Family Secrets Jury Deliberations Were Systematic, Often Contentious

The anonymous jury that decided the Family Secrets case was exhausted.

After methodically working through stacks of evidence to convict four mob figures and a former Chicago police officer of racketeering conspiracy, jurors had become bogged down during a second round of deliberations.

For the first time in three months, personality conflicts flared and jurors snapped at one another as they tried to decide if the four mobsters could be blamed for 18 gangland slayings stretching back decades.

"There were times when we all looked out the window for a while and no one talked to each other," one juror recalled.

Two years after the landmark Family Secrets mob trial gripped Chicago with its lurid details of mob mayhem, jurors who sat in judgment have finally broken their silence.

Two of the jurors -- a man and a woman -- spoke last week to a Tribune reporter at a Loop restaurant, insisting their identities remain secret out of continued concern for their safety.

Even two years after the summerlong trial in 2007, few of the jurors know the names of one another, they said. Their identities had been publicly concealed to protect them from possible retaliation by the Chicago syndicate and to shield them from the news media.

Instead, jurors addressed one another by nicknames. Some took on names of characters in the trial, while others won monikers that might have been passed on by the mob itself. A tall juror became "Shorty" and another was called "Puzzles" because he often sat solving them during trial breaks.

As they began their deliberations, jurors pored over their notes -- one juror filled 16 pads of paper -- and sorted through carts of prosecution evidence -- documents, photos and even ski masks worn by hit men.They wrote questions on large "post-it" notes and stuck them to the wall. When they ran out of space, jurors took down decorative pictures to make more room for their notes.

The two jurors said the panel began the initial deliberations by deciding whether a criminal enterprise known as the Chicago Outfit existed. Then they considered the alleged role of each of the defendants they had spent months staring at from the jury box.

"I found them all to look mild-mannered and pleasant and grandfatherly," the female juror said of defendants James Marcello, Joey "the Clown" Lombardo, Frank Calabrese Sr., Paul "the Indian" Schiro, and Anthony "Twan" Doyle, the ex-Chicago cop.

The man said most of the jurors began to figure out the importance of the trial after hearing about the infamous murders of mobster Anthony Spilotro and his brother, Michael, whose bodies were found in an Indiana cornfield in 1986.

The jurors said the first round of deliberations went smoothly. If anyone was uncertain, others would calmly go back over the testimony, according to the two. The evidence was strong, they said, and jurors took four days to convict all five defendants on a host of counts, voting by a show of hands.

The jury was surprised, though, to find out that their work was not over after three months, the two said.

They again placed notes on the wall, building a chart with the 18 murder victims on one side and the four mobsters on trial across the top. They placed check marks by the defendant's name if they felt he could be held responsible for a particular murder.

"There was a lot more talking and a lot more disagreement," the female juror said. "People were passionate about Round 2."

The jurors said the panel delved more deeply into the centerpiece of the prosecution case -- the testimony of mob turncoat Nicholas Calabrese. The former hit man admitted committing 14 murders himself and linked the four mobsters -- including his own brother -- to many of the gangland killings.

To some jurors, Calabrese was a tortured man who calmly named names as he recounted murders he was forced to commit with other Chicago Outfit members, but others on the jury wouldn't rely on his word alone to find blame in a killing. "Fundamentally, Nick was himself just like one of those guys in the room," the female juror said. "Some people just weren't able to get past it."

The result, the jurors said, were strained arguments and frazzled tempers.

The male juror was among the leaders who thought Calabrese was believable because other evidence corroborated his testimony. He recalled one instance when Calabrese fought tears on the witness stand as he recounted how an attempt to blow up the car of a businessman targeted by the mob almost resulted in killing the man's wife and child. "That was either the best acting job ever or somebody who's facing some serious demons," the juror said.

The jury wound up finding Lombardo, Marcello and Frank Calabrese Sr. responsible for 10 of the murders, but deadlocked on the other eight slayings. The two jurors said the jury deadlocked on murders that relied only on the word of Nicholas Calabrese.

The jury found Marcello responsible for the Spilotro killings, but it was close, they said. Calabrese testified Marcello drove him to a house where the brothers had been lured by the promise of mob promotions and helped beat them to death in the basement.

Calabrese had alone put Marcello at the murder scene, but the jurors said there was just enough evidence to buttress his account. Relatives of the Spilotros had testified that Marcello called their home the day the brothers were killed and that Michael Spilotro worried enough about the meeting to have left his jewelry at home. But there were discrepancies in the government evidence, the jurors noted. Calabrese had put a mobster at the murder scene who was actually under FBI surveillance at the time, making his presence there impossible. But the jurors said they chalked it up to a memory lapse and moved on, confident they had made the right decision.

The jurors said they weren't surprised to see Marcello, Lombardo and Frank Calabrese Sr. each sentenced to life in prison this year. Both said they supported the controversial 12-year prison sentence that U.S. District Judge James Zagel imposed on Nicholas Calabrese.

The male juror said he thought the judge had done a good job explaining his decision, even though some family members of victims found the sentence unfair. No one would dispute that Calabrese was a killer, he said. "You have to look at what he was able to bring forward on all of this -- he gave people answers," the juror said. "But I'm glad I didn't have to make that call."

Thanks to Jeff Coen

Tweet

Has the Mob Left Philly?

A recent Inquirer article detailed the near extinction of the Philadelphia family of La Cosa Nostra. From approximately 80 members in the 1980s, the Philadelphia mob has dwindled to roughly 20 "soldiers," of whom almost half are in prison. Philadelphia has but 10 mafiosi left to do the work that once took eight times as many.

Law enforcement officials would have us believe that this is the result of good police work, but don't believe it. Like cockroaches, the mob cannot be eradicated once it moves in.

No, there can be only one reason for this outcome: The mafia has departed for greener pastures.

What further proof do we need that this is a city in crisis? Of all the miserable milestones along our path to perdition, this one, above all, should give us pause.

It means that we have so little going for us that we can't even attract and keep a decent-sized organized-crime family. Things have deteriorated so badly that not even these bums want to live and commit crimes here. And it's not like we are competing against the garden spots of America for the mob's attention. Back in the 1970s, when I was an eager young prosecutor in the Justice Department's Organized Crime and Racketeering Section, we had a strike force in every city with a mob family. These were places like Newark, Detroit, Cleveland, Buffalo, and Brooklyn. Philadelphia can't even hold its place in that lineup?

To put this into context, we have a municipal budget in free fall, threatened cutbacks of city services, and whole neighborhoods that resemble Dresden after the Royal Air Force paid it a visit. The deficit is so large that Philadelphia will soon have to call itself "the city that loves you back, due to budget cuts, every other Wednesday."

And now this: The mob is voting with its feet.

But where are the mobsters going? Have they moved to the suburbs? How would that work? Would it really be possible for some thug to claim with a straight face that he is the boss of the Bryn Mawr family? I mean, where do you stuff a body in a Prius? Don't the batteries get in the way?

Of course, these and other important questions are beside the real point: Once again, Philadelphia has placed last. As with our industrial base and business community, our underworld entrepreneurs have taken a hike, leaving us to try to put a happy face on what can only be considered a major source of civic embarrassment.

Thanks to George Parry

Tweet

"Chicago Overcoat" to Debut at Chicago International Film Festival

Six Columbia alumni will debut their first feature-length film, Chicago Overcoat, at the Chicago International Film Festival on Oct. 10.

Loosely based on the Chicago crime syndicate, Chicago Overcoat tells the story of Lou Marzano, an aging gangster who is upset with the way the mob functions in the modern era and wants it to be as it was in his day.

Columbia is the presenting sponsor at the Chicago International Film Festival this year, and Chicago Overcoat will be screened multiple times. The movie’s stars, Frank Vincent and Katherine Narducci of “The Sopranos,” as well as Mike Starr, will make appearances throughout the weekend of the festival. The cast also includes Armand Assante and Chicago’s own Danny Goldring.

The presenting sponsors of the festival, Columbia’s National Director of Alumni Relations Josh Culley-Foster and Vice President of Institutional Advancement Eric Winston, joined forces with Columbia’s marketing team to plan the national debut of the film at the festival.

The crew’s independent production company, Beverly Ridge Pictures, produced the film. The crew consists of writer/director Brian Caunter, writer/producer John Bosher, associate producer/casting director Chris Charles, associate producer/director of photography Kevin Moss, director of production William Maursky and co-producer/production designer Philip Plowden.

The idea for the film came from Caunter’s grandmother, who said a “Chicago overcoat” is an old gangster term for coffin.

“[Caunter] thought it was a really fascinating idea and we were thinking about what kind of stories could focus on Chicago [and have] Chicago as a backdrop,” Charles said. “John suggested a gangster movie. We realized that nobody had done a modern-day Chicago mob story [before].”

Shot in more than 70 locations, the filmmakers chose not only the familiar sides of Chicago, but also gritty scenery not seen in most films where Chicago is the backdrop.

“We have underground locations for some of the scenes,” Plowden said. “It provided a layer of realism to the film. For us, it was nice to add that layer.”

Working with a little more than $1 million, Chicago Overcoat conceals evidence of the tight budget through disciplined production schedules, sharp cinematography and devout professionalism, as well as the use of an antique, yet fully functional Thompson submachine gun.

Enlisting the help of Columbia students and recent graduates, the crew of Chicago Overcoat dedicated themselves and each gave their best effort.

“The people in the cast and crew got a lot out of the experience,” Bosher said. It was nice to have a production that really had that independent spirit—that young, go-getter attitude. Their hunger, excitement and desire for making the most of their opportunities allowed us to get an efficient crew.”

Columbia will hold an exclusive viewing night for the college community prior to the world premiere of Chicago Overcoat on Oct. 9. The evening will also feature the short film Burden, created by Charles and Bosher while they were students at Columbia.

“Just to be one of five films from the [U.S.] to be at this festival is incredible,” Charles said. “We’re very excited.” Charles said one of the greatest things about Columbia is being able to network. “There’s a lot of collaboration, whether it’s with your professors who work in the industry or your fellow classmates,” Charles said.

A filmmaker can meet a handful of really good, hardworking people, said Film and Video instructor Clint Vaupel. “If you prove yourself and you do what you need to do, other people will see that, and your name gets passed on,” Vaupel said. “A big family is made and people look out for each other.”

Thanks to Ciara Shook

Tweet