Episode Transcript
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0:00
Blood on the Tracks is the production of I Heart
0:02
Radio and Double Elvis. Phil
0:05
Spector was a musical genius, one of
0:07
the most successful record producers of all time.
0:09
He's now sitting behind bars, serving a nineteen
0:11
years to life sentence for murder. This
0:14
is his story told by
0:16
his so called friends. This
0:27
is a Special Agent Paul Ramon with the Federal Bureau
0:29
of Investigation, working case number
0:31
double oh four Dash ten DAS seven one
0:33
nine, case subject as Specter Philip
0:36
Harvey. This information pertains to a
0:38
period ending February third, two thousand three.
0:40
Interview subject as Clarkson Lana
0:42
Interview number three Dash four six
0:45
STAPH two oh five Dash seven
0:47
six six Spirit Confessional
0:49
Recall number nine October one.
1:00
I didn't even know him.
1:03
I didn't know him at all. I
1:05
mean I got to know him a little.
1:08
I got to know what he wanted me to know. I
1:11
was on a need to know basis with fell Specter.
1:15
He was in control of his own narrative.
1:18
It was just the two of us, the
1:20
two of us in the middle of the night, in
1:23
his car, in his castle.
1:26
We had just met for the first time and
1:29
the last time. Some
1:31
would say he told me too much Others
1:34
would say he didn't tell me enough. Some
1:37
would say I shouldn't have gone with him.
1:40
Others would say I did the right thing. But
1:43
no one knows. Really, no
1:45
one really knows what went down that
1:48
night besides me and Phil. The
1:51
only thing everyone else was pretty too
1:53
was the blood. The blood
1:56
on the chair, the blood on the
1:58
stairs, the blood before
2:00
before, and the
2:04
trach Chapter
2:29
nine, Phil Specter
2:32
and Lana Clarkson. I
2:49
didn't know who he was at first. I
2:52
thought he was one of those guys who walks into
2:54
the place after midnight, some bimbo
2:56
on his arm, slip
2:59
someone a fifty dollar bill, tries to get a
3:01
table, acts like he owns
3:03
the place, but clearly doesn't own the
3:05
place. He's not even
3:07
a member, just some
3:09
schmo trying to impress the gold digger
3:12
by his side, bad
3:14
hairpiece, wearing dark
3:16
sunglasses inside at one
3:18
am, drunk like it's the
3:20
first time in his life he's been drunk,
3:23
dumb grin on his face, a
3:26
JABRONI So
3:30
I didn't let him through. The Foundation
3:32
room at the House of Blues is strictly members
3:35
only, and that's a
3:37
annual feet right. I
3:40
didn't know this guy from Adam
3:42
I've never seen him. He wasn't
3:44
getting past me. I
3:47
had been the hostess at the House of Blues on
3:49
the Strip for a while, longer
3:51
than I would have liked to admit, to be honest, so
3:54
I knew all the regulars.
3:58
I made the daily commute from my place in Venice.
4:01
Shifts usually ran from six at night
4:03
till two in the morning. It
4:05
was a gig to fill in the gaps, unnecessary
4:09
evil, something
4:12
to earn some steady cash while I continued
4:14
busting my ass with casting calls
4:17
and auditions and grabbing whatever roles
4:19
I could grab. I
4:21
was forty. It's not
4:23
like I was all washed up, far
4:26
from it. But I found myself
4:28
in a valley at the time, a
4:30
valley in the natural ebb and flow of
4:32
an actor's professional life.
4:35
And when you find yourself in a valley, you
4:37
scramble and do what you gotta do to pull
4:39
yourself back out find that
4:42
next mountain. Every
4:44
actor needs to side hustle every now and then.
4:50
This particular side hustle was
4:52
a humbling experience and
4:54
occasionally humiliating. I
4:58
was waiting on high rollers A
5:00
level types, B level types,
5:03
the kind of Hollywood player who could afford
5:05
to shell out an annual feat just to walk
5:07
into the joint. And
5:11
so other actors would show up to the foundation
5:13
room, actors who had beat me
5:15
out for this role or that role, and
5:18
I had to seat them, show
5:20
them to their table, wait
5:22
on them. I hated
5:25
that moment, that moment when
5:27
the person I was about to see would put
5:29
their hand gently on my arm
5:31
and patronizingly say, hey,
5:35
aren't you Lana Clarkson?
5:39
And not because they had seen me in Barbarian
5:41
Queen either Verian
5:44
queen. No man can touch
5:46
her naked steel. It
5:49
wasn't the recognition that a fan has
5:52
when they meet a star. It
5:54
was the recognition that a winner has
5:57
when they run into a loser. So
6:01
there, I was not wanting
6:03
to get recognized by all the wrong
6:05
people, and it turns out
6:08
I wasn't recognizing the right
6:10
people. I
6:12
was ready to toss this guy out
6:15
on his ass, wipe the
6:17
shit eating grin right off his little
6:19
Lord fauntleroy face. He
6:25
asked to speak to a manager. One
6:28
of the waitresses happened to be walking by at
6:30
that moment and saw what was going on. She
6:33
pulled me aside. Don't
6:35
you know who that is, she whispered.
6:39
I shook my head. Phil
6:42
Specter didn't
6:44
ring a bowl. The record
6:47
producer still
6:51
nothing to
6:53
do. Run Run guy
6:56
walks around his castle in Alhambra
6:58
in the dark, wearing up Batman on costume.
7:02
I had heard about that. It
7:05
was in some Time magazine article or something.
7:08
Then the waitress started to hum the melody
7:10
of that song, and it clicked. I
7:14
turned to face the man I was about
7:16
to send back into the street, menus
7:18
in hand, Mr Specter,
7:21
I said, my apologies.
7:24
I almost didn't recognize
7:26
you this way to your table.
7:29
My face must have been beat red.
7:32
I wanted to go crawl back into
7:34
the kitchen, find a stainless
7:36
steel table to hide under, and
7:39
just die.
7:41
Oh the
7:45
woman he was with, she
7:47
had that hospitality industry
7:49
look like she had just worked
7:52
a grueling, demeaning shift already
7:54
that night and now was being taken
7:56
out on the town by some guy who barely knew
7:59
her. I called
8:01
him like, I saw, whether
8:04
you're an actress or a hostess, you
8:06
get good at that sort of thing in the thick of the
8:08
Hollywood jungle. She
8:10
just gave me one of those half smiles,
8:14
the kind that simultaneously says
8:16
thank you and fuck you.
8:20
When they sat down, I could tell there
8:22
was trouble in paradise already. They
8:25
weren't really talking that much to
8:27
each other. His eyes
8:29
would follow me every time I walked
8:31
by, and I didn't know
8:34
if it was because he thought I was an idiot
8:36
for not recognizing him, or
8:38
if he was turned on by the fact that I didn't
8:40
recognize him. I'd
8:42
find out soon enough. He
8:48
ordered a Bacardi and she had a glass
8:50
of water that really
8:53
set him off. He was there
8:55
to drink, to get shitty and have
8:57
a good time, and it pissed him off
8:59
that woman on his arm would
9:02
rather be back home in deep blissful
9:04
sleep than tie one on with him.
9:07
He started to yell at her, loud
9:10
enough that we could all hear him.
9:12
He was like, get a fucking
9:15
drink, and she just waved
9:17
him off like he was a fruit fly
9:20
trying to land on the rim of her glass.
9:24
It wasn't too long after he
9:26
raised his voice that his driver showed
9:28
up at the hostess stand. He
9:30
said Mr Specter asked him
9:33
to take his date home, but
9:35
Mr Specter was going to stay a little
9:37
longer. After
9:39
his date was gladly chaperone
9:41
outside. He tried to order more
9:44
drinks, but the guy was
9:46
so drunk and it was at least
9:48
two, if not later, and we had to wrap
9:50
it up. He paid for
9:52
the eight dollar BICCARDI and the five dollar
9:54
water and left a tip that was like four
9:57
hundred bucks, and
10:00
then he asked me to join him for a drink
10:02
as I was walking by his table again after
10:06
he had already been told the bar was closed.
10:11
At first, I thought he was just working in an angle
10:13
to get another drink, that maybe
10:15
if he could convince one of the staff members
10:17
to join him, the taps would flow for him
10:19
once more. So
10:22
I sat down with him for a moment.
10:25
He asked me to accompany him back to his place
10:27
in Alhambra, his castle, as
10:29
he put it, I politely
10:31
declined, a guy who walks
10:34
around in the dark with a batman costume wants
10:36
me to come over, and what do
10:38
I play? Catwoman or maybe
10:40
poison ivy? No, thank
10:43
you. I hardly
10:45
knew the guy. I wasn't about to get myself
10:47
too deep, but
10:52
he was persistent. He kept
10:54
asking, I kept declining,
10:57
and then he compromised. He asked if he could
11:00
drive me to my car. Well, actually,
11:03
if his driver could drive me to my car,
11:06
you know. Once he was back from
11:08
dropping off the date at her place, we
11:11
got in the elevator together. He
11:14
turned his head slightly towards me and said,
11:16
I bet you won't forget me again. He
11:20
was buying time. He was
11:22
going to try to butter me up in his car, get
11:25
me to change my mind about going to his
11:27
place. I said
11:29
to myself, Laana, get
11:31
in his car and see how you feel
11:34
in a few minutes. Maybe
11:36
turn this humdrum night sating
11:38
aless clientele on the strip on its
11:40
ear. Maybe maybe
11:43
not. It was
11:45
close to two thirty am when I clocked
11:47
out of the House of Blues and followed Phil into
11:50
the cool evening air. My
11:52
mind was not made up
11:55
yet. I
12:26
was always in the background, a
12:29
face in the crowd, always
12:31
walking on screen just to walk off. Sometimes
12:35
the roles were minor. Fast times
12:37
at Ridgemond High was like that. I
12:39
had a line at least High
12:43
that was the line. There
12:45
were no lines in scarface. Scarface
12:48
was minor, minor. I'm
12:50
there for a second or two, helping to fill
12:52
the frame as part of the ensemble, and
12:54
then I'm gone. The
12:57
bigger rules were always the lower profile
12:59
pictures, the Roger Corman
13:02
stuff, the ones where I was
13:04
a buxom warrior and a fur leotard
13:07
doing the female cone in the Barbarian
13:09
thing, I'll be
13:11
No Man's Slave and no Man's horror
13:15
zena Lucy Lawless. They were all inspired
13:17
by that one. I like to
13:19
think I paved the way in a cult
13:22
classic kind of way.
13:25
I never got used to the nudity.
13:27
I always felt it was beneath me. But
13:30
it was a boy's town and a boy's
13:32
game, and I did what I had to do to
13:34
move forward. But I
13:36
never took any ship from anyone.
13:40
These nude publicity shots of me
13:42
wound up in some paper in San Francisco,
13:44
and I lost it. I
13:48
went right to Roger Corman himself
13:51
and demanded to know what the hell
13:53
was the big idea. He
13:55
took me to the publicity department so
13:57
that I could bear witness to his verbal
14:00
eat down. See.
14:02
I admired a classier Hollywood
14:05
than the Hollywood of the nineteen eighties. I'm
14:08
talking Marilyn Monroe, Jane
14:10
Mansfield. I
14:13
met Lana Turner, once the
14:15
epitome of Hollywood class. Of
14:18
course, she's the actress I'm named after.
14:21
We both had the same hairdresser, so
14:24
we were introduced sometime in the early eighties
14:27
before I had landed much of anything. That
14:30
Lana hadn't acted in years, but
14:33
she still carried herself like a star, the
14:36
glow, the ploise, the
14:39
class. I
14:41
like to think I inherited more than a name,
14:44
that I took on the whole aura of
14:46
a golden age, a bygone
14:49
era. Maybe
14:51
that's what Phil saw in me that night. Maybe
14:55
I was an echo to Phil, something
14:57
that called out to him from Afar, something
15:00
that brought him back to a place that he never
15:02
wanted to leave. The
15:05
more he talked to me in the car on the
15:08
ride back to his place in Alhambra, the
15:10
more I learned that he was a soul that
15:12
was stuck in time. His head
15:14
was in the sixties. Time
15:17
kept pushing ahead, but Phil didn't
15:19
go along for that ride.
15:23
He was a mono man living in
15:26
a quadraphonic world. Hang
15:29
on, I should explain. You're
15:31
probably thinking, wait, she told
15:33
him she wasn't going home with him.
15:37
I changed my mind. I
15:42
did accept the invitation to go back to his
15:44
castle. After all, he was
15:46
relentless. What can I say
15:49
he made me an offer I couldn't refuse. When
15:53
we left the House of Blues, Phil was
15:55
walking like a slow motion pinball,
15:58
banging around a machine. He
16:00
was feeling no pain, I'll put
16:02
it that way. I helped
16:05
him into the Mercedes and his driver
16:07
Adriana, this real nice kid. He
16:09
helped him get inside the back seat. Inside
16:13
the car, he invited me. He begged
16:16
me to come home with him a few more times.
16:19
The third time he asked me, right
16:21
as we were pulling up to my parked car, is
16:23
the moment I changed my mind? What's
16:26
the worst that could happen? Right? Because
16:31
at first his stick was a little endearing.
16:34
He seemed to really want my company.
16:37
I couldn't really tell if it was a
16:39
romantic thing or not. I
16:42
think he just didn't want to be alone.
16:48
I knew I was the third woman he'd been
16:50
with that night. He told me that
16:54
he'd been all over l A, spent hours
16:56
haunting this place in that place. Dinner
16:59
during X he told me what
17:01
they'd eaten and how nothing
17:03
was really going the way he wanted. The
17:06
other women weren't good company, but
17:09
he could tell I was good company.
17:13
That was the kind of minimal flattery
17:15
he offered up during the thirty minute ride
17:17
from Hollywood to Alhambra. We
17:23
took the one oh one to the ten. It
17:25
was so late the traffic wasn't a complete
17:28
nuisance. The
17:31
talk quickly turned to Phil just talking
17:33
about Phil. It was either
17:35
because he was extremely intoxicated,
17:37
or he was nervous, or perhaps
17:40
he'd just liked to talk about himself.
17:43
He was intrigued that I didn't know much
17:45
about him, and he wanted to give me
17:47
a Phil Specter crash course right
17:49
there in the car. Huh, Phil
17:52
Specter one oh one. On the one oh one.
17:56
He told me about the Righteous Brothers, about
17:58
the Beatles, and John and George,
18:01
about Agantina, about
18:03
the Romans. But
18:06
he didn't talk about them as if they were his friends.
18:09
I don't even know that he looked back on his time
18:11
with any of them fondly. He
18:14
talked about them, to talk about them,
18:16
to name drop. He
18:21
told me he recorded Elvis and that the
18:23
Beach Boys wouldn't have been the Beach
18:25
Boys without him, that
18:27
modern pop music as we know it would have
18:29
ceased to exist. The
18:32
more he talked, the more the initial
18:34
appeal of his personality started to
18:36
wear thin. I wondered
18:38
if I had made a mistake after all.
18:42
And then he told me about his castle. He
18:45
didn't call it a house or even a mansion.
18:47
It was his castle. He
18:50
said, you gotta see it, you know, just
18:52
wait to see. He was
18:54
trying to explain the architecture and a staircase
18:57
in something about suits of armor. That's
19:00
the part when I wondered if he had drifted off
19:02
into loopy land talking
19:04
about suits of armor, like
19:06
who the fox has suits of armor at
19:09
their house. The
19:11
more he described his place, the
19:13
more I thought I was walking into a droopy
19:16
dog cartoon. We
19:19
drove through the suburbia of Alhambra,
19:22
you know, the strip malls, the bungalows.
19:25
It was a sleepy place, a
19:28
sleepy place, especially so late
19:30
at night. But there was really
19:32
nothing to write home about there.
19:37
I actually caught myself wondering
19:40
what it was about the place he liked so
19:42
much. We
19:45
got to these huge iron gates,
19:48
so big that Adriano had to get out
19:50
of the car and push them open with his bare
19:52
hands. We drove up
19:55
further through the trees, like
19:57
we were headed into a jungle. There
20:00
was a gradual incline and then
20:02
it cleared, and there was this amazing
20:05
water fountain, and
20:07
there it was Phills
20:09
home, the castle.
20:16
It was incredible. In the darkness,
20:19
I could only wonder what it looked like. In the light,
20:22
you could see everything from up there,
20:25
the whole damn town. You
20:28
could probably see even right down into
20:31
l A if you looked hard enough. But
20:34
I didn't want to look around at the floor and
20:36
fauna at three o'clock in the morning. I
20:39
wanted to see if his castle was everything
20:41
Phil had made it out to be. We'll
20:51
be right back after this word word
20:53
word. I
21:03
didn't know there was a gun until we got
21:05
inside. There
21:08
were many guns inside, actually,
21:11
But you know that, don't you. You
21:14
would think that a guy who had so many guns
21:16
and is so in love with guns would
21:19
have actually said something about it on that
21:21
thirty minute drive. You've
21:23
got to think that the subject of guns was somewhere
21:25
in his mind at the time, that it
21:27
was always on his mind. He
21:31
didn't utter one word about his collection
21:33
of firearms as we rode to his place.
21:36
Looking back, that was a red flag.
21:39
God, I was so naive about
21:41
the whole thing. However,
21:47
I'll admit I was more than a bit star
21:49
struck in the moment star
21:51
struck in a little drunk the
21:54
tequila and vikd in combo offered
21:56
some smooth sailing on the stranger
21:59
danger front. It's
22:01
not like I hadn't been in the presence of top
22:03
shelf celebrity before. I'd
22:05
hung out with Jack Nicholson, Warrened Batty
22:07
don Henley. But this
22:11
this was different. This was
22:13
a whole other level of spectacle,
22:15
the pageantry of it, the bravado.
22:19
It was this giant French chet
22:21
To style manifestation of Phil's
22:23
ego. I
22:25
don't think I had missed Betty go from
22:28
the moment he walked up to the hostess stand at
22:30
the House of Blues to the moment he asked me to come
22:32
home with him to all the
22:34
cliff notes war stories. He told me in the
22:36
car, let's just say, if
22:39
his house had been any smaller, I
22:41
would have been disappointed. But
22:44
this thing didn't disappoint. Turrets
22:47
spires. There was an
22:50
outdoor terrace on top
22:52
of the thing. As we stepped
22:54
out of the car, Phil took a cue
22:56
from my gasps and comments and told
22:58
me he had bought it from one point one million, just
23:01
like five years ago. He
23:05
threw that number out there in a way.
23:07
He threw out references to the Beatles and
23:09
Elvis Presley. He
23:11
wanted to make sure you were still paying attention,
23:14
you know, paying attention to the biggest fucking
23:16
deal in the room, fucking
23:19
Bill Specter. He
23:24
told me they called it the Pyrenees Castle.
23:27
Some guy from France built it in the twenties.
23:34
His voice was slurred as he told me
23:36
all of this. I had to help
23:38
him walk, especially up the dramatic
23:40
stairs that led to the front door. I
23:43
told Adriano I had it under control.
23:46
I had made that co dependent, drunken walk
23:49
up a flight of stairs many a time, Thank
23:51
you very much. And so he drove
23:53
the car around back where Phil liked it.
23:57
Phil pushed open the wide front doors,
24:00
and it was like we were stepping back in time. The
24:03
place certainly hadn't been updated to reflect
24:05
any sort of two thousand three aesthetic.
24:09
There was a marble foyer, crystal
24:12
chandeliers, a bunch of outdated
24:14
red carpet that ran up the staircase. There
24:17
was a Picasso sketch next to a John
24:20
Lennon sketch. There
24:22
wasn't one suit of armor.
24:24
There were two suits of armor,
24:27
just propped up on either side of a doorway.
24:30
I have expected the things to come to life
24:32
and chase me around the place. He
24:35
told me there were nine bedrooms, ten
24:38
bathrooms, but it was just him
24:40
living there, just him
24:43
adrift in all this space.
24:47
Don't you get lonely here all by yourself?
24:50
I asked him. I probably
24:52
asked him three or four more times. Every
24:55
time I asked him, I saw him wins a little,
24:59
like the idea of loneliness hurt him,
25:02
but it was obviously his reality. Damn.
25:09
He shook off the questions by just rattling
25:11
off more details about the place. Did
25:14
I know there was a wet bar there and
25:16
a hair salon? Not one
25:19
but two kitchens. We
25:22
drank some more, fumbled
25:24
around some more. Phil didn't
25:27
stop talking, and then at
25:29
some point he said, take a look at
25:31
this. He
25:33
had opened the drawer of a dresser in the foyer.
25:36
There was a gun in it. He
25:39
asked me if I liked guns, asked
25:42
me if I ever shot a gun. He
25:44
pulled the gun out of the drawer and started
25:47
to play around with it. It was
25:49
small, a revolver. He
25:52
spun it around and flipped it over like
25:54
it was hot to the touch didn't
25:57
really look like he knew what he was going.
26:01
I had no idea at the time,
26:05
no idea that he had pulled a
26:07
gun on Debbie Harry, that he
26:09
pulled a gun on the Ramans, he
26:12
shot a gun at John Lennon,
26:15
that he locked his wife in a closet,
26:18
that he held Leonard Cohen and many
26:21
others hostage in his own house. I
26:24
didn't know any of those things. I
26:27
was fully out of that loop. I
26:32
had no idea. I was yet another in
26:34
a long line of unsuspecting
26:36
visitors to Phil's house or studio
26:39
who got a pistol shoved in their face. I
26:42
don't think that either of us knew that I would
26:44
be the last. The
26:51
last time I saw Phil Specter, he
26:54
was holding a little revolver up to
26:57
my face. He had
26:59
to reach to up there. I
27:01
was so tall and he was so short.
27:05
He was holding a little revolver up
27:08
to my face and daring
27:10
me to kiss it. February
27:36
three, two thousand three,
27:39
Grand View Avenue, Alhambra, California.
27:42
It was around five in the morning when Adriana
27:44
to Susa heard the pot. He
27:46
was sitting in the driver's seat of a black Mercedes
27:49
Limo parked around the back of the Pyrenees
27:51
Castle, eight thousand, seven hundred
27:53
square foot Alhambra home that offered
27:55
a bird's eye view of the San Gabriel
27:57
Valley from the top its isolated no Both
28:00
the Mercedes and the castle belonged to Adriana's
28:03
boss, Phil Specter. The
28:05
sound made Adriana nervous. It was
28:07
loud and came out of nowhere to disrupt
28:10
the idyllic pre don com. It
28:12
was too loud to be a plate hitting the kitchen floor,
28:14
too intense to be a slam door. Adriana
28:17
was equally nervous because he wasn't Phil's regular
28:20
driver. He was the filling
28:22
guy. Dylan was the regular driver, but
28:24
it was Dylan's night off. Adriana
28:27
was in the US on a student visa from Brazil
28:30
and picked up the part time gig for some easy
28:32
cash. For the most part, it
28:34
was a cush gig. Sometimes it even
28:36
seemed too easy. Adriana
28:38
spent a small percentage of every pinch, hit shift
28:41
anxious, Anxious. It's something off,
28:43
something bad would happen on his night,
28:45
on his watch. It would be just
28:48
as luck and the evening had
28:50
been exceptionally busy. Adriana
28:52
had driven Phil all over l a first
28:54
of Beverly Hills with Ronnie Davis,
28:56
someone Phil new from high school. They
28:59
aided a place called Grill on the Alley.
29:01
That was around seven pm. After
29:03
dinner, Phil had Adriano driving Roni home
29:05
and returned to the Grill, where Phil asked the
29:08
waitress Cathy Sullivan, to hit the town
29:10
with him. Adriano
29:12
drove them to Trader Vix and then to Dan Tanna's.
29:15
Phil had drinks at each stopped, and by the time
29:17
they got to their third location, the House of Blues
29:19
on the Sunset Strip, Phil was slurring
29:22
his words. It was around
29:24
three am when Adriana returned to the alha
29:27
Ro Castle with Phil's new acquaintance, Lana
29:29
Clarkson in tone. After Lana
29:31
helped Phil wobble up the steps and into the house,
29:34
Adriano parked the Mercedes out back
29:36
and debated, allowing himself to catch a few
29:38
winks before he was needed again. The
29:40
sound from inside the house said five am,
29:43
snapped Adriana to attention. There
29:47
was no way he was catching even a few winks. After
29:49
that sound, it popped. It was loud.
29:52
Something was wrong, Something was off. Adriana
29:55
opened the door of the Mercedes and stepped outside.
29:58
It was cold, out, cold for Alaha run
30:00
in February, at least above forty degrees.
30:03
Adriana could see the breath escape from
30:05
his mouth. He rubbed his hands together to maintain
30:07
the warm feeling of the limo's climate controlled
30:09
interior, and for a moment he heard
30:11
nothing more. Nothing followed
30:14
the dramatic sound, just the hush sounds
30:16
of the world slowly coming to life for another
30:18
day. Maybe he had imagined the whole
30:20
thing. And then the
30:23
back door of the castle flung open. Some
30:25
birds in a nearby tree were startled and flapped
30:28
away. Phil Specter tumbled out
30:30
of the castle. His eyes were wide,
30:32
his face frozen in shock and confusion.
30:35
He was still dressed in the same clothes from
30:37
the night before, and Adriana wondered
30:39
if he was still drunk. As
30:42
Phil got closer, Adriana saw the
30:44
revolver and fills right hand. He saw
30:46
the blood. Adriana looked past
30:48
Phil through the open door and saw the woman who just
30:50
hours before had been in the limo. Lana
30:52
Clarkson, slumped on top of a chair
30:55
in the foyer, Her blonde hair
30:57
hung in the air. Her long legs were
30:59
sharp and us Phil got
31:01
closer to Adriano, who stood still halfway
31:04
between the Mercedes and the castle. Phil
31:06
looked at him dead in the eye. At
31:09
first he said nothing, just the thousand
31:11
yard dead eyes stare, and then
31:14
he made a confession, I
31:16
think I killed somebody. Adriano
31:20
stood and shocked. He wasn't sure that he had
31:22
heard what he thought he had heard. Had he heard
31:24
a gunshot? Did Phil Specter just
31:26
confessed to murder? What
31:28
happened? Sir Adriano asked filled
31:31
an answer. He didn't make a sound. All
31:33
he did was calmly shrug his shoulders,
31:35
and then he turned around to direct the thousand
31:37
yard dead eye stare back into the house
31:39
and at Lana Clarkson's body. Detective
31:43
Mark Lillian Fields, half of David, the one
31:45
he filed with the Los Angeles Sheriff's Department,
31:48
gave a vivid account of the scene the first
31:50
responders found inside the ostentatious
31:52
home. The victim, Lana Clarkson,
31:55
was slumped in a chair in the foyer. She
31:57
was dressed in black. Her leopard
31:59
print herst dangled from her limbs shoulder
32:02
she had a single gunshot to her mouth. Broken
32:04
teeth were strewn on the floor of the foyer and
32:06
even made their way onto the stairway. Nearby.
32:09
Under Lana's leg was a thirty eight caliber Colt
32:11
Revolver blue steel. Of the
32:13
six possible shots in the weapon, five
32:16
of them still had live AMMO locked and loaded,
32:18
but the sixth was spent. All
32:21
signs pointed to one conclusion.
32:23
The police investigation, the coroner's
32:25
report, the testimony of Adriana to
32:27
Susan and others, and then throwing
32:29
a quick examination of the host character,
32:32
his love of gunplay, the wild ways
32:34
in which he carried himself, his history
32:36
of physical and emotional abuse. All
32:39
signs pointed to Phil Specta,
32:42
that famed record producer and infamous
32:45
recluse whose life was now spattered
32:47
with blood. Everyone was privy
32:49
to it. The blood on his chair, the
32:51
blood on his stairs, the blood on
32:53
the floor of his foyer, and the blood
32:56
on the tracks. This
33:10
episode of Blood on the Tracks is brought to you by
33:13
seven Club, a podcast that I host
33:15
on musicians who died at the age of seven.
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Season two, featuring Jim Morrison, is now available,
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as is season one, with twelve episodes featuring
33:22
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and of course, this episode was also brought
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to you by Disgrace Land, the award winning
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right. This episode of Blood on the Tracks was written
33:55
by Zeth Lundi and scored in mixed by
33:57
Matt Boden, Hosted by me Jake
33:59
Brennan. Additional music and score
34:01
elements by Ryan's Breaker and Henry
34:03
Juneta. This episode featured Ruby Rose
34:06
fox Is Lama Clark's Blood
34:08
on the Tracks is produced by myself for Double
34:10
Elvis and partnership with I Heart Radio.
34:13
Sources for this episode are available at
34:15
Double Elvis dot com on the Blood on the
34:17
Tracks series page. If you like it,
34:19
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34:21
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34:28
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34:30
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34:34
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and announced them on the Double Elvis Instagram
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34:43
Go ahead and give that a follow, all right.
34:45
As always, you can find me blabbing about other crazy
34:47
rock stars on Disgrace Land and
34:50
twenty seven Club, and you can talk to me
34:52
per usual on Instagram and Twitter
34:54
at Disgrace lad rockabill
35:00
mm hmm, diet
35:07
crazy overdened
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