February 13, 2026 • 39 mins
Kelty charged $7 for 24 hours. What if you only have a twenty? That's how they get ya.
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Speaker 1 (00:02):
The Red Weather is a work of fiction. Any resemblance
to actual persons or events reflects the adaptation of real,
publicly available materials for creative and legal reasons. The content
of this podcast is the sole responsibility of Red Weather
LLC and does not reflect the views of responsibilities of
iHeartMedia or its affiliates. Previously on The Red Weather.
Speaker 2 (00:23):
Everyone thanks, you're the man, but I make you me.
Speaker 1 (00:29):
This is Anna Traynor's voice. It's the infamous haunted tape.
Speaker 2 (00:33):
I do remember we found her car down south of
here that pushed us in the in the runaway direction.
Speaker 3 (00:38):
Even if Nick managed to meet up with Anna, then
murder her couldn't have getten rid of the body and
driven her car all the way to SFO. Isn't it
a little bit weird that they obsess over hippies in
the woods and not the obvious boyfriend.
Speaker 1 (00:51):
Who was all pissed because their girls sleeping around. Daddy
promises some moolah.
Speaker 2 (00:55):
They half asked their investigation it goes.
Speaker 3 (00:58):
Away, you're supposed to be writing, It's fine, I'll come
home right. There are two contributions to the nineteen ninety
six Maldonado campaign. These two companies Thomas Bolden was on
the board for both Okay, look, I don't need the
state and the District Attorney sudden banging on right.
Speaker 1 (01:11):
We were trying to help you, iponoized Robert Maldonado to
no longer speak with you, and Officer Greer is under
orders to keep his work internal.
Speaker 4 (01:24):
Indie Strong, Oh they don't eat fish food. Actually.
Speaker 1 (01:29):
Maybe it's not surprising that my son, Indy loves to
act and sing. He is, after all, the child of
two performers.
Speaker 4 (01:35):
Oh they don't eat fish food actually, But is this
nected line?
Speaker 1 (01:45):
Based on my experience, the kids that really thrive as
actors are the ones who do it for its own sake,
not because they want to be famous. So we've limited
Indie's acting to classes and plays. But then after he
appeared on a few episodes of my podcast, we were
approached by a voiceover agent.
Speaker 4 (02:02):
It changed, Oh, they don't eat fish food, actually, Nope,
they eat.
Speaker 1 (02:11):
Get out of the way here. Now he's a working
voiceover actor and we got auditions about once a week.
Indy loves it for the most part, but he's still
a kid, and sometimes he just doesn't want to audition.
Just stand out, please, Indy, come on please, Oh yeah,
hold on, hold on, if we just focus, I know,
but do you uh do you want me to read
(02:32):
the other lines? Is that going to help you? What
do you want me to read the other lines?
Speaker 5 (02:37):
No?
Speaker 1 (02:37):
Okay? Well, how did mom do the auditions while while
I was gone? Because you had like, I'm not doing that?
You were gone for so long? No? No, why didn't
I go? Well, I was, I was working. We wouldn't
have been able to hang.
Speaker 4 (02:49):
Out doing the podcast about the girl?
Speaker 1 (02:51):
Yeah, she was your friend? Yeah, well her sister was.
What happened?
Speaker 6 (02:57):
Well, that's that's what I'm trying to figure out.
Speaker 4 (02:59):
Your friend a sister?
Speaker 1 (03:01):
What's your name?
Speaker 7 (03:03):
Did I meet her?
Speaker 5 (03:05):
No?
Speaker 1 (03:06):
I mean I think there was one fourth of July
that she might have been. I don't remember.
Speaker 4 (03:09):
She died?
Speaker 1 (03:11):
Yeah? Wow, uh she was you know, she was a
very unhappy. Can we get back to this. She was
just a very unhappy person.
Speaker 4 (03:19):
She killed herself.
Speaker 1 (03:20):
Yeah, that's it.
Speaker 4 (03:25):
Yeah, and you never knew what happened to her sister.
Speaker 1 (03:29):
No, that's that's while I was gone for those two weeks.
I'm trying to look into this. But come on, can
we just focus on this and do.
Speaker 4 (03:36):
This Why did you stop?
Speaker 1 (03:38):
It's complicated, buddy. There are lots of people who don't
want me doing this.
Speaker 4 (03:41):
Are they bad people?
Speaker 8 (03:42):
Well?
Speaker 1 (03:43):
I think so. You know, there's just I don't know.
There's so many reasons, Dad. You should help.
Speaker 4 (03:52):
You have to help, that's the right thing.
Speaker 1 (03:58):
After this conversation, I couldn't decide if Indy was being
naive or brave. I mean, he was definitely coming from
a place of innocence, but there's different meanings there. Right,
you can be innocent as in foolish immature, or you
can be innocent as in pure and honest, not corrupted
(04:19):
by cynicism, by a world where powerful people get to
do what they want and ignore questions. He was right,
I should help, but I didn't know what that meant anymore.
I am actor and filmmaker, right strong, This is the
red weather way to take someone's tragedy and make it
(05:30):
all about you. Writer. Now that it was public that
this podcast was happening, social media posts and comments weighed in,
Oh this is my favorite. This is a vanity project
of a washed up child actor. I knew my wife
was right, but I couldn't help but think there might
be something useful in here since none of the podcast
was released, though most of the comments were just about
(05:51):
the irresponsibility of true crime and personal attacks on me,
which hurt, of course, but I tried to put my
own feelings aside and be optimistic. Maybe, just maybe the
attention might help. Now that it was public, someone might
come forward with information or want to get involved. But
now it had the opposite effect. This is strong.
Speaker 5 (06:13):
My name is Jury Dunenfeld.
Speaker 6 (06:15):
I am an attorney with Warren Tolan and Shapiro. You
should have received a letter from my office. Use certified mail.
Speaker 1 (06:21):
I had. From the letter, your podcast appears poised to
make unfounded and damaging claims about our client that would
be Mick. Such claims, if broadcast, may constitute defamation under
current statute. Basically a cease and assist. All in all,
it felt like the universe was telling me to sit
down and shut up. I had been shut out of
(06:43):
any official reopening of the case, assuming there was one
by Grace Laughlin, the current Sonoma County Sheriff. Please record
your message.
Speaker 5 (06:51):
When you have finished recording, you may hang up.
Speaker 2 (06:54):
Hi.
Speaker 1 (06:54):
Sheriff Maldonado. It's writer and Sheriff Maldonado, who led the
case in nineteen ninety five, also wasn't returning my calls.
I am still making the podcast, and I wanted you
to know, for me to hear it directly that I
have been in touch with Monica Tremblaine a few times.
But you know, I'm working on my own here. I'm
(07:18):
making progress. I felt compelled to distance myself for Monica
because she had decided to publish information about contributions to
Maldonado's nineteen ninety six campaign for sheriff. In my opinion, prematurely.
Speaker 3 (07:31):
It's not like I stopped them or anything. The most
that I can do as a citizen is file a
damn for your report.
Speaker 1 (07:39):
And that's what you did. That's how you that's you
already did that. Yeah, so we could get the full
campaign records.
Speaker 3 (07:46):
Yeah, it's not about anything legal or an investigation into
the Sheriff's department. That's that's up to the attorney general.
Speaker 1 (07:52):
Okay, okay, No, I just you know I started out,
I'm trying to make a podcast. I'm trying to solve
this thing, and I feel like, uh, we were getting
somewhere with them with their help, Hi.
Speaker 3 (08:07):
Writer, if they really cared about Anna and if they
wanted to solve this cold case, they would have welcomed
the transparency, wouldn't they want to know where shit went wrong.
Speaker 1 (08:17):
It was still hard for me to believe that Maldonado
in particular would go from helping me as much as
he did to completely ignoring me.
Speaker 3 (08:25):
They should be like opening up their doors to you,
to us, but instead, the minute that you brought up
Mick Bowden, a multi millionaire, sound up a multimillionaire.
Speaker 1 (08:34):
Guess what they did. They turned on you. That was true.
Mick could become the main person of interest in Anna's
disappearance because of the mixtape.
Speaker 5 (08:45):
So.
Speaker 4 (08:50):
Of course I didn't keep my day when they.
Speaker 1 (08:53):
Had a fit.
Speaker 8 (08:54):
Scin Kid was ten years old and the name came
in alongside the tracks so called.
Speaker 1 (08:59):
The tape had songs movie clips from Wild at Heart
and bad Lands, and then Anna talked directly to Mick,
he can do it. I can do it.
Speaker 2 (09:08):
You're my sailor, You're my real life nickey because you
are so cool.
Speaker 1 (09:16):
It was so intimate and implied a connection between the
two of them that was powerful, secretive, romantic, which is
never how I thought about them. I started this podcast
thinking Mick was against Anna, that he had this revenge
porn plan that got derailed that night by me and
my friends, that he was driven by jealousy and possessiveness.
(09:36):
But hearing the tape, I had to consider that he
and Anna were actually really in love and maybe that
motivated him. Maybe his parents didn't want him to be
with her. Maybe he was dating this new girl but
had gotten back together with Anna and didn't know what
to do. Was Anna like really into art? No, I
don't think so.
Speaker 6 (09:55):
I have no memory of that.
Speaker 1 (09:56):
I checked in with my buddy Chris, who had started
this podcast with me. I didn't think so either. But
it's really weird because on the tape she keeps talking
about Van Go.
Speaker 6 (10:06):
I don't know, dude.
Speaker 7 (10:07):
Here's the more important question, how's the feature coming?
Speaker 1 (10:11):
Don't ask? I had been hired to write a horror
script for a production company out of Austin, and at
this point my draft was weeks behind. Luckily, Chris thought
he could help buy me some time.
Speaker 6 (10:21):
Well, I'll call David. I'll call David.
Speaker 1 (10:24):
David was Chris's agent who had actually introduced me to
the producers in the first place.
Speaker 7 (10:28):
He reps those guys at least Stephen from Gearhyes, oh my.
Speaker 1 (10:32):
God, Yes do you think do you think David could
hold them off?
Speaker 6 (10:36):
Yeah?
Speaker 7 (10:36):
I think you need to get your ass writing. But yes,
if David comes at them with writers going through it,
he's going through trauma, his old friend killed herself, trauma, trauma, trauma.
Speaker 6 (10:47):
They'll catch you some slack. Yeah, I'm him. I'll call her.
Speaker 1 (10:50):
God, thank you, thank you so much.
Speaker 6 (10:52):
Man.
Speaker 7 (10:52):
You're a tortured artist and that's why they want you
to write their script and not some hack.
Speaker 6 (10:57):
But enough with the torture.
Speaker 1 (10:59):
You don't need any more to on your torture plate.
My wife couldn't agree more. Nope, can't hear that again.
She put a moratorium on listening to Anna's mix. But
it's not bad music, to the point, I don't need
to hear it over and over again. It's not like
the four hundred and fifty fourth time you're going to
(11:19):
hear something new. I still wanted to know what Anna
was talking about on the tape, so why don't you
write down what she says? It was actually a good idea.
I found software that transcribed everything, including the lyrics to
all the songs. I now had a full text file,
a readable and searchable version of the tape. I wanted
(11:43):
to read the song lyrics. I kept thinking Anna chose
these songs for a reason, which is a big assumption.
I know some people don't care about lyrics at all.
It doesn't matter what a song is sane, if it's
got a groove, that's the way alex is. Hold on,
just listen to this one song because I think this
one's important.
Speaker 8 (12:01):
Where myself go Nope, nope, not into it?
Speaker 1 (12:06):
Okay, fine, but what is it about?
Speaker 5 (12:09):
I don't care.
Speaker 1 (12:10):
I can't get past the music. But I knew she
liked pearl Jam, which Anna had included. She put Daughter
on here by Pearl Jam. You like that song? I do, Okay,
what's it about?
Speaker 2 (12:20):
Okay?
Speaker 8 (12:21):
Well my interpretation and you know, stay with me here.
Speaker 1 (12:26):
I think it's about a daughter. But I couldn't help it.
I kept thinking of the mix as a direct expression
from Anna, like her own soundtrack, the musical of her life.
So like, did she listen to Daughter and think of
her mom? Laney? I know That's how I thought of
(12:48):
music when I was a teenager, especially if I made
a mix for someone. If I included a song, it
was because it expressed something I wanted to say to them,
or wanted them to understand about my life. I was
locked into being my mother's daughter. I was just eating
bread and water. I read the lyrics to Annie DeFranco's
song out of Range to Alex, thinking nothing ever changes,
and I was shocked to see the mistakes of each
(13:11):
generation will just fade like a radio station if you
drive out of range. She just doesn't want to become
her mom exactly, and she wants she has to get
away from her would I mean, but it's so ironic
because Anna's mom is part of this progressive group of
women living out in the woods, and yet here she
is listening to this song about an abusive relationship and escaping.
(13:36):
All of that is total speculation. And like my wife,
you might think I was getting a little obsessive. What fuck?
I said, a new schedule of waking up at five
am to get some work done before I took Indy
to school. I drag myself out of bed, make a
pot of green tea, and sit at my computer try
to only think about what I had to write. Inevitably,
(13:58):
I would find myself with my headphones on listening to
the mix. As it turned out, one morning around six am.
Maybe it was the four hundred and fifty fourth time
I did find something. Okay, I was reading along while
listening and there's this section.
Speaker 2 (14:21):
Get used to it because I'm picking all the music.
Speaker 1 (14:24):
In Operation van Go. I'm gonna make you camp.
Speaker 2 (14:28):
You're gonna hate it.
Speaker 1 (14:29):
Did you hear that I'm gonna make you camp? And
she called it Operation van Go, Like van Go wasn't
about the artist, but a code name for something, and
then it clicked. The movie clips she included bad Lands,
Wild at Heart. These were movies where two lovers got
into a car and ran away. All this van Go
stuff wasn't about the artists. It's literally the words themselves.
(14:52):
It's a code operation to go, maybe maybe even get
in a van and go. The mixtape was evidence Anna
did want to run away, that she and Mick were
planning some of great escape, which meant it was time
for me to confront one of the most confounding aspects
of Anna's disappearance, the Kelty parking lot. This is why
(15:26):
he kept a secret. I called Monica that day. It's
literally a tape where she's talking about her and Mick
running off together. The theory is she paged him. He
picked her up that night, Yes, and they start Operation Mago.
But then something was wrong, or maybe she didn't even
want to leave in the first place. He could have
(15:47):
backed out, yes, and things turned violent or I mean,
actually maybe not. Maybe they just split up and she
really did run off and he brought her to her
car and then she just drove herself took a Keelty wall.
For all these years, the clearest indication that Anna had
run away has been the fact that her car, technically
her mom's car, but the one she used, was found
(16:08):
in a parking lot near the San Francisco Airport. Anna
or someone had driven the car to the Keelty parking
lot on Franklin Avenue, only a few miles from SFO,
to fly away, or if someone had murdered her to
make it look like she had flown away. There was
no plane ticket bought under Anna's name, no flight record,
but in nineteen ninety five, domestic flights rarely checked ideas
(16:30):
buying a plane ticket in cash under a pseudonym was
entirely possible. I have some problems here, as usual. Monica
didn't hold back.
Speaker 3 (16:38):
First of all, if Nick didn't murder her and he
just decided not to go run away with her, why
not just say that, why not come forward to that,
you know? And then if he does murder her, that
means number one, he's got to hide his body well
enough then nobody ever finds it. Number Two, he's got
the car to the parking lot and then get back
(16:58):
in time not to miss school the next day.
Speaker 1 (17:01):
But how do we know that he was in school? Well,
I'm not sure if he was ever marked absent.
Speaker 3 (17:06):
But to be honest, I don't even know if the
records were ever checked because because she said that.
Speaker 1 (17:12):
He was with her, but she could have easily changed
her story to cover for him, which the witness logs
made a strong case for. Plus, if Mick had bought
her that new car, she registered the Jetta only a
couple weeks later.
Speaker 3 (17:25):
Her parents said that he was at the house in
the morning, So that means that he's now not only
bought her silence and help, but also her parents.
Speaker 1 (17:32):
I just don't Yeah, no, that's too much. That's even
if you don't really want to be recorded, I'd really
love to talk. For the millionth time I tried to
reach Anna and Willow's mom, Laney, I was worried what
she might think now that the word was out publicly.
I'd like to explain what I've been doing, because the
stuff that's online right now is definitely not the whole story.
(17:54):
And Laney's car, the car that Anna drove in nineteen
ninety five was a nineteen eighty eight Toyota Ursoll Tudor white.
My brother and everyone remembered. Anna and Willow called it Tony. Yeah,
stick shift, I had like a beige interior. I remember.
Tony wasn't found until December second after it was logged
at the impound lot. When Maldonado and his team caught
(18:17):
up with it, all they could do was search the
car well, no signs of a struggle. Maldonado went over
the car evidence with me the first time we sat
down back when he was still talking with me. No notes,
no blood. All we can do is bag what was
inside that I had seen in the case file. You
tell me what you want to see and I can
go pull it from the lockers, bring it out here,
(18:37):
long sleeve shirt, sandals, size six. The more important and
more puzzling aspect of the car was when it had
been parked. Understanding that was critical to confirm and mixed story.
Speaker 3 (18:51):
I mean, but there's no way he could have done
all of this that night.
Speaker 1 (18:54):
The San Francisco Airport is at least an eighty minute
drive from Sebastopol, Right, But you're assuming that the car
definitely showed up at the Keelty lot on November first. Oh,
you mean the pay through confusion. The car had been
towed from the Keelty lot, where its fees had gone unpaid.
That lot offered twenty four hours of parking for seven dollars,
which side note that's mind bockling. Nowadays, the cheapest rate
(19:16):
for twenty four hours is like forty five. Keelty was
one of those off site parking companies. It was Bear Bones,
just a lot. They had six lots, three by SFO
and three by the Oakland Airport. The Franklin Avenue lot
was uncovered with barely any infrastructure. They didn't have cameras
or anything.
Speaker 6 (19:34):
Nope, no kidding. They didn't even have auto stamp tickets and.
Speaker 1 (19:37):
The cashier was only on site between the hours of
six am and eight pm. In off duty hours, a
person would fill out a self pay envelope and slide
it into one of those metal lock boxes. They had
two employees in the days after Halloween. Those guys also
had shifts, and neither one of them checked the car ready,
meaning Tony arrived after hours. To figure out when the
(19:58):
car was parked, don Ado and his team could only
work backwards from when it arrived at the impound lot. Well,
they'd to any car after ten days in paid, but
they did all their Tony at the end of the month,
so all they had was the self pay envelope, and
unfortunately that envelope was marked in a maddening way. There
was a date eleven four written in black ink, and
(20:21):
then three days written in blue Kelty. Attendants said they'd
often write a notation on the envelope based on the
information and the cash given, but no one claimed either
the three days or the November four handwriting as their own.
Can you explain the paid through thing super carefully? Just
so we had yet here.
Speaker 3 (20:43):
Well, the initial assumption was that someone paid for three
days and the eleven four was a date of expiration
written down by an attendant, So Tony.
Speaker 1 (20:52):
Showed up early morning November first.
Speaker 8 (20:54):
But then, and this is really getting into the weeds.
Speaker 3 (20:58):
There is a good chance that whoever filled out the
envelope put the date they pulled in rather than the
date they paid through.
Speaker 1 (21:05):
This was a common occurrence, as Monica reported in The
Press Democrat at the time, Kelty employees estimated that about
quote a quarter of their customers misunderstood the instructions and
would put the date of entry, allowing the amount of
money inside to indicate when they were paid through. So right,
the person could have meant it at a way which
(21:26):
narrow is the likely window of Tony pulling into the
lock to November first before six am, within eight hours
of Anna last being seen, or sometime during the after
hours of November fourth, twelve am to six am or
eight pm to eleven to fifty nine pm. Nick is
accounted for at both those times.
Speaker 6 (21:45):
November one, he's with our parents allegedly, sure.
Speaker 1 (21:50):
Yeah, allegedly.
Speaker 3 (21:51):
November four, he's interviewed by Malbonado in the morning, and.
Speaker 1 (21:55):
He joined the search party for Anna that afternoon. Bottom line,
there was no time for him to be driving to
San Francisco. It seemed like a dead end. Everything seemed
like a dead end. And then I saw that Mick
posted something on x It was an announcement for an event,
a panel. It was called Breaking Through AI and the
(22:18):
Future of Online Advertising, and in the list of featured
panelists Mick Bowden from Jaylight Industries. He was going to
be at the LA Convention Center in two days.
Speaker 6 (22:31):
Okay, please don't do anything.
Speaker 1 (22:33):
But it's open to the public. All I have to
do is buy a ticket. And I think if he
sees me in person, he can't avoid it anymore.
Speaker 6 (22:39):
Wait, and then he's just gonna have his bodyguards.
Speaker 2 (22:41):
Stop you.
Speaker 1 (22:42):
You think he has bodyguards. I don't know how rich
is he. It's pretty rich, right, So either way, he
could sue you.
Speaker 8 (22:48):
You can put you can ask to go to a
retraining order against you.
Speaker 1 (22:50):
I knew what Monica would do. If you're not gonna
go for this, then what are we doing? She'd go
and confront him, just like she wanted me to confront
Lachland and Greer. Plus, I was still thinking about my
conversation with Indy DBT. You should help, you love to help.
For the sake of my mental health, my family, and
my actual career, I needed to take a break from
(23:13):
and a trainer. I tried to move on, I really did,
but then I went to see the producers of the film.
I was supposed to be writing the ones that Chris
helped me hold off. They wanted to have a drinks meeting,
a chance to assure them that I was almost done
with the script, that in reality I had maybe thirty
pages written. Like a lot of LA meetings, I had
(23:36):
to drive all the way to Beverly Hills and pay
for parking, which usually means of ballet. I pulled up,
left my car out front, and didn't think twice, okay, okay,
I want. When I got home that night, Alex was
on the couch watching TV. Can you can you come off? Okay?
Speaker 7 (23:56):
So you're what did they say?
Speaker 5 (23:59):
Oh?
Speaker 1 (23:59):
No, no, no, no, I wasn't the meeting It was fine,
It was fine. Luckily the producers barely talked about the script.
We got off on a tangent about Lord of the
Rings that took up most of the time. It was
the valet parking. When I came out to get my car,
I saw the posted pricing. It was twenty four dollars, which,
as suspected, is insanely high. But also I wondered why
twenty four dollars? Why not twenty even or twenty five?
(24:23):
They wouldn't take a credit card, right, okay, but they
charged twenty four dollars, so what do you have.
Speaker 6 (24:29):
To do give them twenty four dollars.
Speaker 1 (24:31):
No, if you don't have any ones, you give them
two twenties and they have to give you change. As
I watched the guy counting out my change, it occurred
to me this pricing was probably intentional because if they
charged his twenty they wouldn't give any change. But by
charging twenty four dollars, then you have somebody having to
count out, and you're dealing with with ones and fives
and tens, so it makes a tip more likely, right, yep, okay,
(24:54):
which reminded me of the Celti lot where Anna's car
was found, and they're pricing of seven dollars a day.
They intentionally picked an uneven number, which is the sell
so the self pay envelope where Anna's car was found.
Jesus Christ, we're never getting back to normal life.
Speaker 8 (25:13):
Lally.
Speaker 1 (25:14):
When I woke up at five the next morning, the
day of the breaking through panel, I didn't make tea
and I didn't go to my computer to write. Instead,
I loaded up my mics, my gear, and I got
my car because mixed Alibi was no longer solid all right.
(25:43):
I am parked on the street across from the LA
Convention Center. It was still dark out. I had found
a loading zone. Here's my thinking, which I ran by
Monica from my car. We have no idea how much
money was in the envelope, right, no, all right, but
we know that Kelty can say they're unpaid for ten
days at least by the end of November. So three
(26:03):
days would be twenty one dollars. But what happens if
you only have a twenty. You put in the twenty.
You might write three days, hoping you'd have to write amount,
but then realize you only have a twenty, and maybe
you don't change what you wrote. You're hoping they let
that one dollar slide and they give you the third day.
But they don't. They find your envelope, they count your money.
(26:24):
They mark down the expiration based on what you paid
two days, which means the person who park in his
car could have pulled in on November second, a day
Mick is unaccounted for. Okay, a couple of subs just
pulled up there go see uh Mick, Mick, Mick, Mick, No, no, sorry,
(26:53):
I know. If there actually was a guy who looked
like a bodyguard a Mick's It's right or strong from Sebastopol.
I felt horrible. I felt like paparazzi, like TMZ, just
the worst kind of gotcha journalism. But I had to
remind myself I wasn't chasing down a Kardashian. And Mick
heard me. He couldn't avoid it. Couldn't you talk to you?
(27:16):
And I'm just trying to find out what happened to Anna.
I'm not accusing you or of course, because that's bullshit. Okay, fine,
if it is, then you have nothing to hide, right. Hey, look,
I was Willow's best friend. Man, she never knew what
happened to her sister. That's not my problem. Okay, Well, hey,
what was Operation Dan go.
Speaker 8 (27:38):
Ju?
Speaker 1 (27:38):
Yes? Look no, look I had to tape and so
did the cocks, So I know that you and Anna
were planning something.
Speaker 6 (27:45):
Shit.
Speaker 1 (27:45):
Wait, let's talk about it, you know, let's let's sit down.
Just stop stop. We are not doing this.
Speaker 5 (27:51):
Like this, Julie, please, okay, if you want to talk,
you want to talk like a fucking person.
Speaker 1 (27:57):
Manda Man, great, happy to thank you, figured, thank you.
I strongly suggest you consult with your net less legal council.
He said, yes, it looks like it. The woman Nick
put me in touch with Julie set up a time
for an interview. Oh my god, though it was it
was truly truly horrible. It was just the worst. Like
(28:21):
nobody would even look me in the eye. It was like,
you know, I'm just the most annoying little like a
like a journalist. Yeah, I mean I.
Speaker 6 (28:34):
Remember your brother Shiloh was cool.
Speaker 1 (28:37):
Yeah, Mick met me at one of those generic rental offices.
We work kind of space.
Speaker 5 (28:41):
You know, and you don't looking to care about the
people from back then.
Speaker 1 (28:44):
That's that actually want another truth.
Speaker 6 (28:46):
That's the whole reason I wanted to do this. Oh,
Julie is also recording this.
Speaker 1 (28:52):
Are you gonna okay? Yeah? Cool?
Speaker 2 (28:55):
Are you a lawyer?
Speaker 6 (28:58):
No?
Speaker 5 (28:58):
No, what do you think this is like some that
position I'm in public relations for Jlight.
Speaker 1 (29:02):
I set aside about fifteen minutes for this.
Speaker 2 (29:04):
I might just interject, Okay, that's on schedule.
Speaker 5 (29:07):
This is going to record because we knew that this
and make it sound like I said something I never said.
Speaker 6 (29:10):
I got my own coffee, fair enough, fair enough.
Speaker 1 (29:14):
Julie had her phone with a mic attached. I suddenly
wished I had someone with me too. I felt outnumbered.
Let's just start with some basic questions. But Mick wasn't playing.
Speaker 6 (29:25):
There was no case.
Speaker 1 (29:27):
Back then, There's no case now sure, but I guess, well, well,
do you remember seeing me that night?
Speaker 6 (29:36):
Yes, of course, yes, you and her sister.
Speaker 1 (29:40):
Right, Willow. And there was Chris de Lectio, Ryan Connor,
guy in the Phantom mask, right, yeah, he Phantom of
the Coffee Shopper.
Speaker 5 (29:51):
Who came at me with a bat. Chris swung in
my head took out my head light.
Speaker 1 (29:58):
Did we hit his car? Yeah? Yeah, I think I
think that's right. I went back and checked with Connor
and Chris. Now Willow told us that he had the
your tape, right or did you just tell us to
like damage his car? Man? I don't. I don't remember
at all, honestly.
Speaker 6 (30:16):
I mean that's pretty simple, soul.
Speaker 1 (30:19):
Well, okay, but what I remember is that we were trying.
Speaker 6 (30:22):
To get you. Remember, those are the facts. That's what happened.
Came at me with a bat, took up my head light.
Speaker 1 (30:29):
All right, Well, we were just trying to get into
your car, so we weren't attacking you by any means.
You were we were just trying to distract you. Okay, okay,
let's uh, let's talk about the party that earlier. That night,
you got into a fight with Anna. Multiple people have
(30:50):
said that you guys were screaming at each other. So
what were you fighting about?
Speaker 5 (30:56):
As I told the cops back then, I do not
remember what the fight was about specifically.
Speaker 6 (31:04):
I do remember that she had been drinking a lot,
which was a little common.
Speaker 5 (31:10):
I am not here to disparage Anna in any way.
Speaker 1 (31:17):
Even though she dumbed you dumb me, Yeah, I mean
she was like she moved on. You know, she was
sleeping around, She partied at the Earth.
Speaker 6 (31:30):
Remember that that had nothing to do with me.
Speaker 1 (31:33):
And you know, she had a reputation. Everybody knew what
she was doing. And yet here you are. When she
pages you, you're come and running right get let me.
Speaker 5 (31:46):
I was empathetic to hers that she was sure, Okay,
she was in a tough spot. She did not have
a father figure in her life. She was living with
those feminazis. So yes, when she needed help, I would
go out of my way to his.
Speaker 1 (32:00):
Sister, okay, because he loved her.
Speaker 5 (32:07):
I don't know what that even means. You know, when
you're eighteen.
Speaker 1 (32:10):
You don't know what love means.
Speaker 6 (32:12):
I had a girlfriend at the time, yes, right.
Speaker 1 (32:18):
But you didn't say that at the time. You didn't
call her your girlfriend. That's not what you said. Yeah,
I can show you the transcript, okay, because this is
this is actually kind of important. You were interviewed by
Maldonado and he asked you, is she your girlfriend? And
you said no, no, this is this is from the
transcript from the Sheriff's department. And then she asks or
(32:42):
he asks you, is she hot? You're like, not even
not even hot? And then like why did you go
to her house? And you're like, oh, she was there, right,
that's what you said at the time. What does this
have to do with anything?
Speaker 6 (32:55):
Well, you tell me, man, like, is this like some
me too stuff?
Speaker 1 (32:59):
Oh my god, no.
Speaker 6 (33:00):
Yes, I think I think we're done here.
Speaker 1 (33:01):
Oh no, okay, So what did you do that night?
Just tell me what you did?
Speaker 3 (33:05):
What happened?
Speaker 1 (33:06):
What's your version?
Speaker 6 (33:09):
I got a page.
Speaker 5 (33:11):
Yeah, I went to pick up Anna to help her again,
she wasn't.
Speaker 1 (33:17):
There, and I left, And then you went to your house, yes,
and then I went to not your girlfriend? And you
don't even think is hot? Okay, and then two weeks later,
she registers a new car. Did you buy her a
new car?
Speaker 5 (33:36):
You think I bought a girl a car when I
was eighteen?
Speaker 1 (33:40):
Well, listen, I got the tape from her. Okay, you
know about this tape. It's the tape that Anna made
for you.
Speaker 6 (33:48):
Okay, No, yeah, no, sorry, man, No, that's backwards.
Speaker 1 (33:51):
Okay, you had that completely, but you know what I'm
talking about.
Speaker 5 (33:54):
I found that tape in my car when Anna left
it with a bunch of her books and crap. And
when I heard it, that's when I knew she was
banging some older guy that takes not to me.
Speaker 1 (34:04):
She says your name, No, she does this, She yes
my name, Yes she does, she says mickey.
Speaker 5 (34:11):
Okay, first of all, if someone called me mickey, they
weren't doing it twice.
Speaker 1 (34:15):
All right, let's listen. I have it, I have it.
I want to I want to play this for you.
I had my computer with me and I played in
the clip.
Speaker 5 (34:22):
Do it?
Speaker 1 (34:23):
You're my sailor you're yours.
Speaker 6 (34:33):
You're such an idiot. Okay, did you listen to the
whole tape?
Speaker 1 (34:36):
Did you listen to it all? Because what she's no idea?
How many times I've listened.
Speaker 5 (34:39):
Okay, she's using movie quotes throughout the entire thing.
Speaker 1 (34:44):
Okay, so from what True Romance? There's Killers, the killer movie.
Speaker 5 (34:50):
Natural Born Killers, right, Mickey, natural Born Killers.
Speaker 1 (34:54):
I suddenly knew what he was talking about. Mickey and
Mallory Knox from Natural Born Killers, the Oliver Stone movie.
She wasn't saying his name. It was a mashup of
quotes and characters. Sailor was from Wild at Heart, Mickey
from Natural Born Killers, and You're So Cool was from
True Romance, all movies about passionate, doomed lovers were running
(35:16):
off together and becoming criminals hitting the road. He really,
Oh this is great. Now, I'm glad I came and
did this.
Speaker 5 (35:23):
Look at you, you're freaking moron.
Speaker 1 (35:26):
Okay, it's not to me. It's some guys. She even
says they're not the same age.
Speaker 5 (35:31):
I always said that she made that take for somebody else,
an older guy.
Speaker 1 (35:36):
Okay, I don't know who he is. I told him
to look at the call leaders, the teachers. There was
that one freak, that creep of Jacob who ran that
senior name. I feel like we said, they just keep
talking to me.
Speaker 5 (35:47):
You went I'm sorry, You're just we're done, right, We're done,
We're done, all right, Julie.
Speaker 1 (35:53):
Come on, was it really not to Mick?
Speaker 2 (35:58):
You said this thing last week? Said, oh, I'm glad
you're sixteen at least, because I know it's because you
just like want me to drive. But then it also
can't be true that age doesn't matter, which, by the way,
you say.
Speaker 1 (36:10):
It all the time, how would I miss this my
big move, finding Mick in front of him? It was
a complete waste. I did finally feel like a journalist,
and I guess that means feeling alone, inconvenient and feeling
(36:31):
like everyone, the law and the public are against you.
But finally there was an upside to the podcast being
public writer.
Speaker 8 (36:49):
It's leany trainor I wasn't to be honest, I didn't.
Speaker 1 (36:54):
Want to call you back. Huh.
Speaker 6 (36:56):
It's been I don't.
Speaker 8 (36:58):
Know, it's been years, decades, But it feels like nothing
when when something like this for me, this is yesterday,
You know, this is yesterday. I had Willow and Anna
and yesterday I was kicked out of Maldonano's fucking office.
Speaker 1 (37:16):
You know that. They called me hysterical? Did you know that?
Speaker 8 (37:20):
And then years years trying to get them, anybody to
listen to me. So when Monica put out that story, yes, yes, yes, yes,
this is what I have been saying all along.
Speaker 1 (37:35):
They didn't want to do.
Speaker 6 (37:36):
Their jobs, they didn't want to find her. They just
wanted it to go away.
Speaker 8 (37:41):
Anyways, I called Monica to thanker, and she said that
I should talk to you, and that even if I
didn't want to.
Speaker 1 (37:48):
Be recorded, that I should talk to you.
Speaker 6 (37:51):
So here I am calling.
Speaker 8 (37:54):
I'm in Colorado. I don't want to send anything through
the mail.
Speaker 6 (37:58):
I'm not sending.
Speaker 8 (37:58):
Anything through the mail, but I have things.
Speaker 6 (38:02):
I have lots to show you, things you need to see. Okay,
call me back, and I don't know.
Speaker 1 (38:10):
I had to go to Colorado. The Red Weather is
(38:34):
an iHeart podcast hosted by writer Straw, sound engineering, editing
and mixing by Bou milkis produced by Tess Bartholomey. Executive
producers at iHeartRadio Trevor Young and Matt Frederick, Associate producer
Bo milkis original score by Kyle Morton. If you're enjoying
the show, please remember to leave a review in rating.
(38:55):
Thanks for listening.
The Red Weather is a work of fiction. Any resemblance
to actual persons or events reflects the adaptation of real,
publicly available materials for creative and legal reasons. The content
of this podcast is the sole responsibility of Red Weather
LLC and does not reflect the views of responsibilities of
iHeartMedia or its affiliates. Previously on The Red Weather.
Speaker 2 (00:23):
Everyone thanks, you're the man, but I make you me.
Speaker 1 (00:29):
This is Anna Traynor's voice. It's the infamous haunted tape.
Speaker 2 (00:33):
I do remember we found her car down south of
here that pushed us in the in the runaway direction.
Speaker 3 (00:38):
Even if Nick managed to meet up with Anna, then
murder her couldn't have getten rid of the body and
driven her car all the way to SFO. Isn't it
a little bit weird that they obsess over hippies in
the woods and not the obvious boyfriend.
Speaker 1 (00:51):
Who was all pissed because their girls sleeping around. Daddy
promises some moolah.
Speaker 2 (00:55):
They half asked their investigation it goes.
Speaker 3 (00:58):
Away, you're supposed to be writing, It's fine, I'll come
home right. There are two contributions to the nineteen ninety
six Maldonado campaign. These two companies Thomas Bolden was on
the board for both Okay, look, I don't need the
state and the District Attorney sudden banging on right.
Speaker 1 (01:11):
We were trying to help you, iponoized Robert Maldonado to
no longer speak with you, and Officer Greer is under
orders to keep his work internal.
Speaker 4 (01:24):
Indie Strong, Oh they don't eat fish food. Actually.
Speaker 1 (01:29):
Maybe it's not surprising that my son, Indy loves to
act and sing. He is, after all, the child of
two performers.
Speaker 4 (01:35):
Oh they don't eat fish food actually, But is this
nected line?
Speaker 1 (01:45):
Based on my experience, the kids that really thrive as
actors are the ones who do it for its own sake,
not because they want to be famous. So we've limited
Indie's acting to classes and plays. But then after he
appeared on a few episodes of my podcast, we were
approached by a voiceover agent.
Speaker 4 (02:02):
It changed, Oh, they don't eat fish food, actually, Nope,
they eat.
Speaker 1 (02:11):
Get out of the way here. Now he's a working
voiceover actor and we got auditions about once a week.
Indy loves it for the most part, but he's still
a kid, and sometimes he just doesn't want to audition.
Just stand out, please, Indy, come on please, Oh yeah,
hold on, hold on, if we just focus, I know,
but do you uh do you want me to read
(02:32):
the other lines? Is that going to help you? What
do you want me to read the other lines?
Speaker 5 (02:37):
No?
Speaker 1 (02:37):
Okay? Well, how did mom do the auditions while while
I was gone? Because you had like, I'm not doing that?
You were gone for so long? No? No, why didn't
I go? Well, I was, I was working. We wouldn't
have been able to hang.
Speaker 4 (02:49):
Out doing the podcast about the girl?
Speaker 1 (02:51):
Yeah, she was your friend? Yeah, well her sister was.
What happened?
Speaker 6 (02:57):
Well, that's that's what I'm trying to figure out.
Speaker 4 (02:59):
Your friend a sister?
Speaker 1 (03:01):
What's your name?
Speaker 7 (03:03):
Did I meet her?
Speaker 5 (03:05):
No?
Speaker 1 (03:06):
I mean I think there was one fourth of July
that she might have been. I don't remember.
Speaker 4 (03:09):
She died?
Speaker 1 (03:11):
Yeah? Wow, uh she was you know, she was a
very unhappy. Can we get back to this. She was
just a very unhappy person.
Speaker 4 (03:19):
She killed herself.
Speaker 1 (03:20):
Yeah, that's it.
Speaker 4 (03:25):
Yeah, and you never knew what happened to her sister.
Speaker 1 (03:29):
No, that's that's while I was gone for those two weeks.
I'm trying to look into this. But come on, can
we just focus on this and do.
Speaker 4 (03:36):
This Why did you stop?
Speaker 1 (03:38):
It's complicated, buddy. There are lots of people who don't
want me doing this.
Speaker 4 (03:41):
Are they bad people?
Speaker 8 (03:42):
Well?
Speaker 1 (03:43):
I think so. You know, there's just I don't know.
There's so many reasons, Dad. You should help.
Speaker 4 (03:52):
You have to help, that's the right thing.
Speaker 1 (03:58):
After this conversation, I couldn't decide if Indy was being
naive or brave. I mean, he was definitely coming from
a place of innocence, but there's different meanings there. Right,
you can be innocent as in foolish immature, or you
can be innocent as in pure and honest, not corrupted
(04:19):
by cynicism, by a world where powerful people get to
do what they want and ignore questions. He was right,
I should help, but I didn't know what that meant anymore.
I am actor and filmmaker, right strong, This is the
red weather way to take someone's tragedy and make it
(05:30):
all about you. Writer. Now that it was public that
this podcast was happening, social media posts and comments weighed in,
Oh this is my favorite. This is a vanity project
of a washed up child actor. I knew my wife
was right, but I couldn't help but think there might
be something useful in here since none of the podcast
was released, though most of the comments were just about
(05:51):
the irresponsibility of true crime and personal attacks on me,
which hurt, of course, but I tried to put my
own feelings aside and be optimistic. Maybe, just maybe the
attention might help. Now that it was public, someone might
come forward with information or want to get involved. But
now it had the opposite effect. This is strong.
Speaker 5 (06:13):
My name is Jury Dunenfeld.
Speaker 6 (06:15):
I am an attorney with Warren Tolan and Shapiro. You
should have received a letter from my office. Use certified mail.
Speaker 1 (06:21):
I had. From the letter, your podcast appears poised to
make unfounded and damaging claims about our client that would
be Mick. Such claims, if broadcast, may constitute defamation under
current statute. Basically a cease and assist. All in all,
it felt like the universe was telling me to sit
down and shut up. I had been shut out of
(06:43):
any official reopening of the case, assuming there was one
by Grace Laughlin, the current Sonoma County Sheriff. Please record
your message.
Speaker 5 (06:51):
When you have finished recording, you may hang up.
Speaker 2 (06:54):
Hi.
Speaker 1 (06:54):
Sheriff Maldonado. It's writer and Sheriff Maldonado, who led the
case in nineteen ninety five, also wasn't returning my calls.
I am still making the podcast, and I wanted you
to know, for me to hear it directly that I
have been in touch with Monica Tremblaine a few times.
But you know, I'm working on my own here. I'm
(07:18):
making progress. I felt compelled to distance myself for Monica
because she had decided to publish information about contributions to
Maldonado's nineteen ninety six campaign for sheriff. In my opinion, prematurely.
Speaker 3 (07:31):
It's not like I stopped them or anything. The most
that I can do as a citizen is file a
damn for your report.
Speaker 1 (07:39):
And that's what you did. That's how you that's you
already did that. Yeah, so we could get the full
campaign records.
Speaker 3 (07:46):
Yeah, it's not about anything legal or an investigation into
the Sheriff's department. That's that's up to the attorney general.
Speaker 1 (07:52):
Okay, okay, No, I just you know I started out,
I'm trying to make a podcast. I'm trying to solve
this thing, and I feel like, uh, we were getting
somewhere with them with their help, Hi.
Speaker 3 (08:07):
Writer, if they really cared about Anna and if they
wanted to solve this cold case, they would have welcomed
the transparency, wouldn't they want to know where shit went wrong.
Speaker 1 (08:17):
It was still hard for me to believe that Maldonado
in particular would go from helping me as much as
he did to completely ignoring me.
Speaker 3 (08:25):
They should be like opening up their doors to you,
to us, but instead, the minute that you brought up
Mick Bowden, a multi millionaire, sound up a multimillionaire.
Speaker 1 (08:34):
Guess what they did. They turned on you. That was true.
Mick could become the main person of interest in Anna's
disappearance because of the mixtape.
Speaker 5 (08:45):
So.
Speaker 4 (08:50):
Of course I didn't keep my day when they.
Speaker 1 (08:53):
Had a fit.
Speaker 8 (08:54):
Scin Kid was ten years old and the name came
in alongside the tracks so called.
Speaker 1 (08:59):
The tape had songs movie clips from Wild at Heart
and bad Lands, and then Anna talked directly to Mick,
he can do it. I can do it.
Speaker 2 (09:08):
You're my sailor, You're my real life nickey because you
are so cool.
Speaker 1 (09:16):
It was so intimate and implied a connection between the
two of them that was powerful, secretive, romantic, which is
never how I thought about them. I started this podcast
thinking Mick was against Anna, that he had this revenge
porn plan that got derailed that night by me and
my friends, that he was driven by jealousy and possessiveness.
(09:36):
But hearing the tape, I had to consider that he
and Anna were actually really in love and maybe that
motivated him. Maybe his parents didn't want him to be
with her. Maybe he was dating this new girl but
had gotten back together with Anna and didn't know what
to do. Was Anna like really into art? No, I
don't think so.
Speaker 6 (09:55):
I have no memory of that.
Speaker 1 (09:56):
I checked in with my buddy Chris, who had started
this podcast with me. I didn't think so either. But
it's really weird because on the tape she keeps talking
about Van Go.
Speaker 6 (10:06):
I don't know, dude.
Speaker 7 (10:07):
Here's the more important question, how's the feature coming?
Speaker 1 (10:11):
Don't ask? I had been hired to write a horror
script for a production company out of Austin, and at
this point my draft was weeks behind. Luckily, Chris thought
he could help buy me some time.
Speaker 6 (10:21):
Well, I'll call David. I'll call David.
Speaker 1 (10:24):
David was Chris's agent who had actually introduced me to
the producers in the first place.
Speaker 7 (10:28):
He reps those guys at least Stephen from Gearhyes, oh my.
Speaker 1 (10:32):
God, Yes do you think do you think David could
hold them off?
Speaker 6 (10:36):
Yeah?
Speaker 7 (10:36):
I think you need to get your ass writing. But yes,
if David comes at them with writers going through it,
he's going through trauma, his old friend killed herself, trauma, trauma, trauma.
Speaker 6 (10:47):
They'll catch you some slack. Yeah, I'm him. I'll call her.
Speaker 1 (10:50):
God, thank you, thank you so much.
Speaker 6 (10:52):
Man.
Speaker 7 (10:52):
You're a tortured artist and that's why they want you
to write their script and not some hack.
Speaker 6 (10:57):
But enough with the torture.
Speaker 1 (10:59):
You don't need any more to on your torture plate.
My wife couldn't agree more. Nope, can't hear that again.
She put a moratorium on listening to Anna's mix. But
it's not bad music, to the point, I don't need
to hear it over and over again. It's not like
the four hundred and fifty fourth time you're going to
(11:19):
hear something new. I still wanted to know what Anna
was talking about on the tape, so why don't you
write down what she says? It was actually a good idea.
I found software that transcribed everything, including the lyrics to
all the songs. I now had a full text file,
a readable and searchable version of the tape. I wanted
(11:43):
to read the song lyrics. I kept thinking Anna chose
these songs for a reason, which is a big assumption.
I know some people don't care about lyrics at all.
It doesn't matter what a song is sane, if it's
got a groove, that's the way alex is. Hold on,
just listen to this one song because I think this
one's important.
Speaker 8 (12:01):
Where myself go Nope, nope, not into it?
Speaker 1 (12:06):
Okay, fine, but what is it about?
Speaker 5 (12:09):
I don't care.
Speaker 1 (12:10):
I can't get past the music. But I knew she
liked pearl Jam, which Anna had included. She put Daughter
on here by Pearl Jam. You like that song? I do, Okay,
what's it about?
Speaker 2 (12:20):
Okay?
Speaker 8 (12:21):
Well my interpretation and you know, stay with me here.
Speaker 1 (12:26):
I think it's about a daughter. But I couldn't help it.
I kept thinking of the mix as a direct expression
from Anna, like her own soundtrack, the musical of her life.
So like, did she listen to Daughter and think of
her mom? Laney? I know That's how I thought of
(12:48):
music when I was a teenager, especially if I made
a mix for someone. If I included a song, it
was because it expressed something I wanted to say to them,
or wanted them to understand about my life. I was
locked into being my mother's daughter. I was just eating
bread and water. I read the lyrics to Annie DeFranco's
song out of Range to Alex, thinking nothing ever changes,
and I was shocked to see the mistakes of each
(13:11):
generation will just fade like a radio station if you
drive out of range. She just doesn't want to become
her mom exactly, and she wants she has to get
away from her would I mean, but it's so ironic
because Anna's mom is part of this progressive group of
women living out in the woods, and yet here she
is listening to this song about an abusive relationship and escaping.
(13:36):
All of that is total speculation. And like my wife,
you might think I was getting a little obsessive. What fuck?
I said, a new schedule of waking up at five
am to get some work done before I took Indy
to school. I drag myself out of bed, make a
pot of green tea, and sit at my computer try
to only think about what I had to write. Inevitably,
(13:58):
I would find myself with my headphones on listening to
the mix. As it turned out, one morning around six am.
Maybe it was the four hundred and fifty fourth time
I did find something. Okay, I was reading along while
listening and there's this section.
Speaker 2 (14:21):
Get used to it because I'm picking all the music.
Speaker 1 (14:24):
In Operation van Go. I'm gonna make you camp.
Speaker 2 (14:28):
You're gonna hate it.
Speaker 1 (14:29):
Did you hear that I'm gonna make you camp? And
she called it Operation van Go, Like van Go wasn't
about the artist, but a code name for something, and
then it clicked. The movie clips she included bad Lands,
Wild at Heart. These were movies where two lovers got
into a car and ran away. All this van Go
stuff wasn't about the artists. It's literally the words themselves.
(14:52):
It's a code operation to go, maybe maybe even get
in a van and go. The mixtape was evidence Anna
did want to run away, that she and Mick were
planning some of great escape, which meant it was time
for me to confront one of the most confounding aspects
of Anna's disappearance, the Kelty parking lot. This is why
(15:26):
he kept a secret. I called Monica that day. It's
literally a tape where she's talking about her and Mick
running off together. The theory is she paged him. He
picked her up that night, Yes, and they start Operation Mago.
But then something was wrong, or maybe she didn't even
want to leave in the first place. He could have
(15:47):
backed out, yes, and things turned violent or I mean,
actually maybe not. Maybe they just split up and she
really did run off and he brought her to her
car and then she just drove herself took a Keelty wall.
For all these years, the clearest indication that Anna had
run away has been the fact that her car, technically
her mom's car, but the one she used, was found
(16:08):
in a parking lot near the San Francisco Airport. Anna
or someone had driven the car to the Keelty parking
lot on Franklin Avenue, only a few miles from SFO,
to fly away, or if someone had murdered her to
make it look like she had flown away. There was
no plane ticket bought under Anna's name, no flight record,
but in nineteen ninety five, domestic flights rarely checked ideas
(16:30):
buying a plane ticket in cash under a pseudonym was
entirely possible. I have some problems here, as usual. Monica
didn't hold back.
Speaker 3 (16:38):
First of all, if Nick didn't murder her and he
just decided not to go run away with her, why
not just say that, why not come forward to that,
you know? And then if he does murder her, that
means number one, he's got to hide his body well
enough then nobody ever finds it. Number Two, he's got
the car to the parking lot and then get back
(16:58):
in time not to miss school the next day.
Speaker 1 (17:01):
But how do we know that he was in school? Well,
I'm not sure if he was ever marked absent.
Speaker 3 (17:06):
But to be honest, I don't even know if the
records were ever checked because because she said that.
Speaker 1 (17:12):
He was with her, but she could have easily changed
her story to cover for him, which the witness logs
made a strong case for. Plus, if Mick had bought
her that new car, she registered the Jetta only a
couple weeks later.
Speaker 3 (17:25):
Her parents said that he was at the house in
the morning, So that means that he's now not only
bought her silence and help, but also her parents.
Speaker 1 (17:32):
I just don't Yeah, no, that's too much. That's even
if you don't really want to be recorded, I'd really
love to talk. For the millionth time I tried to
reach Anna and Willow's mom, Laney, I was worried what
she might think now that the word was out publicly.
I'd like to explain what I've been doing, because the
stuff that's online right now is definitely not the whole story.
(17:54):
And Laney's car, the car that Anna drove in nineteen
ninety five was a nineteen eighty eight Toyota Ursoll Tudor white.
My brother and everyone remembered. Anna and Willow called it Tony. Yeah,
stick shift, I had like a beige interior. I remember.
Tony wasn't found until December second after it was logged
at the impound lot. When Maldonado and his team caught
(18:17):
up with it, all they could do was search the
car well, no signs of a struggle. Maldonado went over
the car evidence with me the first time we sat
down back when he was still talking with me. No notes,
no blood. All we can do is bag what was
inside that I had seen in the case file. You
tell me what you want to see and I can
go pull it from the lockers, bring it out here,
(18:37):
long sleeve shirt, sandals, size six. The more important and
more puzzling aspect of the car was when it had
been parked. Understanding that was critical to confirm and mixed story.
Speaker 3 (18:51):
I mean, but there's no way he could have done
all of this that night.
Speaker 1 (18:54):
The San Francisco Airport is at least an eighty minute
drive from Sebastopol, Right, But you're assuming that the car
definitely showed up at the Keelty lot on November first. Oh,
you mean the pay through confusion. The car had been
towed from the Keelty lot, where its fees had gone unpaid.
That lot offered twenty four hours of parking for seven dollars,
which side note that's mind bockling. Nowadays, the cheapest rate
(19:16):
for twenty four hours is like forty five. Keelty was
one of those off site parking companies. It was Bear Bones,
just a lot. They had six lots, three by SFO
and three by the Oakland Airport. The Franklin Avenue lot
was uncovered with barely any infrastructure. They didn't have cameras
or anything.
Speaker 6 (19:34):
Nope, no kidding. They didn't even have auto stamp tickets and.
Speaker 1 (19:37):
The cashier was only on site between the hours of
six am and eight pm. In off duty hours, a
person would fill out a self pay envelope and slide
it into one of those metal lock boxes. They had
two employees in the days after Halloween. Those guys also
had shifts, and neither one of them checked the car ready,
meaning Tony arrived after hours. To figure out when the
(19:58):
car was parked, don Ado and his team could only
work backwards from when it arrived at the impound lot. Well,
they'd to any car after ten days in paid, but
they did all their Tony at the end of the month,
so all they had was the self pay envelope, and
unfortunately that envelope was marked in a maddening way. There
was a date eleven four written in black ink, and
(20:21):
then three days written in blue Kelty. Attendants said they'd
often write a notation on the envelope based on the
information and the cash given, but no one claimed either
the three days or the November four handwriting as their own.
Can you explain the paid through thing super carefully? Just
so we had yet here.
Speaker 3 (20:43):
Well, the initial assumption was that someone paid for three
days and the eleven four was a date of expiration
written down by an attendant, So Tony.
Speaker 1 (20:52):
Showed up early morning November first.
Speaker 8 (20:54):
But then, and this is really getting into the weeds.
Speaker 3 (20:58):
There is a good chance that whoever filled out the
envelope put the date they pulled in rather than the
date they paid through.
Speaker 1 (21:05):
This was a common occurrence, as Monica reported in The
Press Democrat at the time, Kelty employees estimated that about
quote a quarter of their customers misunderstood the instructions and
would put the date of entry, allowing the amount of
money inside to indicate when they were paid through. So right,
the person could have meant it at a way which
(21:26):
narrow is the likely window of Tony pulling into the
lock to November first before six am, within eight hours
of Anna last being seen, or sometime during the after
hours of November fourth, twelve am to six am or
eight pm to eleven to fifty nine pm. Nick is
accounted for at both those times.
Speaker 6 (21:45):
November one, he's with our parents allegedly, sure.
Speaker 1 (21:50):
Yeah, allegedly.
Speaker 3 (21:51):
November four, he's interviewed by Malbonado in the morning, and.
Speaker 1 (21:55):
He joined the search party for Anna that afternoon. Bottom line,
there was no time for him to be driving to
San Francisco. It seemed like a dead end. Everything seemed
like a dead end. And then I saw that Mick
posted something on x It was an announcement for an event,
a panel. It was called Breaking Through AI and the
(22:18):
Future of Online Advertising, and in the list of featured
panelists Mick Bowden from Jaylight Industries. He was going to
be at the LA Convention Center in two days.
Speaker 6 (22:31):
Okay, please don't do anything.
Speaker 1 (22:33):
But it's open to the public. All I have to
do is buy a ticket. And I think if he
sees me in person, he can't avoid it anymore.
Speaker 6 (22:39):
Wait, and then he's just gonna have his bodyguards.
Speaker 2 (22:41):
Stop you.
Speaker 1 (22:42):
You think he has bodyguards. I don't know how rich
is he. It's pretty rich, right, So either way, he
could sue you.
Speaker 8 (22:48):
You can put you can ask to go to a
retraining order against you.
Speaker 1 (22:50):
I knew what Monica would do. If you're not gonna
go for this, then what are we doing? She'd go
and confront him, just like she wanted me to confront
Lachland and Greer. Plus, I was still thinking about my
conversation with Indy DBT. You should help, you love to help.
For the sake of my mental health, my family, and
my actual career, I needed to take a break from
(23:13):
and a trainer. I tried to move on, I really did,
but then I went to see the producers of the film.
I was supposed to be writing the ones that Chris
helped me hold off. They wanted to have a drinks meeting,
a chance to assure them that I was almost done
with the script, that in reality I had maybe thirty
pages written. Like a lot of LA meetings, I had
(23:36):
to drive all the way to Beverly Hills and pay
for parking, which usually means of ballet. I pulled up,
left my car out front, and didn't think twice, okay, okay,
I want. When I got home that night, Alex was
on the couch watching TV. Can you can you come off? Okay?
Speaker 7 (23:56):
So you're what did they say?
Speaker 5 (23:59):
Oh?
Speaker 1 (23:59):
No, no, no, no, I wasn't the meeting It was fine,
It was fine. Luckily the producers barely talked about the script.
We got off on a tangent about Lord of the
Rings that took up most of the time. It was
the valet parking. When I came out to get my car,
I saw the posted pricing. It was twenty four dollars, which,
as suspected, is insanely high. But also I wondered why
twenty four dollars? Why not twenty even or twenty five?
(24:23):
They wouldn't take a credit card, right, okay, but they
charged twenty four dollars, so what do you have.
Speaker 6 (24:29):
To do give them twenty four dollars.
Speaker 1 (24:31):
No, if you don't have any ones, you give them
two twenties and they have to give you change. As
I watched the guy counting out my change, it occurred
to me this pricing was probably intentional because if they
charged his twenty they wouldn't give any change. But by
charging twenty four dollars, then you have somebody having to
count out, and you're dealing with with ones and fives
and tens, so it makes a tip more likely, right, yep, okay,
(24:54):
which reminded me of the Celti lot where Anna's car
was found, and they're pricing of seven dollars a day.
They intentionally picked an uneven number, which is the sell
so the self pay envelope where Anna's car was found.
Jesus Christ, we're never getting back to normal life.
Speaker 8 (25:13):
Lally.
Speaker 1 (25:14):
When I woke up at five the next morning, the
day of the breaking through panel, I didn't make tea
and I didn't go to my computer to write. Instead,
I loaded up my mics, my gear, and I got
my car because mixed Alibi was no longer solid all right.
(25:43):
I am parked on the street across from the LA
Convention Center. It was still dark out. I had found
a loading zone. Here's my thinking, which I ran by
Monica from my car. We have no idea how much
money was in the envelope, right, no, all right, but
we know that Kelty can say they're unpaid for ten
days at least by the end of November. So three
(26:03):
days would be twenty one dollars. But what happens if
you only have a twenty. You put in the twenty.
You might write three days, hoping you'd have to write amount,
but then realize you only have a twenty, and maybe
you don't change what you wrote. You're hoping they let
that one dollar slide and they give you the third day.
But they don't. They find your envelope, they count your money.
(26:24):
They mark down the expiration based on what you paid
two days, which means the person who park in his
car could have pulled in on November second, a day
Mick is unaccounted for. Okay, a couple of subs just
pulled up there go see uh Mick, Mick, Mick, Mick, No, no, sorry,
(26:53):
I know. If there actually was a guy who looked
like a bodyguard a Mick's It's right or strong from Sebastopol.
I felt horrible. I felt like paparazzi, like TMZ, just
the worst kind of gotcha journalism. But I had to
remind myself I wasn't chasing down a Kardashian. And Mick
heard me. He couldn't avoid it. Couldn't you talk to you?
(27:16):
And I'm just trying to find out what happened to Anna.
I'm not accusing you or of course, because that's bullshit. Okay, fine,
if it is, then you have nothing to hide, right. Hey, look,
I was Willow's best friend. Man, she never knew what
happened to her sister. That's not my problem. Okay, Well, hey,
what was Operation Dan go.
Speaker 8 (27:38):
Ju?
Speaker 1 (27:38):
Yes? Look no, look I had to tape and so
did the cocks, So I know that you and Anna
were planning something.
Speaker 6 (27:45):
Shit.
Speaker 1 (27:45):
Wait, let's talk about it, you know, let's let's sit down.
Just stop stop. We are not doing this.
Speaker 5 (27:51):
Like this, Julie, please, okay, if you want to talk,
you want to talk like a fucking person.
Speaker 1 (27:57):
Manda Man, great, happy to thank you, figured, thank you.
I strongly suggest you consult with your net less legal council.
He said, yes, it looks like it. The woman Nick
put me in touch with Julie set up a time
for an interview. Oh my god, though it was it
was truly truly horrible. It was just the worst. Like
(28:21):
nobody would even look me in the eye. It was like,
you know, I'm just the most annoying little like a
like a journalist. Yeah, I mean I.
Speaker 6 (28:34):
Remember your brother Shiloh was cool.
Speaker 1 (28:37):
Yeah, Mick met me at one of those generic rental offices.
We work kind of space.
Speaker 5 (28:41):
You know, and you don't looking to care about the
people from back then.
Speaker 1 (28:44):
That's that actually want another truth.
Speaker 6 (28:46):
That's the whole reason I wanted to do this. Oh,
Julie is also recording this.
Speaker 1 (28:52):
Are you gonna okay? Yeah? Cool?
Speaker 2 (28:55):
Are you a lawyer?
Speaker 6 (28:58):
No?
Speaker 5 (28:58):
No, what do you think this is like some that
position I'm in public relations for Jlight.
Speaker 1 (29:02):
I set aside about fifteen minutes for this.
Speaker 2 (29:04):
I might just interject, Okay, that's on schedule.
Speaker 5 (29:07):
This is going to record because we knew that this
and make it sound like I said something I never said.
Speaker 6 (29:10):
I got my own coffee, fair enough, fair enough.
Speaker 1 (29:14):
Julie had her phone with a mic attached. I suddenly
wished I had someone with me too. I felt outnumbered.
Let's just start with some basic questions. But Mick wasn't playing.
Speaker 6 (29:25):
There was no case.
Speaker 1 (29:27):
Back then, There's no case now sure, but I guess, well, well,
do you remember seeing me that night?
Speaker 6 (29:36):
Yes, of course, yes, you and her sister.
Speaker 1 (29:40):
Right, Willow. And there was Chris de Lectio, Ryan Connor,
guy in the Phantom mask, right, yeah, he Phantom of
the Coffee Shopper.
Speaker 5 (29:51):
Who came at me with a bat. Chris swung in
my head took out my head light.
Speaker 1 (29:58):
Did we hit his car? Yeah? Yeah, I think I
think that's right. I went back and checked with Connor
and Chris. Now Willow told us that he had the
your tape, right or did you just tell us to
like damage his car? Man? I don't. I don't remember
at all, honestly.
Speaker 6 (30:16):
I mean that's pretty simple, soul.
Speaker 1 (30:19):
Well, okay, but what I remember is that we were trying.
Speaker 6 (30:22):
To get you. Remember, those are the facts. That's what happened.
Came at me with a bat, took up my head light.
Speaker 1 (30:29):
All right, Well, we were just trying to get into
your car, so we weren't attacking you by any means.
You were we were just trying to distract you. Okay, okay,
let's uh, let's talk about the party that earlier. That night,
you got into a fight with Anna. Multiple people have
(30:50):
said that you guys were screaming at each other. So
what were you fighting about?
Speaker 5 (30:56):
As I told the cops back then, I do not
remember what the fight was about specifically.
Speaker 6 (31:04):
I do remember that she had been drinking a lot,
which was a little common.
Speaker 5 (31:10):
I am not here to disparage Anna in any way.
Speaker 1 (31:17):
Even though she dumbed you dumb me, Yeah, I mean
she was like she moved on. You know, she was
sleeping around, She partied at the Earth.
Speaker 6 (31:30):
Remember that that had nothing to do with me.
Speaker 1 (31:33):
And you know, she had a reputation. Everybody knew what
she was doing. And yet here you are. When she
pages you, you're come and running right get let me.
Speaker 5 (31:46):
I was empathetic to hers that she was sure, Okay,
she was in a tough spot. She did not have
a father figure in her life. She was living with
those feminazis. So yes, when she needed help, I would
go out of my way to his.
Speaker 1 (32:00):
Sister, okay, because he loved her.
Speaker 5 (32:07):
I don't know what that even means. You know, when
you're eighteen.
Speaker 1 (32:10):
You don't know what love means.
Speaker 6 (32:12):
I had a girlfriend at the time, yes, right.
Speaker 1 (32:18):
But you didn't say that at the time. You didn't
call her your girlfriend. That's not what you said. Yeah,
I can show you the transcript, okay, because this is
this is actually kind of important. You were interviewed by
Maldonado and he asked you, is she your girlfriend? And
you said no, no, this is this is from the
transcript from the Sheriff's department. And then she asks or
(32:42):
he asks you, is she hot? You're like, not even
not even hot? And then like why did you go
to her house? And you're like, oh, she was there, right,
that's what you said at the time. What does this
have to do with anything?
Speaker 6 (32:55):
Well, you tell me, man, like, is this like some
me too stuff?
Speaker 1 (32:59):
Oh my god, no.
Speaker 6 (33:00):
Yes, I think I think we're done here.
Speaker 1 (33:01):
Oh no, okay, So what did you do that night?
Just tell me what you did?
Speaker 3 (33:05):
What happened?
Speaker 1 (33:06):
What's your version?
Speaker 6 (33:09):
I got a page.
Speaker 5 (33:11):
Yeah, I went to pick up Anna to help her again,
she wasn't.
Speaker 1 (33:17):
There, and I left, And then you went to your house, yes,
and then I went to not your girlfriend? And you
don't even think is hot? Okay, and then two weeks later,
she registers a new car. Did you buy her a
new car?
Speaker 5 (33:36):
You think I bought a girl a car when I
was eighteen?
Speaker 1 (33:40):
Well, listen, I got the tape from her. Okay, you
know about this tape. It's the tape that Anna made
for you.
Speaker 6 (33:48):
Okay, No, yeah, no, sorry, man, No, that's backwards.
Speaker 1 (33:51):
Okay, you had that completely, but you know what I'm
talking about.
Speaker 5 (33:54):
I found that tape in my car when Anna left
it with a bunch of her books and crap. And
when I heard it, that's when I knew she was
banging some older guy that takes not to me.
Speaker 1 (34:04):
She says your name, No, she does this, She yes
my name, Yes she does, she says mickey.
Speaker 5 (34:11):
Okay, first of all, if someone called me mickey, they
weren't doing it twice.
Speaker 1 (34:15):
All right, let's listen. I have it, I have it.
I want to I want to play this for you.
I had my computer with me and I played in
the clip.
Speaker 5 (34:22):
Do it?
Speaker 1 (34:23):
You're my sailor you're yours.
Speaker 6 (34:33):
You're such an idiot. Okay, did you listen to the
whole tape?
Speaker 1 (34:36):
Did you listen to it all? Because what she's no idea?
How many times I've listened.
Speaker 5 (34:39):
Okay, she's using movie quotes throughout the entire thing.
Speaker 1 (34:44):
Okay, so from what True Romance? There's Killers, the killer movie.
Speaker 5 (34:50):
Natural Born Killers, right, Mickey, natural Born Killers.
Speaker 1 (34:54):
I suddenly knew what he was talking about. Mickey and
Mallory Knox from Natural Born Killers, the Oliver Stone movie.
She wasn't saying his name. It was a mashup of
quotes and characters. Sailor was from Wild at Heart, Mickey
from Natural Born Killers, and You're So Cool was from
True Romance, all movies about passionate, doomed lovers were running
(35:16):
off together and becoming criminals hitting the road. He really,
Oh this is great. Now, I'm glad I came and
did this.
Speaker 5 (35:23):
Look at you, you're freaking moron.
Speaker 1 (35:26):
Okay, it's not to me. It's some guys. She even
says they're not the same age.
Speaker 5 (35:31):
I always said that she made that take for somebody else,
an older guy.
Speaker 1 (35:36):
Okay, I don't know who he is. I told him
to look at the call leaders, the teachers. There was
that one freak, that creep of Jacob who ran that
senior name. I feel like we said, they just keep
talking to me.
Speaker 5 (35:47):
You went I'm sorry, You're just we're done, right, We're done,
We're done, all right, Julie.
Speaker 1 (35:53):
Come on, was it really not to Mick?
Speaker 2 (35:58):
You said this thing last week? Said, oh, I'm glad
you're sixteen at least, because I know it's because you
just like want me to drive. But then it also
can't be true that age doesn't matter, which, by the way,
you say.
Speaker 1 (36:10):
It all the time, how would I miss this my
big move, finding Mick in front of him? It was
a complete waste. I did finally feel like a journalist,
and I guess that means feeling alone, inconvenient and feeling
(36:31):
like everyone, the law and the public are against you.
But finally there was an upside to the podcast being
public writer.
Speaker 8 (36:49):
It's leany trainor I wasn't to be honest, I didn't.
Speaker 1 (36:54):
Want to call you back. Huh.
Speaker 6 (36:56):
It's been I don't.
Speaker 8 (36:58):
Know, it's been years, decades, But it feels like nothing
when when something like this for me, this is yesterday,
You know, this is yesterday. I had Willow and Anna
and yesterday I was kicked out of Maldonano's fucking office.
Speaker 1 (37:16):
You know that. They called me hysterical? Did you know that?
Speaker 8 (37:20):
And then years years trying to get them, anybody to
listen to me. So when Monica put out that story, yes, yes, yes, yes,
this is what I have been saying all along.
Speaker 1 (37:35):
They didn't want to do.
Speaker 6 (37:36):
Their jobs, they didn't want to find her. They just
wanted it to go away.
Speaker 8 (37:41):
Anyways, I called Monica to thanker, and she said that
I should talk to you, and that even if I
didn't want to.
Speaker 1 (37:48):
Be recorded, that I should talk to you.
Speaker 6 (37:51):
So here I am calling.
Speaker 8 (37:54):
I'm in Colorado. I don't want to send anything through
the mail.
Speaker 6 (37:58):
I'm not sending.
Speaker 8 (37:58):
Anything through the mail, but I have things.
Speaker 6 (38:02):
I have lots to show you, things you need to see. Okay,
call me back, and I don't know.
Speaker 1 (38:10):
I had to go to Colorado. The Red Weather is
(38:34):
an iHeart podcast hosted by writer Straw, sound engineering, editing
and mixing by Bou milkis produced by Tess Bartholomey. Executive
producers at iHeartRadio Trevor Young and Matt Frederick, Associate producer
Bo milkis original score by Kyle Morton. If you're enjoying
the show, please remember to leave a review in rating.
(38:55):
Thanks for listening.
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