WEBVTT - 7: What Happens in Vegas

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<v Speaker 1>Novel.

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<v Speaker 2>Hey listeners, this is Ellie Flynn.

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<v Speaker 3>Before we get started, I just wanted to let you

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<v Speaker 3>know that this episode contains swearing and explicit sexual language

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<v Speaker 3>and references to graphic allegations, which might be upsetting. It's

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<v Speaker 3>also a story of female empowerment and camaraderie thanks to

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<v Speaker 3>the women who have shared their stories with us. We

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<v Speaker 3>contacted the photographer mentioned in this podcast multiple times for comment,

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<v Speaker 3>but we never heard back. He has not been charged

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<v Speaker 3>with any crimes and is presumed innocent under the law.

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<v Speaker 3>We also contacted Playboy USA. They state that they have

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<v Speaker 3>asked their licensees to blacklist the photographer mentioned in this

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<v Speaker 3>series and that they prohibit paid to play the practice

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<v Speaker 3>of charging models to appear in magazines. Our research into

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<v Speaker 3>his association to Playboy and their statement can be heard

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<v Speaker 3>in episode four.

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<v Speaker 2>So you've got a bit of a camelto going on.

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<v Speaker 2>Every investigative journalist needs her friends.

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<v Speaker 3>Oh god, pretty sultry. It's quite a lot for someone's

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<v Speaker 3>first Instagram post, isn't it.

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<v Speaker 2>Sophie's one of mine. You look on comfort, so get comfy.

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<v Speaker 3>I've known her since we were teenagers. She's my best

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<v Speaker 3>mate from school and we also went to UNI together.

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<v Speaker 3>Back when we were eighteen, are weekends involved heading out

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<v Speaker 3>to clubs slathered in fake tan. Now we're in our thirties,

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<v Speaker 3>things are usually a bit more sedate, except for when

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<v Speaker 3>I ask Sophie to help me with my investigations.

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<v Speaker 1>I get a private message like, please help me. I mean,

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<v Speaker 1>I get raped into things like this all the time.

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<v Speaker 1>Then I say not can I. I guess I'm just

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<v Speaker 1>a good friend, but.

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<v Speaker 3>This is a big ask. Sophie is going to be

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<v Speaker 3>the star of a fake Instagram.

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<v Speaker 2>Profile, boobs out all the time.

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<v Speaker 3>She's posing as a glamor girl, a young muzzel just

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<v Speaker 3>starting out in the industry. We're going to use that

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<v Speaker 3>profile to arrange a meeting with Luis Gomez.

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<v Speaker 1>I feel like, if you guys are gonna catch a

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<v Speaker 1>babby and all that, then it's support him.

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<v Speaker 3>I've packed Sophia disguise, including a long brunette wig.

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<v Speaker 2>I mean, it's definitely not human hair, probably like a

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<v Speaker 2>very dark eyebrow.

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<v Speaker 3>I've also got a few lingerie sets that Emily, one

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<v Speaker 3>of the models who first called out Luis, helped us

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<v Speaker 3>pick out from Primark.

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<v Speaker 4>Everything's pretty lacey, slash shit, I guess that kind of

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<v Speaker 4>shows off a bit about I kind of like it.

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<v Speaker 5>It's quite big.

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<v Speaker 3>See who has size? And then a bottom half that

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<v Speaker 3>side of a din that like the size of prison.

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<v Speaker 3>After settling on a sheer kimono with a song underneath,

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<v Speaker 3>Sophie's ready for lights, camera action. Sexy like fifty year

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<v Speaker 3>old on the beach, like sexy boudoir, someone who's looking

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<v Speaker 3>for a mill.

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<v Speaker 2>I thought this would be a walk in the park.

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<v Speaker 3>It turns out glamor modeling is harder than either of

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<v Speaker 3>us imagined. Okay, and then just put that arm onto

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<v Speaker 3>your head. Yeah, you're like, you're just relaxing. I think

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<v Speaker 3>you need to be a bit more like what am

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<v Speaker 3>on your knees? Yeah, I think maybe that's where we

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<v Speaker 3>need to go. Sophie eases into the shoot and after

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<v Speaker 3>a few awkward.

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<v Speaker 2>Poses, you.

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<v Speaker 5>Get your farm further back on the chair.

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<v Speaker 2>We get the money shot. That's quite sexy. Okay, that's good.

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<v Speaker 3>Next step we need to conceal Sophie's identity. I edit

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<v Speaker 3>her face and body using an app, getting rid of

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<v Speaker 3>identifiers like tattoos. Let me change the color of her

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<v Speaker 3>eyes to start with.

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<v Speaker 2>Okay, so I've gone for a light blue, which is

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<v Speaker 2>not her eye color. Sophie's gone.

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<v Speaker 3>Now she's Jojo Harry, a blue eyed, black haired face

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<v Speaker 3>tuned fem for Tao whose name was inspired by two

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<v Speaker 3>legendary female spies, Josephine Baker and Masa Harri Cool Har.

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<v Speaker 3>We're going to use Jojo to try and confront Luis

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<v Speaker 3>on behalf of Emily and the other models who've spoken out.

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<v Speaker 3>We post a few images and pay a model promoter

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<v Speaker 3>thirty dollars to get a few thousand followers for Jojo,

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<v Speaker 3>and then after years of investigation, it's time.

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<v Speaker 2>Ah.

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<v Speaker 3>I can't believe that this is all finally happening. Fore

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<v Speaker 3>so so surreal. We slide into Luis's DMS.

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<v Speaker 2>Oh my god, He's replied, I'm Ellie Flynn and from

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<v Speaker 2>this team at Novel.

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<v Speaker 3>This is the final episode of The Bunny Trap, Episode seven,

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<v Speaker 3>What Happens in Vegas. It's morning in London and I've

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<v Speaker 3>just woken up to four messages from Luis Gomes.

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<v Speaker 2>He tells Jojo Harri.

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<v Speaker 3>My fake lamb model alias, that he's going to Vegas

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<v Speaker 3>the next day for two weeks of shoots and that she.

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<v Speaker 2>Can join too.

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<v Speaker 3>Okay, so I am sending Luis a message now to

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<v Speaker 3>try and arrange a meeting. So I've said, hey, I'm

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<v Speaker 3>really interested and can be in Vegas next week. It

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<v Speaker 3>feels so much as hinging on his reply to this message,

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<v Speaker 3>part of me is worried that he might get spooped.

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<v Speaker 2>Cent Ah. Just a few hours later, I like your image.

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<v Speaker 6>Let me know if you are interested.

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<v Speaker 2>He has said, Okay, let's do it. He tells me

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<v Speaker 2>his rates for a.

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<v Speaker 6>Shoots two thousand, eight hundred and eighty. This includes the

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<v Speaker 6>production of photoshoot with forty edited photos three thousand, nine

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<v Speaker 6>hundred and eighty. This one includes also a behind the

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<v Speaker 6>sceneslip and for produced clips.

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<v Speaker 3>I'm not clear on what either of these options includes,

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<v Speaker 3>but either way, these prices seem really high. I tell

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<v Speaker 3>him it's too much money. Sure enough, Louise has a solution.

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<v Speaker 6>Depending if we also do full only fans content, I

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<v Speaker 6>can do a discount, so you pay me only one

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<v Speaker 6>two hundred and fifteen.

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<v Speaker 3>I tell Louise I don't do only fans and that

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<v Speaker 3>I can't afford those rates. He drops his price again,

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<v Speaker 3>this time to six hundred and fifty dollars, and then weirdly,

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<v Speaker 3>he offers me a discounted hotel room.

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<v Speaker 6>I have two apartments. I get you one only one

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<v Speaker 6>hundred dollars one for yourself.

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<v Speaker 2>This is bizarre.

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<v Speaker 3>Why does he have two hotel rooms and why is

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<v Speaker 3>he offering one to Jojo. We don't want to pay

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<v Speaker 3>Luise any money for a shoot, and I'm obviously not

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<v Speaker 3>staying in his hotel room, so I ignore the offer.

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<v Speaker 3>But at least I now know where he's staying, the

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<v Speaker 3>Grand View Hotel, Las Vegas, so that's where my producer

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<v Speaker 3>Eleanor and I are headed.

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<v Speaker 2>Oh my god, that's amazing. That is amazing. I can't believe.

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<v Speaker 7>Fuck back.

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<v Speaker 8>Okay, we've got to find out when he can meet,

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<v Speaker 8>but it's on.

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<v Speaker 2>We did it, well done. Were done to Vegas.

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<v Speaker 3>Good morning, It's six thirty am in Las Vegas, Nevada.

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<v Speaker 2>How are you feeling, Yeah, it's all right.

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<v Speaker 3>By the time we can get out to Vegas, Luisa's

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<v Speaker 3>trip is nearly over, So even though we only arrived yesterday,

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<v Speaker 3>we have less than twelve hours before we have to

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<v Speaker 3>be back at the airport for our flight home, and

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<v Speaker 3>in that time we need to find Luise and confront

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<v Speaker 3>him about everything we know. We wrote to Luis about

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<v Speaker 3>a month ago, asking if he would do an interview

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<v Speaker 3>with us and outlining the allegations that we're going to

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<v Speaker 3>be making in the podcast, and we said that, you know,

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<v Speaker 3>we wanted to give him a fair opportunity to respond

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<v Speaker 3>to those accusations. We know he's read it from what

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<v Speaker 3>we can tell from an email tracker that we've got

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<v Speaker 3>multiple times. Actually he's never come back to us, so

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<v Speaker 3>this is that last ditch attempt to hold them accountable.

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<v Speaker 3>I guess the fear is that the weight of your

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<v Speaker 3>investigation and all of the people that you've spoken to,

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<v Speaker 3>rests on it, and I just want to get it right.

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<v Speaker 3>The sun is starting to rise, dusky pink over the

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<v Speaker 3>mountains lining the horizon. We've headed south of the city,

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<v Speaker 3>out towards scrublands on the edge of the desert.

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<v Speaker 2>It's unlike anywhere I've ever been before.

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<v Speaker 3>But right now I'm having a typical American experience. I'm

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<v Speaker 3>at a diner.

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<v Speaker 2>Okay, I'm going to just cook that there.

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<v Speaker 3>Elena and I are meeting the security guards will be

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<v Speaker 3>accompanying us on our mission. There are three of them,

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<v Speaker 3>one woman and two men. I can't tell you their

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<v Speaker 3>names to protect their identities. But they're all ex cops.

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<v Speaker 3>Plus this is Vegas, so you know they've seen some shit.

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<v Speaker 9>So I've been and here it was for thirty years,

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<v Speaker 9>so I've worked.

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<v Speaker 10>I've know this town pretty well.

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<v Speaker 3>The ex cops look like a group of middle aged

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<v Speaker 3>mates who've nipped out for an early breakfast. The two

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<v Speaker 3>guys in hoodies and jeans could easily be mistaken for tourists,

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<v Speaker 3>but the female agent it's more glamorous than you'd expect

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<v Speaker 3>for an next cop with bleach blonde hair. The difference

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<v Speaker 3>is these guys are all armed and take their mission

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<v Speaker 3>very seriously. I brief them about Luis over coffee, then

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<v Speaker 3>they get straight to work.

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<v Speaker 11>I will call sexual assault detail here last weeks and.

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<v Speaker 12>Run this by them and consue they have anything in.

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<v Speaker 13>Reference with details like this going to happen.

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<v Speaker 3>So, like I said in the metime, when we arrived

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<v Speaker 3>to scope out Luisa's hotel, we discover our first big problem. Literally,

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<v Speaker 3>I mean, it's just so much bigger than either of

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<v Speaker 3>us anticipated, and I cannot see how three security guards

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<v Speaker 3>are going to mark that whole area. The hotel spreads

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<v Speaker 3>across eight buildings, and some of the buildings have twenty

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<v Speaker 3>one floors. It has more than two thousand rooms. It's

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<v Speaker 3>fucking enormous, and everyone kept saying that it was big,

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<v Speaker 3>and I'd looked at it online, but I thought it

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<v Speaker 3>would all be contained and there would be sort of

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<v Speaker 3>one or a few funnels.

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<v Speaker 2>In and out. But it's not like that at all.

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<v Speaker 3>There is one main entrance and exit where if someone

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<v Speaker 3>was marking that, we would see him driving in or out.

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<v Speaker 2>But there's so much space to.

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<v Speaker 3>Cover and by the time he's in a car, if

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<v Speaker 3>he's driving out, that's no good to us what.

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<v Speaker 5>We're going to do.

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<v Speaker 14>Then.

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<v Speaker 3>I'm an eternal optimist, but looking up at this complex,

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<v Speaker 3>I'm thinking we might be fucked. Being here is feeling really,

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<v Speaker 3>really overwhelming. I'm sort of looking around that we're just

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<v Speaker 3>surrounded by buildings and so many people constantly coming and going.

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<v Speaker 3>Definitely feels like finding him is going to be a

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<v Speaker 3>bit of a needle in a haystack. From Luise telling

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<v Speaker 3>Jojo that he was staying at this resort, the only

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<v Speaker 3>other intelligence we've been able to gather is from his

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<v Speaker 3>Instagram stories. His post suggests that he's been shooting with

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<v Speaker 3>two models all over Vegas. Our biggest clue is a

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<v Speaker 3>video they posted yesterday showing them driving out to the

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<v Speaker 3>canyons in a distinctive white jeep. We do endless laps

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<v Speaker 3>of the hotel car parks, hoping to spot the jeep,

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<v Speaker 3>but no luck. By ten am, three hours later, there's

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<v Speaker 3>still no sign of the car, the models, or Luise.

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<v Speaker 3>The waiting is so intense, but suddenly we get a clue.

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<v Speaker 2>He's just posted an Instagram story.

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<v Speaker 3>I shoot him a message from Drojo's account, telling him

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<v Speaker 3>I'm in Vegas and asking to me to wait and

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<v Speaker 3>hope that he replies to my message. The seconds tick

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<v Speaker 3>by as I wait for him to respond, waiting to

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<v Speaker 3>see if he replies. This message is actual in the

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<v Speaker 3>most tense part, because it's just like, if there's any

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<v Speaker 3>way of pinning him down to a specific location, that's

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<v Speaker 3>going to make our jobs so much easier. So I'm

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<v Speaker 3>just kind of like checking the phone every thirty seconds

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<v Speaker 3>to see if he's replied.

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<v Speaker 2>Oh, he's just like my message. He's just like my message.

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<v Speaker 2>I think he's going to reply. He's just replied. Who's

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<v Speaker 2>replied saying yes we can shoot? Oh my god, Okay,

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<v Speaker 2>so he's still here.

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<v Speaker 6>Here.

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<v Speaker 2>He's just replied, saying yes, we can shoot. Oh my god, okay,

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<v Speaker 2>so what do we do now? Let's wait and see

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<v Speaker 2>what he says. Oh my god, my heart's going it's racing.

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<v Speaker 3>Okay, he replies, but refuses to meet up without payment first.

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<v Speaker 3>But we don't want to hand over any money to Louise.

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<v Speaker 5>He's very hung up on the money.

0:13:58.280 --> 0:14:00.840
<v Speaker 8>Yeah, he's not going to meet us without the money.

0:14:00.920 --> 0:14:01.240
<v Speaker 2>He's not.

0:14:01.760 --> 0:14:04.480
<v Speaker 3>So me and Elena going to overdrive trying to formulate

0:14:04.520 --> 0:14:07.160
<v Speaker 3>a reply while our glamorous ex cop tries to keep

0:14:07.240 --> 0:14:07.880
<v Speaker 3>us calm.

0:14:08.120 --> 0:14:11.760
<v Speaker 2>She knows how to play the game. Don't respond too quickly.

0:14:12.000 --> 0:14:17.559
<v Speaker 5>Yeah, we don't want to see guests for it. And

0:14:17.880 --> 0:14:19.120
<v Speaker 5>when you do reply.

0:14:20.520 --> 0:14:26.560
<v Speaker 15>Brief We wanted to just try to get away from

0:14:26.600 --> 0:14:30.400
<v Speaker 15>getting him back to seeing amount money, try to keep

0:14:30.480 --> 0:14:31.560
<v Speaker 15>him away from that.

0:14:31.720 --> 0:14:32.800
<v Speaker 2>I know he's going to go there.

0:14:32.880 --> 0:14:36.239
<v Speaker 16>Yeah, but as long as we can keep this conversation

0:14:36.480 --> 0:14:40.560
<v Speaker 16>going without getting to that whole money thing.

0:14:41.680 --> 0:14:43.080
<v Speaker 2>My heart is pounding.

0:14:43.160 --> 0:14:47.800
<v Speaker 3>As a type out a reply, we reply now saying

0:14:47.840 --> 0:14:50.120
<v Speaker 3>like what time can you do and like try and

0:14:50.120 --> 0:14:51.840
<v Speaker 3>get some like logistics out of him.

0:14:52.200 --> 0:14:54.960
<v Speaker 2>I just need to like work out timings and location first.

0:14:55.040 --> 0:14:57.560
<v Speaker 3>Saying like Okay, yeah, I think I can maybe make

0:14:57.560 --> 0:14:59.800
<v Speaker 3>two pm work, Like, is it somewhere outside we can

0:14:59.800 --> 0:15:01.880
<v Speaker 3>do and try and get him to send us a.

0:15:01.800 --> 0:15:03.960
<v Speaker 2>Photo of where that could be and see if that

0:15:04.040 --> 0:15:05.640
<v Speaker 2>draws him out to her Pauls. Get some pictures.

0:15:06.280 --> 0:15:08.920
<v Speaker 3>It'll give us like an idea of whereing this resort

0:15:08.960 --> 0:15:10.840
<v Speaker 3>he is. And if we think it's not weird to

0:15:10.880 --> 0:15:13.080
<v Speaker 3>be like, you know what, we're actually nearby, should we

0:15:13.160 --> 0:15:16.440
<v Speaker 3>just like pop in. I think this is it's the

0:15:16.440 --> 0:15:21.600
<v Speaker 3>best shot that we've had so far, off the shot, right, Yeah.

0:15:21.480 --> 0:15:25.280
<v Speaker 16>Okay, I mean just be prepared for Yeah, now let's

0:15:25.320 --> 0:15:26.120
<v Speaker 16>say see some money.

0:15:26.920 --> 0:15:27.920
<v Speaker 2>Sure, how do you feel?

0:15:28.000 --> 0:15:30.280
<v Speaker 3>I feel like a bit more optimistic than I not

0:15:30.360 --> 0:15:31.440
<v Speaker 3>for the rest of the fucking morning.

0:15:32.200 --> 0:15:36.120
<v Speaker 2>I hit send. So what has happened?

0:15:36.360 --> 0:15:39.480
<v Speaker 3>So Luis's replied saying I could do from two o'clock,

0:15:39.840 --> 0:15:41.720
<v Speaker 3>in which case we know he's probably going to be

0:15:41.760 --> 0:15:46.280
<v Speaker 3>here too. Luis has confirmed a time two pm, but

0:15:46.360 --> 0:15:49.320
<v Speaker 3>he still won't tell us where he's shooting until Jojo

0:15:49.440 --> 0:15:50.240
<v Speaker 3>pays a deposit.

0:15:50.840 --> 0:15:54.040
<v Speaker 8>We messaged him as a last stitch attempt to see

0:15:54.480 --> 0:15:57.080
<v Speaker 8>if it would make any difference and if he'd like

0:15:57.160 --> 0:15:59.280
<v Speaker 8>to meet for a drink and he said, Ellie, can

0:15:59.320 --> 0:16:01.080
<v Speaker 8>you read he.

0:16:00.960 --> 0:16:05.680
<v Speaker 3>Said, he said, no, thank you, you take care. I'm

0:16:05.720 --> 0:16:08.400
<v Speaker 3>here for work and to do only paid photo shoot.

0:16:08.560 --> 0:16:11.560
<v Speaker 2>But thank you. You have a good day. Smiley face,

0:16:11.960 --> 0:16:14.480
<v Speaker 2>sorry but not interested. Thanks for contacting me.

0:16:14.600 --> 0:16:19.360
<v Speaker 3>And then we replied with understand, wish you could see,

0:16:19.680 --> 0:16:21.760
<v Speaker 3>but I get it truly lovely picks.

0:16:21.960 --> 0:16:25.440
<v Speaker 2>And some flower emoji, which is a lovely choice. Yeah,

0:16:25.440 --> 0:16:27.640
<v Speaker 2>and he hasn't got back to us yet, so I

0:16:27.680 --> 0:16:29.360
<v Speaker 2>feel like he's not going to meet us.

0:16:29.680 --> 0:16:34.640
<v Speaker 3>Yeah, this conversation is going nowhere. Now we're back to

0:16:34.960 --> 0:16:37.360
<v Speaker 3>plan B, which is sticking out the hotel with our

0:16:37.400 --> 0:16:40.480
<v Speaker 3>security team hoping to catch a glimpse of him and

0:16:40.520 --> 0:16:42.600
<v Speaker 3>then going and was confront him when we do. We're

0:16:42.640 --> 0:16:44.440
<v Speaker 3>going to keep an eye on his social media's. He's

0:16:44.480 --> 0:16:46.880
<v Speaker 3>been posting quite a lot. We know a lot of

0:16:46.880 --> 0:16:48.640
<v Speaker 3>the models that he's been choosing with this week, so

0:16:48.680 --> 0:16:50.480
<v Speaker 3>we're keeping an eye on their profiles as well, just

0:16:50.480 --> 0:16:52.960
<v Speaker 3>to see if we can get any location tags, any

0:16:53.000 --> 0:16:54.640
<v Speaker 3>idea of what he's going to be doing, where he

0:16:54.720 --> 0:16:55.400
<v Speaker 3>might be today.

0:16:55.760 --> 0:17:01.800
<v Speaker 2>And it looks like she's about to bust into tears. Yeah,

0:17:01.840 --> 0:17:03.840
<v Speaker 2>I am nervous. I am nervous.

0:17:04.320 --> 0:17:08.359
<v Speaker 3>And honestly, Eleanor's got good reason to be nervous because

0:17:08.359 --> 0:17:10.560
<v Speaker 3>after the break, the chase is on.

0:17:13.760 --> 0:17:15.000
<v Speaker 2>Oh my god, that looked like him.

0:17:15.320 --> 0:17:19.560
<v Speaker 8>Yeah, fuck okay, shit shit shit, shit shit, he's alone.

0:17:19.680 --> 0:17:41.600
<v Speaker 5>Yeah, he's alone.

0:17:43.000 --> 0:17:46.520
<v Speaker 2>It's really hot now, probably the heat of the day.

0:17:47.119 --> 0:17:47.520
<v Speaker 1>And.

0:17:48.840 --> 0:17:50.560
<v Speaker 2>We're still looking for him.

0:17:50.880 --> 0:17:54.040
<v Speaker 3>I'm sitting in a car with my producer Eleanor. We're

0:17:54.160 --> 0:17:58.359
<v Speaker 3>dripping with sweat. This blistering Nevada heat is really not

0:17:58.440 --> 0:18:02.240
<v Speaker 3>being kind to adrenaline fuel podcasters from London, and we

0:18:02.359 --> 0:18:04.560
<v Speaker 3>know that Luis Gomes is going to be shooting in

0:18:04.640 --> 0:18:09.840
<v Speaker 3>and around Vegas soon, very soon. It feels like the

0:18:09.840 --> 0:18:11.920
<v Speaker 3>pressure is really on now because it feels like we've

0:18:11.960 --> 0:18:15.879
<v Speaker 3>got a very short window. It's now two o'clock nearly,

0:18:16.400 --> 0:18:19.240
<v Speaker 3>so if it gets to like half three four and

0:18:19.280 --> 0:18:21.119
<v Speaker 3>we've not seen him, I think we have to assume

0:18:21.760 --> 0:18:25.840
<v Speaker 3>that we've missed him leaving From an Instagram story, it

0:18:25.960 --> 0:18:29.000
<v Speaker 3>looks like Luis might have been traveling in a white jeep.

0:18:29.720 --> 0:18:31.919
<v Speaker 3>We think our best shot to find him is to

0:18:31.920 --> 0:18:34.280
<v Speaker 3>stake out the car park and hope he drives to

0:18:34.320 --> 0:18:37.840
<v Speaker 3>the shoot. So now all we can do is wait.

0:18:39.520 --> 0:18:42.560
<v Speaker 3>I feel like I'm in an extremely low budget spy movie,

0:18:42.920 --> 0:18:45.800
<v Speaker 3>attempting to look inconspicuous while we try to man as

0:18:45.880 --> 0:18:49.000
<v Speaker 3>many of the hotel exits as we can. Just then,

0:18:49.200 --> 0:18:53.080
<v Speaker 3>a white jeep slides past one of the entrances, and

0:18:53.200 --> 0:18:55.200
<v Speaker 3>just as quickly it slides out of.

0:18:55.160 --> 0:18:55.960
<v Speaker 4>You guys.

0:18:57.359 --> 0:18:57.960
<v Speaker 3>Gets in the car.

0:18:58.080 --> 0:19:02.360
<v Speaker 2>Ellie, that was them.

0:19:02.600 --> 0:19:07.359
<v Speaker 5>There's some tea. We don't put the cart before the horse.

0:19:07.480 --> 0:19:08.440
<v Speaker 8>Okay, okay.

0:19:08.920 --> 0:19:10.840
<v Speaker 2>Our agent gets on the phone to her colleague.

0:19:12.560 --> 0:19:16.200
<v Speaker 7>Wait, jeep four bye, take a look at the mail

0:19:16.240 --> 0:19:19.520
<v Speaker 7>in it. It's a male subject wearing a ball cap.

0:19:20.240 --> 0:19:23.400
<v Speaker 3>And after letting our third and final agent know we're

0:19:23.400 --> 0:19:29.399
<v Speaker 3>on the move, we lose sight of him for a moment.

0:19:29.760 --> 0:19:31.400
<v Speaker 2>But then the jeep comes into vision again.

0:19:31.520 --> 0:19:33.280
<v Speaker 5>Okay, I've got it up front.

0:19:34.000 --> 0:19:34.880
<v Speaker 2>And we're after it.

0:19:35.320 --> 0:19:38.080
<v Speaker 7>This guy, this guy, I think he knows we're following him.

0:19:38.560 --> 0:19:40.920
<v Speaker 3>Poss on its frail. Now you chase the jeep into

0:19:40.920 --> 0:19:42.400
<v Speaker 3>the desert, getting closer.

0:19:43.880 --> 0:19:45.120
<v Speaker 2>Oh my god, that looked like him.

0:19:45.400 --> 0:19:49.120
<v Speaker 5>Yeah, fuck, okay, shit, shit, shit, shit shit.

0:19:49.240 --> 0:19:49.720
<v Speaker 2>He's alone.

0:19:49.760 --> 0:19:50.800
<v Speaker 5>Yeah, he's alone.

0:19:51.400 --> 0:19:54.439
<v Speaker 3>As we gain on him, he's winding and weaving, trying

0:19:54.440 --> 0:19:55.160
<v Speaker 3>to shake us.

0:19:55.560 --> 0:19:56.480
<v Speaker 2>This is Southern tense.

0:19:57.119 --> 0:20:01.399
<v Speaker 5>Yeah, Okay, here's in front of me. I'm just gonna

0:20:01.400 --> 0:20:03.720
<v Speaker 5>pull right up on him. I'm not going to pull

0:20:03.800 --> 0:20:06.000
<v Speaker 5>him over, but I'm gonna pull right up him.

0:20:06.200 --> 0:20:10.159
<v Speaker 3>Suddenly the jeep speed drops. We lurched the side after him.

0:20:11.520 --> 0:20:14.760
<v Speaker 5>Well he's breaking me. Let's see, he's gonna pull over.

0:20:15.000 --> 0:20:15.879
<v Speaker 5>Do you want me tactic?

0:20:16.000 --> 0:20:19.959
<v Speaker 3>I think him just putt's going to see it him?

0:20:20.119 --> 0:20:20.880
<v Speaker 5>You want to see.

0:20:23.280 --> 0:20:28.320
<v Speaker 2>The agent slams on the brakes. No, it's not him,

0:20:28.320 --> 0:20:28.800
<v Speaker 2>it's not him.

0:20:28.880 --> 0:20:33.360
<v Speaker 5>It's not him. Him. How could you tell?

0:20:33.400 --> 0:20:33.719
<v Speaker 2>I could tell.

0:20:33.760 --> 0:20:34.280
<v Speaker 3>I saw his face.

0:20:34.320 --> 0:20:34.760
<v Speaker 13>It's not him.

0:20:35.119 --> 0:20:38.160
<v Speaker 5>She said, it's not him.

0:20:38.200 --> 0:20:39.520
<v Speaker 2>It wasn't Louise in the jeep.

0:20:40.040 --> 0:20:42.920
<v Speaker 3>It was a random man in a baseball cap, looking

0:20:42.960 --> 0:20:44.919
<v Speaker 3>pretty freaked out as a middle aged woman and two

0:20:44.960 --> 0:20:47.840
<v Speaker 3>Brits pulled up beside him with their phones out. I mean,

0:20:48.080 --> 0:20:51.600
<v Speaker 3>he was acting shady. The more he tried to lose us,

0:20:51.840 --> 0:20:55.280
<v Speaker 3>the more certain we became that it was Louise. Turns

0:20:55.280 --> 0:20:58.320
<v Speaker 3>out there was a pretty underwhelming reason why he was

0:20:58.359 --> 0:21:01.480
<v Speaker 3>trying to shake us. Some digging from our agents found

0:21:01.480 --> 0:21:04.679
<v Speaker 3>that he'd been driving with a suspended license plate. No

0:21:04.800 --> 0:21:09.439
<v Speaker 3>wonder he looks so stressed, adrenaline worn off. We're feeling

0:21:09.520 --> 0:21:17.240
<v Speaker 3>pretty gutted. So it is now nearly four o'clock. We

0:21:17.320 --> 0:21:20.480
<v Speaker 3>met the security team at six foot five this morning,

0:21:21.240 --> 0:21:30.000
<v Speaker 3>so it's been like nine hours since we embedded and nothing,

0:21:31.520 --> 0:21:32.320
<v Speaker 3>no sign of him.

0:21:32.760 --> 0:21:33.879
<v Speaker 2>It's so frustrating.

0:21:35.280 --> 0:21:38.560
<v Speaker 3>And then we see that a model Luisa's been shooting

0:21:38.600 --> 0:21:41.760
<v Speaker 3>with has posted on Instagram. Look, she's just uploaded the

0:21:41.760 --> 0:21:43.680
<v Speaker 3>photo with him.

0:21:43.800 --> 0:21:44.439
<v Speaker 5>Is that today?

0:21:44.720 --> 0:21:44.920
<v Speaker 3>Yeah?

0:21:45.200 --> 0:21:47.520
<v Speaker 2>Just an hour ago?

0:21:48.720 --> 0:21:49.000
<v Speaker 11>Really?

0:21:49.080 --> 0:21:52.240
<v Speaker 8>Are do you recognize that place at all? I think

0:21:52.240 --> 0:21:55.679
<v Speaker 8>we should go to the desert. That's like, the desert

0:21:55.760 --> 0:21:56.520
<v Speaker 8>is a ghost town?

0:21:57.320 --> 0:21:59.760
<v Speaker 2>Ah, it's not the desert, is it.

0:22:00.440 --> 0:22:02.800
<v Speaker 5>Notice there's no hills there on flat land?

0:22:03.080 --> 0:22:08.240
<v Speaker 2>Could it be there? This is a ghost town the vehicles, Oh,

0:22:08.240 --> 0:22:10.520
<v Speaker 2>it could be. It's a long shot.

0:22:11.000 --> 0:22:15.160
<v Speaker 3>But time for one final Hell, Mary, we think they're

0:22:15.160 --> 0:22:19.280
<v Speaker 3>shooting in a ghost town, so we're off to find one.

0:22:23.200 --> 0:22:25.679
<v Speaker 3>After driving up a dirt track, we come across what

0:22:25.760 --> 0:22:28.560
<v Speaker 3>looks like the world's oldest saloon at the foot of

0:22:28.560 --> 0:22:32.280
<v Speaker 3>a hill leading up to Good Springs, Nevada, population one

0:22:32.359 --> 0:22:33.359
<v Speaker 3>hundred and twenty three.

0:22:34.119 --> 0:22:38.119
<v Speaker 2>Now I'm feeling properly on edge. This town is so

0:22:38.359 --> 0:22:39.280
<v Speaker 2>fucking creepy.

0:22:41.520 --> 0:22:45.159
<v Speaker 3>I haven't been a single person is literally like the

0:22:45.160 --> 0:22:52.520
<v Speaker 3>scene of a horror film. How Emma has our investigation

0:22:52.840 --> 0:22:57.800
<v Speaker 3>ended up here in.

0:22:56.359 --> 0:23:01.480
<v Speaker 2>A fucking ghost town at the edge of Nevada.

0:23:01.920 --> 0:23:04.680
<v Speaker 3>It's not what I thought I would be doing when

0:23:04.680 --> 0:23:08.760
<v Speaker 3>I started investigating the glamor industry. There's an irony not

0:23:08.840 --> 0:23:11.840
<v Speaker 3>lost on me or Eleanor that our investigation into the

0:23:11.920 --> 0:23:15.639
<v Speaker 3>least regulated industry we've ever encountered is ending in the

0:23:15.680 --> 0:23:21.960
<v Speaker 3>real wild West. There are tantalizing signs everywhere, including another

0:23:22.000 --> 0:23:24.399
<v Speaker 3>white Jeep, but we know better than to fall for that.

0:23:24.480 --> 0:23:27.480
<v Speaker 2>Twice. We keep hoping Luise.

0:23:27.280 --> 0:23:30.320
<v Speaker 3>Is just around the next corner, but he never is,

0:23:30.840 --> 0:23:34.320
<v Speaker 3>and as we pass yet another rundown building, even our

0:23:34.359 --> 0:23:36.960
<v Speaker 3>hard nosed agents are giving into wishful thinking.

0:23:38.280 --> 0:23:39.680
<v Speaker 5>Do you think anybody is in here?

0:23:41.040 --> 0:23:42.800
<v Speaker 3>Looks like said?

0:23:42.800 --> 0:23:44.639
<v Speaker 5>I was thinking, And I was like, if it's a

0:23:44.680 --> 0:23:45.440
<v Speaker 5>firon apartment.

0:23:45.480 --> 0:23:47.360
<v Speaker 7>I wonder if I showed him the picture and asked

0:23:47.440 --> 0:23:50.119
<v Speaker 7>him if if they would by chance?

0:23:50.359 --> 0:23:54.439
<v Speaker 12>No, I mean, that's one in a billion.

0:23:54.680 --> 0:23:56.720
<v Speaker 5>You're you're real heat, You're.

0:23:56.720 --> 0:24:00.680
<v Speaker 16>Asking though, I'm OK, That's what I did the job

0:24:00.760 --> 0:24:02.440
<v Speaker 16>I always grasped for straws.

0:24:03.040 --> 0:24:05.520
<v Speaker 3>We're about to call it a day when Luise posts

0:24:05.560 --> 0:24:07.800
<v Speaker 3>on Instagram again, Okay, we've got video.

0:24:07.840 --> 0:24:08.440
<v Speaker 2>We've got a video.

0:24:08.640 --> 0:24:11.680
<v Speaker 3>Okay, play out out a lake thing in the background.

0:24:11.760 --> 0:24:11.960
<v Speaker 7>Yeap.

0:24:14.119 --> 0:24:16.520
<v Speaker 3>This time he's out by a big body of water,

0:24:16.800 --> 0:24:19.280
<v Speaker 3>which one of our agents instantly recognizes.

0:24:20.560 --> 0:24:20.920
<v Speaker 9>You know where.

0:24:21.600 --> 0:24:22.520
<v Speaker 5>He said, it's Leap.

0:24:25.160 --> 0:24:26.280
<v Speaker 7>Lake Merom, Lake Mead.

0:24:26.359 --> 0:24:28.680
<v Speaker 5>And then you're you're being good and you'll.

0:24:28.480 --> 0:24:32.040
<v Speaker 7>Be an hour from there back to the airport.

0:24:32.800 --> 0:24:34.760
<v Speaker 5>Ah oh shit.

0:24:37.119 --> 0:24:38.600
<v Speaker 12>And by the time we get there, they could be

0:24:38.640 --> 0:24:39.080
<v Speaker 12>long gone.

0:24:40.359 --> 0:24:42.280
<v Speaker 4>The lake is one hundred and one miles from end

0:24:42.280 --> 0:24:43.719
<v Speaker 4>to end and thirty miles across.

0:24:44.200 --> 0:24:46.440
<v Speaker 12>There's very a little chance we would find him, even

0:24:46.480 --> 0:24:46.880
<v Speaker 12>if we.

0:24:46.760 --> 0:24:48.560
<v Speaker 2>Were there kneeling a haystag.

0:24:48.600 --> 0:24:51.080
<v Speaker 3>This is so hard, this is so odd, and it's

0:24:51.080 --> 0:24:53.280
<v Speaker 3>so frustrating. It's so typical that we now are like,

0:24:53.359 --> 0:25:01.800
<v Speaker 3>we know where he is and it's too late. I

0:25:01.840 --> 0:25:04.560
<v Speaker 3>initially felt like I'd let Emily and all the other

0:25:04.640 --> 0:25:07.920
<v Speaker 3>models down. But what was I really hoping to get

0:25:07.920 --> 0:25:13.520
<v Speaker 3>from that confrontation. We've put detailed allegations to Luise multiple times,

0:25:14.080 --> 0:25:18.879
<v Speaker 3>We've called, emailed, texted. He knows we're making this podcast,

0:25:19.359 --> 0:25:24.560
<v Speaker 3>but he's never responded. That silence speaks volumes to me.

0:25:25.520 --> 0:25:27.760
<v Speaker 3>I'm also far from the first person to try and

0:25:27.760 --> 0:25:31.159
<v Speaker 3>confront Luise. Nearly every model who you've heard in this

0:25:31.280 --> 0:25:35.000
<v Speaker 3>series spoke to him first, and he never took accountability.

0:25:36.080 --> 0:25:38.680
<v Speaker 3>To our knowledge, the only time Luise has addressed the

0:25:38.720 --> 0:25:41.840
<v Speaker 3>British women's allegations of sexual abuse was in an email

0:25:41.920 --> 0:25:45.040
<v Speaker 3>chain from twenty twenty two. It was sent to us

0:25:45.040 --> 0:25:48.320
<v Speaker 3>by another man in the industry, a small time magazine publisher.

0:25:48.960 --> 0:25:50.760
<v Speaker 3>Here's an excerpt from the emails.

0:25:51.400 --> 0:25:55.199
<v Speaker 6>Hello there, my name is Louise Gomez. I want to

0:25:55.200 --> 0:25:57.920
<v Speaker 6>write you because I want to show you that all

0:25:58.040 --> 0:26:02.600
<v Speaker 6>these girls are adults. They do everything because they want,

0:26:03.359 --> 0:26:04.800
<v Speaker 6>so here we go.

0:26:05.480 --> 0:26:07.720
<v Speaker 3>Luise said that anything that happened between him and the

0:26:07.760 --> 0:26:11.400
<v Speaker 3>models was consential. He talks about models sending him explicit

0:26:11.440 --> 0:26:18.880
<v Speaker 3>content as evidence of this consent. But I've seen her

0:26:18.880 --> 0:26:21.400
<v Speaker 3>as receipts. I've heard her account of how he got

0:26:21.400 --> 0:26:25.040
<v Speaker 3>hold of her content by pressuring her and dangling the

0:26:25.040 --> 0:26:27.320
<v Speaker 3>promise of a publication in Playboy in front of her.

0:26:27.960 --> 0:26:31.200
<v Speaker 3>In the email chain I've seen, Luise also shares screenshots

0:26:31.240 --> 0:26:34.680
<v Speaker 3>of conversations with models as evidence of consent. These are

0:26:34.680 --> 0:26:37.400
<v Speaker 3>often from before the shoots took place, and they're frank

0:26:37.440 --> 0:26:40.439
<v Speaker 3>discussions about sex work and OnlyFans and what these models

0:26:40.440 --> 0:26:43.679
<v Speaker 3>do online. Using these messages as evidence of consent for

0:26:43.720 --> 0:26:47.719
<v Speaker 3>alleged abuse makes me feel deeply uneasy. It seems as

0:26:47.720 --> 0:26:49.800
<v Speaker 3>though Luise is using the fact that they do sex

0:26:49.840 --> 0:26:53.320
<v Speaker 3>work as evidence that they were up for anything. This

0:26:53.440 --> 0:26:56.080
<v Speaker 3>makes me realize that any confrontation I might have held

0:26:56.119 --> 0:26:58.280
<v Speaker 3>with Luise in Vegas was not going to bring the

0:26:58.280 --> 0:27:02.040
<v Speaker 3>model's closure. And the more I think about it, the

0:27:02.119 --> 0:27:04.480
<v Speaker 3>less I want this ending to be about Luise at all,

0:27:05.080 --> 0:27:08.399
<v Speaker 3>because platforming bad men is never what this series has

0:27:08.440 --> 0:27:12.240
<v Speaker 3>been about. I want a different resolution, something that makes

0:27:12.240 --> 0:27:14.880
<v Speaker 3>a real difference to the women I've met along this journey,

0:27:15.520 --> 0:27:18.080
<v Speaker 3>and that will hopefully protect more women in the future.

0:27:39.400 --> 0:27:42.520
<v Speaker 3>I turned to Luis's Patreon, the subscription site where he's

0:27:42.520 --> 0:27:46.360
<v Speaker 3>been posting models explicit content online, in some cases despite

0:27:46.400 --> 0:27:50.320
<v Speaker 3>their please not to. For years, that Patreon account has

0:27:50.400 --> 0:27:54.880
<v Speaker 3>haunted models. Photos taken on shoots with Luise, allegedly under

0:27:54.880 --> 0:27:58.000
<v Speaker 3>pressure or alongside sexual abuse have been given a second

0:27:58.040 --> 0:28:01.680
<v Speaker 3>life online, which Luise's thousands of dollars for.

0:28:03.160 --> 0:28:06.000
<v Speaker 12>Hi Allen, I'm Amaya, an assistant producer.

0:28:06.320 --> 0:28:08.199
<v Speaker 3>We get in touch with Patreon to let them know

0:28:08.240 --> 0:28:09.280
<v Speaker 3>about the allegations.

0:28:09.320 --> 0:28:10.879
<v Speaker 2>We've heard about Luise.

0:28:11.000 --> 0:28:15.120
<v Speaker 12>Investigating serious allegations by one glamor photographer. We have been

0:28:15.160 --> 0:28:18.600
<v Speaker 12>informed that this photographer has been using his Patreon account

0:28:18.640 --> 0:28:22.840
<v Speaker 12>to post content of models, including explicit images and videos,

0:28:23.080 --> 0:28:26.520
<v Speaker 12>which he had been sent privately on the condition the

0:28:26.600 --> 0:28:28.560
<v Speaker 12>content was for his eyes only.

0:28:29.320 --> 0:28:32.560
<v Speaker 3>The models claim that Patreon begins an investigation of their own.

0:28:33.280 --> 0:28:36.320
<v Speaker 3>About a month later, Amalia gets an update from Ellen

0:28:36.440 --> 0:28:40.040
<v Speaker 3>sat White, the head of communications and US policy lead

0:28:40.120 --> 0:28:41.360
<v Speaker 3>at Patreon at the time.

0:28:41.920 --> 0:28:44.000
<v Speaker 12>So what can you tell us?

0:28:44.720 --> 0:28:50.400
<v Speaker 13>Yeah, so I can't talk about the specific creator, but

0:28:51.040 --> 0:28:54.200
<v Speaker 13>let me say it in this way. The account was

0:28:54.240 --> 0:28:58.320
<v Speaker 13>removed for violations of our pornography policy.

0:28:58.640 --> 0:29:02.000
<v Speaker 3>Luise's Patreon is down and it's because of us.

0:29:02.440 --> 0:29:05.080
<v Speaker 13>It triggered our review of this creator. Yes, we were

0:29:05.120 --> 0:29:06.840
<v Speaker 13>not aware of it until you reported it to me.

0:29:10.000 --> 0:29:15.160
<v Speaker 13>We removed this creator for having violated our policies regarding

0:29:15.320 --> 0:29:19.800
<v Speaker 13>pornographic content, and this was not their first violation.

0:29:20.680 --> 0:29:23.440
<v Speaker 3>Ellen tells us that Patreon has taken steps to make

0:29:23.480 --> 0:29:26.360
<v Speaker 3>sure that Luis can never bring his account back.

0:29:29.040 --> 0:29:35.240
<v Speaker 17>If they were to launch another account, it would have

0:29:35.360 --> 0:29:40.560
<v Speaker 17>to be substantively different than the account that they have currently.

0:29:40.720 --> 0:29:44.600
<v Speaker 12>So can we then assume that Universe one three seven

0:29:44.800 --> 0:29:49.280
<v Speaker 12>will not make it comeback to Patreon without Patreon's review.

0:29:50.040 --> 0:29:51.080
<v Speaker 5>That's right.

0:29:51.640 --> 0:29:52.160
<v Speaker 12>That makes me.

0:29:52.880 --> 0:29:54.080
<v Speaker 6>That makes me feel really good.

0:29:57.000 --> 0:30:00.600
<v Speaker 3>I can't wait to tell Emily the news. So we

0:30:00.680 --> 0:30:02.120
<v Speaker 3>managed to get his patron removed.

0:30:02.520 --> 0:30:08.080
<v Speaker 14>Yes, yes, Oh my god, Oh I love that.

0:30:08.280 --> 0:30:08.640
<v Speaker 2>Thank you.

0:30:09.200 --> 0:30:13.360
<v Speaker 14>That's that's so relieving. That's really good.

0:30:14.360 --> 0:30:15.360
<v Speaker 2>That's so it's weird.

0:30:15.440 --> 0:30:18.920
<v Speaker 14>It's like a it's not the outcome necessary that you know,

0:30:18.960 --> 0:30:20.000
<v Speaker 14>you can go to court and you can deal with

0:30:20.000 --> 0:30:21.160
<v Speaker 14>this stuff, but at the end of the day, if

0:30:21.160 --> 0:30:23.680
<v Speaker 14>it's gone, it's gone. It's a huge weight that's been

0:30:23.680 --> 0:30:26.719
<v Speaker 14>lifted knowing that that's not there anymore. And I wouldn't

0:30:26.720 --> 0:30:28.760
<v Speaker 14>have been able to do that myself. So I really

0:30:28.800 --> 0:30:29.400
<v Speaker 14>appreciate that.

0:30:29.400 --> 0:30:29.720
<v Speaker 5>Thank you.

0:30:37.080 --> 0:30:40.040
<v Speaker 3>Speaking to Emily again got me thinking about what justice

0:30:40.120 --> 0:30:44.440
<v Speaker 3>actually means in a world where successful sexual assault prosecutions

0:30:44.440 --> 0:30:48.480
<v Speaker 3>are pathetically low, where sex workers are overlooked and ignored,

0:30:48.880 --> 0:30:51.680
<v Speaker 3>while women are slut shamed and victim blaine over and

0:30:51.760 --> 0:30:55.320
<v Speaker 3>over again. Maybe this podcast in itself is a form

0:30:55.320 --> 0:31:03.200
<v Speaker 3>of justice. That first email I received back in twenty

0:31:03.280 --> 0:31:06.120
<v Speaker 3>twenty tipping me off about this story was sent to

0:31:06.200 --> 0:31:09.800
<v Speaker 3>newspaper desks all over the world, and to my knowledge,

0:31:10.000 --> 0:31:14.760
<v Speaker 3>I was the only person who responded, which unfortunately isn't

0:31:14.800 --> 0:31:18.360
<v Speaker 3>surprising to me. After all, when was the last time

0:31:18.480 --> 0:31:21.720
<v Speaker 3>you heard a mainstream media story from a sex worker's perspective.

0:31:22.680 --> 0:31:24.920
<v Speaker 3>I can't help thinking that if these women worked in

0:31:24.960 --> 0:31:30.720
<v Speaker 3>a different industry, more people would have listened. Sex workers

0:31:30.760 --> 0:31:33.680
<v Speaker 3>and glamor models are no less deserving of our care

0:31:33.720 --> 0:31:38.600
<v Speaker 3>than anyone else. They also need respect, boundaries, and understanding.

0:31:39.480 --> 0:31:41.320
<v Speaker 2>In fact, they might need it more.

0:31:43.200 --> 0:31:46.920
<v Speaker 14>People need to realize that just because we're models or

0:31:46.960 --> 0:31:49.720
<v Speaker 14>glamor models, or happy to do topless or nude shoots,

0:31:49.800 --> 0:31:52.719
<v Speaker 14>it doesn't matter any type of photography, that it's not

0:31:52.960 --> 0:31:57.120
<v Speaker 14>a free pass for you to touch us, breathe on us,

0:31:57.480 --> 0:31:59.240
<v Speaker 14>get within an inch of our bodies.

0:32:01.440 --> 0:32:03.520
<v Speaker 2>I catch up with Herrah one last time too.

0:32:04.120 --> 0:32:08.160
<v Speaker 18>I'm so grateful that you've listened, and yeah, you took

0:32:08.160 --> 0:32:10.040
<v Speaker 18>it on board, and that you guys have been doing

0:32:10.080 --> 0:32:12.080
<v Speaker 18>so much because.

0:32:12.080 --> 0:32:12.800
<v Speaker 2>It's not just him.

0:32:12.840 --> 0:32:16.160
<v Speaker 18>This could open people's eyes up to other photographers. You know,

0:32:16.240 --> 0:32:19.880
<v Speaker 18>this could have like a ripple effect. People might speak

0:32:19.880 --> 0:32:20.800
<v Speaker 18>out more about it.

0:32:21.400 --> 0:32:21.880
<v Speaker 2>I hope so.

0:32:22.560 --> 0:32:24.560
<v Speaker 3>Yeah, I mean, the story is always felt important to me,

0:32:25.040 --> 0:32:26.760
<v Speaker 3>and I think people will listen, and I hope it

0:32:26.760 --> 0:32:34.280
<v Speaker 3>does change things, and that is what I want from this.

0:32:34.280 --> 0:32:37.360
<v Speaker 3>This series has always been about the models and for

0:32:37.400 --> 0:32:40.080
<v Speaker 3>the models, so I'd like to hand over these final

0:32:40.120 --> 0:32:41.680
<v Speaker 3>moments to some of the women at the heart of

0:32:41.720 --> 0:32:45.520
<v Speaker 3>this story who bravely shared their experiences in the hopes

0:32:45.520 --> 0:32:50.959
<v Speaker 3>that it might make the glamour industry safer for everyone.

0:32:55.200 --> 0:32:57.040
<v Speaker 2>What would I like to say to Luis.

0:32:59.640 --> 0:33:02.960
<v Speaker 11>Definitely he opened my eyes to the dark side of

0:33:03.000 --> 0:33:06.280
<v Speaker 11>the industry that I didn't know was a thing really

0:33:06.600 --> 0:33:10.720
<v Speaker 11>until then. Thank you for ruining my life at the time,

0:33:11.440 --> 0:33:14.840
<v Speaker 11>but Ressis Shark, you haven't ruined it in the long run.

0:33:15.400 --> 0:33:17.200
<v Speaker 11>Thanks for making me a stronger person.

0:33:18.040 --> 0:33:22.480
<v Speaker 18>I actually have nothing. I have nothing to say to him,

0:33:22.520 --> 0:33:23.320
<v Speaker 18>not a single thing.

0:33:24.240 --> 0:33:26.480
<v Speaker 14>I hope you realize this one day, the negative impact

0:33:26.520 --> 0:33:28.760
<v Speaker 14>that he's having on young women in this industry, and

0:33:28.800 --> 0:33:32.360
<v Speaker 14>hopefully he stops doing it. And if this podcast manages

0:33:32.400 --> 0:33:34.480
<v Speaker 14>to reach him in some way, then I hope he

0:33:34.480 --> 0:33:36.440
<v Speaker 14>takes it all on board, and I hope he is

0:33:36.480 --> 0:33:40.080
<v Speaker 14>apologetic and remorseful for everything that he's put everyone through.

0:33:41.520 --> 0:33:45.400
<v Speaker 11>He seems to have got away with too much, so

0:33:45.440 --> 0:33:47.440
<v Speaker 11>I hope he's calmer catches up to him soon.

0:33:50.760 --> 0:33:52.760
<v Speaker 10>I am so grateful.

0:33:52.360 --> 0:33:54.960
<v Speaker 14>For all the girls that have come forward and been vulnerable,

0:33:55.400 --> 0:33:57.960
<v Speaker 14>including myself. I'm proud of myself for talking through everything.

0:33:59.000 --> 0:34:00.400
<v Speaker 10>It's still very vivid to.

0:34:00.440 --> 0:34:03.720
<v Speaker 14>Me, everything that had happened. I could recount the entire

0:34:03.760 --> 0:34:06.400
<v Speaker 14>thing over and either again. It's not something that I've forgotten.

0:34:06.400 --> 0:34:09.200
<v Speaker 14>All that's diminished of gone over the time, and I

0:34:09.200 --> 0:34:11.399
<v Speaker 14>can only think, if that's happened with how I feel,

0:34:11.400 --> 0:34:13.200
<v Speaker 14>then I'm sure it's the same for the other girlies.

0:34:14.080 --> 0:34:17.279
<v Speaker 10>Knowing that we're all in this together and having a

0:34:17.320 --> 0:34:21.719
<v Speaker 10>community of understanding and supporting and helping and lifting each

0:34:21.760 --> 0:34:25.520
<v Speaker 10>other up and growing with each other means the world

0:34:25.600 --> 0:34:29.439
<v Speaker 10>to me. I believe every woman on this planet Earth

0:34:29.560 --> 0:34:37.200
<v Speaker 10>needs embracing, brave, understanding and supportive women around them.

0:34:37.760 --> 0:34:40.960
<v Speaker 4>Women support each other and we lean on each other.

0:34:41.400 --> 0:34:45.400
<v Speaker 4>We're our soulmates and we're our cheerleaders. Women supporting women

0:34:45.600 --> 0:34:47.360
<v Speaker 4>will actually change the world.

0:34:50.480 --> 0:34:51.760
<v Speaker 11>What are you up to now?

0:34:52.760 --> 0:34:54.680
<v Speaker 2>So my life has totally changed.

0:34:55.400 --> 0:34:58.800
<v Speaker 11>I have just been actually blessed with the best gift

0:34:58.920 --> 0:35:04.000
<v Speaker 11>I've ever had and became a mom, and I can't

0:35:04.040 --> 0:35:08.000
<v Speaker 11>wait to just continue loving her protecting her. So right

0:35:08.040 --> 0:35:10.760
<v Speaker 11>now in life, I'm in such a good place.

0:35:11.120 --> 0:35:16.440
<v Speaker 9>I'm now a videographer and photographer for female content creators

0:35:16.760 --> 0:35:21.759
<v Speaker 9>in the adult industry. I provide that safe space for

0:35:21.880 --> 0:35:25.080
<v Speaker 9>them that I didn't have back then.

0:35:25.640 --> 0:35:28.000
<v Speaker 14>I'm going to be walking in Miami Swim Week, which

0:35:28.080 --> 0:35:31.080
<v Speaker 14>is an amazing opportunity. I never thought I would have

0:35:31.120 --> 0:35:33.480
<v Speaker 14>the confidence to do that or be in front of

0:35:33.520 --> 0:35:34.400
<v Speaker 14>photographers and stuff.

0:35:34.400 --> 0:35:40.040
<v Speaker 10>Again, I am thriving in my life. I'm learning, I'm evolving.

0:35:42.280 --> 0:35:44.520
<v Speaker 14>What do I want people to take away from hearing

0:35:44.520 --> 0:35:45.279
<v Speaker 14>these stories?

0:35:45.480 --> 0:35:48.520
<v Speaker 10>For people to get a reality check on what the

0:35:48.600 --> 0:35:50.239
<v Speaker 10>modeling industry really is.

0:35:50.480 --> 0:35:52.600
<v Speaker 4>You know, there's a lot of evil and darkness in

0:35:52.640 --> 0:35:56.600
<v Speaker 4>the industry, and that darkness is being brought into the

0:35:56.680 --> 0:35:58.440
<v Speaker 4>light and exposed.

0:35:58.840 --> 0:36:02.680
<v Speaker 11>I got taught to be quiet, keep your mouth shut.

0:36:02.960 --> 0:36:05.960
<v Speaker 11>If you see something, it's you that's going to look

0:36:06.000 --> 0:36:06.920
<v Speaker 11>like the bad person.

0:36:07.000 --> 0:36:08.120
<v Speaker 2>No one's going to believe you.

0:36:08.760 --> 0:36:12.480
<v Speaker 11>And that's what people do to try and keep people silenced.

0:36:12.920 --> 0:36:16.160
<v Speaker 11>If anything does, ever, haven't you just know that there

0:36:16.200 --> 0:36:18.400
<v Speaker 11>is people out there and there is support.

0:36:18.719 --> 0:36:19.520
<v Speaker 13>Don't think you have.

0:36:19.520 --> 0:36:21.560
<v Speaker 11>To do something just to get to where you want

0:36:21.560 --> 0:36:23.600
<v Speaker 11>to be. If it doesn't feel right, listen to your

0:36:23.600 --> 0:36:27.160
<v Speaker 11>heart and don't feel pressured, because the right opportunities are

0:36:27.320 --> 0:36:28.800
<v Speaker 11>always come back around.

0:36:29.440 --> 0:36:31.440
<v Speaker 14>I just hope people are a little bit more open minded.

0:36:32.080 --> 0:36:34.640
<v Speaker 14>When you see a model's photo, you wonder, actually, did

0:36:34.680 --> 0:36:35.520
<v Speaker 14>you have a nice time.

0:36:35.400 --> 0:36:35.960
<v Speaker 2>At that shoot?

0:36:36.320 --> 0:36:37.440
<v Speaker 10>Was she okay at that shoot?

0:36:38.120 --> 0:36:38.680
<v Speaker 12>You never know.

0:36:39.440 --> 0:36:42.080
<v Speaker 14>We are glamor models first and foremost some of us,

0:36:42.120 --> 0:36:44.879
<v Speaker 14>do you only fans? Yes, we do consent to being

0:36:45.120 --> 0:36:48.040
<v Speaker 14>seen nude or in lingerie or scantily clad, and that's

0:36:48.080 --> 0:36:49.000
<v Speaker 14>absolutely fine.

0:36:49.239 --> 0:36:51.320
<v Speaker 4>That doesn't mean that we are deserving.

0:36:50.840 --> 0:36:53.520
<v Speaker 14>Of sexual assault. We are not here to be exploited

0:36:53.560 --> 0:36:56.800
<v Speaker 14>for our content. We are not just objects of sexual desire.

0:36:56.800 --> 0:36:59.040
<v Speaker 14>We are human beings. We deserve respect the same as

0:36:59.040 --> 0:37:06.000
<v Speaker 14>anybody else would. I feel a bit of closure.

0:37:06.480 --> 0:37:10.160
<v Speaker 11>I feel like I can finally start closing the doors

0:37:10.360 --> 0:37:14.880
<v Speaker 11>on what happened was and help empower myself to feeling

0:37:15.640 --> 0:37:19.960
<v Speaker 11>like it wasn't my fault. Also feel very empowered that

0:37:20.040 --> 0:37:23.160
<v Speaker 11>the podcast has gone out. This is all ever wanted

0:37:23.400 --> 0:37:26.440
<v Speaker 11>and more for it all to come out and to

0:37:26.480 --> 0:37:27.360
<v Speaker 11>spread awareness.

0:37:32.360 --> 0:37:44.520
<v Speaker 9>If this helps just one person, I'd be happy.

0:37:45.480 --> 0:37:48.719
<v Speaker 3>We contacted Luis Gomez multiple times for comment, but we

0:37:48.800 --> 0:37:51.359
<v Speaker 3>never heard back. He has not been charged with any

0:37:51.360 --> 0:37:55.040
<v Speaker 3>crimes and is presumed innocent under the law. We also

0:37:55.080 --> 0:37:58.400
<v Speaker 3>saw a comment from Playboy USA. They declined our request

0:37:58.480 --> 0:38:01.520
<v Speaker 3>for an interview, but stay that they asked their licensees

0:38:01.560 --> 0:38:04.640
<v Speaker 3>to blacklist the photographer mentioned in this series and that

0:38:04.680 --> 0:38:07.720
<v Speaker 3>they prohibit paid to play the practice of charging models

0:38:07.719 --> 0:38:20.480
<v Speaker 3>to appear in magazines. The Bonnie Trap is produced by Novel.

0:38:20.960 --> 0:38:24.959
<v Speaker 3>For more from Novel visit novel dot Audio. The show

0:38:25.000 --> 0:38:27.360
<v Speaker 3>is hosted by me Ellie Flynn. You can find me

0:38:27.400 --> 0:38:30.320
<v Speaker 3>on social media by searching my name that's eb l

0:38:30.400 --> 0:38:33.839
<v Speaker 3>i E Fly double n. This season is produced by

0:38:33.840 --> 0:38:37.640
<v Speaker 3>Eleanor Biggs and written by me Ellie Flynn and Eleana Biggs.

0:38:37.960 --> 0:38:41.480
<v Speaker 3>Our assistant producer is Amalia Sortland, with additional production from

0:38:41.560 --> 0:38:45.400
<v Speaker 3>Lee Meyer and Saskia Collette. Additional research by Valeria Rocker.

0:38:45.760 --> 0:38:49.080
<v Speaker 3>The editors are Georgia Moody and Austin Mitchell. Our executive

0:38:49.120 --> 0:38:52.760
<v Speaker 3>producers are Max O'Brien and Craig Strachan. Our fact checker

0:38:52.800 --> 0:38:56.839
<v Speaker 3>is Fendall Fulton. Production management from Scherie Houston and Charlotte Wolf.

0:38:57.239 --> 0:39:01.400
<v Speaker 3>Sound design, mixing and scoring by Daniel Kempt and Nicholas Alexander.

0:39:02.040 --> 0:39:06.240
<v Speaker 3>Music supervision by Nicholas Alexander, Elena Biggs and Max O'Brien.

0:39:06.640 --> 0:39:10.200
<v Speaker 3>Original music composed and performed by Jake Long, and additional

0:39:10.200 --> 0:39:14.520
<v Speaker 3>production by Nicholas Alexander, Louisa Gerstein, and Daniel Kempson. The

0:39:14.600 --> 0:39:19.200
<v Speaker 3>series artwork was designed by Christina Limcole. Willard Foxtons, Creative

0:39:19.239 --> 0:39:22.440
<v Speaker 3>Director of Development. Izzy was played by Flora and Claire.

0:39:22.880 --> 0:39:26.400
<v Speaker 3>Luis Gomeres was played by Juan Solari. Special thanks to

0:39:26.400 --> 0:39:29.319
<v Speaker 3>the following people to Colleague's past and present who have

0:39:29.360 --> 0:39:33.000
<v Speaker 3>helped bring this story to life. Anna Sinfield, Joe Wheeler,

0:39:33.320 --> 0:39:39.400
<v Speaker 3>Jakob Tirevich, David Waters, Naomi Clark, Laura Zailli, Robbie mckinnis,

0:39:39.880 --> 0:39:45.520
<v Speaker 3>Frankie Nichols, Julia Bromberg, Harry Cook, Mice, Lee Raw, Tom Wright,

0:39:46.239 --> 0:39:52.360
<v Speaker 3>Sasha Baker, John Joe Devlin, Vanessa Silva, Anna piel Mazzini,

0:39:53.000 --> 0:39:56.120
<v Speaker 3>and other journalists we've worked with who wished to remain anonymous,

0:39:56.680 --> 0:39:58.960
<v Speaker 3>to the legal and security teams we've worked with who

0:39:59.000 --> 0:40:01.320
<v Speaker 3>have helped keep us safe while reporting on this story,

0:40:01.760 --> 0:40:06.120
<v Speaker 3>as well as our production psychologist, Charlotte Armitage. Finally, telling

0:40:06.160 --> 0:40:08.840
<v Speaker 3>a story like this would be impossible without the trust

0:40:08.920 --> 0:40:11.560
<v Speaker 3>and bravery of the people at its heart. So a

0:40:11.719 --> 0:40:14.239
<v Speaker 3>massive thanks to the women who shared their stories with

0:40:14.360 --> 0:40:19.280
<v Speaker 3>us and the many anonymous sources who provided invaluable information, help,

0:40:19.560 --> 0:40:23.160
<v Speaker 3>knowledge and insight. This would not have been possible without you.

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<v Speaker 1>Novel