WEBVTT - 5 | Mick’s Tape

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<v Speaker 1>The Red Weather is a work of fiction. Any resemblance

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<v Speaker 1>to actual persons or events reflects the adaptation of real,

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<v Speaker 1>publicly available materials for creative and legal reasons. The content

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<v Speaker 1>of this podcast is the sole responsibility of Red Weather

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<v Speaker 1>LLC and does not reflect the views of responsibilities of

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<v Speaker 1>iHeartMedia or its affiliates. Previously on The Red Weather in

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<v Speaker 1>nineteen ninety five, my neighbor and a trainer disappeared from

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<v Speaker 1>a commune.

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<v Speaker 2>They looked at Mick.

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<v Speaker 3>He had somebody with him every step of the way,

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<v Speaker 3>and we know he was with you for the rest

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<v Speaker 3>of the night.

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<v Speaker 4>She full won't changed his story.

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<v Speaker 5>Suddenly she's dating Mick.

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<v Speaker 1>Oh so they dated for real though?

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<v Speaker 6>Yeah?

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<v Speaker 7>Six months.

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<v Speaker 1>Registered Harjenna on November eighteen, nineteen ninety five. So she

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<v Speaker 1>had a new car within two weeks. Yeah. But it's

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<v Speaker 1>not until this interview, which is her third one, that

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<v Speaker 1>she says that she was with Mick Boten.

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<v Speaker 2>Correct.

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<v Speaker 1>Let's talk about Moldinata.

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<v Speaker 4>You want to talk about how this guy can look

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<v Speaker 4>the other way when it comes to Mick. You got

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<v Speaker 4>to talk about his campaign the next year. Who paid

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<v Speaker 4>for that shit?

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<v Speaker 1>I knew about him?

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<v Speaker 2>A mixtape, A Haunted tape.

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<v Speaker 8>It was many and many a year ago in a

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<v Speaker 8>kingdom by the sea.

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<v Speaker 1>This is Anna Traynor's voice, which I hadn't heard in

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<v Speaker 1>thirty years. It's the infamous Haunted tape. It turns out

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<v Speaker 1>it's a mixtape that Anna made in nineteen ninety five.

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<v Speaker 1>So there's music, of course, songs like Sour Times by Portoishead,

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<v Speaker 1>songs she must have loved or felt compelled to share,

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<v Speaker 1>but also, like a lot of us did back then,

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<v Speaker 1>Anna recorded herself talking, and mostly she sounds like a

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<v Speaker 1>teenager intents. At times, like when she reads ed Garland Poe,

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<v Speaker 1>I was.

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<v Speaker 8>A child and she was a child in this kingdom

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<v Speaker 8>by the sea. But we loved with a love that

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<v Speaker 8>was more than love. I and my Annabelle Lee, with

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<v Speaker 8>a love that the winged serifs of heaven coveted her

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<v Speaker 8>and me.

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<v Speaker 1>Other times she's completely irreverent, like when she records herself

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<v Speaker 1>going through a drive through at McDonald's.

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<v Speaker 8>Yeah number two, no pickles, but a coke two cops.

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<v Speaker 9>Please, no, no, no, m.

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<v Speaker 6>It is so good. No no. Never mind that she

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<v Speaker 6>would drinks like a glass or wood or like not

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<v Speaker 6>even like a glasshoul drink like a bottle of wine

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<v Speaker 6>like every night, which is poison every day. Oh but

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<v Speaker 6>god forbid, I have a fucking Coca Cola. Well you

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<v Speaker 6>know what, Lany, this sons for you.

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<v Speaker 7>I'm gonna have to choco a little latte.

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<v Speaker 8>Wait one to chalk a little latte, talk a little

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<v Speaker 8>l that's you.

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<v Speaker 1>I have no idea what's going on here? Some kind

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<v Speaker 1>of in joke.

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<v Speaker 8>Wait that look on the lady's face.

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<v Speaker 3>I can believe you said that.

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<v Speaker 1>I can understand why the rumors started that this was

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<v Speaker 1>a voice from beyond the grave. There are moments that

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<v Speaker 1>feel eerie, especially not knowing what happened to her, Lucky,

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<v Speaker 1>I really do you. It felt like a window cracked

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<v Speaker 1>through time, a direct connection. I thought for sure it

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<v Speaker 1>would open up a whole new line of investigation, but

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<v Speaker 1>actually it had the opposite effect. I am actor and filmmaker,

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<v Speaker 1>right or strong? This is the red weather last week

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<v Speaker 1>had changed the way I was thinking about Anna's disappearance.

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<v Speaker 1>I was talking with Sheriff Maldonado, the lead investigator from

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<v Speaker 1>nineteen ninety five, and starting to wonder why he chose

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<v Speaker 1>to focus on some suspects and ignore others.

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<v Speaker 4>I know he got Crechateu story got Maldo to look

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<v Speaker 4>the other way.

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<v Speaker 1>And I had sat down with Sparks, an old acquaintance

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<v Speaker 1>who was convinced, convinced that Maldonado and the Sheriff's department

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<v Speaker 1>were thoroughly corrupt.

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<v Speaker 4>Isn't it a little bit weird that they obsess over

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<v Speaker 4>hippies in the woods and not the obvious boyfriend who

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<v Speaker 4>was all pissed because their girls sleeping around.

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<v Speaker 1>I kind of agreed. I got in the vibe that

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<v Speaker 1>Tender Hearts was a boogeyman for Maldonado. But why would

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<v Speaker 1>they wanted to not be Mick? Well, one reason might

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<v Speaker 1>be Mick's family. His dad, Thomas Boden, was an early

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<v Speaker 1>Microsoft investor back in the pre dot com boom. Mick

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<v Speaker 1>grew up on a big house with its own vineyard.

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<v Speaker 1>My brother remembers.

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<v Speaker 5>It, and it kind of stuck out like in the field. Yeah,

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<v Speaker 5>it was like open vineyards and then it's just this

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<v Speaker 5>big yeah like PLoP down. Yes, Well it's like that

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<v Speaker 5>faux like Italian Tuscan wannabe vibe.

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<v Speaker 6>You know.

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<v Speaker 5>So it's like just a huge it's a mansion, big

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<v Speaker 5>mansion house, but it's trying to like be like classy

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<v Speaker 5>at the same.

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<v Speaker 4>Time rich perfect football play. And yeah, stud, you.

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<v Speaker 1>Know Mick was rich on track. He already had early

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<v Speaker 1>acceptance to Stanford. In other words, Mike and his family

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<v Speaker 1>were good, upstanding folks, while Anna and the Tender Hearts

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<v Speaker 1>was a sleazy, creepy commune. But in real terms, Sparks

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<v Speaker 1>was sure that Mick's family had actually contributed to Maldonado's

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<v Speaker 1>campaign for County sheriff the next year.

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<v Speaker 4>Daddy promises Samullah. They half asked their investigation goes.

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<v Speaker 3>Away journalism one all one, follow the money.

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<v Speaker 1>That's Monica Tremblaine, the reporter who covered the case. So

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<v Speaker 1>when I was in there with the evidence, Maldonado did

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<v Speaker 1>this weird thing. I told her that Maldonado helped me

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<v Speaker 1>sneak photos at the Sheriff's department, which felt to me

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<v Speaker 1>like a sign of his corruptibility. No, I wouldn't read

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<v Speaker 1>too much into that. I mean, I have sources all

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<v Speaker 1>the time, back channel sources. So yeah, I guess you're right.

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<v Speaker 10>It's not like this one little move means that he's

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<v Speaker 10>a crooked cop.

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<v Speaker 2>I mean, but helping you, helping a lad, that's what

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<v Speaker 2>you want, right, Like, how do you think we got

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<v Speaker 2>the Pentagon papers Watergate?

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<v Speaker 1>I mean, as a journalist, that's the goal. I'm hardly

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<v Speaker 1>a journalist. What are you waiting for information? She said

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<v Speaker 1>she would look into the campaign contributions. All right, Well, really,

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<v Speaker 1>what we need to do is get a hold of Mike.

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<v Speaker 1>I had been trying to reach Mick from the moment

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<v Speaker 1>I started this podcast to no avail. I tried every

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<v Speaker 1>number I could find. Hi, is this luke No? I

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<v Speaker 1>even tried to track him down through his brother, who

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<v Speaker 1>had been a friend of mine for a brief moment

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<v Speaker 1>in second and third grade. Okay, sorry about that. Thanks,

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<v Speaker 1>And since our first sit down, Sparks was Mia, the

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<v Speaker 1>mailbox is full and cannot accept any messages at this time. Goodbye,

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<v Speaker 1>which was worrisome. If I was going to use any

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<v Speaker 1>of his information, I would need him. He's not getting

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<v Speaker 1>back to me either. My buddy Chris was the one

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<v Speaker 1>who connected me to Sparks in the first place. Well,

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<v Speaker 1>it's just shitty because he said so many things, and

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<v Speaker 1>you know, I can try and confirm this stuff, but

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<v Speaker 1>if I can't find him, I can't. It makes you

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<v Speaker 1>look bad. Monica had actually interviewed in the nineties. She

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<v Speaker 1>never went on record, but Monica still had her contact info.

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<v Speaker 1>Hey did you know she's a grandmother? Now what this

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<v Speaker 1>idea rocked my world? Yeah? I guess if she had

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<v Speaker 1>a kid when she was twenty or something. Oh, come out, writer,

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<v Speaker 1>it's not that crazy.

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<v Speaker 2>A lot of people have kids young.

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<v Speaker 1>The main feeling that this gave me was embarrassment. Here

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<v Speaker 1>I am running around with a microphone and trying to

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<v Speaker 1>call her about her teenage boyfriend, and she's a grandmother.

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<v Speaker 1>Her life had moved on in every way. Well, if

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<v Speaker 1>not me, then will she talk to you?

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<v Speaker 10>I don't think so. On record.

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<v Speaker 1>After my experience with Malton Otto and Thomas Greer, the

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<v Speaker 1>Sheriff's Department liaison, I was feeling more common with the

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<v Speaker 1>idea of reciprocity of making deals. Can you do me

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<v Speaker 1>a favor? Could you send her something and then ask

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<v Speaker 1>her again if she might talk to me. I was

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<v Speaker 1>talking about a copy of the transcript I had smuggled

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<v Speaker 1>out of the Violent Crimes Investigative Unit. I'd noticed something

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<v Speaker 1>from Mick's first conversation with Maldonado. And then this is

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<v Speaker 1>you asking about here?

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<v Speaker 10>Yeah?

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<v Speaker 1>Yeah, harsh I sent Monica a screenshot that I'd collected

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<v Speaker 1>with Maldonado's phone.

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<v Speaker 10>Oh naw, yeah right.

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<v Speaker 1>In their first interview, Maldonado wanted to know why Mick

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<v Speaker 1>was getting paged by Anna, and yet he spent the

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<v Speaker 1>night with you, and here's what he said. Maldonado asks,

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<v Speaker 1>so what about why are you showing up at her

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<v Speaker 1>place so late? Mick says, likes me. Maldonado asks, she's

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<v Speaker 1>your girlfriend, Mick. No, no, Maldonado says, so what a hookup?

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<v Speaker 1>She's Mick? Not even Maldonado says, not hot, Mick. She's there?

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<v Speaker 1>All right? Is there a guy like you? Has a

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<v Speaker 1>lot of these? I do all right? You score, I

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<v Speaker 1>do all right? This was a Mick that I.

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<v Speaker 10>Remembered, and maybe if she knew what Mick had said

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<v Speaker 10>to the cops might change her mind about talking to me.

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<v Speaker 10>You know, right, you're better at this than you think.

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<v Speaker 1>Two days later, Monica called me back, she's gonna talk

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<v Speaker 1>to me. No, she's not gonna talk to you.

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<v Speaker 3>But you know, Mick left something in her car years ago,

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<v Speaker 3>and that was.

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<v Speaker 1>How I got the mixtape. Monica didn't have a tape player,

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<v Speaker 1>but my parents did. In their garage. The day the

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<v Speaker 1>tape arrived, Monica had a trial she was covering, so

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<v Speaker 1>I met her in the parking lot outside the courthouse.

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<v Speaker 1>Believe it or not, this was our first time meeting

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<v Speaker 1>in person. Up until now, everything had been over zoom

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<v Speaker 1>on the phone. All right, finally zoom. Sorry I do

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<v Speaker 1>not have a tape player. Yeah no, yeah, would you?

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<v Speaker 1>I just my parents never threw anything away.

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<v Speaker 2>Yeah.

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<v Speaker 3>Look, I'm down to hear this, So give me an

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<v Speaker 3>update on this tape the second that you listen to

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<v Speaker 3>it will yeah, you never.

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<v Speaker 1>How to digitize it or whatever, and then I'll send

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<v Speaker 1>you topics. What's uh? What's this? I meant the trial

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<v Speaker 1>that's now murder? Oh really yep? Drugs death death drug

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<v Speaker 1>you know, doesn't get out.

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<v Speaker 3>Okay, gotta get back.

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<v Speaker 9>Recess is probably over.

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<v Speaker 10>Talk soon yeah yeah, okayay.

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<v Speaker 1>Thanks, thank you. I watched her hurry into the courthouse.

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<v Speaker 1>It was really hard for me to imagine her job

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<v Speaker 1>covering multiple cases, the crime beat in general. I was

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<v Speaker 1>only looking into one case, and I was overwhelmed. I

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<v Speaker 1>got home, dusted off my parents' old tape player, and

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<v Speaker 1>got it working. Anna's mix is one hundred and twenty

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<v Speaker 1>minutes and it's.

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<v Speaker 10>Full okay, but you have to listen to the whole thing.

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<v Speaker 11>You can't fast forward it.

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<v Speaker 1>Take The first song was Nick Cave's Red Right Hand,

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<v Speaker 1>which launches Anna into a rant about society.

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<v Speaker 7>I think you just like need it to be true

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<v Speaker 7>that like you like me and that I like you.

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<v Speaker 7>But it's not okay. It like isn't okay for society.

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<v Speaker 7>That's what I'm saying, So I say, fuck society.

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<v Speaker 1>Then there's the really unnerving presence of Concrete Lawns Tomorrow

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<v Speaker 1>Wendy with it's chorus.

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<v Speaker 8>And now for your listening pleasure, some more chick music.

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<v Speaker 1>Saints by the Breeders was a song I didn't know.

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<v Speaker 1>It definitely has a manic nineties energy. What she was

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<v Speaker 1>saying didn't make sense, but one thing was clear. It

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<v Speaker 1>put Mick front and center again.

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<v Speaker 8>You're may sailor you're my relife, Nicky, because you are

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<v Speaker 8>so cool.

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<v Speaker 1>I sent Monica a digital copy that I made by

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<v Speaker 1>running the line to my laptop. I was excited. It

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<v Speaker 1>felt like real progress. There was no way the Sheriff's

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<v Speaker 1>department wouldn't revisit Mick as a suspect now. But then

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<v Speaker 1>I mentioned sharing it with them to Monica.

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<v Speaker 3>Wait, no, no, no, no, no, no, don't do that.

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<v Speaker 1>I would not do that, not yet. What really, why writer,

0:13:36.200 --> 0:13:36.640
<v Speaker 1>you got.

0:13:36.480 --> 0:13:39.480
<v Speaker 3>A source telling you they buried this case. They're corrupt,

0:13:39.559 --> 0:13:40.679
<v Speaker 3>they took bribes.

0:13:40.720 --> 0:13:44.120
<v Speaker 1>Okay, well that's Maldonado maybe, but Lachlan, like.

0:13:44.640 --> 0:13:46.640
<v Speaker 3>They're gonna ask you where you got the tape.

0:13:48.120 --> 0:13:50.560
<v Speaker 1>Look, don't mention my name. Why not.

0:13:51.280 --> 0:13:54.600
<v Speaker 3>I've earned your trust. I gave you the tape because

0:13:54.640 --> 0:13:57.440
<v Speaker 3>she told me that was all right. She chose not

0:13:57.559 --> 0:13:59.800
<v Speaker 3>to turn it into the cops for thirty years.

0:14:00.160 --> 0:14:01.719
<v Speaker 1>But they told me that if there's new evidence that

0:14:02.000 --> 0:14:04.720
<v Speaker 1>could they could open up the case. You believe them,

0:14:05.600 --> 0:14:08.120
<v Speaker 1>you want that? Well maybe?

0:14:08.280 --> 0:14:08.480
<v Speaker 4>Yeah.

0:14:08.600 --> 0:14:10.960
<v Speaker 1>The greer, the guy, the liaison that they put me,

0:14:11.040 --> 0:14:15.600
<v Speaker 1>he loves me. He's like he's actually ridiculously he's a fan.

0:14:16.480 --> 0:14:19.760
<v Speaker 3>Oh wow, Okay, look, don't fall for that.

0:14:19.960 --> 0:14:22.760
<v Speaker 1>Okay, these are not your friends.

0:14:23.200 --> 0:14:27.160
<v Speaker 3>Every cop, every team, law enforcement team that I have

0:14:27.240 --> 0:14:29.800
<v Speaker 3>worked with, given a choice between something that makes them

0:14:29.800 --> 0:14:31.160
<v Speaker 3>look bad and the truth.

0:14:32.160 --> 0:14:35.320
<v Speaker 1>They never choose the truth. The more I thought about it,

0:14:35.520 --> 0:14:39.880
<v Speaker 1>I didn't feel right not sharing evidence, so I didn't

0:14:39.920 --> 0:14:52.200
<v Speaker 1>heed her advice. I wish I had the day I

0:14:52.200 --> 0:14:54.640
<v Speaker 1>got Anna's tape, I listened to it three times all

0:14:54.680 --> 0:15:01.320
<v Speaker 1>the way through. There was this girl, You'll Be a

0:15:01.320 --> 0:15:05.800
<v Speaker 1>Woman Soon, which was from the pulp fiction soundtrack Pearl

0:15:05.880 --> 0:15:09.800
<v Speaker 1>Jam's Daughter. There was some of the hip hop that

0:15:09.880 --> 0:15:13.360
<v Speaker 1>everyone listened to in Sebastopol at the time Diggable Planets

0:15:13.600 --> 0:15:18.200
<v Speaker 1>tribe called Quest. The one that really brought me back

0:15:18.360 --> 0:15:22.520
<v Speaker 1>personally was a song by Annie DiFranco out of Range.

0:15:22.920 --> 0:15:27.600
<v Speaker 1>The second that opening riff started, a memory rushed in Willow,

0:15:28.080 --> 0:15:31.120
<v Speaker 1>cranking the song up while we drove around, bouncing and

0:15:31.400 --> 0:15:34.120
<v Speaker 1>thrashing in her seat the way that only teenagers can do.

0:15:35.440 --> 0:15:37.920
<v Speaker 1>Willow must have been introduced to Anno DiFranco by her sister.

0:15:39.880 --> 0:15:41.720
<v Speaker 1>Some of the most interesting parts of the mix are

0:15:41.760 --> 0:15:45.280
<v Speaker 1>when Anna included movie clips. I remember doing this too.

0:15:46.040 --> 0:15:48.800
<v Speaker 1>The audio is terrible. She must have been holding her

0:15:49.040 --> 0:15:57.400
<v Speaker 1>recorder right up to the TV world Clown's stupid Jetty.

0:15:58.920 --> 0:16:01.680
<v Speaker 9>Day And for me, it's a civil mind.

0:16:01.720 --> 0:16:11.560
<v Speaker 5>Individuality in malawis the personal freedom.

0:16:08.880 --> 0:16:13.800
<v Speaker 1>Asshole that's from Wild at Heart. And this, of course

0:16:13.840 --> 0:16:15.760
<v Speaker 1>I Keebo's singing from My Day.

0:16:16.600 --> 0:16:17.560
<v Speaker 5>He and they had to fit it.

0:16:17.800 --> 0:16:19.920
<v Speaker 2>Since Kim was ten years old and the name came

0:16:20.000 --> 0:16:20.800
<v Speaker 2>in alongside of.

0:16:20.800 --> 0:16:24.760
<v Speaker 1>The trays so called, which I recognized from bad Lands,

0:16:24.800 --> 0:16:27.920
<v Speaker 1>one of my favorite movies. All in all, Anna had

0:16:28.000 --> 0:16:32.480
<v Speaker 1>good taste, and apparently Nick did not. On this tape.

0:16:32.520 --> 0:16:37.040
<v Speaker 8>There will be no Billy Joel, Fuck the Eagles, Fuck

0:16:37.120 --> 0:16:39.600
<v Speaker 8>Hotel California, Fuck your dad's music.

0:16:40.000 --> 0:16:42.840
<v Speaker 1>This is how she talks to him a lot, taunting him,

0:16:42.880 --> 0:16:43.720
<v Speaker 1>teasing him.

0:16:44.280 --> 0:16:45.040
<v Speaker 8>Is this torture?

0:16:45.520 --> 0:16:46.320
<v Speaker 3>What does it hurt?

0:16:46.320 --> 0:16:48.040
<v Speaker 8>Does it make you want to cut your ear off?

0:16:48.720 --> 0:16:51.040
<v Speaker 1>And if you caught that? That's the first of many

0:16:51.360 --> 0:16:52.880
<v Speaker 1>Vincent van goh references.

0:16:53.240 --> 0:16:56.040
<v Speaker 8>Get used to it because I'm picking all the music

0:16:56.120 --> 0:17:00.240
<v Speaker 8>in Operation van go I'm gonna make you camp. You're

0:17:00.240 --> 0:17:00.920
<v Speaker 8>gonna hate it.

0:17:01.320 --> 0:17:03.160
<v Speaker 1>She even reads from a book at one point. It's

0:17:03.200 --> 0:17:04.200
<v Speaker 1>an encyclopedia.

0:17:04.280 --> 0:17:04.680
<v Speaker 11>I guess.

0:17:05.320 --> 0:17:08.880
<v Speaker 8>Vincent van Gogh was a Dutch painter whose vivid colors

0:17:08.960 --> 0:17:12.560
<v Speaker 8>and expressive fresh work blah blah blah blah, love okay here.

0:17:13.119 --> 0:17:17.320
<v Speaker 8>Van go suffered from severe emotional and psychological problems and

0:17:17.440 --> 0:17:21.119
<v Speaker 8>died in France the age of thirty seven. Thirty seven,

0:17:21.840 --> 0:17:25.080
<v Speaker 8>severe emotional and psychological problems. That's what happens when you

0:17:25.160 --> 0:17:28.919
<v Speaker 8>let society tell you how to feel, which, by the

0:17:28.920 --> 0:17:31.880
<v Speaker 8>way you do it, you do it all the time

0:17:32.160 --> 0:17:32.879
<v Speaker 8>because you're scared.

0:17:33.400 --> 0:17:35.400
<v Speaker 1>All in all, it sounds like she and Mick had

0:17:35.400 --> 0:17:36.840
<v Speaker 1>a pretty strange dynamic.

0:17:37.680 --> 0:17:38.080
<v Speaker 8>Everyone.

0:17:38.119 --> 0:17:39.119
<v Speaker 11>Thanks, you're the man, but.

0:17:40.240 --> 0:17:42.159
<v Speaker 1>I need you.

0:17:46.480 --> 0:17:50.400
<v Speaker 11>And here's why.

0:17:51.000 --> 0:17:54.520
<v Speaker 1>And this is really fucked up about you and your brain.

0:17:56.400 --> 0:17:58.119
<v Speaker 10>You like it when I mean to you.

0:18:03.160 --> 0:18:06.560
<v Speaker 1>There's no way the Sheriff's department wouldn't find this helpful.

0:18:07.800 --> 0:18:15.000
<v Speaker 1>I called my liaison, Thomas Greer, mister Hunter. Yeah, also

0:18:15.119 --> 0:18:17.919
<v Speaker 1>seemingly could only think of me as the guy from

0:18:18.000 --> 0:18:21.119
<v Speaker 1>Boy Meets World. Dunt, dunt, dun. Do you remember that

0:18:21.200 --> 0:18:24.159
<v Speaker 1>Halloween episode which was better than Lachlan who had openly

0:18:24.200 --> 0:18:27.080
<v Speaker 1>dismissed me as an actor? With a podcast like a

0:18:27.119 --> 0:18:32.760
<v Speaker 1>cassette mm hmm old school, Yeah, it's it's got songs

0:18:32.800 --> 0:18:35.600
<v Speaker 1>and then she has movie clips, but she also talks

0:18:35.640 --> 0:18:39.120
<v Speaker 1>a lot to Mick. I was surprised, though, by Greer's

0:18:39.160 --> 0:18:40.760
<v Speaker 1>reaction to the tape. And how do you know it's

0:18:40.760 --> 0:18:44.080
<v Speaker 1>from the real girl, the Hannah? Yeah? Well, I mean

0:18:44.119 --> 0:18:46.720
<v Speaker 1>I don't know for sure, but yeah it's her. I

0:18:46.720 --> 0:18:51.000
<v Speaker 1>mean it's and who gave it to you? I'd rather

0:18:51.720 --> 0:18:56.160
<v Speaker 1>if can I keep that confidential? You know it's your

0:18:56.200 --> 0:19:00.440
<v Speaker 1>tape you called me, But it does doesn't mean that

0:19:00.520 --> 0:19:03.280
<v Speaker 1>much unless it's real. No, it's definitely, I mean it's

0:19:03.280 --> 0:19:05.439
<v Speaker 1>it's a direct source. I thought he would have been

0:19:05.440 --> 0:19:06.000
<v Speaker 1>more excited.

0:19:06.160 --> 0:19:10.440
<v Speaker 7>All right, well, uh, why don't you bring it over

0:19:10.600 --> 0:19:12.200
<v Speaker 7>and we'll give it a listen.

0:19:15.440 --> 0:19:21.240
<v Speaker 1>Hi, this is for Thomas Queer. Yeah, I can take that.

0:19:21.600 --> 0:19:23.960
<v Speaker 1>The next morning, I dropped the tape off and Greer

0:19:24.160 --> 0:19:26.399
<v Speaker 1>didn't even come out to get it. I left it

0:19:26.440 --> 0:19:29.119
<v Speaker 1>at the front desk and I met Monica for lunch.

0:19:31.960 --> 0:19:34.000
<v Speaker 1>We met at the Pine Cone Diner and went over

0:19:34.080 --> 0:19:38.560
<v Speaker 1>the tear answer right, I mean, yeah, I don't. It's

0:19:38.560 --> 0:19:42.880
<v Speaker 1>not like I remember her voice perfectly, but it totally fits,

0:19:43.320 --> 0:19:45.720
<v Speaker 1>even though I have no idea what she's talking about

0:19:45.720 --> 0:19:49.320
<v Speaker 1>half the time, more like all his van.

0:19:49.240 --> 0:19:52.000
<v Speaker 10>Go stuff this idea, Yeah, I have no idea.

0:19:52.040 --> 0:19:54.000
<v Speaker 1>The fact that Anna had made this tape for Mick

0:19:54.080 --> 0:19:56.399
<v Speaker 1>and that he'd never brought it forward was not a

0:19:56.400 --> 0:19:59.320
<v Speaker 1>good look for him. But then I have to be

0:19:59.320 --> 0:20:01.760
<v Speaker 1>careful because I went into doing this podcast with a

0:20:01.800 --> 0:20:05.400
<v Speaker 1>chip on my shoulder. Nick Bowden, going all the way

0:20:05.400 --> 0:20:08.199
<v Speaker 1>back to when we were kids, was I don't know

0:20:08.200 --> 0:20:11.720
<v Speaker 1>how to put this delicately not my favorite person. He

0:20:11.840 --> 0:20:15.159
<v Speaker 1>was arrogant, condescending. I was friends with his brother for

0:20:15.160 --> 0:20:17.280
<v Speaker 1>a little bit, and I remember going over to the

0:20:17.320 --> 0:20:20.560
<v Speaker 1>house and Mick would torture us, lock us in a room.

0:20:20.760 --> 0:20:23.080
<v Speaker 1>He was just a dick. Yeah, I just remember him

0:20:23.160 --> 0:20:26.840
<v Speaker 1>just always, yeah, just being a dickhead. Chris in particular,

0:20:26.960 --> 0:20:29.720
<v Speaker 1>was picked on relentlessly by Mick and his friends. Chris

0:20:29.760 --> 0:20:32.400
<v Speaker 1>was a goofy, funny kid with a slightly off sense

0:20:32.440 --> 0:20:35.680
<v Speaker 1>of humor, exactly the kind of kid someone like Mick

0:20:35.720 --> 0:20:39.320
<v Speaker 1>would target. He'd strut around everywhere he went, anywhere he

0:20:39.359 --> 0:20:43.560
<v Speaker 1>went like he owned the place, which maybe served him well.

0:20:44.760 --> 0:20:47.359
<v Speaker 1>Christmas came early for Monster Clicks this week, when the

0:20:47.359 --> 0:20:50.080
<v Speaker 1>new startup was acquired by Pullman Hendrix in a deal

0:20:50.160 --> 0:20:52.200
<v Speaker 1>reportedly in the three to five. Mick did the smart

0:20:52.280 --> 0:20:55.400
<v Speaker 1>Northern California thing and moved into tech out of Stanford.

0:20:55.800 --> 0:20:58.119
<v Speaker 1>He was part of that first dot com boom. He

0:20:58.160 --> 0:21:00.800
<v Speaker 1>sold an ad integration company in two two thousand and two,

0:21:01.240 --> 0:21:04.600
<v Speaker 1>and apparently that sold to a bigger company, which sold

0:21:04.640 --> 0:21:06.960
<v Speaker 1>to a bigger company, and on and on. Do you

0:21:07.000 --> 0:21:09.720
<v Speaker 1>have any idea how much he's worried? It's a lot

0:21:10.359 --> 0:21:13.520
<v Speaker 1>I mean this one. He just invests. He does very

0:21:13.560 --> 0:21:17.439
<v Speaker 1>well with his investment firm, Jaylight. You know he started

0:21:17.480 --> 0:21:21.880
<v Speaker 1>off rich, Yeah, it must be nice, and you said

0:21:21.880 --> 0:21:24.320
<v Speaker 1>that is if you were in a different situation.

0:21:25.960 --> 0:21:29.080
<v Speaker 3>I was really.

0:21:30.440 --> 0:21:35.280
<v Speaker 1>Yeah, my dad was a firefighter, my mom like Tom

0:21:35.359 --> 0:21:38.680
<v Speaker 1>class at the JC, and you were on TV as well,

0:21:39.160 --> 0:21:44.240
<v Speaker 1>so working Okay. This was one of the first times

0:21:44.320 --> 0:21:46.440
<v Speaker 1>I got a sense of how good Monica is at

0:21:46.440 --> 0:21:51.359
<v Speaker 1>her job. She was comfortable with conflict and not in

0:21:51.440 --> 0:21:55.120
<v Speaker 1>an aggressive way. She would just let a moment sit there.

0:21:55.600 --> 0:21:57.640
<v Speaker 9>I was just confused because she said must be nice,

0:21:57.720 --> 0:21:59.800
<v Speaker 9>like you wouldn't make We're in totally different world.

0:22:01.000 --> 0:22:09.920
<v Speaker 1>Well, I I grew up in Oakland, so Bronse Park. Yeah,

0:22:09.960 --> 0:22:14.000
<v Speaker 1>that's that is different. We had spent the last few

0:22:14.040 --> 0:22:18.680
<v Speaker 1>weeks talking obsessively about my childhood and my friends, and

0:22:18.760 --> 0:22:22.040
<v Speaker 1>yet I didn't even know if Monica was married or

0:22:22.119 --> 0:22:28.480
<v Speaker 1>had kids. Before I could ask, she moved right on, yeah, mixed.

0:22:28.560 --> 0:22:33.040
<v Speaker 1>Dad he died. But I do still think it might

0:22:33.040 --> 0:22:37.679
<v Speaker 1>be worth checking out those contributions for right okay right

0:22:37.760 --> 0:22:40.520
<v Speaker 1>the ninety six campaign, she was pounding on her phone.

0:22:40.640 --> 0:22:43.480
<v Speaker 1>It looked like she was writing four different stories at once,

0:22:43.760 --> 0:22:45.880
<v Speaker 1>so I'm gonna go to the registrar in person because

0:22:45.880 --> 0:22:49.040
<v Speaker 1>there's nothing digital, and if that does not work, check

0:22:49.080 --> 0:22:52.359
<v Speaker 1>with the FPPC. She sucks glove.

0:22:52.760 --> 0:22:55.720
<v Speaker 3>Legally they're supposed to respond in ten days, but you

0:22:55.720 --> 0:22:56.720
<v Speaker 3>you see, all it works.

0:22:56.760 --> 0:23:01.000
<v Speaker 2>So okay.

0:23:01.160 --> 0:23:05.800
<v Speaker 1>I paid the bill with sparks off the grid, the

0:23:05.880 --> 0:23:08.720
<v Speaker 1>tape with the Sheriff's department, and having interviewed most of

0:23:08.760 --> 0:23:11.320
<v Speaker 1>my family and friends already, I started to feel like

0:23:11.359 --> 0:23:15.800
<v Speaker 1>I should probably head home. How's Indie? I called my wife, Alex.

0:23:16.280 --> 0:23:17.399
<v Speaker 7>Oh, he he's.

0:23:17.280 --> 0:23:20.919
<v Speaker 11>Okay, you know, already crying about having to do the

0:23:20.920 --> 0:23:25.000
<v Speaker 11>conservatory on Saturday, even though yet it's five days away.

0:23:25.200 --> 0:23:26.920
<v Speaker 1>Alex had been holding down the fort back at home

0:23:26.920 --> 0:23:29.360
<v Speaker 1>for almost three weeks now. She's in the business too,

0:23:29.600 --> 0:23:32.040
<v Speaker 1>and like most of us these days, she's a multi

0:23:32.080 --> 0:23:35.720
<v Speaker 1>hyphen it writer, director, producer, actor. When you're married and

0:23:35.760 --> 0:23:38.399
<v Speaker 1>both of you work this way where everything is freelance,

0:23:38.920 --> 0:23:42.160
<v Speaker 1>you have to take turns. Whoever's got a job, whoever's

0:23:42.160 --> 0:23:44.879
<v Speaker 1>got a project. The other one becomes a single parent.

0:23:45.640 --> 0:23:49.120
<v Speaker 1>And the truth was going back to my hometown and

0:23:49.160 --> 0:23:52.479
<v Speaker 1>looking into Anna's case was a little different. Not an

0:23:52.560 --> 0:23:56.239
<v Speaker 1>actual job. She would never say so but I was

0:23:56.400 --> 0:24:01.360
<v Speaker 1>pretty sure Alex's patience was wearing thin been able to right. No,

0:24:01.840 --> 0:24:04.359
<v Speaker 1>I was supposed to be writing a script, an actual job.

0:24:04.560 --> 0:24:07.440
<v Speaker 1>It was due in a matter of weeks, but I

0:24:07.480 --> 0:24:09.840
<v Speaker 1>hadn't even written a word yet. I know, I know

0:24:10.160 --> 0:24:13.160
<v Speaker 1>you think I should come home. I don't say that, no,

0:24:13.240 --> 0:24:14.960
<v Speaker 1>but I can. I can feel it.

0:24:16.720 --> 0:24:19.280
<v Speaker 11>It just that is a job that you have, right,

0:24:19.840 --> 0:24:22.359
<v Speaker 11>I know you're supposed to be writing. That's all you

0:24:22.400 --> 0:24:25.400
<v Speaker 11>ever want to do is write, and you're not doing that.

0:24:27.440 --> 0:24:28.720
<v Speaker 1>It's fine, I'll come home.

0:24:28.800 --> 0:24:31.480
<v Speaker 10>I mean, there's nothing happening here and I can't just

0:24:31.600 --> 0:24:32.520
<v Speaker 10>keep sitting around.

0:24:33.520 --> 0:24:38.159
<v Speaker 1>Right then, though, an email came through. Oh wait, I

0:24:38.200 --> 0:24:40.560
<v Speaker 1>actually just got a note from the Sheriff's office.

0:24:40.800 --> 0:24:42.680
<v Speaker 10>Can you come in and meet me at nine am tomorrow?

0:24:43.400 --> 0:24:45.640
<v Speaker 1>Yeah, I guess.

0:24:45.480 --> 0:24:52.439
<v Speaker 10>They listened to the tape.

0:24:53.600 --> 0:24:56.240
<v Speaker 1>The next morning, I went to the building and waited

0:24:56.240 --> 0:24:58.879
<v Speaker 1>to see Greer. I couldn't wait to hear his thoughts

0:24:58.920 --> 0:25:02.280
<v Speaker 1>on the tape. Finally, I was no longer begging for

0:25:02.400 --> 0:25:06.040
<v Speaker 1>access or evidence or a return phone call. The Sheriff's

0:25:06.040 --> 0:25:11.720
<v Speaker 1>department was taking me seriously. And this is really painful

0:25:11.760 --> 0:25:15.520
<v Speaker 1>to admit, But while I sat there, I actually had

0:25:15.680 --> 0:25:18.919
<v Speaker 1>a fantasy. I mean, I know it's ridiculous, but I

0:25:18.920 --> 0:25:22.480
<v Speaker 1>couldn't help it. It was me embedded with Greer and

0:25:22.520 --> 0:25:25.639
<v Speaker 1>a team of cops, like a swat team, I guess,

0:25:26.000 --> 0:25:29.320
<v Speaker 1>And I'd have my mike and my headphones, so I'm

0:25:29.440 --> 0:25:32.080
<v Speaker 1>recording audio while we jumped out of the vans and

0:25:32.680 --> 0:25:36.720
<v Speaker 1>marched into this big office building. It's jaylight, mixed company,

0:25:37.200 --> 0:25:41.320
<v Speaker 1>shock faces of employees. Mick protested while Greer cuffed him,

0:25:41.320 --> 0:25:45.760
<v Speaker 1>and then Mick would catch my eye. But then, while

0:25:46.000 --> 0:25:48.600
<v Speaker 1>waiting in the lobby, I got a text from Monica.

0:25:49.280 --> 0:25:53.600
<v Speaker 1>It said Sparks may have been right. I texted her

0:25:53.600 --> 0:25:59.560
<v Speaker 1>back about what She replied with three dollar bills follow

0:25:59.640 --> 0:26:13.040
<v Speaker 1>the money. I called Monica back from the lobby.

0:26:13.440 --> 0:26:13.560
<v Speaker 6>Right.

0:26:13.680 --> 0:26:16.720
<v Speaker 3>There are two contributions to the nineteen ninety six Maldonado campaign.

0:26:17.320 --> 0:26:22.520
<v Speaker 3>These two companies, Free Flow and Overture Holdings. Thomas Bolden

0:26:22.600 --> 0:26:23.520
<v Speaker 3>was on the board for both.

0:26:23.720 --> 0:26:27.880
<v Speaker 1>That would be mixed. Dad, Well, jesus, I'm walking into

0:26:27.920 --> 0:26:29.600
<v Speaker 1>Greer right now.

0:26:29.640 --> 0:26:30.040
<v Speaker 6>Strong.

0:26:30.280 --> 0:26:32.800
<v Speaker 1>Wait, is he gonna let you were born? Yeah?

0:26:32.840 --> 0:26:35.600
<v Speaker 3>Okay, well then well you got to ask him about this,

0:26:35.840 --> 0:26:37.400
<v Speaker 3>just get his response in real time.

0:26:37.600 --> 0:26:40.560
<v Speaker 1>No, I'm not sure. I can do that write a

0:26:40.680 --> 0:26:43.880
<v Speaker 1>strong Yeah, no, I got I gotta go, I gotta.

0:26:43.640 --> 0:26:44.040
<v Speaker 7>Go forget it.

0:26:44.960 --> 0:26:47.639
<v Speaker 1>When Greer walked me down the hallway, I tried to

0:26:47.640 --> 0:26:49.720
<v Speaker 1>give him something that I had found at my parents'

0:26:49.720 --> 0:26:53.879
<v Speaker 1>house while digging out the tape player. Hey, so I

0:26:53.960 --> 0:26:57.879
<v Speaker 1>guess what I found? M what's this? It was a

0:26:57.880 --> 0:27:00.920
<v Speaker 1>Boy Meets WorldScript from the nineties. My parents had kept

0:27:00.920 --> 0:27:05.920
<v Speaker 1>a box of them, and I thought he'd appreciate it. Oh,

0:27:06.400 --> 0:27:10.760
<v Speaker 1>uh cool, Yeah, I can sign.

0:27:10.680 --> 0:27:11.639
<v Speaker 7>For you if you.

0:27:13.960 --> 0:27:14.320
<v Speaker 8>Come on in.

0:27:16.080 --> 0:27:18.719
<v Speaker 1>We walked into a bare room with a metal table.

0:27:19.359 --> 0:27:21.280
<v Speaker 1>Sheriff Grace Laughlan was waiting.

0:27:21.760 --> 0:27:21.920
<v Speaker 11>Hi.

0:27:22.359 --> 0:27:25.280
<v Speaker 1>Oh hi, yeah, nice to meet. Take a seat. Was

0:27:25.359 --> 0:27:30.160
<v Speaker 1>this an interrogation room? I sat down for your state standing.

0:27:30.359 --> 0:27:32.560
<v Speaker 1>They got right to the tape, but not in the

0:27:32.560 --> 0:27:33.359
<v Speaker 1>way that I hoped.

0:27:33.520 --> 0:27:37.399
<v Speaker 9>Yeah, it's uh, compelling stuff. But see here here's the

0:27:37.440 --> 0:27:41.400
<v Speaker 9>real thing. It's a serious chain of custody issue.

0:27:42.200 --> 0:27:43.200
<v Speaker 1>How what does that mean?

0:27:43.920 --> 0:27:46.399
<v Speaker 9>You hand over a tape but you won't tell us

0:27:46.400 --> 0:27:47.080
<v Speaker 9>who gave it to you.

0:27:48.040 --> 0:27:52.520
<v Speaker 1>Oh yeah, well, I I'm sorry. Does that even matter?

0:27:53.560 --> 0:27:56.000
<v Speaker 5>I mean, it's if it's real, it matters.

0:27:56.280 --> 0:27:59.440
<v Speaker 1>Well, it's definitely real. Well, come on, writer, you're an actor.

0:28:00.040 --> 0:28:03.159
<v Speaker 9>You make movies, right for a living, you're working with

0:28:03.200 --> 0:28:03.960
<v Speaker 9>audio equipment.

0:28:04.440 --> 0:28:07.959
<v Speaker 1>Okay, Well, then can you it's like tested?

0:28:08.200 --> 0:28:10.439
<v Speaker 9>I mean, I'm sure, yeah, yeah, we have a forensic

0:28:10.480 --> 0:28:14.399
<v Speaker 9>scheme processing it. But I uh, I don't understand the

0:28:14.440 --> 0:28:15.320
<v Speaker 9>hesitation here?

0:28:16.280 --> 0:28:17.919
<v Speaker 1>What hesitating it?

0:28:17.920 --> 0:28:18.879
<v Speaker 4>Tell us where you got it?

0:28:19.160 --> 0:28:20.640
<v Speaker 9>So can you tell us the name of the person

0:28:20.680 --> 0:28:21.080
<v Speaker 9>who give you this?

0:28:22.119 --> 0:28:24.880
<v Speaker 1>I'm sorry? Right, So they just they want to remain.

0:28:25.080 --> 0:28:28.080
<v Speaker 9>You see how that's not helping us help you. You

0:28:28.119 --> 0:28:29.159
<v Speaker 9>said you have a new witness.

0:28:29.160 --> 0:28:32.639
<v Speaker 1>Who's that? I I okay? And that I can if

0:28:32.840 --> 0:28:34.480
<v Speaker 1>with that one, I can get back to you, you know,

0:28:34.520 --> 0:28:36.760
<v Speaker 1>probably in a couple of days. I just I need

0:28:36.800 --> 0:28:37.720
<v Speaker 1>to get his Okay.

0:28:38.320 --> 0:28:42.040
<v Speaker 9>We're all for journalists, obviously, we invited you in here, right,

0:28:42.240 --> 0:28:45.560
<v Speaker 9>we're letting you record right now. All we want is

0:28:45.600 --> 0:28:47.760
<v Speaker 9>more eyes and ears on any case. We want everyone

0:28:47.800 --> 0:28:49.920
<v Speaker 9>to come forward, tell us, tell us what they know.

0:28:51.200 --> 0:28:51.680
<v Speaker 2>Okay.

0:28:52.080 --> 0:28:54.040
<v Speaker 1>But then this wasn't just about me.

0:28:54.360 --> 0:28:58.640
<v Speaker 9>We heard you've been talking to Monica Tremaline. H You

0:28:58.720 --> 0:28:59.920
<v Speaker 9>know her history, right.

0:29:00.800 --> 0:29:03.000
<v Speaker 1>She's got a bit of a reputation for what.

0:29:04.600 --> 0:29:08.960
<v Speaker 9>She has had to retract more than one story published,

0:29:09.000 --> 0:29:12.520
<v Speaker 9>some things before she gets all the facts, and then

0:29:12.560 --> 0:29:16.400
<v Speaker 9>other times not publishing things, not sharing information that could help.

0:29:16.880 --> 0:29:19.520
<v Speaker 1>If you listen, you can hear my phone going crazy.

0:29:19.680 --> 0:29:20.760
<v Speaker 9>Do you need to get that.

0:29:20.960 --> 0:29:22.880
<v Speaker 2>No.

0:29:22.880 --> 0:29:25.719
<v Speaker 9>No, we're the ones who can solve this case. We

0:29:25.800 --> 0:29:29.400
<v Speaker 9>have the people, we have the resources. We are the professionals,

0:29:29.440 --> 0:29:31.360
<v Speaker 9>not Monica Trimbling, not you.

0:29:33.120 --> 0:29:36.360
<v Speaker 1>It does sound like you're going to reopen the case.

0:29:36.720 --> 0:29:39.360
<v Speaker 1>When I asked that, they looked at one another.

0:29:40.360 --> 0:29:44.239
<v Speaker 9>If we verify the tape, then it could move up

0:29:44.240 --> 0:29:47.520
<v Speaker 9>the chain and career. He'll put it on his active rotation.

0:29:49.200 --> 0:29:54.160
<v Speaker 9>But we need full transparency. Anything you find, any information

0:29:54.680 --> 0:29:57.600
<v Speaker 9>you have, anybody that comes forward, that's yeah.

0:29:57.760 --> 0:30:01.600
<v Speaker 1>Of course I'd walked into this building with this fantasy

0:30:01.920 --> 0:30:04.600
<v Speaker 1>that I would help crack the case and join the

0:30:04.640 --> 0:30:08.840
<v Speaker 1>SWAT team take down a criminal. And I'd love to

0:30:08.880 --> 0:30:11.720
<v Speaker 1>tell you that this was the moment that I did

0:30:11.720 --> 0:30:16.880
<v Speaker 1>the right thing, did the bold thing. But unlike Monica,

0:30:17.200 --> 0:30:23.040
<v Speaker 1>I am incredibly uncomfortable with conflict. It turns out I

0:30:23.080 --> 0:30:27.800
<v Speaker 1>am just an actor with a podcast. So I didn't

0:30:27.800 --> 0:30:30.160
<v Speaker 1>tell them how I got the tape. I didn't tell

0:30:30.160 --> 0:30:33.400
<v Speaker 1>them about the pager I found. I didn't mention sparks,

0:30:33.880 --> 0:30:37.760
<v Speaker 1>and I didn't confront them on the campaign contributions.

0:30:38.280 --> 0:30:39.200
<v Speaker 11>You didn't say anything.

0:30:39.640 --> 0:30:40.680
<v Speaker 1>Monica wasn't happy.

0:30:41.040 --> 0:30:42.600
<v Speaker 10>No, I mean they wanted to know where we got

0:30:42.600 --> 0:30:43.240
<v Speaker 10>the tape.

0:30:44.240 --> 0:30:46.080
<v Speaker 1>You have to push back, Well.

0:30:46.360 --> 0:30:48.680
<v Speaker 10>I mean maybe eventually. I'm right now, I'm not in

0:30:48.680 --> 0:30:50.600
<v Speaker 10>the position. I don't feel like I'm the right person

0:30:50.640 --> 0:30:51.240
<v Speaker 10>to do that.

0:30:51.320 --> 0:30:54.080
<v Speaker 1>Right. If you're not gonna go for this, then what

0:30:54.120 --> 0:30:54.680
<v Speaker 1>are we doing?

0:30:54.920 --> 0:30:58.640
<v Speaker 10>Okay, well, I will go for it. I'm just right now,

0:30:59.120 --> 0:31:01.040
<v Speaker 10>you know, I want to get all the information. I'm

0:31:01.160 --> 0:31:04.080
<v Speaker 10>looking at these people and they're they're helping me. They're

0:31:04.240 --> 0:31:06.040
<v Speaker 10>probably going to reopen the case, and I'm looking at them,

0:31:06.080 --> 0:31:07.640
<v Speaker 10>so I don't want to No.

0:31:07.640 --> 0:31:10.320
<v Speaker 1>You're just you're tiptoeing around. You're just not trying to

0:31:10.320 --> 0:31:12.800
<v Speaker 1>piss anybody off. Well, yeah, why should I have?

0:31:12.880 --> 0:31:14.520
<v Speaker 10>I don't, you know, I don't want to piss them

0:31:14.560 --> 0:31:15.520
<v Speaker 10>off unnecessarily.

0:31:16.840 --> 0:31:18.080
<v Speaker 1>But they're not your friends.

0:31:18.600 --> 0:31:21.080
<v Speaker 10>Okay, I know, but they might be reopening the case, right,

0:31:21.400 --> 0:31:23.400
<v Speaker 10>and if I pissed them off, then they don't talk

0:31:23.440 --> 0:31:25.720
<v Speaker 10>to me. That nobody wins in that scenario.

0:31:27.040 --> 0:31:30.720
<v Speaker 1>Writer, You've only been doing this for a few weeks now, right.

0:31:31.280 --> 0:31:35.560
<v Speaker 1>They have had this case for thirty years, and you

0:31:35.720 --> 0:31:37.440
<v Speaker 1>have done more on it than they have.

0:31:39.960 --> 0:31:41.800
<v Speaker 6>Doesn't that tell you everything you need to know?

0:31:42.920 --> 0:31:48.160
<v Speaker 1>All right, I'm off like I left my parents and

0:31:48.240 --> 0:31:56.680
<v Speaker 1>drove back to LA that day. Yeah, guys, I listened

0:31:56.720 --> 0:31:59.920
<v Speaker 1>to Anna's mix on the way, justifying the fact that

0:32:00.080 --> 0:32:05.000
<v Speaker 1>I hadn't confronted Lachlan and career. I'm not a journalist,

0:32:05.280 --> 0:32:08.760
<v Speaker 1>I'm not a detective. Maybe I'd done some good, kicked

0:32:08.800 --> 0:32:11.960
<v Speaker 1>over a few stones, and I found the tape. Hopefully

0:32:12.560 --> 0:32:15.360
<v Speaker 1>they would reopen Anna's case. I could go home, get

0:32:15.360 --> 0:32:18.560
<v Speaker 1>back to my writing job while they looked into it more.

0:32:23.640 --> 0:32:23.920
<v Speaker 11>Well.

0:32:24.360 --> 0:32:27.560
<v Speaker 1>And this idea that the Sheriff's department might be corrupt

0:32:27.760 --> 0:32:31.160
<v Speaker 1>or had been corrupt, that was important, of course, but

0:32:32.120 --> 0:32:36.200
<v Speaker 1>was it my battle. Monica's the professional. She could keep digging.

0:32:36.480 --> 0:32:39.120
<v Speaker 1>If she found something solid well, then she could bring

0:32:39.160 --> 0:32:43.240
<v Speaker 1>it to me or her editors or whomever, and maybe

0:32:43.240 --> 0:32:47.600
<v Speaker 1>get something published. Turns out Monica didn't have to wait

0:32:47.640 --> 0:32:52.440
<v Speaker 1>for me or anyone. Like most writers these days, Monica

0:32:52.520 --> 0:32:55.320
<v Speaker 1>runs her own sub stack, and by the time I

0:32:55.360 --> 0:32:59.520
<v Speaker 1>woke up, the news had already broken and Missing Person's

0:32:59.520 --> 0:33:02.680
<v Speaker 1>investigation from nineteen ninety five. Okay, whenever reviews come out

0:33:02.720 --> 0:33:05.120
<v Speaker 1>for something that I've worked on, I have Alex read

0:33:05.160 --> 0:33:08.000
<v Speaker 1>it first. For some reason, it feels better to have

0:33:08.040 --> 0:33:12.000
<v Speaker 1>a human buffer. I did that with Monica's article too.

0:33:13.280 --> 0:33:15.560
<v Speaker 11>It's about contributions to a campaign.

0:33:15.720 --> 0:33:18.080
<v Speaker 1>Oh she put it all in there.

0:33:18.800 --> 0:33:21.800
<v Speaker 11>Sure for Robert Maldonado did not respond to call, of.

0:33:21.720 --> 0:33:26.560
<v Speaker 1>Course, not for a moment, one brief shining moment. I

0:33:26.600 --> 0:33:29.320
<v Speaker 1>hope that Monica might have put this out there without

0:33:29.360 --> 0:33:29.920
<v Speaker 1>involving me.

0:33:30.280 --> 0:33:32.680
<v Speaker 11>The allegations came to light because right Or Strong, the

0:33:32.760 --> 0:33:35.320
<v Speaker 11>actor best known for his role in Boyman's World, has

0:33:35.360 --> 0:33:39.320
<v Speaker 11>been revisiting the case for a podcast.

0:33:38.600 --> 0:33:42.840
<v Speaker 1>Shit, and suddenly this project, before I'd even finished editing

0:33:42.920 --> 0:33:46.640
<v Speaker 1>my very first episode, was out in the world, and

0:33:46.680 --> 0:33:49.600
<v Speaker 1>I had a bad feeling it was not going to

0:33:49.640 --> 0:34:03.680
<v Speaker 1>make things easier. That day, the deluge messages and emails,

0:34:03.840 --> 0:34:07.360
<v Speaker 1>news outlets wanting comments and stuff like this happens anybody

0:34:07.400 --> 0:34:11.080
<v Speaker 1>who represents me, or ever once represented me, starts fielding

0:34:11.120 --> 0:34:15.480
<v Speaker 1>requests old agents from when I was still acting, publicists

0:34:15.560 --> 0:34:18.960
<v Speaker 1>I worked with years ago. Anywhere somebody can find contact

0:34:19.000 --> 0:34:22.239
<v Speaker 1>info for me, they try. And the whole morning I

0:34:22.320 --> 0:34:25.800
<v Speaker 1>watched phone calls come in from unknown numbers. But then

0:34:26.000 --> 0:34:28.840
<v Speaker 1>there was one that I recognized, and I knew I

0:34:28.840 --> 0:34:29.799
<v Speaker 1>had to answer.

0:34:29.880 --> 0:34:32.160
<v Speaker 9>Well, congratulations, you've got the clicks.

0:34:32.360 --> 0:34:33.800
<v Speaker 10>No, I had no idea.

0:34:33.840 --> 0:34:35.520
<v Speaker 1>It wasn't ever anything that I was in. None of

0:34:35.560 --> 0:34:37.400
<v Speaker 1>this means right, This makes it harder.

0:34:37.840 --> 0:34:40.360
<v Speaker 9>This is exactly why we need to control the flow

0:34:40.400 --> 0:34:41.120
<v Speaker 9>of information.

0:34:41.239 --> 0:34:42.960
<v Speaker 6>This is the kind of thing that we cannot have.

0:34:43.040 --> 0:34:46.080
<v Speaker 1>I tried to explain myself to distance myself from Monica,

0:34:46.239 --> 0:34:47.879
<v Speaker 1>but I could barely get a word in.

0:34:47.920 --> 0:34:49.640
<v Speaker 9>Okay, look, I don't need the state and the district

0:34:49.640 --> 0:34:51.600
<v Speaker 9>attorney suddenly banging on my all. We were trying to

0:34:51.640 --> 0:34:54.000
<v Speaker 9>help you, and now we're fielding conspiracy theories.

0:34:54.040 --> 0:34:55.560
<v Speaker 1>I know, and I appreciate your help.

0:34:55.600 --> 0:34:58.759
<v Speaker 9>And I aponoized Robert Maldonado to no longer speak with you,

0:34:58.840 --> 0:35:01.240
<v Speaker 9>and officer career is under orders to keep us for control.

0:35:04.360 --> 0:35:07.520
<v Speaker 1>At that point, I was cut out of the case,

0:35:08.800 --> 0:35:11.840
<v Speaker 1>no more access to the evidence or the sheriff's office.

0:35:14.040 --> 0:35:16.959
<v Speaker 1>I thought this was it, that there was no way

0:35:17.000 --> 0:35:20.760
<v Speaker 1>I could put anything together without help or new leads,

0:35:20.840 --> 0:35:24.880
<v Speaker 1>without more evidence. I didn't realize that my biggest breakthrough,

0:35:25.040 --> 0:35:28.399
<v Speaker 1>what I really needed to push the case forward. I'd

0:35:28.400 --> 0:35:45.680
<v Speaker 1>already heard it was right there on the tape. The

0:35:45.719 --> 0:35:48.880
<v Speaker 1>Red Weather is an iHeart podcast hosted by River Strong.

0:35:49.280 --> 0:35:52.640
<v Speaker 1>Sound engineering, editing and mixing by Bou milkis produced by

0:35:52.719 --> 0:35:57.480
<v Speaker 1>Tess Bartholomey. Executive producers at iHeartRadio Trevor Young and Matt Frederick.

0:35:57.760 --> 0:36:04.440
<v Speaker 1>Associate producer Beau milkis original score by Kyle Morten. If

0:36:04.440 --> 0:36:06.520
<v Speaker 1>you're enjoying the show, please remember to leave a review

0:36:06.560 --> 0:36:08.000
<v Speaker 1>and rating. Thanks for listening.