WEBVTT - The Murder Years S2: Ep. 4, Loser

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<v Speaker 1>The following podcast contains explicit descriptions of violence, including sexual violence,

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<v Speaker 1>that some listeners may find upsetting. Continue at your own risk.

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<v Speaker 2>Nine one more.

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<v Speaker 3>What's your emergency? No One just tried to kidnap me?

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<v Speaker 3>He said he was gonna kill me. Are you in

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<v Speaker 3>danger right now?

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<v Speaker 1>I don't, I don't know.

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<v Speaker 3>I don't even know where I am. Where the fucking

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<v Speaker 3>am I?

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<v Speaker 4>I'm at the Quick Film station at the five.

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<v Speaker 3>North on ramp outside Domino Beach.

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<v Speaker 4>Just off, just just off Pickford, Yeah, pick Pickford.

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<v Speaker 1>Please?

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<v Speaker 4>Hi, I don't know you might be coming back.

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<v Speaker 1>Can I have your name, ma'am? Angela, Angela Power. It

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<v Speaker 1>was just after midnight on November nineteenth, nineteen ninety four,

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<v Speaker 1>when nine to one one received an emergency call from

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<v Speaker 1>twenty two year old Domino Beach resident Angela Bowers. It

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<v Speaker 1>was a bad month for serial killers. In ten days,

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<v Speaker 1>notorious Milwaukee cannibal Jeffrey Dahmer would be beaten to death

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<v Speaker 1>in prison by another inmate, and closer to home, the

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<v Speaker 1>Domino Beach killer had finally made a critical mistake. I'm

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<v Speaker 1>Courtney Barnes and this is the Murder Years, Episode four Loser.

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<v Speaker 1>It had been two months since registered sex offender Stan

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<v Speaker 1>Major has committed suicide and taken the blame for four

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<v Speaker 1>of the five murders that happened in Domino Beach over

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<v Speaker 1>the past two years. Here's retired Del Soul County Sheriff

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<v Speaker 1>Damon Stokes.

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<v Speaker 5>The cases may have been officially close to satisfy the

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<v Speaker 5>city council, but I was still working on I told

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<v Speaker 5>you I never believe Majors killed those spring breakers, not

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<v Speaker 5>for one second.

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<v Speaker 1>And Stokes wasn't the only one with doubts. This is

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<v Speaker 1>Domino Beach resident Maya Morales, who you've heard from in

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<v Speaker 1>our previous episodes. Did I feel safe? Of course, not

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<v Speaker 1>not really, But.

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<v Speaker 2>I mean, what was I supposed to do? Lock myself

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<v Speaker 2>in my bedroom? I still had to go to work,

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<v Speaker 2>still had to live my life.

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<v Speaker 1>Did you believe Stan Majors committed any of the murders.

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<v Speaker 1>I don't know.

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<v Speaker 2>I mean, I guess not to be honest, I didn't

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<v Speaker 2>really have an opinion. But Connor, sure as hell did.

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<v Speaker 2>Things between me and him weren't so good at the time,

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<v Speaker 2>but he would tell anyone who would listen about how

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<v Speaker 2>this was awesome scam his dad was running. Seriously, he

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<v Speaker 2>signed a paranoid as hell. He was convinced it was

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<v Speaker 2>some great bit conspiracy.

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<v Speaker 1>Or whatever Maya's talking about. Connor Langford, son of city

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<v Speaker 1>councilman Greg Langford. Connor's relationship status with Maya had fallen

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<v Speaker 1>into its complicated territory by late nineteen ninety four.

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<v Speaker 6>Yeah, Maya and I were kind of growing apart. Well,

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<v Speaker 6>I think it was more of a thing like she

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<v Speaker 6>was growing and I was staying the same. No, that's

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<v Speaker 6>not true. The truth is I was starting to use

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<v Speaker 6>drugs pretty heavily at that time, and boom, I wasn't.

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<v Speaker 1>Myself what kind of drugs whatever.

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<v Speaker 6>I could find. I mean, I'd always been a pothead

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<v Speaker 6>and i'd like to drop, I said, every once in

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<v Speaker 6>a while, I'd occasionally do some party drugs like cocaine,

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<v Speaker 6>ecstasy or molly or whatever the fuck they call it now.

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<v Speaker 1>But this is the time when you had started experimenting

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<v Speaker 1>with harder drugs too, isn't that right?

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<v Speaker 6>Yeah, I'd tried heroin a couple times, but I wasn't

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<v Speaker 6>in it, if you know what I mean. Not then Anyway,

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<v Speaker 6>The point is I was driving my way not just

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<v Speaker 6>because of my drug use, but because I was always

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<v Speaker 6>bitching about my dad.

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<v Speaker 1>So Maya said, you might have believed your father was

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<v Speaker 1>involved in, or maybe directing some sort of conspiracy.

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<v Speaker 6>I'm sure I sounded crazy to her, but I wasn't wrong.

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<v Speaker 6>My dad knew that sex offender dude was not the killer,

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<v Speaker 6>but the dumbfuck shot himself, and it's not like there

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<v Speaker 6>was anyone else to speak out in his defense. You know,

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<v Speaker 6>my dad just wanted Domino Beach to go back to

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<v Speaker 6>being known as a nice, pretty little vacation destination. It

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<v Speaker 6>didn't matter if it was actually safe, as long as

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<v Speaker 6>he created the illusion of safety.

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<v Speaker 1>It wouldn't be long before that illusion of safety and

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<v Speaker 1>Domino Beach would be shattered. Courtney, Hey, Angela, Yeah, it's me.

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<v Speaker 3>How are you. It's been forever?

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<v Speaker 1>Okay, let me provide a little context here. Angela Bowers

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<v Speaker 1>is about a year younger than me, and we knew

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<v Speaker 1>each other back in the early nineties when we both

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<v Speaker 1>lived in Domino Beach. She waited tables at Gertie's Diner,

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<v Speaker 1>which was one of my favorite places to set up

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<v Speaker 1>camp and write whenever I wanted to get out of

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<v Speaker 1>the office during tourist season. Gertie's was open until like

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<v Speaker 1>two or three o'clock in the morning and was a

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<v Speaker 1>final stop for partying kids after the bars and clubs closed.

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<v Speaker 1>They had great coffee and pretty decent food if you

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<v Speaker 1>like your breakfast extra greasy, and let's face it, who doesn't.

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<v Speaker 1>I was in there so much back in those days.

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<v Speaker 1>Angela and I became friendly, if not actual friends, but

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<v Speaker 1>after what happened in November of ninety four, we became

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<v Speaker 1>a lot closer.

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<v Speaker 3>So what's going on? Still teaching?

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<v Speaker 1>Well? I actually called to talk about you, same.

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<v Speaker 3>Old Courtney, all business all the time, not all the time.

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<v Speaker 3>I relax, I'm kidding. So what's this about writing another book?

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<v Speaker 1>No, this is for a podcast I'm working on based

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<v Speaker 1>on my book, actually, and I'm recording this call if

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<v Speaker 1>that's okay?

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<v Speaker 3>Yeah, sure, what up?

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<v Speaker 4>True crime nerds ready to hear me recount the worst fucking.

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<v Speaker 1>Night of my life? And you know we don't have to.

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<v Speaker 3>It's fine. It was a long time ago, court I.

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<v Speaker 1>Know, but sometimes releaving events like this can be.

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<v Speaker 3>Yeah, yeah, trigger warning. I get it.

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<v Speaker 4>Look I said it's fine and I meant it. Now,

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<v Speaker 4>come on, let's do this thing.

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<v Speaker 1>November is a quiet time for Domino Beach, which makes

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<v Speaker 1>it one of the favorite times of year for the

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<v Speaker 1>local surfers, who would rather not compete with tourists for

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<v Speaker 1>the waves that they consider rightfully theirs. In fact, not

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<v Speaker 1>only are there note tourists that time of year, but

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<v Speaker 1>even a lot of locals start leaving town for Thanksgi,

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<v Speaker 1>some of them not coming back until after New Year's

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<v Speaker 1>But Angela was going to be there for the winter.

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<v Speaker 1>She had arrived in Domino Beach about two years before me,

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<v Speaker 1>another college dropout who decided she'd rather live among the

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<v Speaker 1>surf and sand while she was young, figuring she had

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<v Speaker 1>plenty of time to decide what she wanted to do

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<v Speaker 1>with the rest of her life. I always admired that

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<v Speaker 1>way of thinking. I decided I wanted to be a

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<v Speaker 1>journalist in like the third grade and never deviated from

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<v Speaker 1>that path. I've never looked back. Pretty Much every decision

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<v Speaker 1>I've made as far back as I can remember, was

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<v Speaker 1>made to help me achieve that goal. I'm kind of

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<v Speaker 1>jealous of people who are able to just go with

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<v Speaker 1>the flow, confident that one day everything will work out

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<v Speaker 1>the way it's supposed to. Angela is one of those people.

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<v Speaker 1>I had her take me back to that night in

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<v Speaker 1>November nineteen ninety four, a night that changed her life forever.

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<v Speaker 4>Okay, So, Gurdi's closed at eleven o'clock during the off season,

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<v Speaker 4>and that night I don't think we had a customer

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<v Speaker 4>since like nine or nine thirty. So Andre, he was

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<v Speaker 4>the cook. Do you remember Andre?

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<v Speaker 3>I'm not sure it's okay, it doesn't matter anyway.

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<v Speaker 4>Andre had already cleaned off the grill before we even

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<v Speaker 4>locked the door for the night. He had a girlfriend

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<v Speaker 4>in Riverside and he was trying to get over to

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<v Speaker 4>her place before it got too late. So I told

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<v Speaker 4>him to go on that I'd go ahead and lock

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<v Speaker 4>up by myself. It wasn't the first time, and well,

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<v Speaker 4>I just didn't think anything of it.

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<v Speaker 1>What about the murders of the spring Breakers earlier that year.

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<v Speaker 1>Weren't you scared being alone? Not really?

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<v Speaker 4>No, I mean that had been like six or seven

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<v Speaker 4>months ago, and they were saying the killer committed suicide,

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<v Speaker 4>right right, Okay, So I guess I finished all the

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<v Speaker 4>side work and balanced the register by maybe eleven forty

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<v Speaker 4>eleven forty five something like that. Then I went out

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<v Speaker 4>the back door and locked up.

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<v Speaker 1>Can you describe the back of the diner for our listeners,

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<v Speaker 1>just because this is audio only.

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<v Speaker 4>Yeah, it was not exactly a parking lot. I don't

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<v Speaker 4>know what you call it, just a little strip of

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<v Speaker 4>asphalt where employees parked.

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<v Speaker 3>There was just enough.

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<v Speaker 4>Room for maybe three or four cars, right next to

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<v Speaker 4>the dumpster.

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<v Speaker 1>Was it well lit?

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<v Speaker 3>No, well kind of.

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<v Speaker 4>I parked close to the back door and there was

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<v Speaker 4>a light hanging over it. You couldn't see much around you.

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<v Speaker 4>But I never felt scared or anything closing up at night.

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<v Speaker 4>Kind of wish I had been scared, then I might

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<v Speaker 4>have been more on my guard. So we can take

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<v Speaker 4>a break if you want. No, why drag this out

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<v Speaker 4>any longer than I have to, Okay, but take your time,

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<v Speaker 4>and whenever you want to stop, I get it.

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<v Speaker 3>I'll be fine. Okay.

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<v Speaker 4>So I come out and lock the back door, put

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<v Speaker 4>the diner keys in my purse, take out my car keys.

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<v Speaker 4>Then I walk like eight or ten steps to my car.

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<v Speaker 4>I unlock the door, and just as I get it open,

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<v Speaker 4>the first thing I remember is the slap slap slap

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<v Speaker 4>of shoes on pavement running up fast behind me. I

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<v Speaker 4>start to turn, but before I make it around, a

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<v Speaker 4>hand clamps down over my mouth, and there's a glove

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<v Speaker 4>on it, like driving gloves or workout gloves, you know.

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<v Speaker 4>And his hand is big enough that I feel his

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<v Speaker 4>thumb on one of my cheekbones and the rest of

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<v Speaker 4>his fingers gripping my jawbone. And next thing I feel

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<v Speaker 4>is my right arm being wrenched behind my back and

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<v Speaker 4>he pulls it up really hard. Feels like it's going

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<v Speaker 4>to break where my shoulder was going to dislocate. But

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<v Speaker 4>I'm still holding out of my car keys and he

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<v Speaker 4>takes them out of my hand, and then I think

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<v Speaker 4>he shoves them in his back pocket, because I feel

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<v Speaker 4>his pelvis kick forward into my back, you know, and

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<v Speaker 4>I can feel what I first think is a gun

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<v Speaker 4>shoved into his pants, but I later realize it's his boner.

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<v Speaker 4>The guy's already hard, you know, already turned on. Then

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<v Speaker 4>he presses my body up against the car, the door

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<v Speaker 4>to the back seat, I mean, and he presses it

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<v Speaker 4>up even harder against me, and I feel this hot

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<v Speaker 4>breath in my ear, and he says, oh, And he's

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<v Speaker 4>doing this thing with his voice like you know how

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<v Speaker 4>everyone who plays Batman, how they make their voice all

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<v Speaker 4>low and gravelly like that anyway, he says, and these

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<v Speaker 4>are his exact.

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<v Speaker 3>Words, scream, and you die right here and now.

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<v Speaker 4>And then he takes his hand away from my mouth,

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<v Speaker 4>and what do you do? I scream? I scream bloody murder,

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<v Speaker 4>but not for long. He grabs a fistful of my

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<v Speaker 4>hair and slams my forehead into the door of the car,

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<v Speaker 4>right above the window that shuts me up. Then he

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<v Speaker 4>opens the back door and kind of lets me fall

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<v Speaker 4>onto the seat, and I hear a zipper being unzipped.

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<v Speaker 4>I think he's about to whip it out, but no,

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<v Speaker 4>it turns out he's not unzipping his pants. It's like

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<v Speaker 4>a backpack ord gym bag or something. Because then I

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<v Speaker 4>hear a piece of tape being ripped off, and then

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<v Speaker 4>it's over my mouth, and all of a sudden, I

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<v Speaker 4>feel like I can't breathe so well through my nose,

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<v Speaker 4>and I'm like hyperventilating, and I feel like I'm suffocating.

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<v Speaker 4>And then so he's already got one of my arms

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<v Speaker 4>behind my back, so he grabs the other one and

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<v Speaker 4>jerks it back and up real hard, and he holds

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<v Speaker 4>my hands together. Then he puts a knee on the

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<v Speaker 4>small of my back, and wraps one of those thick

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<v Speaker 4>plastic zip ties around my wrists and cinches it up

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<v Speaker 4>real tight. Now now, I'm sure he's about to try

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<v Speaker 4>to pull my jeans down and get on top of me,

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<v Speaker 4>but he just kind of kicks at my legs until

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<v Speaker 4>I pull them into the car. Once I'm all curled

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<v Speaker 4>up in the back seat, he closes the door.

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<v Speaker 1>You must have been terrified.

0:13:12.080 --> 0:13:14.800
<v Speaker 4>I must have been. But it's hard to remember the

0:13:14.800 --> 0:13:16.040
<v Speaker 4>way I felt that the time.

0:13:16.640 --> 0:13:18.360
<v Speaker 3>When I look back on it, I.

0:13:18.280 --> 0:13:21.600
<v Speaker 4>Remember a lot of details, but it's like I'm outside

0:13:21.600 --> 0:13:24.520
<v Speaker 4>looking in, you know, like I'm watching it in a

0:13:24.600 --> 0:13:29.040
<v Speaker 4>movie or on TV. Supposedly that's pretty common in situations

0:13:29.080 --> 0:13:30.360
<v Speaker 4>like that, but I don't know.

0:13:30.559 --> 0:13:31.440
<v Speaker 3>It's weird anyway.

0:13:31.480 --> 0:13:32.720
<v Speaker 1>Where was I? Oh?

0:13:32.800 --> 0:13:36.400
<v Speaker 4>Yeah, lying face down in the back seat of my car,

0:13:37.040 --> 0:13:39.800
<v Speaker 4>And I can feel the blood running into my left

0:13:39.840 --> 0:13:42.400
<v Speaker 4>eye from where he slammed my head into the door.

0:13:43.280 --> 0:13:46.520
<v Speaker 4>But the swimmy feeling is starting to ease up. I'm

0:13:46.559 --> 0:13:49.160
<v Speaker 4>not clear headed yet, but I'm getting there, you know.

0:13:50.760 --> 0:13:53.800
<v Speaker 4>So I'm just listening, trying to take everything in, and

0:13:53.960 --> 0:13:56.560
<v Speaker 4>I hear him get in the front seat and start

0:13:56.640 --> 0:14:01.000
<v Speaker 4>the car, and when he turns around, to look behind

0:14:01.080 --> 0:14:03.480
<v Speaker 4>him as he's backing up, I tell myself, look at

0:14:03.520 --> 0:14:04.960
<v Speaker 4>his face, Look at his face.

0:14:05.240 --> 0:14:08.160
<v Speaker 1>So I do, what do you see?

0:14:09.040 --> 0:14:13.160
<v Speaker 3>Nothing? Well, not nothing, but not enough. I don't know.

0:14:13.200 --> 0:14:15.720
<v Speaker 4>I mean I can tell it's a white guy. I

0:14:15.800 --> 0:14:19.120
<v Speaker 4>think so anyway, but it was dark and he's wearing

0:14:19.120 --> 0:14:22.320
<v Speaker 4>a hoodie or maybe it's a ski mask. I can't remember.

0:14:22.360 --> 0:14:28.080
<v Speaker 4>But I just can't see much of anything. So then

0:14:28.120 --> 0:14:31.640
<v Speaker 4>he starts driving, and after a few minutes he turns

0:14:31.640 --> 0:14:34.080
<v Speaker 4>off the radio and starts talking. And at first I

0:14:34.120 --> 0:14:36.560
<v Speaker 4>think he's talking to himself, but no, he's talking to me.

0:14:38.000 --> 0:14:41.080
<v Speaker 4>What does he say, Well, I don't remember it word

0:14:41.080 --> 0:14:43.479
<v Speaker 4>for word, but he's saying that I shouldn't have screamed,

0:14:43.960 --> 0:14:46.040
<v Speaker 4>that what he's gonna do to me will be worse

0:14:46.080 --> 0:14:52.440
<v Speaker 4>because I did. And then he asks me if I

0:14:52.520 --> 0:14:55.640
<v Speaker 4>know who he is, and when I don't say anything,

0:14:56.080 --> 0:14:59.280
<v Speaker 4>he says something like he's the number one spring breaker

0:15:00.680 --> 0:15:04.040
<v Speaker 4>where the Domino Beach spring breaking something like that.

0:15:04.800 --> 0:15:06.280
<v Speaker 1>Did you know what he was talking about?

0:15:06.880 --> 0:15:10.080
<v Speaker 4>Yeah, pretty much right away. I mean, I don't know

0:15:10.120 --> 0:15:11.960
<v Speaker 4>if he's telling the truth, but he wants me to

0:15:12.000 --> 0:15:16.920
<v Speaker 4>believe he's the guy who killed those ASU girls and

0:15:16.960 --> 0:15:19.680
<v Speaker 4>he's saying all this stuff that he's gonna fuck me tonight.

0:15:20.400 --> 0:15:23.480
<v Speaker 7>I don't care if you're alive or dead. If you

0:15:23.560 --> 0:15:25.400
<v Speaker 7>want to live, you better play nice.

0:15:25.560 --> 0:15:27.520
<v Speaker 1>And then he kind of laughs and says something like.

0:15:27.680 --> 0:15:29.680
<v Speaker 7>Oh am, I kidding, You're not gonna live through this.

0:15:30.160 --> 0:15:31.880
<v Speaker 7>And I don't like nice girls anyway.

0:15:32.840 --> 0:15:35.200
<v Speaker 1>And he's disguising his voice the whole time.

0:15:35.680 --> 0:15:40.400
<v Speaker 4>Yeah, like Batman. But I can tell it's a pretty

0:15:40.440 --> 0:15:43.440
<v Speaker 4>young guy though, in his twenties. Probably how can you tell.

0:15:43.720 --> 0:15:46.080
<v Speaker 4>I don't know just the way he sounds to me.

0:15:46.280 --> 0:15:48.680
<v Speaker 4>Maybe it's his speech patterns or whatever. I don't know,

0:15:48.720 --> 0:15:53.720
<v Speaker 4>but I definitely remember thinking that. And then then he

0:15:53.840 --> 0:15:57.880
<v Speaker 4>stops talking, and I start feeling like he's working himself

0:15:57.960 --> 0:15:59.520
<v Speaker 4>up to do whatever he's gonna do.

0:16:00.040 --> 0:16:01.440
<v Speaker 3>And I'm telling myself.

0:16:01.200 --> 0:16:03.680
<v Speaker 4>I had to get out of this car or I

0:16:03.720 --> 0:16:07.360
<v Speaker 4>am dead now. At this point, we've been driving for

0:16:07.440 --> 0:16:10.160
<v Speaker 4>like ten minutes, and I get the feeling he's about

0:16:10.160 --> 0:16:10.680
<v Speaker 4>to get on the.

0:16:10.640 --> 0:16:12.480
<v Speaker 1>Five, the five interstate.

0:16:12.800 --> 0:16:16.160
<v Speaker 4>Yeah, and something inside me says, if you're still in

0:16:16.200 --> 0:16:18.480
<v Speaker 4>this car when he gets on the highway, no one's

0:16:18.520 --> 0:16:21.040
<v Speaker 4>ever even going to find your body. So I start

0:16:21.080 --> 0:16:24.720
<v Speaker 4>thinking and I remember, I remember that one of the

0:16:24.760 --> 0:16:27.480
<v Speaker 4>doors in the back has a busted lock. It works

0:16:27.480 --> 0:16:29.920
<v Speaker 4>from the outside, which is why I never bothered to

0:16:29.960 --> 0:16:33.040
<v Speaker 4>get a fix, but not from the inside. So even

0:16:33.080 --> 0:16:35.000
<v Speaker 4>if the door is locked, you can still open it.

0:16:35.680 --> 0:16:38.040
<v Speaker 4>I couldn't believe I remembered that. I mean, how often

0:16:38.040 --> 0:16:39.640
<v Speaker 4>do you ride in the backseat of your own car?

0:16:40.680 --> 0:16:42.040
<v Speaker 1>Right fast? Thinking?

0:16:42.280 --> 0:16:45.320
<v Speaker 4>I guess anyway, I kind of pulled myself up, so

0:16:45.360 --> 0:16:48.120
<v Speaker 4>I'm leaning against the door, trying to get my hands

0:16:48.120 --> 0:16:50.960
<v Speaker 4>on the door handle behind me. He thinks I'm trying

0:16:50.960 --> 0:16:53.640
<v Speaker 4>to get a look at his face, so he grabs

0:16:53.680 --> 0:16:57.080
<v Speaker 4>the rear view mirror and snaps it off. But I'm

0:16:57.120 --> 0:16:59.520
<v Speaker 4>not even looking at him anymore. I'm looking out the window,

0:16:59.760 --> 0:17:02.840
<v Speaker 4>and sure enough, up ahead is the I five. I'm

0:17:02.840 --> 0:17:05.720
<v Speaker 4>not sure where we are exactly. It's not the route

0:17:05.720 --> 0:17:07.080
<v Speaker 4>I usually take to get out of the five, but

0:17:07.119 --> 0:17:10.520
<v Speaker 4>it doesn't matter. You know, it's pretty much now or never,

0:17:11.200 --> 0:17:13.960
<v Speaker 4>So what do you do. I wait for him to

0:17:14.080 --> 0:17:16.439
<v Speaker 4>slow down and take the turn to get onto the

0:17:16.480 --> 0:17:19.639
<v Speaker 4>on ramp, and just as he does, I yank the

0:17:19.680 --> 0:17:22.800
<v Speaker 4>handle and the door flings open. I don't even have

0:17:22.880 --> 0:17:25.160
<v Speaker 4>to jump because I open the door on a turn.

0:17:25.200 --> 0:17:27.560
<v Speaker 4>The momentum just pulls me out of the car, and

0:17:27.600 --> 0:17:29.960
<v Speaker 4>the next thing you know, I'm rolling along the asphalt.

0:17:30.720 --> 0:17:32.000
<v Speaker 1>Jesus Well.

0:17:32.040 --> 0:17:34.400
<v Speaker 4>As soon as I come to a stop, I get

0:17:34.440 --> 0:17:36.919
<v Speaker 4>to my feet, and that's about the same time the

0:17:36.960 --> 0:17:40.360
<v Speaker 4>car starts backing up. I look around and there are

0:17:40.400 --> 0:17:44.080
<v Speaker 4>like no other cars anywhere, but there's this gas station,

0:17:44.520 --> 0:17:48.080
<v Speaker 4>maybe one hundred yards away, one of those that's right

0:17:48.080 --> 0:17:49.000
<v Speaker 4>next to the on ramp.

0:17:49.160 --> 0:17:50.880
<v Speaker 1>Okay, yeah, I know what you mean.

0:17:51.880 --> 0:17:54.200
<v Speaker 3>So I run like hell.

0:17:54.880 --> 0:17:57.359
<v Speaker 4>I've still got duct tape over my mouth, so I

0:17:57.400 --> 0:17:59.800
<v Speaker 4>can barely breathe, and my hands are as if tied

0:17:59.840 --> 0:18:02.399
<v Speaker 4>me behind my back, so my balance is fucked, and

0:18:02.440 --> 0:18:05.760
<v Speaker 4>I'm just running full steam for that gas station part

0:18:05.800 --> 0:18:09.879
<v Speaker 4>as I can. It's a miracle I don't fall down. Meanwhile,

0:18:10.400 --> 0:18:13.000
<v Speaker 4>I can hear the car turning around behind me, but

0:18:13.080 --> 0:18:15.159
<v Speaker 4>he's got to stick to the road and I'm running

0:18:15.200 --> 0:18:21.439
<v Speaker 4>across the dirt right So I finally get under those big,

0:18:21.760 --> 0:18:25.040
<v Speaker 4>bright fluorescent lights over the pumps, and there's some old

0:18:25.040 --> 0:18:28.480
<v Speaker 4>guy there getting gas. Old it's probably younger than I

0:18:28.520 --> 0:18:31.280
<v Speaker 4>am now, but he seems ancient to me at the time. Anyway,

0:18:31.680 --> 0:18:34.159
<v Speaker 4>I come running up on him and he gives me

0:18:34.200 --> 0:18:37.040
<v Speaker 4>this like what the fuck look that I swear would

0:18:37.040 --> 0:18:39.040
<v Speaker 4>have made me burst out laughing if it wasn't for

0:18:39.080 --> 0:18:42.760
<v Speaker 4>the duct tape. Then the cashier guy comes out, and

0:18:42.800 --> 0:18:45.840
<v Speaker 4>at that point, the fucker who tried to kidnap me

0:18:46.119 --> 0:18:49.440
<v Speaker 4>just turns my car around and peels out, heads back

0:18:49.480 --> 0:18:52.560
<v Speaker 4>onto the five, and the cashier and the old guy

0:18:52.680 --> 0:18:56.480
<v Speaker 4>helped cut me free. Then they take me inside and

0:18:56.560 --> 0:19:02.199
<v Speaker 4>I call nine to one one, and that's it. Jesus,

0:19:02.680 --> 0:19:05.400
<v Speaker 4>I haven't told that story in so long.

0:19:07.000 --> 0:19:09.400
<v Speaker 1>Thank you for telling it now, anything for.

0:19:09.440 --> 0:19:14.960
<v Speaker 4>You, bitch, Seriously, though, It's been like a long time

0:19:15.000 --> 0:19:16.720
<v Speaker 4>since I've even let myself think.

0:19:16.600 --> 0:19:30.240
<v Speaker 1>About all that. So in November of nineteen ninety four,

0:19:30.480 --> 0:19:32.720
<v Speaker 1>I hadn't written about any of the murder victims since

0:19:32.800 --> 0:19:36.040
<v Speaker 1>Verra Kendrick's death over two years earlier. But when I

0:19:36.080 --> 0:19:38.320
<v Speaker 1>got to the so called journal office that morning and

0:19:38.400 --> 0:19:41.879
<v Speaker 1>heard about what happened to Angela, well, I knew I

0:19:41.920 --> 0:19:45.159
<v Speaker 1>had to be the one to tell her story. Glenn Sherman,

0:19:45.280 --> 0:19:47.639
<v Speaker 1>the Journal star reporter and who I sometimes call my

0:19:47.720 --> 0:19:51.040
<v Speaker 1>former mentor if I'm feeling generous, was in the process

0:19:51.080 --> 0:19:53.560
<v Speaker 1>of being wooed away by the La Times following his

0:19:53.640 --> 0:19:56.280
<v Speaker 1>coverage of the spring Break murders in April of that year.

0:19:56.800 --> 0:19:59.080
<v Speaker 1>And if not for that, I don't know that I

0:19:59.119 --> 0:20:01.200
<v Speaker 1>could have convinced him and to let me write the story.

0:20:01.800 --> 0:20:05.639
<v Speaker 1>For whatever reason, he threw me a bone.

0:20:06.440 --> 0:20:08.720
<v Speaker 4>I remember when you came by the hospital that morning,

0:20:09.280 --> 0:20:12.280
<v Speaker 4>you brought some flowers and tried to pretend we were friends.

0:20:12.840 --> 0:20:15.600
<v Speaker 1>Hello, we were friends. Hello.

0:20:15.880 --> 0:20:18.720
<v Speaker 4>The only reason you could have possibly thought that was

0:20:18.760 --> 0:20:20.560
<v Speaker 4>if you didn't have any real friends.

0:20:20.880 --> 0:20:25.679
<v Speaker 1>Yeah, well maybe I didn't. I mean, sure, you and.

0:20:25.720 --> 0:20:27.919
<v Speaker 4>I became friends, But come on, I was just some

0:20:28.000 --> 0:20:31.200
<v Speaker 4>waitress you knew, and you were just some regular customer

0:20:31.240 --> 0:20:32.160
<v Speaker 4>who tipped pretty well.

0:20:32.760 --> 0:20:38.199
<v Speaker 1>I tipped really well. So why did you agree to

0:20:38.200 --> 0:20:39.080
<v Speaker 1>talk to me back then?

0:20:40.320 --> 0:20:41.919
<v Speaker 3>I don't know. You sold me.

0:20:42.359 --> 0:20:43.320
<v Speaker 1>You were all, we.

0:20:43.320 --> 0:20:45.399
<v Speaker 3>Can't let this son of a bitch get away with this,

0:20:45.640 --> 0:20:47.480
<v Speaker 3>and we're gonna bring him down.

0:20:47.640 --> 0:20:51.000
<v Speaker 4>And you're such a tough, strong woman. What can I say?

0:20:51.240 --> 0:20:53.120
<v Speaker 4>You know you can be persuasive.

0:20:59.640 --> 0:21:03.600
<v Speaker 1>Angela was a fantastic subject, even back then when it

0:21:03.640 --> 0:21:06.919
<v Speaker 1>was all so raw and fresh. She never seemed scared

0:21:06.960 --> 0:21:09.439
<v Speaker 1>to me. She was pissed off this happened to her,

0:21:09.800 --> 0:21:13.040
<v Speaker 1>and I channeled that anger into my story, and it

0:21:13.119 --> 0:21:15.119
<v Speaker 1>wasn't the story of a victim. It was the story

0:21:15.119 --> 0:21:18.160
<v Speaker 1>of a survivor, of someone who was faced with certain

0:21:18.240 --> 0:21:21.480
<v Speaker 1>death and just flat out refused. It gave me the

0:21:21.600 --> 0:21:23.880
<v Speaker 1>chance I was looking for to blow apart the narrative

0:21:24.240 --> 0:21:26.600
<v Speaker 1>that the now dead for two months Stan Majors had

0:21:26.600 --> 0:21:30.080
<v Speaker 1>ever killed anyone. It gave me the opportunity to call

0:21:30.119 --> 0:21:33.200
<v Speaker 1>out Counselman Langford and Sheriff Stokes for trying to pull

0:21:33.200 --> 0:21:37.159
<v Speaker 1>the wool over all our eyes. I let our readers

0:21:37.240 --> 0:21:40.720
<v Speaker 1>know officially and for the first time, that there was

0:21:40.720 --> 0:21:43.800
<v Speaker 1>a serial killer preying on the people of Domino Beach.

0:21:44.920 --> 0:21:46.720
<v Speaker 1>And in one of my favorite parts of the article,

0:21:46.840 --> 0:21:49.600
<v Speaker 1>toward the end, I wrote that since the killer liked

0:21:49.600 --> 0:21:52.800
<v Speaker 1>to reference popular music, the song that best suited his

0:21:52.880 --> 0:21:56.440
<v Speaker 1>failed abduction of Angela Bauers was Loser by Beck.

0:21:57.920 --> 0:21:59.320
<v Speaker 3>Yeah, I'll give you that.

0:21:59.320 --> 0:22:02.080
<v Speaker 1>That was a tell me shit again. That's Mia.

0:22:02.160 --> 0:22:04.280
<v Speaker 3>Morales and Connor liked it too.

0:22:04.560 --> 0:22:07.240
<v Speaker 2>We weren't hanging out much by them, but after that

0:22:07.400 --> 0:22:10.080
<v Speaker 2>article came out, it was the first time I had

0:22:10.119 --> 0:22:13.879
<v Speaker 2>seen him smile aid forever. He really liked you ripping

0:22:13.920 --> 0:22:15.160
<v Speaker 2>his daughter part like you did.

0:22:17.359 --> 0:22:18.680
<v Speaker 1>Here's Sheriff Stokes.

0:22:20.080 --> 0:22:22.480
<v Speaker 5>I didn't take it personally. When you're right, you're right.

0:22:23.000 --> 0:22:25.680
<v Speaker 5>And after that article you wrote, it made it easier

0:22:25.680 --> 0:22:27.320
<v Speaker 5>for me to do the job I wanted to do.

0:22:31.920 --> 0:22:36.720
<v Speaker 1>Okay, so I had made an impact. Well, the truth is,

0:22:36.760 --> 0:22:39.119
<v Speaker 1>Angela Bowers is the one who made the impact. I

0:22:39.240 --> 0:22:44.159
<v Speaker 1>just made sure everyone knew it, and everyone did everyone.

0:22:45.080 --> 0:22:47.800
<v Speaker 1>Three days after the story was published, a letter arrived

0:22:47.800 --> 0:22:50.679
<v Speaker 1>for me in the mail at the SoCal Journal. My

0:22:50.880 --> 0:22:54.320
<v Speaker 1>name and the paper's address were printed in neat block letters.

0:22:54.640 --> 0:22:57.560
<v Speaker 1>There was no return address, and the postmark was from

0:22:57.560 --> 0:23:02.240
<v Speaker 1>in town. I opened it up and well, here, why

0:23:02.240 --> 0:23:07.120
<v Speaker 1>don't I just read it to you? Now? Hello, Courtney,

0:23:07.440 --> 0:23:09.840
<v Speaker 1>I wanted to thank you for your wildly entertaining but

0:23:09.920 --> 0:23:11.440
<v Speaker 1>extremely inaccurate.

0:23:11.000 --> 0:23:15.440
<v Speaker 8>Extremely inaccurate story about me. I like your writing much

0:23:15.480 --> 0:23:18.120
<v Speaker 8>better than Glenna Shrinings. But it's been a while since

0:23:18.119 --> 0:23:21.960
<v Speaker 8>we crossed paths. You wrote about my Polly but not

0:23:22.080 --> 0:23:25.080
<v Speaker 8>my corn Fleet girls, and we never got a chance

0:23:25.119 --> 0:23:26.560
<v Speaker 8>to pretend we're dead together.

0:23:27.920 --> 0:23:30.639
<v Speaker 7>My angel may have flewn away, but I think I

0:23:30.840 --> 0:23:35.199
<v Speaker 7>like you better anyhow. One day I think i'd like

0:23:35.280 --> 0:23:39.000
<v Speaker 7>for you to meet me. I hope that happens, but

0:23:39.080 --> 0:23:40.919
<v Speaker 7>I worry that you might be right about what you

0:23:40.960 --> 0:23:44.560
<v Speaker 7>said about me. Maybe I am a loser.

0:23:44.320 --> 0:23:46.720
<v Speaker 3>Baby, so why don't you kill me?

0:23:50.400 --> 0:23:53.199
<v Speaker 5>Yeah, you poked the pair, all right, and maybe that

0:23:53.280 --> 0:23:56.399
<v Speaker 5>was folish of you, But it was also brave because

0:23:56.440 --> 0:23:58.600
<v Speaker 5>you got the killer to tell us something we didn't know.

0:24:00.320 --> 0:24:03.280
<v Speaker 1>It was the pretend we're dead reference that confused Sheriff

0:24:03.320 --> 0:24:06.399
<v Speaker 1>Stokes and me too. But I remembered the song and

0:24:06.520 --> 0:24:09.320
<v Speaker 1>recognized the title, so I went to Gravel Records and

0:24:09.359 --> 0:24:11.720
<v Speaker 1>asked Maya about it. She told me it was by

0:24:11.720 --> 0:24:14.160
<v Speaker 1>a group called L seven and sold me the CD

0:24:14.280 --> 0:24:15.199
<v Speaker 1>with that song on it.

0:24:15.600 --> 0:24:18.880
<v Speaker 2>I did, Nah, I don't remember that at all.

0:24:19.600 --> 0:24:22.280
<v Speaker 1>I went home and played the song over and over

0:24:22.400 --> 0:24:25.320
<v Speaker 1>until I had the song lyrics memorized. Then I sat

0:24:25.359 --> 0:24:27.560
<v Speaker 1>down with Sheriff Stokes and looked back at the only

0:24:27.640 --> 0:24:31.160
<v Speaker 1>other unsolved murder in Domino Beach, the murder of teenage

0:24:31.240 --> 0:24:35.120
<v Speaker 1>junkie and prostitute Billy Boy Reeves. One of the photos

0:24:35.119 --> 0:24:37.240
<v Speaker 1>of the alley where his body was found captured a

0:24:37.359 --> 0:24:41.080
<v Speaker 1>lyric from the song spray painted onto the wall just

0:24:41.160 --> 0:24:45.840
<v Speaker 1>say No to Individuality. The killer had referenced all three

0:24:45.960 --> 0:24:50.879
<v Speaker 1>groups of murders in his Letter, Polly Fervera, Kendrick, Cornflake

0:24:50.960 --> 0:24:54.560
<v Speaker 1>Girl from Mary Crouch, Polly Blake, and Sandra Gerard, and

0:24:54.640 --> 0:24:59.160
<v Speaker 1>pretend were dead for Billy Boy Reeves. The five people

0:24:59.200 --> 0:25:02.080
<v Speaker 1>who had been murdered in Domino Beach since September nineteen

0:25:02.160 --> 0:25:07.080
<v Speaker 1>ninety two were all killed by the same person, and

0:25:07.119 --> 0:25:23.439
<v Speaker 1>he was still out there. The Murder Years is a

0:25:23.480 --> 0:25:29.520
<v Speaker 1>production of AYR Media and iHeartMedia. Executive producer Elisa Rosen

0:25:29.640 --> 0:25:35.240
<v Speaker 1>for AYR Media. Written by Tim Huddleston, directed by Alisa Rosen,

0:25:36.160 --> 0:25:41.600
<v Speaker 1>editing and sound designed by Tristan Bankston, Consulting producer Jean

0:25:41.760 --> 0:25:48.760
<v Speaker 1>Chandil coordinator Olive Goldberg, Audio engineering and mastering by Justin

0:25:49.000 --> 0:25:56.359
<v Speaker 1>Longerbean studio engineer Josh Hook. Original music by Nathan Bankston.

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<v Speaker 1>Original concept developed in partnership with Margaret Johns and Greg Spring.

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<v Speaker 1>Executive producer for iHeartMedia. Maya Howard performances for this episode

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<v Speaker 1>by Erica Leniac as Courtney Barnes, Tom Virtue as Sheriff

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<v Speaker 1>Damon Stokes, Alex Salem as Connor Langford, Melon Faxus as

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<v Speaker 1>Maya Morales, Amy Phillips as Angela Bowers,