Speaker 1: The Red Weather is a work of fiction. Any resemblance
Speaker 1: to actual persons or events reflects the adaptation of real,
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Speaker 1: of this podcast is the sole responsibility of Red Weather
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Speaker 2: Everyone thanks, you're the man, but I make you me.
Speaker 1: This is Anna Traynor's voice. It's the infamous haunted tape.
Speaker 2: I do remember we found her car down south of
Speaker 2: here that pushed us in the in the runaway direction.
Speaker 3: Even if Nick managed to meet up with Anna, then
Speaker 3: murder her couldn't have getten rid of the body and
Speaker 3: driven her car all the way to SFO. Isn't it
Speaker 3: a little bit weird that they obsess over hippies in
Speaker 3: the woods and not the obvious boyfriend.
Speaker 1: Who was all pissed because their girls sleeping around. Daddy
Speaker 1: promises some moolah.
Speaker 2: They half asked their investigation it goes.
Speaker 3: Away, you're supposed to be writing, It's fine, I'll come
Speaker 3: home right. There are two contributions to the nineteen ninety
Speaker 3: six Maldonado campaign. These two companies Thomas Bolden was on
Speaker 3: the board for both Okay, look, I don't need the
Speaker 3: state and the District Attorney sudden banging on right.
Speaker 1: We were trying to help you, iponoized Robert Maldonado to
Speaker 1: no longer speak with you, and Officer Greer is under
Speaker 1: orders to keep his work internal.
Speaker 4: Indie Strong, Oh they don't eat fish food. Actually.
Speaker 1: Maybe it's not surprising that my son, Indy loves to
Speaker 1: act and sing. He is, after all, the child of
Speaker 1: two performers.
Speaker 4: Oh they don't eat fish food actually, But is this
Speaker 4: nected line?
Speaker 1: Based on my experience, the kids that really thrive as
Speaker 1: actors are the ones who do it for its own sake,
Speaker 1: not because they want to be famous. So we've limited
Speaker 1: Indie's acting to classes and plays. But then after he
Speaker 1: appeared on a few episodes of my podcast, we were
Speaker 1: approached by a voiceover agent.
Speaker 4: It changed, Oh, they don't eat fish food, actually, Nope,
Speaker 4: they eat.
Speaker 1: Get out of the way here. Now he's a working
Speaker 1: voiceover actor and we got auditions about once a week.
Speaker 1: Indy loves it for the most part, but he's still
Speaker 1: a kid, and sometimes he just doesn't want to audition.
Speaker 1: Just stand out, please, Indy, come on please, Oh yeah,
Speaker 1: hold on, hold on, if we just focus, I know,
Speaker 1: but do you uh do you want me to read
Speaker 1: the other lines? Is that going to help you? What
Speaker 1: do you want me to read the other lines?
Speaker 5: No?
Speaker 1: Okay? Well, how did mom do the auditions while while
Speaker 1: I was gone? Because you had like, I'm not doing that?
Speaker 1: You were gone for so long? No? No, why didn't
Speaker 1: I go? Well, I was, I was working. We wouldn't
Speaker 1: have been able to hang.
Speaker 4: Out doing the podcast about the girl?
Speaker 1: Yeah, she was your friend? Yeah, well her sister was.
Speaker 1: What happened?
Speaker 6: Well, that's that's what I'm trying to figure out.
Speaker 4: Your friend a sister?
Speaker 1: What's your name?
Speaker 7: Did I meet her?
Speaker 5: No?
Speaker 1: I mean I think there was one fourth of July
Speaker 1: that she might have been. I don't remember.
Speaker 4: She died?
Speaker 1: Yeah? Wow, uh she was you know, she was a
Speaker 1: very unhappy. Can we get back to this. She was
Speaker 1: just a very unhappy person.
Speaker 4: She killed herself.
Speaker 1: Yeah, that's it.
Speaker 4: Yeah, and you never knew what happened to her sister.
Speaker 1: No, that's that's while I was gone for those two weeks.
Speaker 1: I'm trying to look into this. But come on, can
Speaker 1: we just focus on this and do.
Speaker 4: This Why did you stop?
Speaker 1: It's complicated, buddy. There are lots of people who don't
Speaker 1: want me doing this.
Speaker 4: Are they bad people?
Speaker 8: Well?
Speaker 1: I think so. You know, there's just I don't know.
Speaker 1: There's so many reasons, Dad. You should help.
Speaker 4: You have to help, that's the right thing.
Speaker 1: After this conversation, I couldn't decide if Indy was being
Speaker 1: naive or brave. I mean, he was definitely coming from
Speaker 1: a place of innocence, but there's different meanings there. Right,
Speaker 1: you can be innocent as in foolish immature, or you
Speaker 1: can be innocent as in pure and honest, not corrupted
Speaker 1: by cynicism, by a world where powerful people get to
Speaker 1: do what they want and ignore questions. He was right,
Speaker 1: I should help, but I didn't know what that meant anymore.
Speaker 1: I am actor and filmmaker, right strong, This is the
Speaker 1: red weather way to take someone's tragedy and make it
Speaker 1: all about you. Writer. Now that it was public that
Speaker 1: this podcast was happening, social media posts and comments weighed in,
Speaker 1: Oh this is my favorite. This is a vanity project
Speaker 1: of a washed up child actor. I knew my wife
Speaker 1: was right, but I couldn't help but think there might
Speaker 1: be something useful in here since none of the podcast
Speaker 1: was released, though most of the comments were just about
Speaker 1: the irresponsibility of true crime and personal attacks on me,
Speaker 1: which hurt, of course, but I tried to put my
Speaker 1: own feelings aside and be optimistic. Maybe, just maybe the
Speaker 1: attention might help. Now that it was public, someone might
Speaker 1: come forward with information or want to get involved. But
Speaker 1: now it had the opposite effect. This is strong.
Speaker 5: My name is Jury Dunenfeld.
Speaker 6: I am an attorney with Warren Tolan and Shapiro. You
Speaker 6: should have received a letter from my office. Use certified mail.
Speaker 1: I had. From the letter, your podcast appears poised to
Speaker 1: make unfounded and damaging claims about our client that would
Speaker 1: be Mick. Such claims, if broadcast, may constitute defamation under
Speaker 1: current statute. Basically a cease and assist. All in all,
Speaker 1: it felt like the universe was telling me to sit
Speaker 1: down and shut up. I had been shut out of
Speaker 1: any official reopening of the case, assuming there was one
Speaker 1: by Grace Laughlin, the current Sonoma County Sheriff. Please record
Speaker 1: your message.
Speaker 5: When you have finished recording, you may hang up.
Speaker 2: Hi.
Speaker 1: Sheriff Maldonado. It's writer and Sheriff Maldonado, who led the
Speaker 1: case in nineteen ninety five, also wasn't returning my calls.
Speaker 1: I am still making the podcast, and I wanted you
Speaker 1: to know, for me to hear it directly that I
Speaker 1: have been in touch with Monica Tremblaine a few times.
Speaker 1: But you know, I'm working on my own here. I'm
Speaker 1: making progress. I felt compelled to distance myself for Monica
Speaker 1: because she had decided to publish information about contributions to
Speaker 1: Maldonado's nineteen ninety six campaign for sheriff. In my opinion, prematurely.
Speaker 3: It's not like I stopped them or anything. The most
Speaker 3: that I can do as a citizen is file a
Speaker 3: damn for your report.
Speaker 1: And that's what you did. That's how you that's you
Speaker 1: already did that. Yeah, so we could get the full
Speaker 1: campaign records.
Speaker 3: Yeah, it's not about anything legal or an investigation into
Speaker 3: the Sheriff's department. That's that's up to the attorney general.
Speaker 1: Okay, okay, No, I just you know I started out,
Speaker 1: I'm trying to make a podcast. I'm trying to solve
Speaker 1: this thing, and I feel like, uh, we were getting
Speaker 1: somewhere with them with their help, Hi.
Speaker 3: Writer, if they really cared about Anna and if they
Speaker 3: wanted to solve this cold case, they would have welcomed
Speaker 3: the transparency, wouldn't they want to know where shit went wrong.
Speaker 1: It was still hard for me to believe that Maldonado
Speaker 1: in particular would go from helping me as much as
Speaker 1: he did to completely ignoring me.
Speaker 3: They should be like opening up their doors to you,
Speaker 3: to us, but instead, the minute that you brought up
Speaker 3: Mick Bowden, a multi millionaire, sound up a multimillionaire.
Speaker 1: Guess what they did. They turned on you. That was true.
Speaker 1: Mick could become the main person of interest in Anna's
Speaker 1: disappearance because of the mixtape.
Speaker 5: So.
Speaker 4: Of course I didn't keep my day when they.
Speaker 1: Had a fit.
Speaker 8: Scin Kid was ten years old and the name came
Speaker 8: in alongside the tracks so called.
Speaker 1: The tape had songs movie clips from Wild at Heart
Speaker 1: and bad Lands, and then Anna talked directly to Mick,
Speaker 1: he can do it. I can do it.
Speaker 2: You're my sailor, You're my real life nickey because you
Speaker 2: are so cool.
Speaker 1: It was so intimate and implied a connection between the
Speaker 1: two of them that was powerful, secretive, romantic, which is
Speaker 1: never how I thought about them. I started this podcast
Speaker 1: thinking Mick was against Anna, that he had this revenge
Speaker 1: porn plan that got derailed that night by me and
Speaker 1: my friends, that he was driven by jealousy and possessiveness.
Speaker 1: But hearing the tape, I had to consider that he
Speaker 1: and Anna were actually really in love and maybe that
Speaker 1: motivated him. Maybe his parents didn't want him to be
Speaker 1: with her. Maybe he was dating this new girl but
Speaker 1: had gotten back together with Anna and didn't know what
Speaker 1: to do. Was Anna like really into art? No, I
Speaker 1: don't think so.
Speaker 6: I have no memory of that.
Speaker 1: I checked in with my buddy Chris, who had started
Speaker 1: this podcast with me. I didn't think so either. But
Speaker 1: it's really weird because on the tape she keeps talking
Speaker 1: about Van Go.
Speaker 6: I don't know, dude.
Speaker 7: Here's the more important question, how's the feature coming?
Speaker 1: Don't ask? I had been hired to write a horror
Speaker 1: script for a production company out of Austin, and at
Speaker 1: this point my draft was weeks behind. Luckily, Chris thought
Speaker 1: he could help buy me some time.
Speaker 6: Well, I'll call David. I'll call David.
Speaker 1: David was Chris's agent who had actually introduced me to
Speaker 1: the producers in the first place.
Speaker 7: He reps those guys at least Stephen from Gearhyes, oh my.
Speaker 1: God, Yes do you think do you think David could
Speaker 1: hold them off?
Speaker 6: Yeah?
Speaker 7: I think you need to get your ass writing. But yes,
Speaker 7: if David comes at them with writers going through it,
Speaker 7: he's going through trauma, his old friend killed herself, trauma, trauma, trauma.
Speaker 6: They'll catch you some slack. Yeah, I'm him. I'll call her.
Speaker 1: God, thank you, thank you so much.
Speaker 6: Man.
Speaker 7: You're a tortured artist and that's why they want you
Speaker 7: to write their script and not some hack.
Speaker 6: But enough with the torture.
Speaker 1: You don't need any more to on your torture plate.
Speaker 1: My wife couldn't agree more. Nope, can't hear that again.
Speaker 1: She put a moratorium on listening to Anna's mix. But
Speaker 1: it's not bad music, to the point, I don't need
Speaker 1: to hear it over and over again. It's not like
Speaker 1: the four hundred and fifty fourth time you're going to
Speaker 1: hear something new. I still wanted to know what Anna
Speaker 1: was talking about on the tape, so why don't you
Speaker 1: write down what she says? It was actually a good idea.
Speaker 1: I found software that transcribed everything, including the lyrics to
Speaker 1: all the songs. I now had a full text file,
Speaker 1: a readable and searchable version of the tape. I wanted
Speaker 1: to read the song lyrics. I kept thinking Anna chose
Speaker 1: these songs for a reason, which is a big assumption.
Speaker 1: I know some people don't care about lyrics at all.
Speaker 1: It doesn't matter what a song is sane, if it's
Speaker 1: got a groove, that's the way alex is. Hold on,
Speaker 1: just listen to this one song because I think this
Speaker 1: one's important.
Speaker 8: Where myself go Nope, nope, not into it?
Speaker 1: Okay, fine, but what is it about?
Speaker 5: I don't care.
Speaker 1: I can't get past the music. But I knew she
Speaker 1: liked pearl Jam, which Anna had included. She put Daughter
Speaker 1: on here by Pearl Jam. You like that song? I do, Okay,
Speaker 1: what's it about?
Speaker 2: Okay?
Speaker 8: Well my interpretation and you know, stay with me here.
Speaker 1: I think it's about a daughter. But I couldn't help it.
Speaker 1: I kept thinking of the mix as a direct expression
Speaker 1: from Anna, like her own soundtrack, the musical of her life.
Speaker 1: So like, did she listen to Daughter and think of
Speaker 1: her mom? Laney? I know That's how I thought of
Speaker 1: music when I was a teenager, especially if I made
Speaker 1: a mix for someone. If I included a song, it
Speaker 1: was because it expressed something I wanted to say to them,
Speaker 1: or wanted them to understand about my life. I was
Speaker 1: locked into being my mother's daughter. I was just eating
Speaker 1: bread and water. I read the lyrics to Annie DeFranco's
Speaker 1: song out of Range to Alex, thinking nothing ever changes,
Speaker 1: and I was shocked to see the mistakes of each
Speaker 1: generation will just fade like a radio station if you
Speaker 1: drive out of range. She just doesn't want to become
Speaker 1: her mom exactly, and she wants she has to get
Speaker 1: away from her would I mean, but it's so ironic
Speaker 1: because Anna's mom is part of this progressive group of
Speaker 1: women living out in the woods, and yet here she
Speaker 1: is listening to this song about an abusive relationship and escaping.
Speaker 1: All of that is total speculation. And like my wife,
Speaker 1: you might think I was getting a little obsessive. What fuck?
Speaker 1: I said, a new schedule of waking up at five
Speaker 1: am to get some work done before I took Indy
Speaker 1: to school. I drag myself out of bed, make a
Speaker 1: pot of green tea, and sit at my computer try
Speaker 1: to only think about what I had to write. Inevitably,
Speaker 1: I would find myself with my headphones on listening to
Speaker 1: the mix. As it turned out, one morning around six am.
Speaker 1: Maybe it was the four hundred and fifty fourth time
Speaker 1: I did find something. Okay, I was reading along while
Speaker 1: listening and there's this section.
Speaker 2: Get used to it because I'm picking all the music.
Speaker 1: In Operation van Go. I'm gonna make you camp.
Speaker 2: You're gonna hate it.
Speaker 1: Did you hear that I'm gonna make you camp? And
Speaker 1: she called it Operation van Go, Like van Go wasn't
Speaker 1: about the artist, but a code name for something, and
Speaker 1: then it clicked. The movie clips she included bad Lands,
Speaker 1: Wild at Heart. These were movies where two lovers got
Speaker 1: into a car and ran away. All this van Go
Speaker 1: stuff wasn't about the artists. It's literally the words themselves.
Speaker 1: It's a code operation to go, maybe maybe even get
Speaker 1: in a van and go. The mixtape was evidence Anna
Speaker 1: did want to run away, that she and Mick were
Speaker 1: planning some of great escape, which meant it was time
Speaker 1: for me to confront one of the most confounding aspects
Speaker 1: of Anna's disappearance, the Kelty parking lot. This is why
Speaker 1: he kept a secret. I called Monica that day. It's
Speaker 1: literally a tape where she's talking about her and Mick
Speaker 1: running off together. The theory is she paged him. He
Speaker 1: picked her up that night, Yes, and they start Operation Mago.
Speaker 1: But then something was wrong, or maybe she didn't even
Speaker 1: want to leave in the first place. He could have
Speaker 1: backed out, yes, and things turned violent or I mean,
Speaker 1: actually maybe not. Maybe they just split up and she
Speaker 1: really did run off and he brought her to her
Speaker 1: car and then she just drove herself took a Keelty wall.
Speaker 1: For all these years, the clearest indication that Anna had
Speaker 1: run away has been the fact that her car, technically
Speaker 1: her mom's car, but the one she used, was found
Speaker 1: in a parking lot near the San Francisco Airport. Anna
Speaker 1: or someone had driven the car to the Keelty parking
Speaker 1: lot on Franklin Avenue, only a few miles from SFO,
Speaker 1: to fly away, or if someone had murdered her to
Speaker 1: make it look like she had flown away. There was
Speaker 1: no plane ticket bought under Anna's name, no flight record,
Speaker 1: but in nineteen ninety five, domestic flights rarely checked ideas
Speaker 1: buying a plane ticket in cash under a pseudonym was
Speaker 1: entirely possible. I have some problems here, as usual. Monica
Speaker 1: didn't hold back.
Speaker 3: First of all, if Nick didn't murder her and he
Speaker 3: just decided not to go run away with her, why
Speaker 3: not just say that, why not come forward to that,
Speaker 3: you know? And then if he does murder her, that
Speaker 3: means number one, he's got to hide his body well
Speaker 3: enough then nobody ever finds it. Number Two, he's got
Speaker 3: the car to the parking lot and then get back
Speaker 3: in time not to miss school the next day.
Speaker 1: But how do we know that he was in school? Well,
Speaker 1: I'm not sure if he was ever marked absent.
Speaker 3: But to be honest, I don't even know if the
Speaker 3: records were ever checked because because she said that.
Speaker 1: He was with her, but she could have easily changed
Speaker 1: her story to cover for him, which the witness logs
Speaker 1: made a strong case for. Plus, if Mick had bought
Speaker 1: her that new car, she registered the Jetta only a
Speaker 1: couple weeks later.
Speaker 3: Her parents said that he was at the house in
Speaker 3: the morning, So that means that he's now not only
Speaker 3: bought her silence and help, but also her parents.
Speaker 1: I just don't Yeah, no, that's too much. That's even
Speaker 1: if you don't really want to be recorded, I'd really
Speaker 1: love to talk. For the millionth time I tried to
Speaker 1: reach Anna and Willow's mom, Laney, I was worried what
Speaker 1: she might think now that the word was out publicly.
Speaker 1: I'd like to explain what I've been doing, because the
Speaker 1: stuff that's online right now is definitely not the whole story.
Speaker 1: And Laney's car, the car that Anna drove in nineteen
Speaker 1: ninety five was a nineteen eighty eight Toyota Ursoll Tudor white.
Speaker 1: My brother and everyone remembered. Anna and Willow called it Tony. Yeah,
Speaker 1: stick shift, I had like a beige interior. I remember.
Speaker 1: Tony wasn't found until December second after it was logged
Speaker 1: at the impound lot. When Maldonado and his team caught
Speaker 1: up with it, all they could do was search the
Speaker 1: car well, no signs of a struggle. Maldonado went over
Speaker 1: the car evidence with me the first time we sat
Speaker 1: down back when he was still talking with me. No notes,
Speaker 1: no blood. All we can do is bag what was
Speaker 1: inside that I had seen in the case file. You
Speaker 1: tell me what you want to see and I can
Speaker 1: go pull it from the lockers, bring it out here,
Speaker 1: long sleeve shirt, sandals, size six. The more important and
Speaker 1: more puzzling aspect of the car was when it had
Speaker 1: been parked. Understanding that was critical to confirm and mixed story.
Speaker 3: I mean, but there's no way he could have done
Speaker 3: all of this that night.
Speaker 1: The San Francisco Airport is at least an eighty minute
Speaker 1: drive from Sebastopol, Right, But you're assuming that the car
Speaker 1: definitely showed up at the Keelty lot on November first. Oh,
Speaker 1: you mean the pay through confusion. The car had been
Speaker 1: towed from the Keelty lot, where its fees had gone unpaid.
Speaker 1: That lot offered twenty four hours of parking for seven dollars,
Speaker 1: which side note that's mind bockling. Nowadays, the cheapest rate
Speaker 1: for twenty four hours is like forty five. Keelty was
Speaker 1: one of those off site parking companies. It was Bear Bones,
Speaker 1: just a lot. They had six lots, three by SFO
Speaker 1: and three by the Oakland Airport. The Franklin Avenue lot
Speaker 1: was uncovered with barely any infrastructure. They didn't have cameras
Speaker 1: or anything.
Speaker 6: Nope, no kidding. They didn't even have auto stamp tickets and.
Speaker 1: The cashier was only on site between the hours of
Speaker 1: six am and eight pm. In off duty hours, a
Speaker 1: person would fill out a self pay envelope and slide
Speaker 1: it into one of those metal lock boxes. They had
Speaker 1: two employees in the days after Halloween. Those guys also
Speaker 1: had shifts, and neither one of them checked the car ready,
Speaker 1: meaning Tony arrived after hours. To figure out when the
Speaker 1: car was parked, don Ado and his team could only
Speaker 1: work backwards from when it arrived at the impound lot. Well,
Speaker 1: they'd to any car after ten days in paid, but
Speaker 1: they did all their Tony at the end of the month,
Speaker 1: so all they had was the self pay envelope, and
Speaker 1: unfortunately that envelope was marked in a maddening way. There
Speaker 1: was a date eleven four written in black ink, and
Speaker 1: then three days written in blue Kelty. Attendants said they'd
Speaker 1: often write a notation on the envelope based on the
Speaker 1: information and the cash given, but no one claimed either
Speaker 1: the three days or the November four handwriting as their own.
Speaker 1: Can you explain the paid through thing super carefully? Just
Speaker 1: so we had yet here.
Speaker 3: Well, the initial assumption was that someone paid for three
Speaker 3: days and the eleven four was a date of expiration
Speaker 3: written down by an attendant, So Tony.
Speaker 1: Showed up early morning November first.
Speaker 8: But then, and this is really getting into the weeds.
Speaker 3: There is a good chance that whoever filled out the
Speaker 3: envelope put the date they pulled in rather than the
Speaker 3: date they paid through.
Speaker 1: This was a common occurrence, as Monica reported in The
Speaker 1: Press Democrat at the time, Kelty employees estimated that about
Speaker 1: quote a quarter of their customers misunderstood the instructions and
Speaker 1: would put the date of entry, allowing the amount of
Speaker 1: money inside to indicate when they were paid through. So right,
Speaker 1: the person could have meant it at a way which
Speaker 1: narrow is the likely window of Tony pulling into the
Speaker 1: lock to November first before six am, within eight hours
Speaker 1: of Anna last being seen, or sometime during the after
Speaker 1: hours of November fourth, twelve am to six am or
Speaker 1: eight pm to eleven to fifty nine pm. Nick is
Speaker 1: accounted for at both those times.
Speaker 6: November one, he's with our parents allegedly, sure.
Speaker 1: Yeah, allegedly.
Speaker 3: November four, he's interviewed by Malbonado in the morning, and.
Speaker 1: He joined the search party for Anna that afternoon. Bottom line,
Speaker 1: there was no time for him to be driving to
Speaker 1: San Francisco. It seemed like a dead end. Everything seemed
Speaker 1: like a dead end. And then I saw that Mick
Speaker 1: posted something on x It was an announcement for an event,
Speaker 1: a panel. It was called Breaking Through AI and the
Speaker 1: Future of Online Advertising, and in the list of featured
Speaker 1: panelists Mick Bowden from Jaylight Industries. He was going to
Speaker 1: be at the LA Convention Center in two days.
Speaker 6: Okay, please don't do anything.
Speaker 1: But it's open to the public. All I have to
Speaker 1: do is buy a ticket. And I think if he
Speaker 1: sees me in person, he can't avoid it anymore.
Speaker 6: Wait, and then he's just gonna have his bodyguards.
Speaker 2: Stop you.
Speaker 1: You think he has bodyguards. I don't know how rich
Speaker 1: is he. It's pretty rich, right, So either way, he
Speaker 1: could sue you.
Speaker 8: You can put you can ask to go to a
Speaker 8: retraining order against you.
Speaker 1: I knew what Monica would do. If you're not gonna
Speaker 1: go for this, then what are we doing? She'd go
Speaker 1: and confront him, just like she wanted me to confront
Speaker 1: Lachland and Greer. Plus, I was still thinking about my
Speaker 1: conversation with Indy DBT. You should help, you love to help.
Speaker 1: For the sake of my mental health, my family, and
Speaker 1: my actual career, I needed to take a break from
Speaker 1: and a trainer. I tried to move on, I really did,
Speaker 1: but then I went to see the producers of the film.
Speaker 1: I was supposed to be writing the ones that Chris
Speaker 1: helped me hold off. They wanted to have a drinks meeting,
Speaker 1: a chance to assure them that I was almost done
Speaker 1: with the script, that in reality I had maybe thirty
Speaker 1: pages written. Like a lot of LA meetings, I had
Speaker 1: to drive all the way to Beverly Hills and pay
Speaker 1: for parking, which usually means of ballet. I pulled up,
Speaker 1: left my car out front, and didn't think twice, okay, okay,
Speaker 1: I want. When I got home that night, Alex was
Speaker 1: on the couch watching TV. Can you can you come off? Okay?
Speaker 7: So you're what did they say?
Speaker 5: Oh?
Speaker 1: No, no, no, no, I wasn't the meeting It was fine,
Speaker 1: It was fine. Luckily the producers barely talked about the script.
Speaker 1: We got off on a tangent about Lord of the
Speaker 1: Rings that took up most of the time. It was
Speaker 1: the valet parking. When I came out to get my car,
Speaker 1: I saw the posted pricing. It was twenty four dollars, which,
Speaker 1: as suspected, is insanely high. But also I wondered why
Speaker 1: twenty four dollars? Why not twenty even or twenty five?
Speaker 1: They wouldn't take a credit card, right, okay, but they
Speaker 1: charged twenty four dollars, so what do you have.
Speaker 6: To do give them twenty four dollars.
Speaker 1: No, if you don't have any ones, you give them
Speaker 1: two twenties and they have to give you change. As
Speaker 1: I watched the guy counting out my change, it occurred
Speaker 1: to me this pricing was probably intentional because if they
Speaker 1: charged his twenty they wouldn't give any change. But by
Speaker 1: charging twenty four dollars, then you have somebody having to
Speaker 1: count out, and you're dealing with with ones and fives
Speaker 1: and tens, so it makes a tip more likely, right, yep, okay,
Speaker 1: which reminded me of the Celti lot where Anna's car
Speaker 1: was found, and they're pricing of seven dollars a day.
Speaker 1: They intentionally picked an uneven number, which is the sell
Speaker 1: so the self pay envelope where Anna's car was found.
Speaker 1: Jesus Christ, we're never getting back to normal life.
Speaker 8: Lally.
Speaker 1: When I woke up at five the next morning, the
Speaker 1: day of the breaking through panel, I didn't make tea
Speaker 1: and I didn't go to my computer to write. Instead,
Speaker 1: I loaded up my mics, my gear, and I got
Speaker 1: my car because mixed Alibi was no longer solid all right.
Speaker 1: I am parked on the street across from the LA
Speaker 1: Convention Center. It was still dark out. I had found
Speaker 1: a loading zone. Here's my thinking, which I ran by
Speaker 1: Monica from my car. We have no idea how much
Speaker 1: money was in the envelope, right, no, all right, but
Speaker 1: we know that Kelty can say they're unpaid for ten
Speaker 1: days at least by the end of November. So three
Speaker 1: days would be twenty one dollars. But what happens if
Speaker 1: you only have a twenty. You put in the twenty.
Speaker 1: You might write three days, hoping you'd have to write amount,
Speaker 1: but then realize you only have a twenty, and maybe
Speaker 1: you don't change what you wrote. You're hoping they let
Speaker 1: that one dollar slide and they give you the third day.
Speaker 1: But they don't. They find your envelope, they count your money.
Speaker 1: They mark down the expiration based on what you paid
Speaker 1: two days, which means the person who park in his
Speaker 1: car could have pulled in on November second, a day
Speaker 1: Mick is unaccounted for. Okay, a couple of subs just
Speaker 1: pulled up there go see uh Mick, Mick, Mick, Mick, No, no, sorry,
Speaker 1: I know. If there actually was a guy who looked
Speaker 1: like a bodyguard a Mick's It's right or strong from Sebastopol.
Speaker 1: I felt horrible. I felt like paparazzi, like TMZ, just
Speaker 1: the worst kind of gotcha journalism. But I had to
Speaker 1: remind myself I wasn't chasing down a Kardashian. And Mick
Speaker 1: heard me. He couldn't avoid it. Couldn't you talk to you?
Speaker 1: And I'm just trying to find out what happened to Anna.
Speaker 1: I'm not accusing you or of course, because that's bullshit. Okay, fine,
Speaker 1: if it is, then you have nothing to hide, right. Hey, look,
Speaker 1: I was Willow's best friend. Man, she never knew what
Speaker 1: happened to her sister. That's not my problem. Okay, Well, hey,
Speaker 1: what was Operation Dan go.
Speaker 8: Ju?
Speaker 1: Yes? Look no, look I had to tape and so
Speaker 1: did the cocks, So I know that you and Anna
Speaker 1: were planning something.
Speaker 6: Shit.
Speaker 1: Wait, let's talk about it, you know, let's let's sit down.
Speaker 1: Just stop stop. We are not doing this.
Speaker 5: Like this, Julie, please, okay, if you want to talk,
Speaker 5: you want to talk like a fucking person.
Speaker 1: Manda Man, great, happy to thank you, figured, thank you.
Speaker 1: I strongly suggest you consult with your net less legal council.
Speaker 1: He said, yes, it looks like it. The woman Nick
Speaker 1: put me in touch with Julie set up a time
Speaker 1: for an interview. Oh my god, though it was it
Speaker 1: was truly truly horrible. It was just the worst. Like
Speaker 1: nobody would even look me in the eye. It was like,
Speaker 1: you know, I'm just the most annoying little like a
Speaker 1: like a journalist. Yeah, I mean I.
Speaker 6: Remember your brother Shiloh was cool.
Speaker 1: Yeah, Mick met me at one of those generic rental offices.
Speaker 1: We work kind of space.
Speaker 5: You know, and you don't looking to care about the
Speaker 5: people from back then.
Speaker 1: That's that actually want another truth.
Speaker 6: That's the whole reason I wanted to do this. Oh,
Speaker 6: Julie is also recording this.
Speaker 1: Are you gonna okay? Yeah? Cool?
Speaker 2: Are you a lawyer?
Speaker 6: No?
Speaker 5: No, what do you think this is like some that
Speaker 5: position I'm in public relations for Jlight.
Speaker 1: I set aside about fifteen minutes for this.
Speaker 2: I might just interject, Okay, that's on schedule.
Speaker 5: This is going to record because we knew that this
Speaker 5: and make it sound like I said something I never said.
Speaker 6: I got my own coffee, fair enough, fair enough.
Speaker 1: Julie had her phone with a mic attached. I suddenly
Speaker 1: wished I had someone with me too. I felt outnumbered.
Speaker 1: Let's just start with some basic questions. But Mick wasn't playing.
Speaker 6: There was no case.
Speaker 1: Back then, There's no case now sure, but I guess, well, well,
Speaker 1: do you remember seeing me that night?
Speaker 6: Yes, of course, yes, you and her sister.
Speaker 1: Right, Willow. And there was Chris de Lectio, Ryan Connor,
Speaker 1: guy in the Phantom mask, right, yeah, he Phantom of
Speaker 1: the Coffee Shopper.
Speaker 5: Who came at me with a bat. Chris swung in
Speaker 5: my head took out my head light.
Speaker 1: Did we hit his car? Yeah? Yeah, I think I
Speaker 1: think that's right. I went back and checked with Connor
Speaker 1: and Chris. Now Willow told us that he had the
Speaker 1: your tape, right or did you just tell us to
Speaker 1: like damage his car? Man? I don't. I don't remember
Speaker 1: at all, honestly.
Speaker 6: I mean that's pretty simple, soul.
Speaker 1: Well, okay, but what I remember is that we were trying.
Speaker 6: To get you. Remember, those are the facts. That's what happened.
Speaker 6: Came at me with a bat, took up my head light.
Speaker 1: All right, Well, we were just trying to get into
Speaker 1: your car, so we weren't attacking you by any means.
Speaker 1: You were we were just trying to distract you. Okay, okay,
Speaker 1: let's uh, let's talk about the party that earlier. That night,
Speaker 1: you got into a fight with Anna. Multiple people have
Speaker 1: said that you guys were screaming at each other. So
Speaker 1: what were you fighting about?
Speaker 5: As I told the cops back then, I do not
Speaker 5: remember what the fight was about specifically.
Speaker 6: I do remember that she had been drinking a lot,
Speaker 6: which was a little common.
Speaker 5: I am not here to disparage Anna in any way.
Speaker 1: Even though she dumbed you dumb me, Yeah, I mean
Speaker 1: she was like she moved on. You know, she was
Speaker 1: sleeping around, She partied at the Earth.
Speaker 6: Remember that that had nothing to do with me.
Speaker 1: And you know, she had a reputation. Everybody knew what
Speaker 1: she was doing. And yet here you are. When she
Speaker 1: pages you, you're come and running right get let me.
Speaker 5: I was empathetic to hers that she was sure, Okay,
Speaker 5: she was in a tough spot. She did not have
Speaker 5: a father figure in her life. She was living with
Speaker 5: those feminazis. So yes, when she needed help, I would
Speaker 5: go out of my way to his.
Speaker 1: Sister, okay, because he loved her.
Speaker 5: I don't know what that even means. You know, when
Speaker 5: you're eighteen.
Speaker 1: You don't know what love means.
Speaker 6: I had a girlfriend at the time, yes, right.
Speaker 1: But you didn't say that at the time. You didn't
Speaker 1: call her your girlfriend. That's not what you said. Yeah,
Speaker 1: I can show you the transcript, okay, because this is
Speaker 1: this is actually kind of important. You were interviewed by
Speaker 1: Maldonado and he asked you, is she your girlfriend? And
Speaker 1: you said no, no, this is this is from the
Speaker 1: transcript from the Sheriff's department. And then she asks or
Speaker 1: he asks you, is she hot? You're like, not even
Speaker 1: not even hot? And then like why did you go
Speaker 1: to her house? And you're like, oh, she was there, right,
Speaker 1: that's what you said at the time. What does this
Speaker 1: have to do with anything?
Speaker 6: Well, you tell me, man, like, is this like some
Speaker 6: me too stuff?
Speaker 1: Oh my god, no.
Speaker 6: Yes, I think I think we're done here.
Speaker 1: Oh no, okay, So what did you do that night?
Speaker 1: Just tell me what you did?
Speaker 3: What happened?
Speaker 1: What's your version?
Speaker 6: I got a page.
Speaker 5: Yeah, I went to pick up Anna to help her again,
Speaker 5: she wasn't.
Speaker 1: There, and I left, And then you went to your house, yes,
Speaker 1: and then I went to not your girlfriend? And you
Speaker 1: don't even think is hot? Okay, and then two weeks later,
Speaker 1: she registers a new car. Did you buy her a
Speaker 1: new car?
Speaker 5: You think I bought a girl a car when I
Speaker 5: was eighteen?
Speaker 1: Well, listen, I got the tape from her. Okay, you
Speaker 1: know about this tape. It's the tape that Anna made
Speaker 1: for you.
Speaker 6: Okay, No, yeah, no, sorry, man, No, that's backwards.
Speaker 1: Okay, you had that completely, but you know what I'm
Speaker 1: talking about.
Speaker 5: I found that tape in my car when Anna left
Speaker 5: it with a bunch of her books and crap. And
Speaker 5: when I heard it, that's when I knew she was
Speaker 5: banging some older guy that takes not to me.
Speaker 1: She says your name, No, she does this, She yes
Speaker 1: my name, Yes she does, she says mickey.
Speaker 5: Okay, first of all, if someone called me mickey, they
Speaker 5: weren't doing it twice.
Speaker 1: All right, let's listen. I have it, I have it.
Speaker 1: I want to I want to play this for you.
Speaker 1: I had my computer with me and I played in
Speaker 1: the clip.
Speaker 5: Do it?
Speaker 1: You're my sailor you're yours.
Speaker 6: You're such an idiot. Okay, did you listen to the
Speaker 6: whole tape?
Speaker 1: Did you listen to it all? Because what she's no idea?
Speaker 1: How many times I've listened.
Speaker 5: Okay, she's using movie quotes throughout the entire thing.
Speaker 1: Okay, so from what True Romance? There's Killers, the killer movie.
Speaker 5: Natural Born Killers, right, Mickey, natural Born Killers.
Speaker 1: I suddenly knew what he was talking about. Mickey and
Speaker 1: Mallory Knox from Natural Born Killers, the Oliver Stone movie.
Speaker 1: She wasn't saying his name. It was a mashup of
Speaker 1: quotes and characters. Sailor was from Wild at Heart, Mickey
Speaker 1: from Natural Born Killers, and You're So Cool was from
Speaker 1: True Romance, all movies about passionate, doomed lovers were running
Speaker 1: off together and becoming criminals hitting the road. He really,
Speaker 1: Oh this is great. Now, I'm glad I came and
Speaker 1: did this.
Speaker 5: Look at you, you're freaking moron.
Speaker 1: Okay, it's not to me. It's some guys. She even
Speaker 1: says they're not the same age.
Speaker 5: I always said that she made that take for somebody else,
Speaker 5: an older guy.
Speaker 1: Okay, I don't know who he is. I told him
Speaker 1: to look at the call leaders, the teachers. There was
Speaker 1: that one freak, that creep of Jacob who ran that
Speaker 1: senior name. I feel like we said, they just keep
Speaker 1: talking to me.
Speaker 5: You went I'm sorry, You're just we're done, right, We're done,
Speaker 5: We're done, all right, Julie.
Speaker 1: Come on, was it really not to Mick?
Speaker 2: You said this thing last week? Said, oh, I'm glad
Speaker 2: you're sixteen at least, because I know it's because you
Speaker 2: just like want me to drive. But then it also
Speaker 2: can't be true that age doesn't matter, which, by the way,
Speaker 2: you say.
Speaker 1: It all the time, how would I miss this my
Speaker 1: big move, finding Mick in front of him? It was
Speaker 1: a complete waste. I did finally feel like a journalist,
Speaker 1: and I guess that means feeling alone, inconvenient and feeling
Speaker 1: like everyone, the law and the public are against you.
Speaker 1: But finally there was an upside to the podcast being
Speaker 1: public writer.
Speaker 8: It's leany trainor I wasn't to be honest, I didn't.
Speaker 1: Want to call you back. Huh.
Speaker 6: It's been I don't.
Speaker 8: Know, it's been years, decades, But it feels like nothing
Speaker 8: when when something like this for me, this is yesterday,
Speaker 8: You know, this is yesterday. I had Willow and Anna
Speaker 8: and yesterday I was kicked out of Maldonano's fucking office.
Speaker 1: You know that. They called me hysterical? Did you know that?
Speaker 8: And then years years trying to get them, anybody to
Speaker 8: listen to me. So when Monica put out that story, yes, yes, yes, yes,
Speaker 8: this is what I have been saying all along.
Speaker 1: They didn't want to do.
Speaker 6: Their jobs, they didn't want to find her. They just
Speaker 6: wanted it to go away.
Speaker 8: Anyways, I called Monica to thanker, and she said that
Speaker 8: I should talk to you, and that even if I
Speaker 8: didn't want to.
Speaker 1: Be recorded, that I should talk to you.
Speaker 6: So here I am calling.
Speaker 8: I'm in Colorado. I don't want to send anything through
Speaker 8: the mail.
Speaker 6: I'm not sending.
Speaker 8: Anything through the mail, but I have things.
Speaker 6: I have lots to show you, things you need to see. Okay,
Speaker 6: call me back, and I don't know.
Speaker 1: I had to go to Colorado. The Red Weather is
Speaker 1: an iHeart podcast hosted by writer Straw, sound engineering, editing
Speaker 1: and mixing by Bou milkis produced by Tess Bartholomey. Executive
Speaker 1: producers at iHeartRadio Trevor Young and Matt Frederick, Associate producer
Speaker 1: Bo milkis original score by Kyle Morton. If you're enjoying
Speaker 1: the show, please remember to leave a review in rating.
Speaker 1: Thanks for listening.