Summary

Arthur Train Tut, Tut! Mr. Tutt — THE BLOODHOUND (1923)

For look it he certainly did not, as he sat motionless on the witness chair—more like a clay statue than a man, his chalky face set and his narrow shoulders foursquare to the world—an impotent yet defiant creature, like a wild animal driven into a hole or fettered to a stake. Only when his eyes over Mr. Tutt’s shoulders met those of Annie Murphy did his stubborn expression soften. O’Brien caught the looks that passed between them and scowled. That sort of thing always had a bad effect on the jury. He must “can” it somehow. He strolled back to his place and faced Mooney again.
Source: Wikisource

Arthur Train Tut, Tut! Mr. Tutt — THE BLOODHOUND (1923)

Thus the law’s restriction, which is apparently an advantage to the witness, particularly if he be a defendant accused of a crime, in reality works against him; just as the right to take the stand in fact compels every defendant to do so or suffer the penalty of refusal in the form of the jury’s natural assumption that he is afraid to do so because he is guilty. Of this great principle the Bloodhound now proposed to avail himself to the utter annihilation of Paddy Mooney and Mr. Tutt, both of whom he was resolved should plunge down into the abyss of discreditability.
Source: Wikisource

Arthur Train Tut, Tut! Mr. Tutt — THE BLOODHOUND (1923)

For the rat is fighting for life and the ferret is fighting for his living.
The danger to the young lawyer who out of a desire for public service seeks an appointment as an assistant district attorney, is that in the passion of the chase the conviction and punishment of some—to him—obviously guilty criminal may seem more important at the moment than the strict preservation of his own integrity or the unwavering maintenance of the principles of justice. Shall the murderer go free simply because some foolish law prohibits hearsay evidence or the proving of more than one offense at the same time?
Source: Wikisource

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