Phil Spector Page #8

Synopsis: Record producer Phil Spector hires Bruce Cutler to defend him when he's accused of murder. Cutler persuades Linda Kenney Baden to advise him. While the prosecution's story is contradicted by facts in the case, there is convincing circumstantial evidence against Spector, not the least of which is his appearance. As Baden gradually takes over the defense, even as she is ill with pneumonia, she must find a way to introduce ballistic evidence in a dramatic enough fashion to plant doubt in the jury's mind. Calling Specter to testify may be the only way to stage the evidence. She coaches him and rehearses him: can he (and she) pull it off?
Director(s): David Mamet
Production: HBO Films
  Nominated for 2 Golden Globes. Another 2 wins & 35 nominations.
 
IMDB:
6.3
Rotten Tomatoes:
50%
TV-MA
Year:
2013
92 min
543 Views


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 f***ing

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 b*tch

come forward in court

and swear where she can

be cross-examined--

MAN:
"He threatened me."

Turn that f***ing

thing off.

"He beat me

such that I..."

PHIL:
That sick,

no-talent--

"He kept me

from my children."

PHIL:
Turn that

f***ing 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, f*** this.

F*** this whole

thing,

this f***ing

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-f***ing-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

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David Mamet

David Alan Mamet is an American playwright, essayist, screenwriter, and film director. As a playwright, Mamet has won a Pulitzer Prize and received Tony nominations for Glengarry Glen Ross and Speed-the-Plow. more…

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Submitted on August 05, 2018

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