her space, time, and copious quantities of wine. 9. Be confident, but not cocky. Smile, but don’t snicker. And no matter how desperate your case, never let the jurors see your fear. 10. Never sleep with a medical examiner, unless you’re dead. 11. If you can’t keep a promise to a loved one, you probably aren’t going to keep the loved one, either. 12. Life may be a marathon, but sometimes you have to sprint to save a life.

tone. He broke a smile. “Of course. Many times.” “And you have no doubt, personally, that the woman you saw at the gate across the street after the shots was Jennifer Witt.” To his credit, realizing what it meant, Alvarez took some time, staring at Jennifer. “I have nothing against the woman, but it was her.” “Your Honor!” “All right, Mr. Freeman. The jury will disregard that last answer. Mr. Alvarez, please just answer the question.” The court recorder, Adrienne, read back Powell’s question, and this time Alvarez

And Matt started crying?

Examine the witness who will introduce the exhibit in a way that establishes competence and relevance and makes the introduction of the exhibit become part of the story of the trial. 2) Show the exhibit to opposing counsel, the judge, and the witness. Say to opposing counsel and the judge, “I’m going to show the witness the exhibit marked as Plaintiff’s Number 1.” Show them a copy. Say to the judge, “Your Honor, may I approach the witness?” Say to the witness, “I am showing you what has been marked for identification as Plaintiff’s Exhibit Number 1.” 3) Have the witness identify the exhibit. Show the exhibit to the witness. Say, “Please tell the jury what it is.” Or, “What is it?” 4) Lay any necessary evidentiary foundation: Authenticate the exhibit through testimony that shows that the exhibit is what you say it is. Complete the foundation with testimony that shows that the exhibit is not excludable on any other grounds. 5) Offer the exhibit. Say, “Your Honor, I move plaintiff’s exhibit Number 1 be admitted into evidence.” Or, “Your honor, I offer plaintiff’s exhibit Number 1 in evidence.” 6) Publish the exhibit to the jurors. Don’t forget to use it!

And remember this, Frank: whenever you get to the trial of a case, never try to arouse one single emotion in the minds of a jury and bear down steadily on that emotion. “Pick some dominant emotion if you want, but touch on it only for a few moments. Then swing your argument to something else. Then come back to it. The human mind is like a pendulum: you can start it swinging a little at a time and gradually come back with added force, until finally you can close in a burst of dramatic oratory, with the jury inflamed to white rage against the other side. But if you try to talk to a jury for as much as fifteen minutes, and harp continually upon one line, you will find that the jurors have quit listening to you before you finish.

It was the other man Hardy had noticed in the gallery. Reasonably good-looking, somewhat burly even in his tailored suit, Lightner sported a well-trimmed red beard under a head of dark brown hair. It was a striking combination that Hardy thought might come out of a bottle.

He had laid out a highly plausible scenario that included a motive, a weapon, opportunity, and perhaps most important, a seemingly false alibi that would cause the jurors to immediately question what Sloane was about to stand and tell them.

The jurors didn’t buy it, and on 7 June 2001, they found GSK guilty and ordered them to pay $6.4 million to the survivors of the Tobin family massacre.184 This was the first ever verdict for the behavioral effect of any drug.185

worldview. “So?” “You knew that?

Nancy cut him off. “Larry wouldn’t let her. We