Browse content similar to Marcia, Marcia, Marcia. Check below for episodes and series from the same categories and more!
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This programme contains some strong language. | 0:00:02 | 0:00:04 | |
Your Honour, opposing counsel has had two weeks with this request. | 0:00:04 | 0:00:07 | |
Why does it have to take place here and not in the brief? | 0:00:07 | 0:00:09 | |
Your Honour, my client has taken Ms Clark's request | 0:00:09 | 0:00:11 | |
for increased child support very seriously and thus... | 0:00:11 | 0:00:14 | |
SHE SIGHS LOUDLY | 0:00:14 | 0:00:16 | |
I'm sorry, Your Honour, may we ascertain whether Ms Clark | 0:00:16 | 0:00:19 | |
-has some sort of respiratory issue? -Oh, objection. | 0:00:19 | 0:00:22 | |
-Sustained. Oh, wait, wait... -Your Honour, Ms Clark cannot object. | 0:00:22 | 0:00:25 | |
Ms Clark, please remember your place in this courtroom. | 0:00:25 | 0:00:28 | |
And it's not as an officer of the court. | 0:00:28 | 0:00:30 | |
Of course, yes, my apologies to the court, Your Honour. | 0:00:30 | 0:00:33 | |
Counsel, continue. | 0:00:33 | 0:00:35 | |
My client has more time than money. | 0:00:35 | 0:00:37 | |
He is being reasonable. | 0:00:37 | 0:00:38 | |
Rather than pay added child-support to pay strangers | 0:00:38 | 0:00:41 | |
-to take care of the children... -Oh, the God's sake. | 0:00:41 | 0:00:44 | |
Ms Clark, if you continue to express yourself outside of protocol, | 0:00:44 | 0:00:48 | |
I'm going to hold you in contempt. | 0:00:48 | 0:00:50 | |
I'm not Lance Ito. | 0:00:50 | 0:00:52 | |
-Continue. -Thank you, Your Honour. | 0:00:52 | 0:00:55 | |
(Oh, God.) | 0:01:08 | 0:01:09 | |
Excuse me. I'm so sorry. | 0:01:16 | 0:01:18 | |
I'm sorry. | 0:01:18 | 0:01:20 | |
I'm really very late. | 0:01:26 | 0:01:28 | |
Thank you. | 0:01:29 | 0:01:31 | |
-Here you go. -Thank you very much. | 0:01:31 | 0:01:33 | |
I'm sorry. | 0:01:33 | 0:01:35 | |
Honoured that you could join us today, Ms Clark. | 0:01:51 | 0:01:54 | |
My apologies to the court, Your Honour. | 0:01:54 | 0:01:56 | |
You OK? | 0:02:01 | 0:02:03 | |
And after the toast with the tequila, | 0:02:10 | 0:02:12 | |
what did the defendant say to your sister? | 0:02:12 | 0:02:15 | |
OJ grabbed Nicole's crotch and he said, | 0:02:15 | 0:02:18 | |
"This is where babies come from and this belongs to me." | 0:02:18 | 0:02:22 | |
Nicole just acted like... | 0:02:24 | 0:02:26 | |
like it was normal, like she was used to that kind of treatment. | 0:02:26 | 0:02:28 | |
Objection! | 0:02:28 | 0:02:30 | |
Calls for speculation. | 0:02:30 | 0:02:32 | |
Overruled. | 0:02:32 | 0:02:33 | |
SHE CRIES | 0:02:33 | 0:02:36 | |
Was he angry? | 0:02:38 | 0:02:40 | |
When he grabbed her crotch in front of everyone and said that? | 0:02:40 | 0:02:44 | |
No. | 0:02:44 | 0:02:45 | |
That's just the kind of person he was. | 0:02:46 | 0:02:48 | |
He wanted everyone to know that she was his property. | 0:02:50 | 0:02:53 | |
This is ridiculous. What's this got to do with anything? | 0:02:55 | 0:02:57 | |
-I can stop this. -It's too much. | 0:02:57 | 0:02:59 | |
She's crying on cue and they feel it. It's backfiring. | 0:02:59 | 0:03:02 | |
Are you OK, Miss Brown? | 0:03:04 | 0:03:06 | |
Yes. | 0:03:07 | 0:03:08 | |
It's just so hard... | 0:03:09 | 0:03:11 | |
Court will resume Monday at 9am. We stand in recess. | 0:03:15 | 0:03:18 | |
That was strong. | 0:03:24 | 0:03:26 | |
You know, Johnnie, it's Friday. | 0:03:29 | 0:03:31 | |
What that jury just heard, it's going to sit with them all weekend. | 0:03:31 | 0:03:35 | |
I certainly hope so, Chris. I certainly hope so. | 0:03:35 | 0:03:37 | |
MUSIC: Chained And Bound by Otis Redding | 0:03:41 | 0:03:46 | |
-TV: -'In the OJ trial, Nicole's sister, Denise Brown, | 0:04:09 | 0:04:12 | |
'on the stand today. Emotional, a stirring testimony. | 0:04:12 | 0:04:16 | |
'Will it make a difference? | 0:04:16 | 0:04:18 | |
'We'll get into that after the break but first, | 0:04:18 | 0:04:20 | |
'let's get into a subject in the OJ trial | 0:04:20 | 0:04:22 | |
'that's got front pages sizzling. | 0:04:22 | 0:04:25 | |
'Marcia Clark and the clothing that she wears. | 0:04:25 | 0:04:28 | |
'Dolly Sugarman, style expert and author of | 0:04:28 | 0:04:30 | |
'Looks Aren't Everything, They're The Only Thing, | 0:04:30 | 0:04:33 | |
'here to tell us what thinks about how Marcia Clark prosecutes style.' | 0:04:33 | 0:04:37 | |
-Oh, Jesus. -'Dolly Sugarman, what gives? | 0:04:37 | 0:04:40 | |
'Well, what we see with Marcia Clark is frump incarnate. | 0:04:40 | 0:04:43 | |
-'Guilty as charged, Larry.' -'It's a look, that's for sure.' | 0:04:43 | 0:04:46 | |
'This is not a look. This is a cry for help. | 0:04:46 | 0:04:49 | |
-'And can we talk about that hair?' -Mommy! | 0:04:49 | 0:04:51 | |
Hi, sweetie. | 0:04:51 | 0:04:53 | |
I knew you were home because I could smell smoking. | 0:04:53 | 0:04:57 | |
-Travis, what are you doing up? -Mom, when I got home from school today, | 0:04:57 | 0:05:00 | |
I ate the rest of my lunch because it was still in my bag | 0:05:00 | 0:05:03 | |
-cos I forgot all about it. -Is that so? | 0:05:03 | 0:05:06 | |
Do you ever eat just some of your lunch sometimes | 0:05:06 | 0:05:09 | |
-and then the rest later? -You know what? | 0:05:09 | 0:05:12 | |
-I do. -Me too. | 0:05:12 | 0:05:15 | |
Do you want me to come give you a hug? | 0:05:15 | 0:05:17 | |
Travis, there is nothing I would like more in the world. | 0:05:19 | 0:05:22 | |
You give such a good hug. | 0:05:30 | 0:05:32 | |
I'll be right in. | 0:05:35 | 0:05:37 | |
-Smoking is gross, Mom. -Mm-hm. | 0:05:39 | 0:05:42 | |
That it is. | 0:05:42 | 0:05:43 | |
# You walk with your head in the sky | 0:05:45 | 0:05:50 | |
# Darling, don't ever pass me by | 0:05:50 | 0:05:54 | |
# I ain't going no further | 0:05:54 | 0:05:57 | |
# Because you got me chained and bound | 0:05:57 | 0:06:00 | |
# Oh, now | 0:06:00 | 0:06:03 | |
# Taller than the tallest sky | 0:06:03 | 0:06:07 | |
# Sweeter than a grape on a vine | 0:06:07 | 0:06:10 | |
# Can't go no further | 0:06:10 | 0:06:14 | |
# Because you got me chained and bound right now, now, now | 0:06:14 | 0:06:20 | |
# So glad, I'm so glad, I'm so glad | 0:06:20 | 0:06:24 | |
# I'm chained, I'm chained to your love. # | 0:06:25 | 0:06:27 | |
-What? -You're not going to like this... | 0:06:38 | 0:06:40 | |
Really, Gordon? | 0:06:42 | 0:06:44 | |
A petition for primary custody? | 0:06:44 | 0:06:46 | |
Come on, Marcia, you keep calling me, asking me to pitch in. | 0:06:46 | 0:06:49 | |
It's only temporary until your trial of the century is over. | 0:06:49 | 0:06:51 | |
Marcia, please just let the lawyers handle it. | 0:06:51 | 0:06:53 | |
I AM a lawyer. Why should I be penalised for doing my job? | 0:06:53 | 0:06:56 | |
Why should the kids be? | 0:06:56 | 0:06:58 | |
I am more than a great mother to them, you know that. | 0:06:58 | 0:07:00 | |
-You said it. -Sure, when you're there. | 0:07:00 | 0:07:02 | |
Right now they spend all their time with baby-sitters. | 0:07:02 | 0:07:04 | |
Now, how is that their best interest? | 0:07:04 | 0:07:07 | |
Do you know why I have to work so hard? | 0:07:07 | 0:07:10 | |
Because I have a family to support. | 0:07:10 | 0:07:12 | |
At least they know one of us is there for them. | 0:07:12 | 0:07:14 | |
Carl, take a look at the two of these note cards of Shaun's. | 0:07:23 | 0:07:26 | |
Police disciplinary actions based on race. | 0:07:26 | 0:07:30 | |
Those points fit out narrative. | 0:07:30 | 0:07:32 | |
Anything else... | 0:07:32 | 0:07:33 | |
DOOR OPENS | 0:07:33 | 0:07:35 | |
I'm so sorry I'm late. | 0:07:35 | 0:07:37 | |
I ran into Geffen and the whole Sue Mengers thing... | 0:07:37 | 0:07:40 | |
I... I'm sorry. | 0:07:40 | 0:07:42 | |
Johnnie, you were saying? | 0:07:43 | 0:07:45 | |
I just wanted to impress upon everyone and I'm sure Bob | 0:07:45 | 0:07:47 | |
would agree that the most important thing is the story. | 0:07:47 | 0:07:51 | |
Now Marcia's got the ball and she's telling a story | 0:07:51 | 0:07:54 | |
but instead of responding to her story or refuting the story, | 0:07:54 | 0:07:57 | |
we need to be telling a more credible one. | 0:07:57 | 0:07:59 | |
We need to gather the jury around a fire and tell a better story. | 0:07:59 | 0:08:03 | |
We need to make them believe. | 0:08:03 | 0:08:06 | |
Now, where's that folder? | 0:08:06 | 0:08:08 | |
The one with the Three Stooges at Rockingham that night. | 0:08:08 | 0:08:11 | |
Do you remember this story? | 0:08:11 | 0:08:14 | |
I don't remember a thing about it. | 0:08:15 | 0:08:17 | |
Why is that? | 0:08:17 | 0:08:18 | |
And so what did you do next at Rockingham | 0:08:18 | 0:08:20 | |
after seeing the blood in the Bronco? | 0:08:20 | 0:08:23 | |
Well, at that point we went from the intention of notifying | 0:08:23 | 0:08:26 | |
Mr Simpson of the death of his ex-wife to a concern | 0:08:26 | 0:08:29 | |
that his residence might be a crime scene. | 0:08:29 | 0:08:32 | |
We were concerned for the wellbeing of Mr Simpson himself. | 0:08:32 | 0:08:35 | |
Thank you, Detective. | 0:08:35 | 0:08:36 | |
Good morning, Detective. | 0:08:36 | 0:08:38 | |
And a question. | 0:08:38 | 0:08:39 | |
Is it normal procedure for three detectives | 0:08:39 | 0:08:42 | |
to rush from an ongoing crime scene investigation | 0:08:42 | 0:08:46 | |
to the home of the former spouse of the victim, | 0:08:46 | 0:08:48 | |
simply to notify that person | 0:08:48 | 0:08:50 | |
that someone whom they used to be married to has been killed? | 0:08:50 | 0:08:55 | |
Well, every situation is different. | 0:08:55 | 0:08:58 | |
And there were children involved. | 0:08:58 | 0:08:59 | |
Hm. And at the Bundy scene, | 0:08:59 | 0:09:02 | |
didn't Detective Fuhrman inform you that Mr Simpson and the victim | 0:09:02 | 0:09:07 | |
had a history as domestic violence? | 0:09:07 | 0:09:09 | |
-Is that not right? -Yes. | 0:09:09 | 0:09:12 | |
And so you all find out and proceed to Rockingham | 0:09:12 | 0:09:15 | |
because Mr Simpson became a suspect for you at that time, | 0:09:15 | 0:09:19 | |
not simply, what, an ex-husband to be notified? | 0:09:19 | 0:09:25 | |
Is that fair to say? | 0:09:25 | 0:09:27 | |
No. That's not why we were there. | 0:09:29 | 0:09:31 | |
Is it normal for so many of them to go for a notification? | 0:09:38 | 0:09:41 | |
I have no idea. | 0:09:41 | 0:09:42 | |
I've never heard a point made of something like that. | 0:09:42 | 0:09:45 | |
It made the detective sound shady. | 0:09:45 | 0:09:47 | |
Shit. | 0:09:47 | 0:09:48 | |
I don't know. | 0:09:49 | 0:09:50 | |
The jury thinks the cops cut corners to convict a guilty man. | 0:09:51 | 0:09:54 | |
He's still guilty. It's not going to get them to acquit. | 0:09:54 | 0:09:57 | |
No, it's not. But that's not today. | 0:09:57 | 0:09:59 | |
Today, we make them think these cops lie about little things | 0:09:59 | 0:10:03 | |
so that tomorrow we can show them they lie about big things, | 0:10:03 | 0:10:06 | |
even if they're doing it for what they think is right. | 0:10:06 | 0:10:09 | |
That's why we pull, that's where the daylight's at. | 0:10:09 | 0:10:11 | |
Now, if right now they think he did it, that's fine by me. | 0:10:11 | 0:10:15 | |
We'll get to that later. | 0:10:16 | 0:10:18 | |
LAUGHTER | 0:10:21 | 0:10:22 | |
Do you remember this? | 0:10:22 | 0:10:24 | |
Sergeant Tommy! | 0:10:24 | 0:10:25 | |
THEY LAUGH | 0:10:25 | 0:10:28 | |
I haven't thought about him in years. | 0:10:28 | 0:10:30 | |
You remember how they use to set him up at Papa Christo's? | 0:10:30 | 0:10:34 | |
-The ouzo! -Ouzo! | 0:10:34 | 0:10:36 | |
Yeah, they'd fill a whole goddamned coffee mug with ouzo for him, | 0:10:36 | 0:10:39 | |
he'd be bombed by noon. | 0:10:39 | 0:10:41 | |
-What is he doing? -No idea. | 0:10:41 | 0:10:43 | |
I never run into Tommy D since we moved out to Simi Valley. | 0:10:43 | 0:10:46 | |
Oh, yeah? Simi, is that, is that nice? | 0:10:46 | 0:10:49 | |
Fantastic. Quiet. | 0:10:49 | 0:10:51 | |
You spend all day in this mess and then you get home and... | 0:10:51 | 0:10:54 | |
That is wonderful. | 0:10:54 | 0:10:55 | |
Court is now in session. | 0:11:01 | 0:11:02 | |
Detective, in regards to taking Mr Simpson's shoes, | 0:11:10 | 0:11:14 | |
you did not book them into evidence that night, is that correct? | 0:11:14 | 0:11:17 | |
That night I couldn't have, no. | 0:11:18 | 0:11:20 | |
What did you do with them? | 0:11:22 | 0:11:23 | |
Where were they until you booked them into evidence the next day? | 0:11:23 | 0:11:27 | |
I put them in the trunk of my car. | 0:11:29 | 0:11:31 | |
So you took them home with you? | 0:11:34 | 0:11:38 | |
I did. | 0:11:38 | 0:11:39 | |
Detective, where exactly do you live? | 0:11:42 | 0:11:44 | |
Simi Valley. | 0:11:50 | 0:11:52 | |
Really? So you took this evidence home to Simi Valley? | 0:11:52 | 0:11:56 | |
Simi Valley, | 0:11:58 | 0:12:00 | |
the home of the officers involved in the Rodney King beating. | 0:12:00 | 0:12:03 | |
That is correct. | 0:12:05 | 0:12:07 | |
How long were Mr Simpson's shoes in your home in Simi Valley? | 0:12:09 | 0:12:16 | |
Approximately six hours. | 0:12:17 | 0:12:19 | |
Six hours... | 0:12:23 | 0:12:25 | |
in Simi Valley. | 0:12:25 | 0:12:27 | |
Detective Lange, remind me, how long have you been with the LAPD? | 0:12:38 | 0:12:42 | |
28 years, 18 as detective. | 0:12:42 | 0:12:45 | |
Hm, a long time. | 0:12:45 | 0:12:47 | |
So something was said earlier that is confusing to me. | 0:12:47 | 0:12:51 | |
In your lengthy career, how many times have you taken evidence | 0:12:51 | 0:12:55 | |
from a crime scene home with you overnight? | 0:12:55 | 0:12:57 | |
-Difficult to say. -OK, I'll rephrase it. | 0:13:00 | 0:13:03 | |
Have you ever taken home evidence overnight, | 0:13:03 | 0:13:06 | |
other than the night in question? | 0:13:06 | 0:13:08 | |
No, not that I can recall. | 0:13:11 | 0:13:13 | |
So, let's be clear, in all your years as a detective, | 0:13:13 | 0:13:17 | |
this is the only instance that you took evidence from a crime scene, | 0:13:17 | 0:13:20 | |
you put it in your car, you drove it home | 0:13:20 | 0:13:22 | |
and didn't book it until the next day? | 0:13:22 | 0:13:25 | |
-Yes. -Hm. | 0:13:29 | 0:13:30 | |
(Shit.) | 0:13:34 | 0:13:36 | |
'I say we think big.' | 0:13:39 | 0:13:40 | |
Pre-empt our entire daytime programming. | 0:13:40 | 0:13:43 | |
Proctor & Gamble just doubled their buys at ABC | 0:13:43 | 0:13:45 | |
after they announced they were going live with OJ. | 0:13:45 | 0:13:50 | |
How many shows did ABC pre-empt? | 0:13:50 | 0:13:51 | |
Everything, the entire daytime slate. | 0:13:51 | 0:13:54 | |
This is a better daytime soap than anything we've got. | 0:13:56 | 0:13:59 | |
I'd sure as hell rather watch OJ then some dumb doctor | 0:13:59 | 0:14:01 | |
having an affair with a nurse. | 0:14:01 | 0:14:03 | |
Let's do it. Clear the slate. | 0:14:04 | 0:14:05 | |
Simi Valley. | 0:14:07 | 0:14:10 | |
Look on the bright side - at least Fuhrman doesn't live there. | 0:14:14 | 0:14:18 | |
Yeah, but... | 0:14:18 | 0:14:20 | |
-What? -I don't know. | 0:14:22 | 0:14:24 | |
See... | 0:14:24 | 0:14:26 | |
I think they're looking forward to Fuhrman. | 0:14:26 | 0:14:29 | |
Well, they shouldn't be. | 0:14:29 | 0:14:30 | |
Fuhrman is a far from perfect human being | 0:14:30 | 0:14:33 | |
but his procedure that night was pretty damn perfect. | 0:14:33 | 0:14:35 | |
He can describe the events in question three times in a row | 0:14:35 | 0:14:38 | |
-without missing a note. He's going to come off like Jack Webb. -Hm. | 0:14:38 | 0:14:42 | |
Oh, Darden, don't. | 0:14:43 | 0:14:45 | |
-You need to be confident in the strength of what we have, OK? -Hm. | 0:14:45 | 0:14:49 | |
What you need is some study break. | 0:14:54 | 0:14:57 | |
-Oh, no, no, no. -TURNS RADIO ON | 0:14:58 | 0:15:00 | |
Turn it down. | 0:15:00 | 0:15:03 | |
# I'm taking care of business, woman, can't you see? | 0:15:03 | 0:15:07 | |
# I've gotta make it for you | 0:15:07 | 0:15:10 | |
-# I've gotta make it for me... # -Stop! Stop it. | 0:15:10 | 0:15:13 | |
TURNS RADIO DOWN | 0:15:13 | 0:15:14 | |
I cannot afford to be accused of having a good time right now. | 0:15:14 | 0:15:17 | |
Who's going to begrudge you of having a good time? | 0:15:17 | 0:15:19 | |
-Oh, who? -Hm. | 0:15:19 | 0:15:20 | |
Um, everyone. | 0:15:20 | 0:15:22 | |
Ito, Gil, Larry King. | 0:15:22 | 0:15:25 | |
My pain-in-the-ass ex-husband who's looking for any excuse | 0:15:25 | 0:15:28 | |
to take my kids away from me. | 0:15:28 | 0:15:30 | |
Well, at least he wants to help raise them right. | 0:15:31 | 0:15:34 | |
It's better than some dads. | 0:15:34 | 0:15:35 | |
You know I've got a daughter? | 0:15:38 | 0:15:40 | |
-Really? -Yep. | 0:15:42 | 0:15:44 | |
She's 15, really beautiful. Lives up in Oakland. | 0:15:44 | 0:15:48 | |
I wish I'd... | 0:15:48 | 0:15:49 | |
I wasn't exactly around as much as I wished I'd been. | 0:15:51 | 0:15:55 | |
Had to move down here for my big job. | 0:15:55 | 0:15:58 | |
I guess as I got older, | 0:16:00 | 0:16:03 | |
I started to have some regrets. | 0:16:03 | 0:16:05 | |
Saw things more clearly. | 0:16:07 | 0:16:09 | |
That's what happens. | 0:16:13 | 0:16:14 | |
Or is supposed to happen. | 0:16:16 | 0:16:17 | |
I'm trying to fix things. | 0:16:19 | 0:16:21 | |
And now that I'm on TV, I'm the cool dad. | 0:16:22 | 0:16:24 | |
SHE CHUCKLES | 0:16:24 | 0:16:27 | |
RADIO PLAYS WHO'S THAT LADY BY THE ISLEY BROTHERS | 0:16:27 | 0:16:29 | |
Ooh, ooh. Now, see... | 0:16:29 | 0:16:31 | |
..I like this one. | 0:16:32 | 0:16:33 | |
Come here, woman. | 0:16:41 | 0:16:43 | |
SHE LAUGHS | 0:16:47 | 0:16:49 | |
-# Who's that lady? -Who's that lady? | 0:17:00 | 0:17:04 | |
# Beautiful lady | 0:17:04 | 0:17:06 | |
# Who's that lady? | 0:17:06 | 0:17:08 | |
# Lovely lady | 0:17:08 | 0:17:10 | |
# Who's that lady? | 0:17:10 | 0:17:11 | |
# Real fine lady | 0:17:11 | 0:17:13 | |
# Who's that lady? | 0:17:13 | 0:17:15 | |
# Hear me callin' out to you cos it's all that I can do | 0:17:15 | 0:17:18 | |
# Your eyes tell me to pursue | 0:17:18 | 0:17:20 | |
# But you say, look, yeah | 0:17:20 | 0:17:22 | |
-# But don't touch, baby -But don't touch | 0:17:22 | 0:17:25 | |
# No, no, no, don't touch... # | 0:17:25 | 0:17:29 | |
-RADIO: -'OK, we're taking a poll. | 0:17:30 | 0:17:32 | |
'Is Marcia Clark a bitch or a babe? | 0:17:32 | 0:17:34 | |
'Come on, let me know! Call in and ring my bell. | 0:17:34 | 0:17:37 | |
'A bitch or a babe.' | 0:17:37 | 0:17:39 | |
'YAKK...' | 0:17:39 | 0:17:41 | |
DIALS ON PHONE | 0:17:41 | 0:17:44 | |
PHONE RINGS OUT | 0:17:44 | 0:17:46 | |
I vote babe. | 0:17:46 | 0:17:47 | |
# Who's that lady? | 0:17:53 | 0:17:56 | |
# Sexy lady. # | 0:17:57 | 0:17:59 | |
MARCIA LAUGHS | 0:17:59 | 0:18:00 | |
-Good morning. -Morning. | 0:18:00 | 0:18:02 | |
You seem ready to rumble. | 0:18:02 | 0:18:04 | |
That I am. Prepped all night. | 0:18:04 | 0:18:06 | |
Only got two hours of sleep, but I can tell you every single moment | 0:18:06 | 0:18:09 | |
of what's going to happen in that court today. | 0:18:09 | 0:18:11 | |
I'm ready for anything. | 0:18:11 | 0:18:13 | |
Your Honour, the people will now call Detective Mark Fuhrman. | 0:18:19 | 0:18:22 | |
Your Honour, may counsel approach the bench? | 0:18:22 | 0:18:24 | |
We have a situation, an incredibly urgent matter. | 0:18:24 | 0:18:26 | |
Your Honour, we have a crisis regarding our witness, | 0:18:29 | 0:18:32 | |
Ms Rosa Lopez. | 0:18:32 | 0:18:33 | |
-Ms Lopez has left the state. -Counsel, what are you asking for? | 0:18:33 | 0:18:36 | |
We need to hear her testimony out of order. | 0:18:36 | 0:18:38 | |
-Wait, what? -She's here now, but we can't compel her to stand. | 0:18:38 | 0:18:41 | |
No way. I'm in the middle of presenting the People's case. | 0:18:41 | 0:18:44 | |
That's the way this works. People make the case, Defence response. | 0:18:44 | 0:18:47 | |
You don't get to override that because you've got witness problems. | 0:18:47 | 0:18:49 | |
-We've all got witness problems. -Yes, Marcia. | 0:18:49 | 0:18:52 | |
I look forward to you parading out your witness problems. | 0:18:52 | 0:18:54 | |
Your Honour, I don't know how we don't have grounds for a mistrial. | 0:18:54 | 0:18:57 | |
Your Honour, this is silly. They're just trying to kill my momentum. | 0:18:57 | 0:19:00 | |
All right, I think we need a hearing to establish. | 0:19:00 | 0:19:03 | |
I'm going to dismiss the jury for the day so we can do that. | 0:19:03 | 0:19:06 | |
All right, it's 3.10 now. | 0:19:15 | 0:19:17 | |
I think we're going to be going late tonight. | 0:19:17 | 0:19:19 | |
Your Honour... | 0:19:25 | 0:19:27 | |
I cannot go late tonight. | 0:19:27 | 0:19:29 | |
May I ask why not? | 0:19:30 | 0:19:32 | |
-I have to take care of my kids. -Your Honour... | 0:19:34 | 0:19:38 | |
are we really going to risk losing this witness | 0:19:38 | 0:19:41 | |
because of a baby-sitting problem? | 0:19:41 | 0:19:43 | |
Ms Clark, I've just dismissed the jury. | 0:19:43 | 0:19:45 | |
I'm sorry, Your Honour. | 0:19:45 | 0:19:47 | |
I do have the power to have my courtroom open late if need be. | 0:19:47 | 0:19:50 | |
Of course, Your Honour. | 0:19:50 | 0:19:51 | |
We'll recess until tomorrow. | 0:19:57 | 0:19:59 | |
-Mr Cochran... -Your Honour. -Make sure Ms Lopez is here. | 0:19:59 | 0:20:02 | |
All right, we stand in recess. | 0:20:03 | 0:20:05 | |
GAVEL BANGS | 0:20:05 | 0:20:06 | |
-It makes us appear unprepared. -How could we be prepared for Rosa Lopez? | 0:20:17 | 0:20:20 | |
We weren't expecting to cross-examine her for another five months. | 0:20:20 | 0:20:23 | |
-Who is she again? -She's the housekeeper, the one for Simpson's neighbour. | 0:20:23 | 0:20:26 | |
She says she saw the Bronco outside Simpson's house at 10.15. | 0:20:26 | 0:20:30 | |
-What does that do to your timeline? -I will handle it. | 0:20:30 | 0:20:32 | |
-Well, it looks like you're losing control in there. -Me? | 0:20:32 | 0:20:35 | |
Ito is the one who's lost control. He's a total media whore. | 0:20:35 | 0:20:38 | |
If you want to know which way he'll tilt, just watch the talk shows... | 0:20:38 | 0:20:40 | |
That is something you can't control. Stop watching so much TV. | 0:20:40 | 0:20:43 | |
If you listen to all that noise, you're just going to start bringing it into the courtroom. | 0:20:43 | 0:20:47 | |
The trial's in here, it's not out there. | 0:20:47 | 0:20:50 | |
Now, that...that thing about not going late. Is that true? | 0:20:50 | 0:20:54 | |
Yes, I have to get home, like, now. | 0:20:54 | 0:20:56 | |
I will put the boys down and I can work from there. | 0:20:56 | 0:20:59 | |
-I can. -OK, well... | 0:20:59 | 0:21:00 | |
if you think you can cram all that prep into one night | 0:21:00 | 0:21:03 | |
without the resources you have here, it... | 0:21:03 | 0:21:05 | |
It's your call. | 0:21:08 | 0:21:09 | |
Listen, this... | 0:21:10 | 0:21:12 | |
The stuff in the media about your parents, I'm sorry. | 0:21:12 | 0:21:16 | |
It's... It's awful. It's inappropriate. It's sexist. | 0:21:16 | 0:21:19 | |
It's horrifying. | 0:21:19 | 0:21:20 | |
And Sukey and I are just... We're appalled when it comes on TV. | 0:21:20 | 0:21:23 | |
-It doesn't make things easier. -I'm sure. | 0:21:23 | 0:21:26 | |
Having said that, I... | 0:21:26 | 0:21:28 | |
Maybe you c... I... | 0:21:29 | 0:21:30 | |
I can put you together with a couple of terrific media consultants, | 0:21:32 | 0:21:35 | |
and... | 0:21:35 | 0:21:37 | |
Uh... Yeah. | 0:21:37 | 0:21:39 | |
Get back to work. | 0:21:52 | 0:21:53 | |
Hi, Sugar Bear. | 0:21:56 | 0:21:59 | |
No, I'm sorry, I can't come home yet. | 0:21:59 | 0:22:02 | |
What's wrong? | 0:22:03 | 0:22:05 | |
Well, why is he crying? | 0:22:06 | 0:22:07 | |
Well, sweetie...work it out. | 0:22:08 | 0:22:10 | |
Tell him he can watch his cartoons for 30 minutes | 0:22:10 | 0:22:13 | |
and then it's your turn. | 0:22:13 | 0:22:14 | |
You know how to read a clock, he doesn't. | 0:22:16 | 0:22:19 | |
OK. Have fun and I will call you in a little while. | 0:22:24 | 0:22:27 | |
I love you, too. | 0:22:27 | 0:22:28 | |
KEYPAD PEEPS | 0:22:40 | 0:22:42 | |
Gordon... | 0:22:45 | 0:22:46 | |
I have a favour to ask of you. | 0:22:48 | 0:22:50 | |
Yes. Tonight. | 0:22:52 | 0:22:54 | |
Now, actually. | 0:22:54 | 0:22:56 | |
Look, can you do it or not? | 0:22:59 | 0:23:02 | |
Thank you. | 0:23:06 | 0:23:08 | |
Very much. | 0:23:10 | 0:23:11 | |
Scott, Lucy, in the conference room. Let's go over the Lopez prep. | 0:23:31 | 0:23:34 | |
Mr Cochran, is Ms Lopez present here today? | 0:23:36 | 0:23:39 | |
She is, Your Honour. | 0:23:39 | 0:23:41 | |
And do you anticipate that we can hear what she has to say in one day? | 0:23:41 | 0:23:44 | |
I would expect so, Your Honour, | 0:23:44 | 0:23:46 | |
barring any acts of God or further childcare crisises from Miss Clark. | 0:23:46 | 0:23:49 | |
Your Honour. | 0:23:54 | 0:23:55 | |
I am offended by Mr Cochran's remarks, as a woman and as a mother. | 0:23:57 | 0:24:01 | |
Mr Cochran may not know what it's like to work a 70-hour work-week | 0:24:01 | 0:24:05 | |
and also take care of a family, but I do. | 0:24:05 | 0:24:07 | |
And many other people do, too. | 0:24:09 | 0:24:11 | |
To belittle my childcare issues in your courtroom | 0:24:11 | 0:24:13 | |
is unconscionable and totally out of line. | 0:24:13 | 0:24:16 | |
Ms Lopez, just to confirm your occupation, | 0:24:35 | 0:24:37 | |
you are the housekeeper of Mr Simpson's neighbour, | 0:24:37 | 0:24:39 | |
is that correct? | 0:24:39 | 0:24:40 | |
Yes. | 0:24:40 | 0:24:41 | |
Mr Cochran has moved the court to disrupt our schedule | 0:24:43 | 0:24:45 | |
because you threatened to leave the country, | 0:24:45 | 0:24:47 | |
since you're being hounded by the press. | 0:24:47 | 0:24:49 | |
I stay just for today for Mr Johnnie. | 0:24:49 | 0:24:51 | |
Tomorrow, I fly. | 0:24:51 | 0:24:53 | |
Uh-huh. | 0:24:53 | 0:24:54 | |
So, when did you make this flight reservation for El Salvador? | 0:24:54 | 0:24:58 | |
This morning. | 0:24:58 | 0:25:00 | |
Really? | 0:25:00 | 0:25:01 | |
Yesterday, Mr Cochran stated that you had had one then. | 0:25:01 | 0:25:04 | |
I did. | 0:25:04 | 0:25:06 | |
And I didn't. | 0:25:06 | 0:25:08 | |
I make it today. | 0:25:08 | 0:25:10 | |
Ms Lopez, we called the airlines. | 0:25:10 | 0:25:12 | |
They don't show any reservation for you at all. | 0:25:12 | 0:25:15 | |
Not for yesterday, not for today, | 0:25:15 | 0:25:18 | |
not for tomorrow. | 0:25:18 | 0:25:19 | |
Because I'm going to reserve it, as soon as I leave here. | 0:25:19 | 0:25:23 | |
So, then, Ms Lopez, could you please explain to the court | 0:25:23 | 0:25:25 | |
why you were filing for unemployment when you say you were | 0:25:25 | 0:25:28 | |
leaving the country forever? | 0:25:28 | 0:25:29 | |
(We need to get this woman off the stand. What the hell is goin' on?) | 0:25:29 | 0:25:33 | |
In your first statements, you saw the Bronco at 10pm, | 0:25:33 | 0:25:36 | |
but now you say it's 10:15, so, which is it? | 0:25:36 | 0:25:39 | |
Did you see the Bronco at 10 or 10:15? | 0:25:39 | 0:25:42 | |
-Does it matter? -Yes, it matters, very much. | 0:25:42 | 0:25:44 | |
It's why you're here. Please, answer the question. | 0:25:44 | 0:25:46 | |
Ms Lopez, a shrug is not an answer. | 0:25:47 | 0:25:50 | |
So, which is it? 10 or 10:15? | 0:25:50 | 0:25:54 | |
Whatever Mr Johnnie says I said. | 0:25:54 | 0:25:56 | |
No, not what Mr Cochran says, we need to be told what you saw. | 0:25:56 | 0:26:01 | |
No me recuerdo. | 0:26:05 | 0:26:06 | |
Ms Lopez, in English, please, unless you need a translator. | 0:26:06 | 0:26:09 | |
I say I don't remember. | 0:26:09 | 0:26:12 | |
You don't remember. | 0:26:12 | 0:26:13 | |
Hm. | 0:26:13 | 0:26:15 | |
Good enough for me. | 0:26:16 | 0:26:18 | |
No further questions. | 0:26:19 | 0:26:20 | |
("Mr Johnnie." Jesus.) | 0:26:24 | 0:26:27 | |
Go, Marcia! Go, Marcia! | 0:26:27 | 0:26:30 | |
Marcia, that was a gut-punch you gave in there today. Any comment? | 0:26:32 | 0:26:35 | |
The stuff about my childcare, Johnnie was what out of line. | 0:26:35 | 0:26:38 | |
I got a little hot, but he can take it. | 0:26:38 | 0:26:40 | |
-Johnnie! -Are you happy with Lopez's testimony? -Johnnie! | 0:26:40 | 0:26:44 | |
Absolutely, we're here for the truth. | 0:26:44 | 0:26:46 | |
Would you have time to speak about your history of domestic abuse? | 0:26:46 | 0:26:49 | |
Considering the issues presented in this case, particularly the impact of domestic violence, | 0:26:49 | 0:26:53 | |
-my editor thinks that you and your past are fair game. I'm giving you a chance here. -Thank you. | 0:26:53 | 0:26:57 | |
We're printing it soon! Call me! | 0:26:57 | 0:26:59 | |
-TV: -Hello, my name is Gordon Clark, | 0:27:01 | 0:27:03 | |
I'm the former husband of Marcia Clark. | 0:27:03 | 0:27:05 | |
This thing about needing to | 0:27:05 | 0:27:07 | |
get home from court early yesterday was a fraud. | 0:27:07 | 0:27:10 | |
I was with the kids. | 0:27:10 | 0:27:11 | |
She worked late. | 0:27:11 | 0:27:13 | |
Classic Marcia. | 0:27:13 | 0:27:15 | |
I'm telling you this because | 0:27:15 | 0:27:16 | |
I am sick of her using our children as pawns. | 0:27:16 | 0:27:18 | |
Jesus, Gordon. | 0:27:18 | 0:27:21 | |
This is our private life. | 0:27:21 | 0:27:22 | |
INTERCOM BUZZES | 0:27:33 | 0:27:34 | |
-SECRETARY: -Mr Cochran? She's on line one. | 0:27:34 | 0:27:36 | |
Barbara. It's Johnnie. | 0:27:48 | 0:27:50 | |
Hello? | 0:27:54 | 0:27:55 | |
-ON PHONE: -I'm here. | 0:27:55 | 0:27:56 | |
The LA Times reached out to me today, about us, | 0:27:57 | 0:28:00 | |
and I thought I'd discuss it with you, because they may be calling. | 0:28:00 | 0:28:04 | |
They've called. | 0:28:05 | 0:28:07 | |
You talked to them? | 0:28:07 | 0:28:08 | |
I told them I'd call them back after I got my recollections together. | 0:28:09 | 0:28:14 | |
Funny thing is, I was going to call you anyway. | 0:28:14 | 0:28:17 | |
I sold the apartment building on South Vermont last month, | 0:28:18 | 0:28:22 | |
and, even though I got it in the divorce, it occurred to me that, | 0:28:22 | 0:28:27 | |
maybe, you should get the profit, | 0:28:27 | 0:28:29 | |
seeing how it was your pet project. | 0:28:29 | 0:28:32 | |
It's a lot of profit, Barbara. | 0:28:37 | 0:28:39 | |
It could make you quite... | 0:28:39 | 0:28:42 | |
..you know... | 0:28:43 | 0:28:45 | |
..quite comfortable. | 0:28:46 | 0:28:47 | |
BUZZER | 0:28:50 | 0:28:52 | |
Now, I know Lopez didn't go as planned, but we couldn't risk... | 0:28:52 | 0:28:55 | |
D-d-didn't go as planned? | 0:28:55 | 0:28:56 | |
Oh, the crazy cleaning lady wasn't as planned? | 0:28:56 | 0:28:59 | |
I certainly hope that shit in there wasn't as planned, Johnnie! | 0:28:59 | 0:29:02 | |
OJ, it's a blip, it'll be out of the papers by Wednesday. | 0:29:02 | 0:29:05 | |
Good to hear, Lee, good to hear. | 0:29:05 | 0:29:06 | |
But I won't be out of this jail by next Wednesday, now, will I? | 0:29:08 | 0:29:10 | |
Will I? | 0:29:10 | 0:29:12 | |
Huh? | 0:29:12 | 0:29:13 | |
What I just saw up there, that ridiculous woman up there, | 0:29:13 | 0:29:16 | |
was completely avoidable! | 0:29:16 | 0:29:18 | |
OJ, these things happen. | 0:29:18 | 0:29:20 | |
Oh, don't give me that "shit happens" routine, Bob! | 0:29:20 | 0:29:22 | |
Look, on the football field, in life, in my businesses, | 0:29:24 | 0:29:28 | |
when I see an absence performance, I deal with it. | 0:29:28 | 0:29:31 | |
I deal with it harshly and directly, you know why? | 0:29:31 | 0:29:34 | |
Cos I'm for real. Hear me? | 0:29:34 | 0:29:36 | |
I'm the Juice. | 0:29:36 | 0:29:37 | |
And when I see an absence like a lack of leadership, I lead. | 0:29:37 | 0:29:42 | |
Is that what I'm gonna have to do here? Huh? | 0:29:44 | 0:29:46 | |
Huh? Mr Johnnie? | 0:29:49 | 0:29:50 | |
I want to know... I need to know, in advance, what you guys are doing. | 0:29:54 | 0:30:00 | |
You hear me? | 0:30:01 | 0:30:02 | |
I want to know what happens next from now on so I can weigh in on it. | 0:30:02 | 0:30:05 | |
I'm sure that Johnnie's associates | 0:30:05 | 0:30:07 | |
will arrange a briefing for you every day. | 0:30:07 | 0:30:09 | |
All right, fine, I'll go, I'm done. | 0:30:09 | 0:30:10 | |
When I have pent-up anger, what I use is... | 0:30:10 | 0:30:12 | |
When I want to hear from you I'll rattle my zipper. | 0:30:12 | 0:30:15 | |
Now get the hell out of here, Bob! | 0:30:15 | 0:30:16 | |
What do you really want, Marcia? | 0:30:26 | 0:30:27 | |
I'll do anything for you. | 0:30:27 | 0:30:29 | |
Something different. | 0:30:29 | 0:30:31 | |
Softer. | 0:30:32 | 0:30:34 | |
I've never had to think about anything like this before, so... | 0:30:34 | 0:30:37 | |
I'm a little nervous. | 0:30:38 | 0:30:39 | |
The only thing you need to be is the best version of yourself, | 0:30:39 | 0:30:42 | |
and that's what we're here to discover. | 0:30:42 | 0:30:44 | |
Oh, I've got it. | 0:30:46 | 0:30:47 | |
I did it for Farrah, and I'm gonna do it for you. | 0:30:48 | 0:30:51 | |
-Farrah? -World, prepare to meet the new, real, Marcia Clark. | 0:30:52 | 0:30:57 | |
# Kiss from a rose on the gray | 0:30:57 | 0:30:59 | |
# Oh, the more I get of you The stranger it feels, yeah | 0:30:59 | 0:31:05 | |
# And now that your rose is in bloom | 0:31:05 | 0:31:09 | |
# A light hits the gloom on the gray. # | 0:31:09 | 0:31:13 | |
Good morning, my brother. | 0:31:22 | 0:31:23 | |
Yeah, about that. | 0:31:23 | 0:31:25 | |
Your readers must think these are the only two black men | 0:31:25 | 0:31:27 | |
in the courtroom who are trying to do their jobs. | 0:31:27 | 0:31:29 | |
-Oh, come on, now, Chris. -Why the double standard? | 0:31:29 | 0:31:32 | |
You don't think a black prosecutor contributes to the black community? | 0:31:32 | 0:31:35 | |
How? By helping the racist LAPD | 0:31:35 | 0:31:37 | |
enslave a strong, black brother up from the ghetto? | 0:31:37 | 0:31:39 | |
Symbol of success, superstar athlete, entrepreneur? | 0:31:39 | 0:31:42 | |
Who spends his days playing golf with old white men, | 0:31:42 | 0:31:45 | |
and spends his nights sleeping with young white girls. | 0:31:45 | 0:31:47 | |
I mean, OJ is a symbol of getting the hell away | 0:31:47 | 0:31:49 | |
from other black people as fast as he can. | 0:31:49 | 0:31:51 | |
Whatever! | 0:31:51 | 0:31:52 | |
We all have our peccadilloes. | 0:31:52 | 0:31:55 | |
You miss the point. | 0:31:55 | 0:31:57 | |
The police are trying to pull him down and put him in chains, | 0:31:57 | 0:32:00 | |
like they do with any black man who rises up. | 0:32:00 | 0:32:02 | |
I'm sorry, Dennis, excuse me for | 0:32:02 | 0:32:04 | |
interrupting this black thing, but come on, | 0:32:04 | 0:32:07 | |
cops out to get OJ? | 0:32:07 | 0:32:10 | |
-OJ hosted pool parties for them. -Thank you, sir. | 0:32:10 | 0:32:14 | |
Fellas, you all keep not getting it. | 0:32:14 | 0:32:15 | |
And you ignore this shit at your own peril. | 0:32:15 | 0:32:17 | |
Oh, Lord. | 0:32:20 | 0:32:21 | |
# Ba-da da, da-da da-da-da, da, da-da-da | 0:32:21 | 0:32:26 | |
# Ba-da da, da-da... # | 0:32:26 | 0:32:28 | |
Good morning. | 0:32:28 | 0:32:30 | |
See you guys in there. | 0:32:33 | 0:32:34 | |
Goddamn, who turned on the Rick James? | 0:32:38 | 0:32:40 | |
Thank you. | 0:32:41 | 0:32:42 | |
Good morning, Miss Clark. | 0:33:14 | 0:33:15 | |
I think. | 0:33:15 | 0:33:17 | |
LAUGHTER | 0:33:17 | 0:33:18 | |
COUGHING | 0:33:49 | 0:33:50 | |
Uh-oh! I guess the defence is in for one hell of a week, huh? | 0:34:06 | 0:34:10 | |
MUSIC: Sour Times by Portishead | 0:34:12 | 0:34:16 | |
MUSIC CONTINUES | 0:34:44 | 0:34:46 | |
Detective Fuhrman, how do you feel about testifying today? | 0:35:17 | 0:35:20 | |
-Good. Maybe a little nervous. -Why is that? | 0:35:21 | 0:35:24 | |
A great deal of attention seems to have been diverted from | 0:35:24 | 0:35:26 | |
the evidence and the facts into more personal issues. | 0:35:26 | 0:35:29 | |
I couldn't agree more. | 0:35:31 | 0:35:32 | |
What did you see when you first arrived at Bundy? | 0:35:35 | 0:35:38 | |
From the approach, we could see the female victim, | 0:35:38 | 0:35:40 | |
and there was a great deal of blood in the cracks of the tiled walkway. | 0:35:40 | 0:35:43 | |
Officer Riske used his flashlight to point out several items. | 0:35:43 | 0:35:46 | |
And, what did he point out to you, sir? | 0:35:46 | 0:35:49 | |
The male victim, for one, and an area where he said | 0:35:49 | 0:35:51 | |
there was a knit cap, and, also a glove. | 0:35:51 | 0:35:53 | |
We entered the scene from the rear, as there was so much blood. | 0:35:53 | 0:35:56 | |
Not disturbing the evidence was paramount. | 0:35:56 | 0:35:58 | |
It's a very careful process, isn't it? | 0:35:58 | 0:36:01 | |
Dealing with a scene like this. | 0:36:01 | 0:36:03 | |
Yes, it is. Very. It's methodical and deliberate. | 0:36:03 | 0:36:06 | |
And when you entered the rear of the Bundy residence, | 0:36:06 | 0:36:09 | |
did these bloody shoe-prints go all the way out to the alley? | 0:36:09 | 0:36:12 | |
They did. I then noticed a blood smudge around the door-knob | 0:36:12 | 0:36:16 | |
on the interior of the gate, | 0:36:16 | 0:36:18 | |
as well as a partial possible fingerprint | 0:36:18 | 0:36:20 | |
around the knob area itself. | 0:36:20 | 0:36:22 | |
-And what did you make of that? -What any detective would make of it. | 0:36:22 | 0:36:25 | |
Someone had fled the scene, bleeding. | 0:36:25 | 0:36:26 | |
And, while detectives Vannatter and Lange | 0:36:26 | 0:36:28 | |
were at the gate of the Simpson residence on Rockingham, | 0:36:28 | 0:36:31 | |
attempting to reach someone inside, you noticed the white Bronco. | 0:36:31 | 0:36:34 | |
-Is that right? -Yes, it was parked strangely, jutting out. | 0:36:34 | 0:36:38 | |
As I got closer, I noticed a small spot | 0:36:38 | 0:36:39 | |
above the driver side door handle. | 0:36:39 | 0:36:41 | |
And what did this spot look like? | 0:36:41 | 0:36:43 | |
It had the visual properties of blood. | 0:36:43 | 0:36:45 | |
And did you look inside the vehicle? | 0:36:45 | 0:36:47 | |
I did. I then noticed a package with a shipping label. | 0:36:47 | 0:36:50 | |
It said, "OJ Simpson." | 0:36:50 | 0:36:52 | |
I then showed detectives Lange and Vannatter what I had observed, | 0:36:52 | 0:36:55 | |
and, in discussing the situation, | 0:36:55 | 0:36:57 | |
we became concerned that it was possible Mr Simpson himself | 0:36:57 | 0:37:00 | |
might also be in danger - injured or worse. | 0:37:00 | 0:37:03 | |
Well, that makes total sense. | 0:37:05 | 0:37:06 | |
What did you do in response to this reasonable concern? | 0:37:06 | 0:37:11 | |
I went over the wall and around to the gate, and manually opened it. | 0:37:11 | 0:37:15 | |
Mr Kaelin then mentioned that he | 0:37:15 | 0:37:17 | |
had heard a crash of a thump on his rear wall, | 0:37:17 | 0:37:19 | |
he thought it was an earthquake. | 0:37:19 | 0:37:21 | |
Que esta hablando Kato! | 0:37:21 | 0:37:22 | |
They should bring Kato back on the show, he was so great! | 0:37:22 | 0:37:25 | |
'All right, all right' | 0:37:25 | 0:37:26 | |
What do you call a lawyer gone bad? | 0:37:26 | 0:37:29 | |
Senator! | 0:37:29 | 0:37:31 | |
LAUGHTER | 0:37:31 | 0:37:33 | |
That's good! | 0:37:33 | 0:37:34 | |
All right, OK, that's good. | 0:37:34 | 0:37:35 | |
-Know what that is? -Lunch. | 0:37:36 | 0:37:38 | |
No, that right there, | 0:37:41 | 0:37:43 | |
is Detective Mark Fuhrman's tombstone. | 0:37:43 | 0:37:46 | |
I've already planned his funeral. | 0:37:46 | 0:37:49 | |
He'll be dead and buried before he even knows what hit him. | 0:37:49 | 0:37:52 | |
What are you talking about? | 0:37:55 | 0:37:57 | |
I'm talking about "nigger". | 0:37:59 | 0:38:01 | |
Excuse me? | 0:38:02 | 0:38:03 | |
I'm going to ask that racist son of a bitch Fuhrman, point blank, | 0:38:03 | 0:38:07 | |
in a courtroom, under oath, if he ever uses the word. | 0:38:07 | 0:38:11 | |
If he ever has used the word. | 0:38:11 | 0:38:13 | |
If he denies it, the jury will call bullshit, they won't trust him. | 0:38:13 | 0:38:17 | |
If he admits it, it's even worse. Check and mate. | 0:38:17 | 0:38:20 | |
He'll be chasing teenage shoplifters | 0:38:20 | 0:38:22 | |
around the Beverly Center by Christmas. | 0:38:22 | 0:38:25 | |
That's actually not half bad. | 0:38:25 | 0:38:27 | |
Damn right. | 0:38:27 | 0:38:28 | |
It's the most powerful word in the English language. | 0:38:30 | 0:38:32 | |
And I'm going to impale him on it. | 0:38:33 | 0:38:35 | |
Well, uh, you just make sure you can walk, Lee. | 0:38:35 | 0:38:39 | |
LAUGHTER | 0:38:39 | 0:38:41 | |
Detective, could you tell us what you see here? | 0:38:47 | 0:38:51 | |
These are photographs of the area I was inspecting | 0:38:51 | 0:38:54 | |
behind Mr Kaelin's residence, | 0:38:54 | 0:38:56 | |
and, in them, is what I then identified as a possible glove. | 0:38:56 | 0:38:59 | |
What did you do then? | 0:38:59 | 0:39:01 | |
I approached it and I looked at it. | 0:39:01 | 0:39:03 | |
Did you touch it? | 0:39:03 | 0:39:05 | |
I didn't touch it, I looked at it. | 0:39:06 | 0:39:08 | |
Could you describe its appearance? | 0:39:10 | 0:39:11 | |
It appeared somewhat moist and sticky, | 0:39:11 | 0:39:14 | |
parts of it sticking to other parts. | 0:39:14 | 0:39:16 | |
OK, and what significance did you attach to the glove when you saw it? | 0:39:16 | 0:39:19 | |
Well, it looked very similar to the glove at the Bundy scene. | 0:39:19 | 0:39:22 | |
And the sticky substance seemed blood-like. | 0:39:22 | 0:39:24 | |
So, Detective, as an MP in the Marine Corps, | 0:39:43 | 0:39:47 | |
what were your responsibilities? | 0:39:47 | 0:39:49 | |
-They were varied. -A lot of hacking D&Ds? | 0:39:49 | 0:39:52 | |
What does that mean, Mr Bailey? | 0:39:52 | 0:39:54 | |
Oh, that means arresting drunk and disorderlies, sorry, Your Honour. | 0:39:54 | 0:39:58 | |
Slipped into some marine to marine talk, there. | 0:39:58 | 0:40:00 | |
Detective, did you take a glove from the Bundy scene, | 0:40:00 | 0:40:03 | |
and then wipe it on the interior of the Bronco? | 0:40:03 | 0:40:06 | |
-No. -You did not? | 0:40:06 | 0:40:08 | |
No, I did not. | 0:40:08 | 0:40:09 | |
Couldn't you have fit this | 0:40:09 | 0:40:11 | |
into a plastic bag and put it in your sock? | 0:40:11 | 0:40:14 | |
And then place it at Mr Simpson's home, so that you could find it? | 0:40:14 | 0:40:18 | |
Uh, no, that's nuts. | 0:40:19 | 0:40:21 | |
I object to this line, Your Honour. | 0:40:21 | 0:40:23 | |
This has no part in any search for the truth. | 0:40:23 | 0:40:25 | |
That's not the glove from this case. | 0:40:25 | 0:40:27 | |
It's a different size and a different make. | 0:40:27 | 0:40:29 | |
This seems to be some fantasy woven by the defence, | 0:40:29 | 0:40:33 | |
for which there is no factual or logical basis. | 0:40:33 | 0:40:35 | |
It's as dishonest as any number of Mr Bailey's tactics have been. | 0:40:35 | 0:40:38 | |
Excuse me. | 0:40:38 | 0:40:40 | |
Are you accusing me of lying in a courtroom? | 0:40:40 | 0:40:42 | |
-How dare you? -You can't get away with lying, Mr Bailey. | 0:40:42 | 0:40:45 | |
There are too many people watching. | 0:40:45 | 0:40:47 | |
Miss Clark, may I please see those gloves that you have over there? | 0:40:47 | 0:40:50 | |
This is a Brooks brothers size small. | 0:41:02 | 0:41:05 | |
They were out of extra large, Your Honour. | 0:41:05 | 0:41:07 | |
Size small. Must be Mr Bailey's. | 0:41:07 | 0:41:10 | |
SNICKERING | 0:41:10 | 0:41:12 | |
Let me state very clearly, and I should point out that if | 0:41:25 | 0:41:28 | |
Miss Clark thinks that hand and this glove would ever work together | 0:41:28 | 0:41:31 | |
then her eyesight is as bad as her memory. | 0:41:31 | 0:41:34 | |
Your Honour, the prosecution has opened this door, | 0:41:34 | 0:41:37 | |
-rather deliberately... -I would advise caution. Please, continue. | 0:41:37 | 0:41:42 | |
Lee. | 0:41:45 | 0:41:46 | |
I will ask a different question. | 0:41:50 | 0:41:52 | |
In describing people, Detective Fuhrman, | 0:41:55 | 0:41:57 | |
do you use the word nigger? | 0:41:57 | 0:41:59 | |
No, sir. I do not use that word to describe people. | 0:42:02 | 0:42:05 | |
Have you ever used the word nigger in the past ten years? | 0:42:05 | 0:42:08 | |
-Not that I recall, no. -You mean, if you called someone a nigger, you have forgotten it? | 0:42:08 | 0:42:12 | |
-I'm not sure I can answer the question the way that you phrased it, sir. -Let me put it simply. | 0:42:12 | 0:42:16 | |
Are you saying, under oath, | 0:42:16 | 0:42:18 | |
that you have not addressed any black person as a nigger, | 0:42:18 | 0:42:21 | |
or spoken about black people as niggers | 0:42:21 | 0:42:22 | |
in the past ten years, Detective Fuhrman? | 0:42:22 | 0:42:25 | |
Yes, that's what I'm saying. | 0:42:25 | 0:42:27 | |
Oh, my God, this is insane! | 0:42:27 | 0:42:30 | |
Can you say the word nigger on TV? | 0:42:30 | 0:42:32 | |
So, anyone who comes to this court and quotes you | 0:42:32 | 0:42:34 | |
as using that word in dealing with African-Americans would be a liar, | 0:42:34 | 0:42:37 | |
-would they not, Detective Fuhrman? -Yes, they would. | 0:42:37 | 0:42:39 | |
-All of them? Correct? -All of them. | 0:42:39 | 0:42:42 | |
Thank you. No further questions. | 0:42:43 | 0:42:45 | |
All right, at this time I would like to recess for lunch. | 0:42:50 | 0:42:53 | |
Court will resume at 1.30pm. | 0:42:53 | 0:42:56 | |
We now stand in recess. | 0:42:56 | 0:42:57 | |
Call up Brokaw. I want a one-hour special tonight. | 0:42:59 | 0:43:02 | |
Prime time. | 0:43:02 | 0:43:04 | |
-KNOCKING -Yeah. | 0:43:04 | 0:43:06 | |
-You wanted to... -Marcia, yeah. Close the door, please. | 0:43:06 | 0:43:09 | |
What's up? | 0:43:15 | 0:43:16 | |
Have you seen this? | 0:43:17 | 0:43:19 | |
Fuhrman says he never said the world. They've got nothing on him. | 0:43:19 | 0:43:22 | |
No, it's not that, it's, uh... | 0:43:22 | 0:43:23 | |
The picture of you on a beach. | 0:43:24 | 0:43:26 | |
Naked. | 0:43:27 | 0:43:28 | |
Huh? | 0:43:28 | 0:43:30 | |
That's not possible. | 0:43:35 | 0:43:36 | |
Oh, my God. | 0:43:42 | 0:43:43 | |
This is a fake, right? We can hit them with a lawsuit so fast... | 0:43:44 | 0:43:47 | |
No, it's real. | 0:43:47 | 0:43:48 | |
It's my ex-husband. | 0:43:52 | 0:43:54 | |
We were on vacation. | 0:43:54 | 0:43:56 | |
Gordon did this? | 0:43:59 | 0:44:00 | |
No. | 0:44:00 | 0:44:01 | |
I had a husband before Gordon. | 0:44:05 | 0:44:07 | |
Oh, OK. | 0:44:12 | 0:44:14 | |
All right, well, listen, we can... | 0:44:14 | 0:44:16 | |
We can... | 0:44:16 | 0:44:18 | |
I'm due downstairs. | 0:44:18 | 0:44:20 | |
This court... | 0:45:04 | 0:45:05 | |
..will recess until tomorrow morning at 9am. | 0:45:06 | 0:45:09 | |
All right, we stand in recess. | 0:45:09 | 0:45:11 | |
DISTANT SOBBING | 0:45:34 | 0:45:36 | |
SOBBING | 0:45:45 | 0:45:48 | |
I'm not a public personality. | 0:46:09 | 0:46:11 | |
This isn't what I do. | 0:46:12 | 0:46:14 | |
I don't know how to do this. | 0:46:15 | 0:46:17 | |
Those other guys, they're...flashy hotshots. | 0:46:19 | 0:46:24 | |
They're used to it. | 0:46:24 | 0:46:26 | |
But, I... | 0:46:27 | 0:46:28 | |
I just can't take it. | 0:46:30 | 0:46:32 | |
-You'll do fine. -No, I won't! -Yeah. | 0:46:33 | 0:46:36 | |
I know it. | 0:46:37 | 0:46:38 | |
And, if it helps any, | 0:46:52 | 0:46:54 | |
you do look mighty good in that picture. | 0:46:55 | 0:46:58 | |
LAUGHTER | 0:46:58 | 0:47:00 | |
# ..cos you got me | 0:47:02 | 0:47:05 | |
# Oh, now | 0:47:06 | 0:47:08 | |
# I'm so glad, I'm so glad, I'm so glad | 0:47:09 | 0:47:12 | |
# Oh, I don't have to worry no more | 0:47:13 | 0:47:16 | |
# Oh, my, my, my... # | 0:47:18 | 0:47:20 |