MAN: Phil Spector interview.
Roll 28.
DIFFERENT MAN: OK.
GOOD. GO.
[Coughs]
MAN: Good. Here we go.
[Clears throat]
[Coughs]
MAN ON VIDEO: There. Yeah.
What is this?
INTERVIEWER:
He's wearing a button
that says "back
to mono."
MAN ON VIDEO:
"Back to mono."
Yeah. All right.
"The wall of sound."
All it is is, it's reverb.
You cook it down.
You mix it down time and again.
Oh, that reverb--what
it is is, it's mud. It's--
Good morning, Maggie.
Hello.
Excuse me. Could I have
a glass of water, please?
WOMAN: Of course.
Thank you.
MAN ON VIDEO:
He has us in there--
40 musicians,
20 hours a day,
working on one note--
one note...
until it's perfect.
Thank you.
Thank you very
much. [Laughs]
Not at all.
Not at all.
WOMAN: Excuse me.
Here you are.
Thank you.
You're welcome.
INTERVIEWER:
Wasn't much of
a singer, but..
MAN ON VIDEO: OK.
[Laughs]
Linda!
Where's she staying?
Someone!
Get her bags
to the hotel!
Get her installed.
whatever she needs!
MAGGIE: New York's
on the phone.
About what?
MAGGIE: Your
television show.
Television show--
it can wait.
The gun,
the blood spatter,
that whole wall.
Lana Clarkson, suicide threats,
depression--James,
you know what I'm
looking for.
Did they feed you
on the plane?
What do you think
I am--crazy?
Get her something
to eat.
I don't need
anything to eat.
I need a doctor.
Nick Stavros,
RPI--
Linda Kenney Baden.
Hi. I won't touch you.
I'm very sick.
I need the case laws
on televised,
federal and California.
Grounds for exception,
grounds for appeal.
At least we can
slow them down.
Linda!
Could you get me
a cup of tea, please?
Here's the part
never cut in.
Raw footage.
MAN: Phil Spector
interview.
Roll 28.
That was fantastic.
Some wonderful
material.
I'm so grateful
to you.
Oh, thank you.
INTERVIEWER:
Excellent.
Who is the girl
in the picture?
MAN IN VIDEO:
I don't know her name.
INTERVIEWER:
Phil didn't, either.
Phil--he can attract
a girl?
Why not?
He can attract a girl.
He can get her
to his house.
Afterwards,
he's on his track.
How can he
keep her there?
You tell me.
With a gun.
He thinks he has to
have a gun..
INTERVIEWER: I think
we've covered just
about everything.
Ah.
INTERVIEWER:
Some questions at...
OK. All right, all right.
Linda, please.
Come on. We've got
3 days' worth to do
in half an hour.
MAN ON VIDEO:
..how far this goes back.
To the desert.
to the moors...
Thank you for coming.
You said that.
"Telegraph," London,
fax to Phil.
Day of the shooting.
"Lost genius of
rock 'n' roll".
Yeah, I know
about the article.
What you
don't know--
read the article--
he's been cold sober
for 10 years.
Cold sober.
That night,
House of Blues
and Lana Clarkson.
Uh-huh.
Article
sets him off.
Hmm. That's a shame.
It sets him off.
Yes, but how does that
help your case?
My case, in court
tomorrow, all right?
How does it help your
case that he's nuts
and he's drunk?
He still put the gun
in the girl's mouth.
We've got
right there...
Yeah, I read that.
Maggie, play her
the fucking audiotape,
First officers?
I read it.
I want you
to hear it.
Phil and the first
officers.
Let's go.
Uh.
PHIL: This piece of shit!
I don't know what
the fucking problem was,
but she certainly
had no right
to come to my fucking
castle and blow her
fucking head open!
I don't see the case.
No? He's drunk.
He's enraged.
He mouths off
to the cops.
Why is he enraged?
You heard it.
Is that a man who
just shot somebody?
That's hearsay. They'll
never allow it into court.
"The People vs. Cruz".
James?
"The People vs. Lou."
He put the gun
in the girl's mouth...
No.
He pulled
the trigger.
Where's the blood?
Where's the massive
blood spatter?
I don't know where
the massive blood
spatter is.
This is my vacation
in Venice--
first-class tickets,
You know, we have
a meeting with him
tonight.
Not me.
You're here.
Why are you here?
I do it for a living.
I'm listening.
of a vacation.
My hourly rate,
out of the office,
door to door,
and I'll give you 3 days,
if that's any use to you.
Thank you.
So is that
any use to you?
You give me
your assessment.
And you put back
my vacation
and you pay for it.
Stop negotiating.
And I need a shot.
Will you find me a doctor?
James!
James, drive her
to the hotel.
A doctor when she
gets there.
You walk her
to the room.
LINDA: Other side have
those outtakes?
Not yet.
They're filing
to admit the testimony
of 5 women...
Yeah, I read the
Grand Jury testimony.
This is gonna
be your office.
Oh, 5 women.
Count them.
5 women on oath
before the Grand
Jury.
"He pulled a gun on me.
He wanted sex."
Cold sober for 10
years, and now he's
just getting--
Well, so what, Bruce?
You ever hear the phrase
"To hell with it?"
You've got a gun nut.
He goes around waving
loaded guns.
You've got 5 women
come out of the woodwork--
"He did the same
thing to me."
You've got the chauffeur.
The chauffeur
is on record--
"My boss came out:
I think I just
killed somebody."
Well, exclude
the woman.
How? On EWOL?
You bet.
No, I say the judge
allows it under Caitlyn.
In which case
it's reversible.
I'm doing a TV show.
Really? About the case?
No, independent of
the case.
Oh, great.
Now, the chauffeur.
Bruce, Bruce, Bruce,
he shot the girl.
He shot the girl, all right?
He's a freak.
Those are the public
who don't hate him.
He's a genius.
He transformed
the entire
music industry.
What's that--what's that
kid's name--James?
James. James?
I'm Linda Kenney
Baden.
Could you tell me
what this is?
I'll give you
a dollar if you can
tell me.
Is it something
to do with music?
Why would you
say that?
Because the case
has to do with music.
No, no, no.
The case has nothing
to do with music.
No. This is an insert
that allows a 45 RPM
record to be played
on an LP phonograph, OK?
Now...
OK.
What is this?
Something to do with
an early computer.
Mmm.
Put it on
your key chain.
It's a piece
of the past.
Mmm.
This kid doesn't know
what a phonograph is,
a 45, a--a transistor
radio.
Nobody on the jury
is gonna know anything
except your guy's
a murderer and a freak.
The girl killed herself.
Well, maybe, but
I don't want to take
that case.
There...
I don't like
that case.
There is no evidence.
There's no blood
spatter on his cuff.
Well, you've got--
as to the blood
spatter--
There is no blood spatter
on the back wall. Why?
Why?
Linda, the bullet
lodged in the skull.
The skull was intact.
All the blood
in the brain matter
had to come
out of the mouth
toward him.
Exact model of
the coat he wore.
Exact model.
Blood spatter?
You find it. Go ahead.
It's more than
a pinpoint, Bruce.
I read the report.
It's more than one,
and--
And it is inconsistent with
anything but a defensive--
Bruce...
a defensive movement.
and the angle of the shot
is inconsistent.
The only way
he walks--
I think
he's not guilty.
Of course you do.
The only way, however,
that he walks is what?
She shot herself.
That's right. Why?
She was depressed.
We have a history
of e-mails, comments...
They let O.J. go.
They let Michael
Jackson go.
They are not gonna
let him go.
They will be trying him
for the murder of
O.J.'s wife,
and they will find him
guilty.
Put on the tape.
The girl was crazy,
Linda.
She made this tape
to promote herself
as an actress.
Go ahead.
LANA: Dead Broke Tower,
the one and only...
LINDA: I need some groceries
at the hotel, please.
LANA: Little Richard.
Richard, which
do you prefer?
"Little" or "Richard"?
Folks just call me
whatever it is that
jumps in their head
at that moment,
then come out
with it.
There was this one
man at a club I was
playing
down in Memphis,
my house at one
time.
And I'd like to
thank you, Dizzy,
for having me
on the show.
Well, Dizzy,
follow me?
Yes, Richard,
I do.
Your car is here.
Well, its...
Thanks.
Dilly.
"Richard" or "Little,"
whichever you prefer.
Tell us, Las Vegas,
what we...
LINDA: The girl,
Bruce--you show that
in the courtroom,
what do you get?
You get sympathy.
Your only
realpolitik,
your only shot is
to attack the girl,
and that's a loser
because the jury
turns away from you
like that.
OK.
I got a guy...
sure looks guilty.
You tell me,
what do I do?
LANA: Sex symbol...
He changed the tune
as he came to me.
He's entitled
to a defense.
What would you tell
your students?
Would you say,
"Don't take the case
if it offends
your sensibilities,"
or is he presumed
innocent?
Because you're
screwed up,
because you
read the same gossip
everybody else did,
so you think
he's guilty.
All right, they
think he's guilty.
What are you going
to do about it?
I won't attack
the girl.
Oh, yeah.
Gonna happen.
Hallelujah!
Hallelujah.
Yeah.
[Linda coughs]
BRUCE: Linda!
Linda!
I can't try the case
I wish I had, the
defendant I wish I had,
and I inherited
the jury.
In a locked room,
he shot the girl.
What can I do
to defend him?
He's got cancer,
Linda.
You don't go
to a dermatologist.
You got cancer,
you come to me.
Now, what is
my case?
MAGGIE: Bruce, New York's
on the phone.
It's urgent.
I won't
attack the girl.
Then you tell me.
JAMES: The doctor
will meet us at the hotel.
[Elevator bell rings]
Thank you.
[Maggie clears throat]
[Sigh]
Yeah, yeah, yeah.
[Elevator door closes]
MAN: The guns
were about the girls.
This guy, his feet
size is zero.
I mean, he couldn't
get laid in a whorehouse
with a money machine.
Now--now
he's the starmaker.
He's fucking the Ronettes,
Darlene Love, Cher...
Who the fuck knows who he's
fucking--Angela Lansbury.
I don't know.
Now look. His power
is starting to wane.
Do you think he's
gonna give that up?
He's following
Ronnie around.
She goes for a cup
of coffee,
he's got 3 private
detectives on her trail.
INTERVIEWER:
Mm-hmm.
The whole thing was about,
"How do I keep these
broads?"
But he didn't
want to keep them.
That's true.
Why?
Ha.
He didn't know
what love was.
He knew what
pussy was,
and that's as close
as he came.
INTERVIEWER: What's
your favorite of all
the things
that you mixed
in those days?
MAN ON VIDEO: Well,
I mean, "River Deep,
Mountain High."
INTERVIEWER: Yes.
MAN ON VIDEO:
That was the anthem.
INTERVIEWER:
Fantastic. Yeah.
MAN ON VIDEO: Probably
one of the greatest
recordings ever made.
At least, that's
what Phil would say.
INTERVIEWER: Yeah.
So I suppose you
guys were editing
everything
with a razor?
MAN ON VIDEO: Well,
it was the old days.
You know, you got to clip
everything, and it was mono,
so you know.
INTERVIEWER:
Quarter-inch
tape?
MAN ON VIDEO: Quarter-inch tape,
reel to reel,
8 track, live sound.
It was more realistic to be live
than there was mono.
[Linda coughs]
I've always wanted to know...
[Linda coughs]
what's the difference
between rich...
[Water running]
[Knock on door]
[Police sirens]
His father.
He says his father
shot himself
when he was 5,
but Philip was 5
in 1944.
He didn't shoot himself
when he was 5.
He killed himself
when Phil was 10--1949.
How? With a gun?
Uh-uh.
Took the gas pipe,
went into the
garage,
turned the car on.
Mmm.
You ever meet him?
No, ma'am.
I'm Linda. Please.
[Police sirens]
Here we go.
[Linda coughs]
[Rain falling]
MAN: Mr. Spector
prefers you to walk.
Just the woman.
Just the woman.
It's OK.
MAN: Anybody here
seen my old friend
Abraham
And can you
tell me where
he's gone?
"Abraham, Martin,
and John," 1968,
and then they
threw in Bobby--
Bobby Kennedy.
Now, we know Lincoln
freed the slaves,
Dr. King fought
for equality,
John...
screw the Nazi spy
and anything else
that would hold
still for 10
minutes.
What the hell
did Bobby do?
He fucked
with the Teamsters.
Get over here.
Now, if you look
at the dates, "Abraham,
Martin, and John"
was recorded June 2,
1968.
That's 3 days before
they shot Bobby.
They went back,
chucked him in
as garnish.
Traiga bebidas a
la sala de msica,
por favor!
WOMAN: S, seor.
Here.
Now, Teddy--Teddy
Kennedy drowns
a girl
on Martha's
Vineyard.
Walks away from
the scene of the crime--
hid under a blanket
72 hours...
a teenage girl who he
had befriended...
Drowns her in a
Volkswagen--300 million
Americans, nobody says
"Boo."
And P.S.--Teddy
Kennedy, what
in the world
had he ever
accomplished?
His family tossed
him the bone.
"Oh, you can't get
your masseuse license?
"Here, sit in the Senate
40 years.
Have fun."
A girl shoots herself
in my house,
and that is the legacy
my children will
live with.
Come on in.
If I go in there,
will you keep me
there by force?
Here we go.
So where's Bruce?
Bruce had to go back
to New York.
Ah...
Ooh.
He went back
to New York.
God, you keep it
cold in here.
No, I need it cold.
You know why I like
Bruce?
Why?
He got John Gotti off.
Stone killer,
Mafia chief,
Bruce walked him out
of court, guilty as
Errol Flynn.
Oh, you are cold.
Mmm.
Come on.
We'll warm you up.
Here. Here you go.
PHIL: You know,
I always wanted
to get out of all
of this.
You know?
Lawrence de Arabia--
he got out.
You know?
I wanted to be
an interpreter in
the United Nations.
People scoffed
at that, but...
it's a matter of
record.
I always spoke
Spanish.
You'll find it in my
love of the Latino
beat,
in my songs.
After the Beatles,
there was still
a lot to do.
I didn't want
to do it.
Just didn't
want to do it.
You didn't want to
do it? Why?
I'd done it.
What more was there left
for me to do?
What?
The girls, the money,
the fame. No.
You know,
I thought I'd move
to Belize.
Is that a fantasy?
Everything I've done
in my life has been
a fantasy.
I made it happen.
I couldn't keep you here
by force
because they took
all my guns.
You know, it never
escaped me that people
thought,
or were taught to think,
that I was a clown
or freak of some sort
and that my accomplishments
were somehow not to
be admired.
But in their breadth
of number,
the sign of a freak.
But I understand.
It's called "envy."
I believe it's even
mentioned in the Bible.
Extraordinary
accomplishments, Linda,
transforms the grateful
into an audience
and the envious, Linda,
into a mob.
You watch.
See if I'm not right.
It stems from a feeling
of inadequacy
which is a lack
of courage.
Yeah, I understand.
I had it, too, but
I dealt with it
by doing something.
You know?
What was I to do?
Did I tear anybody down?
No.
They were no threat to me.
I was too busy.
It's pretty, eh?
Hmm.
Here you go.
Thank you.
Why do you have
so many guns?
I might need one.
Why would you need
more than one?
I don't know.
How many pairs
of shoes do you
have?
Mmm.
How many feet?
But they're gone.
And I'm not going to
shoot you, so why don't
we sit down?
LINDA: Mmm. Thank you.
So how do you feel
about guns?
How do you feel
about them?
I can take them
or leave them.
Yeah, but if you
leave them and somebody
pulls one on you,
well, there you are--
Anybody ever pull
a gun on you?
You think I shot
the girl, Linda?
Hmm.
You're smart.
High praise, indeed.
You think I shot
the girl?
Your chauffer
is on record.
"My boss came out.
I think I just
killed somebody."
[Telephone beeps]
Tomorrow's "Times,"
today's "Times,"
you're quoted
as denouncing "the
Hitler-like D.A.
and his storm
trooper henchmen."
Do you let people
screw with you?
That's the white piano.
That's where John wrote
"Imagine."
Lenny, Lenny Bruce,
he would sit here
at the end,
talking about
the fourth
amendment.
That's how nuts
they had him at the end.
Shooting smack,
talking about the
commerce clause.
Wisest man
I ever met.
There's John,
John Lennon, clubbed up
with his wife at
the Dakota, prior to which
he was living in 2 1/2
rooms in the East Village,
head shaved,
hadn't bathed in
a year and a half.
This genius.
What's this?
Thank you, Vernon.
PHIL: Do we know him?
As your attorney,
I must counsel you not,
whatever the
provocation, not
to talk to anyone.
They're indicting me
for murder.
All right, sorry.
"You--You Lost That
Loving Feeling".
What was it?
Are you kidding me?
What was it?
It was--it was the
greatest song ever released.
I sold over 2.5
million copies.
You say the Jews
invented the music
business.
The Jews didn't invent
the music business.
I invented
the music business.
7th Avenue, New York,
there's a statue,
a little old
Jewish guy, yarmulke,
bent over
a sewing machine.
He's that guy who invented
ready to wear.
I invented
the music business.
Where's the statue of me?
Where's the
Presidential Medal?
Sidney Poitier broke
the color barrier?
Are you kidding me?
He was playing Superman.
You want to know
who he was?
He was an uptight
frightened white guy's
version
of a black man.
I put the Ronettes
in their home.
I put black America
in the white home.
The first time you got
felt up, the first time
you got somebody's
hand on you--guess what.
You were listening
to one of my songs.
Did you kill
that girl?
I thought attorneys
never ask that question.
I'm the Christmas help.
I'm going home.
Ah.
"I think I just
killed somebody."
My chauffeur
at the time barely
spoke English.
I came out, having
seen what I saw,
and I said, "I think
I should call somebody."
Is that true,
Philip?
That's what my mother
used to call me.
Did you shoot her?
Lana Clarkson?
Listen. Listen.
Come.
Let me tell you about
Lana Clarkson.
All her life,
all she wanted
was this thing.
It was a drug.
She thought it was
called "fame,"
and to put here
in here, in Hollywood,
with this drug all around,
why don't you put
a diabetic in
a chocolate shop?
Why don't you hire
a recovering coke-head
to work in a meth lab?
Did Hollywood kill Marilyn?
She killed herself
with help from
an unfulfillable longing.
Or maybe she just got
drunk and lost count
of the pills.
Did you ever do that?
Lana Clarkson, at her death,
had more prescription
pharmaceuticals in her
than Walgreen's.
No, no.
The toxicology screens
showed she had only--
Bullshit. Bullshit!
I looked in her eyes!
She had the equivalent
of two Vicodin
and some antihistamine.
Come on,
the prosecution--
do you think I
don't know a hophead
when I see one?
.14.
All right, that's it.
She was gone.
Please.
Please.
I can't go on
about that stuff.
I'm done.
Gonna wear that
cross tomorrow?
It's a Mayan artifact.
I have a question, Linda.
If Jesus was so big,
why did they kill him?
Because he was
the son of God.
No!
Because he was still
the son of God.
"Still" is not news.
Somebody is "still"
the greatest beauty, actor,
record producer--
you can't put that
in the paper.
What is news, then?
News is that he likes
little boys,
that he's a thief,
that he cheats
on his wife.
Or in the absence
of any fault,
that he's just
too goddamn big
for his fucking britches,
which is why
they killed Christ.
See this here?
"You Lost That Loving
Feeling", this was--
this was the best
song ever released.
They told me it was
too long.
Came in at 4 minutes
and 5 seconds.
Nobody could release
a cut over 2 1/2 minutes.
So, what did I do?
I redid the labels.
"Running time 2 minutes,
I didn't change
the length.
I changed the label.
They played it.
It made everybody rich.
It's not, Linda,
that you have to go
against the tide.
Some people--some people,
that's all they can do.
You understand?
Our friend Lawrence--
Greatest general
that ever lived.
End of his life,
he retired,
Took on a false name,
enlisted as a private.
What did he want?
Money, fame?
They made him sick.
What he wanted was what
he had in the desert.
What he wanted
was privacy,
you understand?
They say I'm
standoffish.
I'm not standoffish.
I'm inaccessible.
Always have been.
Is it--is it that
I don't like people?
I don't know.
I never spend
any time with them.
Ah. OK.
Ah, special for you.
Thank you.
Here.
I can't even
do this for you.
My hands are
shaking.
I'm taking these drugs,
neuroleptic drugs.
And a side effect is,
it mimics MS.
so I can't play anymore.
I don't see how they
thought I could have
held a gun.
[Police sirens]
MAN ON RADIO: Number 42
on the "Rolling Stones" list
of the 500 greatest
songs of all time,
"Be My Baby," 1963,
by Phil Spector.
Spector is arraigned
today in Los Angeles
Superior Court
for the murder of
the actress...
Cut it off,
will you?
Bruce is in the car
with Phil?
That's right.
It says he said,
"We should call somebody."
Yeah, well, that's what
he told me he said.
How do you get that
into the record?
You break the chauffeur
or you put him
on the stand.
Spector?
Mm-hmm.
How can you do that?
You can't.
[Police sirens]
I thought you
were going home.
It's the only hard
evidence they have.
Everything else can
be argued both
sides.
He's a freak.
They're gonna convict
him of, "I just don't
like you."
Well, you break
the chauffeur
on the stand.
What?
As a cop, I'd say
DA's got the chauffeur
jammed up.
On illegal
immigration?
No, you're not using
enough gun.
My money, they told
this guy, look.
Here's a video of you
helping a woman.
Oh, look.
She don't walk too well.
Has she been drugged?
Oh, and here you are
helping her to go
into the house
of this man
who was paying you,
from which house
she emerged dead.
Guess what.
You're an accessory
to murder.
They've got your guy
jammed up tighter
than Kelsey's nuts.
Well, then he's
gonna need a good
lawyer.
[People shouting]
[Police sirens]
[People shouting]
POLICEMAN: Back, back.
Step aside.
Stay back.
WOMAN: Phil.
Giovanetta Ricci
of Teleitalia.
Phil, I'd like to be
inside your mind
for just 5 minutes.
PHIL: You wouldn't like it.
GIOVANETTA: Phil!
[People shouting]
Mr. Jackson.
JACKSON: Thank you,
Your Honor.
Good morning,
everybody.
We spent a lot of
time over the last
few days
talking about what
you've read about
the case,
what you've heard
about the case,
what you know,
what you think you
know about the case.
This is my opportunity
to talk with you
for a few minutes
about what we expect
the evidence to show,
the actual facts
in the case, to show.
And that evidence,
ladies and gentlemen,
is going to paint
a very, very clear picture.
the picture of a man,
Philip Spector,
who, when he's confronted
with the right
circumstances,
when he's confronted
with the right situation,
turns sinister and deadly.
You all right?
Yeah.
JACKSON: The evidence is going
to paint a picture of a man
who on February 3, 2003,
put a loaded pistol
in Lana Clarkson's mouth
inside her mouth,
and shot her to death.
This is what
the evidence will show.
But to understand more
fully, more globally, why
Philip Spector would have done
what he did, how Lana Clarkson
fell victim to this man,
you're going to be
introduced to evidence
of the defendant's very
rich history of violence,
a history of violence
against women,
a history of violence
involving guns.
Ladies and gentlemen,
in other words,
through the presentation
of the evidence
in this case, you're going
to be introduced
to the real
Philip Spector.
On February 3, 2003,
at about 5:00 in the morning,
a single gunshot cracked
the silence of the
normally very quiet
community of
Alhambra, California.
WOMAN: Hey, Phil!
Hey, Phil!
Back to mono!
Back to mono, Phil!
Back to mono!
Back to mono, Phil!
Back to mono.
Thank you for
saying that.
You're welcome,
and that's blood!
That's Lana
Clarkson's blood!
That's Lana
Clarkson's blood,
you fucking
murderer!
You freak!
[People shouting]
WOMAN: Fucking murderer!
That's her blood!
And so therefore, what?
It comes down to
whether she shot
herself
or he shot her.
But--
WOMAN: Wasn't
nobody else in
the room.
What if it were impossible
that he shot her?
WOMAN 2: The we're back
to, why did she
kill herself?
MAN: And he had
pulled guns on women
in the past.
WOMAN: He ain't
putting that
toothpaste
back in the tube.
That information
is in the air.
It's not going back.
And you've got the--
we've seen all the--
we've seen--you got,
um--can you play
that video?
Of course.
[Beep]
WITNESS: He locked the door
and he held me there
at gunpoint.
He said, "If you leave,
I'll blow your head off."
I was standing there
in the lobby,
in the door.
I turned around,
and there was a gun
pointing at me.
I said, "Stop that."
BRUCE: This is
going nowhere.
LINDA: Why is it
going nowhere?
Because the only way
to walk our guy
out of the court--
because the only question
those folks want to know is,
if she pulled the trigger,
you had better tell me
why she did beyond
all doubt, because I
do not like your guy.
Those people in there,
all their lives have
got the short end
from the more powerful.
There's nothing
redeeming in our guy.
Given the choice,
they're gonna go
for payback time.
On what evidence?
You don't have to
convince me.
You have to convince them.
I thought you were
going back to New York.
I'm staying on
for the hotel food.
Get on board
because our case is
she's a suicidal pillhead,
and we have letters
and we have e-mails,
and we...
WITNESS: I turned around,
and there was a gun
pointing at me.
I said, "Stop that."
I said, "Put it down."
"Stop. Just--
Stop.
He was screaming,
"You're not going.
"I'm not unlocking the door.
"I'll blow you away.
I'll shoot you."
Now--now how many of you
think he's guilty?
What if, with all
the facts that seem to be
against him...
BRUCE: The girl fucking
shot herself.
WOMAN: What if we have
testimony
that he'd said in public--
that Phil Spector
had said in public
to Lana Clarkson...
REPORTER: You're
on record as
saying
you're never
happy unless
you're unhappy.
Yeah.
So does that make me
so unusual?
Mr. Spector?
How many millions
of people..
That's good, and
how many millions--
Freud was, God bless him,
essentially
a confidence man.
He didn't invent a cure.
He invented a disease.
MAN: Phil!
PHIL: Yeah?
MAN: Where do you
want it from?
PHIL: Take it from
measure 14.
REPORTER: Freud said
there was no cure but
that perhaps
he could transform
unbearable
unhappiness
into simple human
misery.
PHIL: Jack Daniels
can do that.
MAN: Phil, where
do you want it from?
PHIL: Oh, man.
A job can do that.
Please, guys!
What are you guys
doing, man?
Hey, malingerers,
what do you want?
You want one of them
lounge chairs, floats
in your pool?
When did this
come in?
PHIL: A little...
We just got that.
PHIL: Are you cold?
Listen, you want to
rest, go ahead.
Rest until you feel like
picking it up
at measure 14.
I don't care.
Let me know.
REPORTER:
You know, Freud--
Freud?
What's Freud gonna do?
What is he gonna do--
change the past?
Tell the fucking client
to indulge his feelings?
I--you know what
I say? No.
If he's got the courage,
let the guy go out
and make something
of his life.
It can be done, you know?
MAN: Phil, where
do you want it from?
Yeah? Yeah. Oh, Barry,
what do you want?
BARRY: You want it
from measure 14?
PHIL: No, you know
what I want?
I want you motherfuckers--
I'm coming.
Hold on a minute,
all right?
Here you go. Hey.
We'll be with you
in a minute. Don't worry.
MAN: Don't
be stupid--
PHIL: OK, motherfuckers.
I told you you should
finish college, huh?
Join the Marines, anything
rather than throw yourself
on my...
MAN: Phil, OK--
PHIL: boundless mercy.
Right?
Take you in from
the cold--and you
know I did.
You should consider it
a mercy I killed
a lot of you,
save you the shame,
Walter, of ruining
this simple fucking song.
[Gunshot]
MUSICIAN: Oh! What--
REPORTER: Oh,
my goodness.
Send out for Chinese.
We're gonna be here a while.
Ah, ah, ah, ah, ah.
See that?
Lesson learned.
OK, pretty.
We're ready for you. Mwah.
Oh, you moved.
Where were you?
Ha.
PHIL: Let me see.
Oh, yeah.
Here you go.
Thank you.
Let him go out and
do something with his life.
MUSICIAN: Phil,
what do you want?
Uh, play till the lemon
chicken comes.
[Linda coughs]
You're sick?
End of a case,
if you're not sick,
you're not working
hard enough.
It's not the end
of the case.
You're killing yourself.
Oh, what? I wish I could
say the same for you.
I was in New York.
My caseload
is not lim--
I have clients I left
in New York, all right?
LINDA: Hmm.
BRUCE: What is it
you love this guy,
all of a sudden you're
working yourself to death?
LINDA: He's our client!
BRUCE: Oh, that's right.
You told me.
He covered you
with a blanket.
WOMAN: Here you go.
BRUCE: You're a cheap date.
LINDA: Oh, fuck
you, Bruce.
You've got a case
that should have
been thrown out.
The cops and the DA
are trying him
on the O.J. case.
The prosecution
has nothing.
BRUCE: Except everyone's
conviction that he's guilty.
LINDA: We've got
ballistic evidence.
They trot up
their experts;
we trot up ours.
At the end of the day
the jury finds him guilty,
and we have wasted
their time--
unless we indict
the girl.
Is he guilty?
Not beyond a reasonable
doubt, but why don't you
just show the yokels
your two-toned shirts,
your cufflinks,
fix your tie,
and say the law protects
all equally?
Is that untrue?
It's true if you win.
Not true for freaks.
But for him,
off he goes.
Is that what this
is about--freaks?
Very good, Bruce.
That's right.
That's right.
It's all about me.
It's about me.
You know, the poor geek,
the bookworm--
she gets judged
in the schoolyard,
doesn't get a fair
trial, except our
guy does,
and the facts do not
support a conviction.
I don't give a shit
who he is.
I don't give a shit
what he's done before.
OK.
Marvin Gaye--his father
shot him, right?
Sam Cooke...in bed
with some girl,
husband comes home,
bam, bam, bam!
End of story.
Who gives a shit?
Lana Clarkson shot herself.
I was there.
Now they're treating
me worse than they treated
Mark David Chapman.
His name plate reads
"What a shame,"
and he shot John Lennon.
And I, who happened
to be in the same room
when this girl
shot herself,
I am a monster the likes
of which never saw
the light of day.
You--you want to explain
that to me?
So, what is it, then?
What are we talking
about here?
Hatred.
What do they hate
about me?
I'm alive.
You know the saying
"The good die young," right?
Why?
Because the file
is closed.
REPORTER: I understand.
Have you said that--
This is the story.
The girl exceeded
her shelf life.
She's in L.A.
She's down on her luck.
She is broke.
Spector didn't help her?
That's not his job.
You're thinking
of Christ.
He's not Christ.
He's a guy. He
wanted affirmation.
He wanted sex.
68-year-old guy.
It's the same thing.
What is he--
pussy-crazed?
OK, she's working
in some bar.
A guy comes in.
She brushes him off.
The boss says,
"Do you know
who that is?"
So, what we have
is a car crash.
She's lonely.
What is she
supposed to do?
Hire the Goodyear blimp?
"Please help me.
I'm lonely"?
Wait, wait, wait,
wait.
What, are you
arguing my case?
PHIL: Why would I
kill that girl?
REPORTER:
You were drunk.
PHIL: I was drunk.
I was drunk half my life.
These women.
Who are these women?
These women come out and say
I pulled a gun on them.
Where were they at the time
of the supposed offense?
No. They came out
of the woodwork years later.
They came out
at the time.
No. Bullshit.
They--no. They didn't even
press their case. Come on!
They came out when
it was in their interest
to come out--
they came out when there was
something in it for them.
What was in it?
Publicity.
What did Lana Clarkson want?
Publicity.
What do they all want?
People--people think
it's contagious--
you can get it by hanging
around someone
who's got it.
I don't know this,
and that idiot whom
I would have helped--
why not?
came in here and ruined my life
by sticking a gun
in her mouth.
For--for what?
For what?
For what is this
retribution?
For what am I
being punished?
For being the most
successful music producer
in the history
of the world.
And if you think
that's bullshit,
then you're not
as smart as I know you are.
I am--I am so sorry
that that girl,
that her life
was full of suffering.
I'm sorry she died.
I didn't do it.
The State says
the gun was in her mouth.
If he were 10 feet away,
could he have done it?
BRUCE: The prosecution says
you didn't go to her,
you didn't touch her.
LINDA: Bruce.
He throws up his hands
to avoid the paint.
His coat has one spot
of paint on it,
This is an exact copy if
the coat Mr. Spector wore
on the night
of the shooting,
with a replica
of the blood spatter--
4 spots and 2 pinpricks--
of blood on the coat.
You're free to examine it
if you wish.
Here is what happens
to somebody standing
within arm's length
of such an explosion.
When the shot comes
from inside the mouth,
the brain explodes.
When the skull is intact,
as here, the brain matter
the blood, is ejected through
the nose and the mouth.
It seems to me Mr. Spector had
to have been standing a minimum
of 10 feet from the event for
him to have avoided being
painted--painted with brain
matter and blood.
What do you think?
[Group murmurs]
MAN: Ronnie Spector
interview.
RONNIE: I believe--I believe
that Phil at one time
was very much like you or me,
and at the start--at the start
of his career he was
talented and devoted
a very serious musician.
But as the press began to write
about him as a great, an icon,
or a genius, he began, yes,
to be affected by it
and it affected him horribly,
like a drug,
for it confused him.
He was tormented--not by
the adulation, no, but by
the question--is it true,
or is it deserved,
and what would the answer
for that be?
There is no answer.
MAN: Thank you.
Thank you very much,
Mrs. Spector.
Uh, this interview was
recorded at Everclear
Studios...
LINDA: Irene, can you
get me the 911 tape--
you know, the chauffer?
IRENE: Mm-hmm.
LINDA: Put it in
the room for me,
let me listen to it?
Thanks.
[Beep]
WOMAN: What are you
reporting?
IRENE: Mm-hmm.
MAN: My name is Adriano,
and I'm Phil Spector's driver.
I think my boss
just killed somebody.
WOMAN: You think your
boss killed somebody?
ADRIANO: Yes.
Why do you think
he killed somebody?
Because he...
LINDA: What's the speech
pathologist, the Brazilian,
you know, the interpreter?
MAGGIE: Uh...
Have you got his
number?
Yeah.
Here, let me show you.
It's this guy,
this guy here.
Would you get me
a meeting with him?
Sure.
WOMAN: Oh, yeah, sure.
Just give me a second.
MAN: Of course.
WOMAN: Just got it...
5 PM.
It was nice meeting you.
MAN: You, too. Yes.
What did they have you
doing in there?
You're with
the defense
team?
I work in the office.
We were just
watching these
cartoons
about what the blood
would do and so on.
You mean like movies?
Yeah.
And what do you think?
You could show me
"Dumbo."
Hey, what does that
prove?
Anyone can make
cartoons.
MAN: Thursday, May 7, 2009.
Retired LAPD officer
Joseph Smith.
Colt detective special.
In attendance, retired federal
officer Michael Brown
with Ms. Linda Kenney Baden.
One round.
38 plus "P."
Hollow point, 110 grain.
OK.
Clear the range.
[Gunshot]
BRUCE: Then they say,
Dr. Spitz, your various
credentials...
We should add
my publication.
Oh, yeah. We will
add your
publication.
35 years in
forensics.
Exactly.
Now, in your career
you have investigated...
Over 10,000 instances
of gunshot wounds.
Fatal.
Yes, gunshot wounds
to the head.
Good. And then
they show you
the diagram,
and they say,
have you ever...
in 35 years, that wound,
the angle of that wound
is absolutely
inconsistent with any
but a self-inflicted
wound.
I'd put it simpler.
I don't understand.
I would say, "I've only
ever seen that as
a self-inflicted wound."
That's right.
In 95%, that is
a self-inflic--
No. Dr. Spitz, you
cannot say 95%.
I beg your pardon.
I was just using that
as a figure of speech.
Shh, shh.
Good, but you know, to the
prosecution, you say 95%,
on cross-examination
you've just admitted that
there's a 5% chance
that it is not
a self-inflicted wound.
Is there a 5% chance that
somebody else shot her?
There is no chance.
Then do not say 95%.
That was just
a figure of speech.
Sure, Dr. Spitz, but you've
seen 10,000 case, right?
5% of which,
the prosecution will
point out,
is 500 cases in which
that is not a
self-inflicted wound.
It is a self-
inflicted wound.
The we require you
to so testify.
Now, Dr. Spitz, we're
gonna take a look at
the bullet itself.
Yes.
BRUCE: That's good
if they let you use it.
What?
Oh, the tape?
Mm-hmm.
LINDA: No, no.
I'm not planning on
using the tape.
No. Listen, it is
impossible
that Philip
took that shot.
If he had, his coat,
his hair, his
everything
would have been
covered in blood.
We've got to break
that thought into
the jury's mind--
he could not
have done it.
So you don't show them
the tape?
No. No. I'm gonna
build it.
BRUCE: Uh-huh.
I'm gonna build
a bulletproof
Plexiglas chamber
and put it
in the courtroom.
I'm gonna put the wound
dummy in the chair
and a ballistics tech in
a lab coat and have him
pull the trigger.
When they see the booth
and the coat, everything
covered in blood,
the jury sees that, we
just broke their thought
processes.
We won the case.
The judge will never
allow that.
"Culpepper
v. Volkswagen."
I've got a hearing
tomorrow at noon.
She shot herself.
You bet she did.
Why?
Not our problem anymore.
It's been decided
it's inadmissible.
PHIL: What does
that mean?
LINDA: It means you can't
legally base a demonstration
on a theory.
You know what? Why don't
they get a carpenter
in there?
Get a carpenter
in there,
build me a coffin,
have the judge
nail me in.
Philip.
Get it over with.
Philip,
the California law--
They see that
demonstration,
I walk out of there
free.
It's been decided the
judge will--and can legally
disallow it.
Therefore, to make
a request doomed
to failure is--
Why would I kill
that girl?
Why?
Because she wouldn't
what?
She wouldn't what?
She would have done
anything I asked.
That's why she came
here.
No. So forget why.
How?
What did I do?
What did I say?
"Here.
"You hold the gun and
you put it in your
mouth.
I'll pull the trigger."
Why?
Because I want to prove
my power.
My power was she got in
the car.
That was my power.
Some wretched,
stunted Jewish kid,
a poor kid,
who could have, over the
years, any fucking woman
I wanted--
oh, I'm gonna throw my
life away for her.
Why not?
She was a cocktail
waitress.
In the old days,
the cops,
they showed up,
she shot herself, they
throw her in jail
for fucking up my
evening,
dead as she was.
I want you to put me
on the stand.
LINDA: One-way
ticket to the
gallows.
I want to tell
what happened.
What happened?
You got 12 seconds?
I was drunk.
She was screwed up
out of her mind.
I took her home.
She asked me--
she asked me
did I have any guns
around the house?
I said, "Why?"
She said, "I find
it exciting."
Many women do.
So I showed her
the guns,
I went in the other
room, I came back.
She's got a gun in her
hand, and she's smiling
provocatively, right?
She takes the stupid
gun, puts it in her
mouth.
I scream, "No!"
The gun goes off.
LINDA: It's interesting.
PHIL: What?
The various looks,
the wigs.
A lot of people
think they're wigs.
That's called
prejudice.
Brindon, where are they?
They have gone.
We must tell Torvald.
He was with them.
No.
BRINDON: Shall I
alert Princess Isa?
No. Better to take
a dagger through the heart,
for the news would
kill her.
Brindon...
95%. Unbelievable.
LINDA: My boss came out
of the house and said,
"I think I just
killed somebody."
"I think I should call
somebody"?
You want to know
the case?
Our guy used to be
a big shot.
Now he's nobody.
The girl--she's living
the dream.
Should have died
10 years ago
when she could marry
money.
Too late now--she's
every woman's nightmare.
She goes home
with a fella.
She ends up dead.
Let your guy go?
Why?
What was he doing
there with her?
That's not what he's
being tried for.
Really?
What time does Bruce
get in?
1:05.
What if it were
an accident?
Ah.
Thank you for coming today.
Thank you.
How are you?
I'm well, thank you.
Good.
My name is Michael
Brown.
Jenny O'Brien.
BROWN: I'm a retired
federal officer.
I've spent most of
my government service
occupied with
ballistics, which is
the study of projectiles
and firearms.
This is a model
of a firearm, a revolver.
As you see, it cannot
fire anything.
There is nothing
to fire.
It's solid plastic.
That's all it is.
This model--I won't
call it a toy, because
it's not a toy--
is designed for purposes
of demonstration.
OK?
Mmm.
Basically...it's
a garage door opener.
Now, here is one
thing this model
can do.
If the trigger is
depressed, it sends
a signal...
[Alarm sounds]
The light and
the alarm go off.
You all received your
checks for coming in
today?
Yes.
Fine.
In addition to your
honorarium, in addition
to that,
if you can insert the model
in your mouth without
pulling the trigger,
you'll receive $300.
You understand?
Yeah.
Wrapped in plastic.
Completely sterile.
Please remove it
from the plastic.
Now without pulling
the trigger,
insert the model
in your mouth.
Close it.
JAMES: For God's sakes,
what the fuck
are you doing?!
Take it out!
Take it out of your mouth!
[Alarm ringing]
That's our case.
And what does
forensics say?
Forensics says the gun
was inside her mouth,
handle and trigger guard
down, which means that
the front sight was up.
Now, somebody yells, "Take
that gun out of your mouth."
She pulls it out fast.
The front sight gets caught
on her upper teeth,
hand keeps pulling,
depresses the trigger,
the gun goes off.
It's not in
evidence.
I'll put it
in the closing.
It's too late.
I'll tell you
why.
Everybody at that
point assumes that
he's guilty.
Linda, all of this,
the rubber gun?
I won't take the rubber
gun to court.
Linda...
It's so clear.
The judge didn't allow
Clarkson's diary.
he won't allow--
Linda, the point is,
all right,
they think he's
a monster.
You take the skull in,
they're sure.
Monster. Lives in a
cave. Look at the skull.
They turn away from your
client and his evidence.
I make them
look at it.
You're thrashing,
Linda.
I'm telling you that
if she put the gun
in her own mouth--
and she did--
And I am telling you,
the only way you can
introduce
all this fucking
Ben-Hur
is in support of
direct testimony.
Remember procedure,
which testimony only
comes and could come
on direct from
Mr. Spector.
Are you gonna put him
on the stand,
or should I just fucking
go jump under a train.
What?
BRUCE: Take care of
yourself.
PHIL: Thank you,
Ben.
People say diet
is bullshit.
Diet is not
bullshit.
I want to talk to you
about tomorrow.
What's this?
LINDA: That's
a note from Bruce.
A note?
"My personal
numbers" in case
of what?
In the case
you need him.
These numbers are
in New York.
Yeah. Well, Bruce
went back.
Look here.
This is the statement--
Bruce went back
to New York?
Yeah, sure. You knew
he was going back.
To do his
television show.
No. He didn't go back
to do his television show.
He left me to do--
Philip.
Philip, you told him
you didn't wish him to--
do you recall
the closing?
You agreed,
the judge agreed that
Bruce could retire
before the closing.
Retire from
the case?
Yes. Well,
you agreed.
What, I agreed?
What do you mean,
I agreed?
I agreed to what?
I agreed to what?
It's relevant to this?
No, no, no, no.
No. This is unethical.
He withdrew in open
court, Philip.
You were there.
I didn't understand.
Well, you
discussed this.
When I paid him
$1 million
to defend my life?
You and the judge
and Bruce Cutler, remember?
You all talked
about this.
I thought he was going
on a trip. Come on!
"These are my
New York numbers"?
He has other clients.
He left me.
He left me to do
his television show.
Don't break my heart.
And I paid him
$1 million, and I
foolishly expected
from him, loyalty.
For--for what?
For life?
No.
For the duration
of a trial, in which
he pleaded with me
to give him the job.
Why did he want
the job?
Why?
Because he liked me?
He despised me.
He wanted the job
because I needed him,
because I was weak.
He was strong.
He wanted my money.
I don't understand
that?
Philip, you agreed
in front of a judge--
I thought he was
going shopping.
Please.
Who was there to
tell me different?
Who? Who could have?
I'm ignorant.
What do I know
about these things?
Who could have sat me
down and told me and
explained it to me?
Who?
My lawyer.
That's who.
Who's gone.
You let him go.
I'm sorry.
I'm sorry you're upset.
I know you are.
So.
What do we do now?
If you testify,
we get to do
the demonstrations.
I don't get that.
That means I've got
to put you on the stand.
All right.
You do understand
what that means?
I get to tell
my story.
It means they get to
tear you apart.
Well, you defend me.
LINDA: You ever know
anyone who was
disfigured?
I mean, you know, some
serious hard to look at?
After a time--after
a time, you come not to
notice.
[Clears
throat]
LINDA:
Can you turn on the lights?
All right.
It's impressive.
All right. All
right.
PHIL: OK.
The defense calls
Philip Spector.
Place your left
hand on the Bible.
Raise your right hand.
Do you solemnly swear
that the testimony
you're about to give
in the matter now
before this court is
the truth,
the whole truth,
and nothing but the truth?
I do.
State your name.
Philip Spector.
Please be seated.
Now, Mr. Spector,
I would like you to
describe,
in as much detail as
you can recall,
the events of the night
of February 2, 2003.
PHIL: Uh, I had a date
with a girl.
MAN: Objection!
Could the witness
be more specific?
Could he state
the name of the girl,
please?
Yes. State the name
of the girl, please.
Her name was Lana
Clarkson.
Would you speak up,
please?
Lana Clarkson.
I had a date with a girl
named Lana Clarkson.
LINDA: Now.
Mr. Spector, did you kill
Lana Clarkson?
No.
LINDA: Did you put
a revolver in her mouth?
No.
Did you suggest
that she do so?
No.
Did you threaten her?
No.
Did you keep her
in your house by force?
No. She wanted to stay--
Objection.
Sustained.
Did you keep her
in your house by force?
Yes or no.
No.
All right.
[Linda coughs]
LINDA: All right.
Good.
MAN AND LINDA:
Mr. Spector,
your attitude is...
LINDA: Objection,
Your Honor.
Is this the prosecution's
closing?
As if not--
WOMAN: Sustained.
MAN: All right. As we continue,
and I thank the court
for its patience, and I would
ask Mr. Spector if he would
be good enough
to discard the tactic
of "I don't remember,"
as the jury,
I again assure you--
LINDA: Objection,
Your Honor.
WOMAN: Objection
sustained.
MAN: Mr. Spector,
would you please
keep your voice up?
LINDA: It's been a long
day, Your Honor.
I suggest we
reconvene tomorrow.
Your Honor, I object
to the defense's tactic
of interruption,
and I ask the court's
indulgence that I may
close out this line
of questioning.
WOMAN: Yes. Your
request is granted.
You may continue.
Thank you, Your Honor.
OK.
Mr. Spector,
you have testified that
"I came back
into the room.
"She had the gun
in her mouth.
I screamed No!
Have you asked me
a question?
I'm about to.
OK.
Where did the gun
come from?
LINDA: Objection.
We've testified.
Where did the gun come
from, Mr. Spector?
You've testified
that you had 9--
9 firearms on your
property to which
you have admitted.
Objection.
Was it one of these?
Objection.
Overruled.
Or is this, say,
an outlier which you
have forgot?
As you forgot the incident
with Debra Robertie
in which you, in joking,
pulled a gun on her?
All right, no.
Wait, wait, wait.
I have a sheaf
of affidavits.
One moment, please.
Of your behavior
around women, with guns.
Of coercion, assault--
LINDA: Objection.
Of coercion and battery,
unlawful imprisonment.
Your Honor,
the evidence
in this court--
Incarcerated?
Your Honor, Mr. Spector
has never been accused--
Convicted.
LINDA: And this is
the essence of this case.
There is no legally
admissible evidence,
which is to say
there is no evidence--
All right, all
right, all right.
And I would move
for a direct--
I have a tape--I have a tape
of your wife Ronnie Spector,
in which she testifies
to your repeated cruelties
and assaults.
physical, verbal,
and sexual.
No, no, no, no.
Your Honor,
Mr. Spector--
Shut that fucking
thing off.
OK, let her come
into the court.
Where did she say this
in a court of law?
Have her come in here,
let her--let her
come here and beat me.
Let that psychotic bitch
come forward in court
and swear where she can
be cross-examined--
MAN: "He threatened me."
Turn that fucking
thing off.
"He beat me
such that I..."
PHIL: That sick,
no-talent--
"He kept me
from my children."
PHIL: Turn that
fucking thing off!
If I hadn't found
her--
MAN: "He locked me
in my room."
If I hadn't found
her in the gutter,
what do you think?
Do you think
these singers
made those songs?
I made those songs.
Your Honor.
Ah, fuck this.
Fuck this whole
thing,
this fucking
charade.
And what do you
do?
Who are you?
How dare you?
Who--who do you
think you are,
to come in here
and accuse me?
Philip.
I understand.
I know what's
going on.
LINDA: Philip--
Shut up!
Because I'm paying
the lot of you for
this whole thing.
I understand
that this semi-talented
nowhere, this backup
singer,
to whom I gave
everything I own--
my life, her life,
my children.
And to have you come in
here quoting her
libelous, non-sworn,
cowardly bullshit!
What does it cost her
to lash out at me?
Or you, for that
matter?
Philip, this is
a rehearsal.
I know it's
a rehearsal!
Damn it! What do you
think I am?
An idiot?
Do you think
I'm a fool?
Do you think I don't
know what this is
about?
I've played this
game a million
times before.
I know how
the game is played!
I've done this
my whole life.
What do you think?
They kill men for
telling the truth.
This is the truth!
All right. All right.
All out.
Everybody out.
PHIL: Uh, but...
[Linda coughs]
OK.
I worked my whole life.
I worked my whole life.
All right?
LINDA: It's not all right.
It's not all right.
It's not all right.
It's certainly not
all right, Philip.
If you go off like
that in the
courtroom--
And I know you put
the woman up there to see
if I'd go off.
This is not going off.
Not re-fucking-motely.
Would you like to
trust me, Philip?
You might want to
trust me, because
I'm the last person
who both, "A,"
believes in you and
"B" has the power
to help your case.
Oh, is that why
you brought back--
Shut up, Philip.
Now listen.
You know the
difference between
your different
behaviors.
I act the same
with everyone.
No, nobody does.
You didn't act the
same around your
bands.
You didn't act
the same around
the Beatles
like you did with
an autograph-seeker.
You can control
your behavior.
Why is this
important?
Because if you
don't,
you're going to jail
for the rest
of your life.
The prosecution is
gonna do everything
in its power
to enrage you
because that's all
they have.
That is what we are
doing here today.
They have no facts.
They have to break
you.
You see, if you go
off, the jury will
say,
"He did it now.
I'm sure he
did it then,"
and they'll put you
away.
I had no trouble
with the Beatles.
And you will have no
trouble with the
D.A.
if you recall that
you want something
from him
and you will go
free.
Now, I want
something from you.
I want you to give
up the pills,
give up the wine
for the 2 or 3 days
you'll be on the
stand
and keep your
composure,
just like you did
around the Beatles.
I mean, if Paul
disagreed with you,
did you scream at
him?
On "Let It Be"?
I was proved right.
And you will be
proved right here
if you keep
your composure.
But if you don't,
you won't.
I promise you that
I will be prepared
mentally,
spiritually, and that
I will make a good
impression
and...keep their respect.
I understand.
Thank you.
You know why?
Why?
Not for what they
think of me, but what
you think of me.
Thank you. I
take that
as a great
compliment.
LINDA: Vicky,
where's the car?
PHIL: So.
All right?
Yeah. I'm just
saving it--you know,
saving my best work
for when we're rolling.
I'm a little tired, too,
I think.
Best I go home
and rest for tomorrow.
PHIL:
No, I get it.
It--it don't start
getting better till
it's gotten bad.
I'm equal to it.
Hey, guys, you want
to see if the car's
ready, please?
MAN: I got it.
Anyway, thank
you.
No.
This was
a good idea.
You rest up.
We'll see you tomorrow.
OK.
So thank you
all.
Let me just say I
know you were paid
to get me prepared.
You did an excellent
job.
You were paid to
perform,
and your performance
was perfect.
So can I do as
well as you?
Tomorrow, we'll see.
If I do, it's
because of you,
right?
Thank you.
Linda, you want to go
to the car?
LINDA: Yeah.
What you're doing,
Linda, is good.
It's what I always
tried to do,
so I know
what you're doing.
What am I doing, Philip?
You're defending
the artist.
I know you're not
well.
I know what this
is costing you.
That's what I go by.
I've met a lot of
crazy people
in my life.
I've met very few
sane ones
that I could
talk to.
VERNON:
All right.
Here we go.
He don't look good.
He's tired.
Are you going to keep him
up on the stand
all day tomorrow?
I'm gonna keep him
up there till they
all get used to him,
after which he will
no longer be an
oddity
but a beloved
eccentric,
and they'll be
telling their
grandchildren
how they helped to
set an innocent man
free.
[Beep]
[Beep]
Linda, hi.
You know my wife
Kelly.
Linda Kenney Baden.
No. Hi.
How do you do?
Honey, the tickets.
The tickets--
I'm sorry.
I'll be right back.
So how long have
you two been married?
I've been following
your trial.
How could you defend
that man?
What does your pin mean?
Medical aid
for Africa.
And are you active
in that?
Yes, I am.
So you're compassionate.
All right.
So would you hire
an ex-convict?
I might.
So suppose she was
convicted of, say,
theft
and she comes to you,
she tells you her story,
and you judge she deserves
a break, so you give
her a job, and then after
a year or so,
the household money
goes missing.
Do you suspect her
first?
I would of course
check--
Of course you do.
No matter how much
you're committed to
"presumed innocent,"
you will suspect
her first.
I work in the music
business.
I know something
about your client.
He's a terrible man.
He's not being tried
for that.
Do you think
he shot her?
I don't see how
he could have.
Can you prove that
he didn't shoot her?
Well, that's not
my job.
By the way--
I got them.
did you know that
your husband is
cheating on you?
That's ridiculous.
And that's called
"giving him the benefit
of the doubt."
It's good to see
you, Linda.
You, too.
Good night.
Good night.
Do you think
you'll get him off?
Yes, I do.
If you get him off,
what will you do
when he kills
the next girl?
Alarm ringing]
As we near the end
of a long--a very long
trial,
Phil Spector, once
the darling of the music
industry,
having sold millions
of records, now facing
a jury,
charged with the shooting
death of actress Lana
Clarkson.
What are we seeing down
there, Patty?
PATTY: That's right, Bill.
His name is in the record
books, and we all
know his music,
but the trial, the charge,
have nothing to do
with his profession
but of course with
his personal life.
I know this is the day
that you've all been
waiting for.
You've been waiting
on his arrival,
and here, yes, here is
Phil Spector.
Ready.
Dr. Spitz, you
understand we
won't be
getting to you for
several days
because--
Yes.
we will be examining
Mr. Spector...
I understand.
But I thought it was
important for you to
hear the testimony
on direct.
Are you gonna
keep him up there all day?
JAMES: Linda.
When are you doing
the demonstrations?
I've got to
introduce it on
redirect.
Uh, excuse me.
Not 95%. I understand.
That is self-inflicted.
LINDA: Yes.
Sorry. Excuse me.
Yes. No, no, no.
Not yet. Not yet.
Um, hello? Listen.
Hello? Listen.
I want to inspect
the ballistic test materials
tonight, OK?
[People shouting]
James?
OK.
When we've got him--
no, no, no, no.
Either way.
Either way.
When he's on the
stand, I--
if you see me
do this...
OK? this.
Uh-huh.
You come from the
back of the court
and you
pass me a note,
only make sure
it's not blank,
because Fiedler
might ask to see it,
so it should say
"Communication from
Bruce Cutler
New York. Urgent."
Can he keep it
together on the stand?
He's got to,
all right?
PATTY: We're here outside
the State Courthouse, where
Phil Spector has just made
a rather spectacular entrance.
Stay with him--stay with him as
long as you can stay with him,
and then get the
reactions of the crowd.
Is he out of his mind?
Follow him. Follow him through.
Follow on Phil.
Oh, my God.
Phil Spector has just
entered the courthouse.
As you know, reporters are
not allowed into the
courthouse,
but if you stay with us,
we will be out here
waiting for his return.
We will be back with you.
We'll have the news of the day.
Stay with us.
We will be waiting...
[Elevator bell rings]
Policeman: Folks,
clear the way.
Policeman 2:
Excuse me. Excuse me.
Let me through.
[Crowd murmuring]
MAN: You on that side,
you on that side.
[Elevator bell rings]
Coming out.
I need you at the perimeter.
No one without
the yellow pass passes.
Get back.
Give them room
on the elevators.
Outside...
[Linda coughs]
PHIL: What is it?
Well, it's pneumonia,
Philip.
[Cough]
Oh, pneumonia?
Oh, man.
You got to take
care of yourself.
Look in the mirror.
You're concerned
about my appearance.
LINDA: Look in
the mirror,
Philip.
I know. I wanted,
Linda, to look
my best today.
I know you're concerned
about my hair.
My hair--listen to me.
My hair is an homage.
Philip--
To Jimi Hendrix. Yes?
Who suffered--
Look...
Who suffered,
who was persecuted
Philip...
Please, just don't
make a big thing
out of this.
This is not as
outrageous as it looks.
Philip...
Linda,
what is it?
It's not a big
thing.
Here, let me
just tell you.
I spent quite a bit
of time on this.
I've been up since
4:00 in the morning,
right?
And the truth--
the truth is
that backlit, this--
LINDA: Listen--
Listen to me.
I know about these things.
I know these things.
I'm an expert
at these things.
What things?
Show business, Linda.
Putting on a show.
Will you grant me that?
Sure. All right.
The amount of time I spent
with the Ronettes,
the Crystals, with
Darlene, with the Bobby
Socks, with Tina,
on their clothes,
on their dresses.
One might have even
whispered at the time,
many things--
Philip--
One might have even--
Listen to me.
Listen to me, Linda.
One might have even
whispered, "This man
is queer."
Further,
had I been queer,
it wouldn't have
mattered because
I never cared
who put what
into whom.
What business
was that of mine?
I'm quoted on that.
[Knock on door]
Yes, we're
coming.
I presume they want us
back in court.
Yes, that's it.
So...
I want you to put
your mind at rest.
When I'm up there,
should they mention
my hair, and they may,
I'll be proud to
tell them just
what I told you.
All right?
I'm ready.
All right.
I'm ready.
WOMAN: All rise.
The Superior Court for the
County of Los Angeles,
hear ye, hear ye,
"People vs. Philip Spector."
The honorable judge Larry
Paul Fidler presiding.
All having business before
this court come forward
and you will be heard.
Be seated.
FIDLER: Ms. Baden,
I believe you wanted to call
one more witness
for the defense.
Counselor?
Ms. Baden, I'm waiting.
[Clears throat.
Counselor!
Yes, Your Honor.
I'm sorry.
The defense calls...
the defense calls
Dr. Werner Spitz.
SPITZ: Excuse me.
MAN: All right.
SPITZ: Excuse me.
Philip, we'll just--
let's see tomorrow,
we'll see how it goes.
MAN: Raise
your right hand.
Do you solemnly swear
that the testimony
you're about to give
in the matter now
before this court...
Phil Spector has arrived.
Take a look behind me
as his Mercedes begins to make
its way down the drive.
You can see his driver going at
a very fast speed
while the protesters are yelling
"Justice for Lana."
Here he comes as he makes his
way down the street,
up to his mansion, and he's
pulling up to...
MAN: Go ahead.
No, no, no, no, no.
Stop. Get back.
Hold on.
REPORTER: ...
on the driveway...
I've got one
for you.
All right.
Why the barbed wire?
To keep people
out.
Nobody was trying
to get in.
Why does the monster
live in a castle?
Why does the minotaur
live in a cave?
I mean, he could live
wherever he wanted.
Why does he live
in a cave?
Why does the minotaur
live in a cave?
To keep himself
from doing harm.
But he came out.
I believe he is
not guilty.
Are you sure?
No.
But I have
a reasonable doubt.
MAN: This is
Brian Jennings.
Another day, another
turn in the saga.
Phil Spector retired for the
night to his home that
that he calls his "castle."
And we'll leave you
for tonight, too.
Signing off from Los
Angeles...