Bonus: The Disposable Camera

Close your eyes, listen. You're in the lobby of the World Trade Center. You're in an elevator. Only two weeks before nine eleven. All right, m y y way. It was the time when they have a tar event trying to get thing. Only seventeen days later and again Darien said that Will Trade said, yeah, you fellas have a tree one here you set up to where the building? Can you go to pay that because we have injured

all over the place. Okay, all right, thank you, very sick Billy want lobby getting up in the lobby of two lobby and Bill okay, okay, we have like the every big in fact, we have vengeance. Go over and building four uh, billy everyday air grating, body works. They're having numerous people were broken light who was the blood? They want to know where we would pretty game in the buildings so they can bring everybody down two World in the lobby, the lobby. Okay, okay, all right, friend.

This recording was made at AM. By that point, thousands of victims have been evacuated away from the towers, out of the danger zone. But there was a triage area set up in the South Tower lobby for victims who couldn't walk. What snayha, they're helping. It's possible, but unlikely anyway. Yeah, I'm looking to find out. I'm a Ragius kid nurse. I'm currently working right now and I wanted to help out. I know they have a triage place set up at

West Chamber. Yes, is there anything else? Uh? You know, any you know path I could take to get there at the help? Um, what are they doing? And they calling in nurses or what? I don't think they're not calling in nurses and das in here, right and it's realized I haven't Yeah, no, now they're not calling us. Who the dators into the site? You needed to stay at the hospitals through all hospitals or want a hospital. Yeah, they cure. You're working right now at Bassol. I'm working

in a in a hospital right now. I was going to uh go there. Okay. Now they want over the docks and right now they want all the dassors and notions to stay at the Bassole. Okay, okay, right. First responders wanted people out, not in, even if they were well intentioned doctors or nurses. One more tape AM a call from the south tower lobby the emergency two World Trade Center. We have injured people in the lobby of the building. They need medical attention. They're on the south

side of the building. However, they're not gonna be able to come in that way. They have to figure away into it because we've got the bree all over the outside of the building. Okay, okay, uh that's two World Trade Center, right, that's correct, Two World Trade Center, okay, okay. And they're on the south side of the lobby. Actually have more than one occupant engine, but we have looks like serious injuries. They got the guy sitting up on a chair. I don't know how that happened, but Jerry

reported hold up the mn SO, hold on paper. That's wow. No, I don't mean why we've got any and you in the lobby. Yes, we all first floor Loop Street. It's between Liberty Street and Church Street, the building and West Street. Well, it's it's already a job, man, it's it's E. M. S is not picking up. Okay, Well maybe you could keep trying. I gave you my infrom and I kind of gotta get gold. This was my job. Okay, Look, we're sorry, Slarry, Bill, I S E. And what's the celephone?

Have you calling from? Seven? Okay? I supposed to be there. Okay, you're welcome, bye, bye luck. Five minutes later, the tower collapsed. Nine eleven may have been the most photographed event in history, but nearly all footage was captured outside the towers. From inside, we have nine one one calls, voicemail, dispatched tapes, oral histories, and emails, but very few photos and videos. It's hard to imagine now, but in two thousand one, no smartphones,

no social media. As it pertains to snay Ha. That's critical because any image of her in the towers solves this case. Surpri using Lee, there was no comprehensive list of footage captured in the Towers on nine eleven, so I made my own. In the end, I confirmed forty five photos. Thirty three were taken by one man, John Labriola, as he evacuated the North Tower, twelve were taken by

five other people, and two are unconfirmed. As for video, we have dramatic footage from the North Tower captured by French filmmaker Jewels not a plus one other short unconfirmed video. So forty five confirmed photos, one confirmed video, to unconfirmed photos, one unconfirmed video. That's it. The most complete account of what it was like in the Towers on nine eleven is a book called One and two Minutes by Jim Dwyer and Kevin Flynn of the New York Times. It's

a remarkable work of narrative journalism. I read it twice. Jim died last year. Kevin still works for the Times. We focused on the floors that seem to have the most substantial influence on the day, meaning the floors where there are the planes that actually struck, and then the floors above, and we split them up among the five reporters. For example, I had the windows on the World, which was the top of the of the North Tower, and began to try to construct what had happened at Windows

on the World. I told you I located forty nine photos and videos taken inside the towers during the attacks. But there are two things I haven't told you. First, at least one photo was taken out Windows on the World on top of the North Tower, only fifteen minutes before flight eleven hit the tower. It shows three men at the risk Waters Financial Technology conference. It was taken by a Bloomberg photographer who left right before the planehead

I don't know the photographer's name. Did they take any other photos that morning, I don't know neither, just Kevin Flynn. I never had the name of the photographer. Yeah, so someone who took some pictures and then them developed. And it may have been that Bloomberg just wanted to protect the privacy of that person. Maybe they were upset about having been there and escaped or whatever. But anyway, I never got that name. Kevin and I also discussed snay

House case. The North Day footage is at least all incompensing to the point where I think that she probably would have reported in to the command desk had she arrived. I mean, she sounds like she was a responsible person right, And so I don't think she would just like have freelance and gone up the stairs without talking to those people. And I feel like she would have been captured on camera in the North Tower. So I think that looking for her in the South tower makes more sense because

there's no footage of the South tower. Basically Kevin saying that if ran into the North Tower, she likely would have gone to the lobby command center. Then day footage gives us a good view of the North Tower lobby and there's no sign of snay huh. So if she in into the towers, it's likely she went to the South tower. And there are zero photos and no video taken in the South Tower lobby besides Labriola and the

nor Day Brothers. I don't think that there and there's certainly some photographs from outside the building from taking from the news photographers, but actually inside the building, I don't think that there's much beyond that. Yeah, So I've been able to document, well, the vast majority of what exists, like you said, is the no Day Brothers and John Labriola's photos. Past that, I've been able to document nine other photographers and videographers, but all extremely limited many just

a single image from inside the building. From inside the building. So I'm looking at it right now, and there are three there's a videographer and two photographers. I haven't been able to confirm, but what I have one picture from three, from one from the one, five from to from the sixty one, and then the Were you aware that the FBI recovered a disposable camera at ground zero that included images taken on the upper level of one of the towers and developed the images after nine eleven. No, this

is the second thing I haven't told you. It's fascinated me for eighteen years. Shortly after nine eleven, the FBI located a disposable camera at ground zero in the pocket of a man who jumped or fell from one of the towers. No one I interviewed, authors, experts, curators knew about these photos. I first heard about them in two thousand three when I read a Baltimore Sun article by Laura Sullivan profiling the FBI's Explosives Unit. Three paragraphs immediately

captivated me. I cut them out and saved them all these years. Quote. There is one other piece of evidence of the events leading to the collapse of the towers, that few outside the unit. No of unit members found a disposable camera and the pocket of a man who jumped from one of the tower. When they developed the film months later, investigators found a chilling chronology of the man's experience that morning. The photos show the man, who appears to be a construction worker, standing at the window

as the other tower burns behind him. The photos, which include pictures he took as well it's a few taken by someone else, also capture other jumpers falling. The man looks stricken, his face one of shock and disbelief. His family is aware of the photos, investigators said, but it's not asked to see them. The units investigators were initially confused by the film because the last pictures on the roll show the man laughing among friends at a birthday party.

They took the film to a photo expert in the unit, who explained that disposable camera film is developed in reverse. Laura is now an award winning investigative journalist for NPR. She wrote that article at the dawn of social media. It was quickly forgotten, but it's stuck with me for more than a decade. I've tried to get the photos from the FBI. I failed, And I know what you're thinking,

Why do you need these photos? If they're graphic and upsetting, If the man's family doesn't want to see them, why should you to me? There there's a pruder film of nine eleven, the only photos captured high in the towers, presumably above the point of impact during the attacks before the towers fell. Their singular and unique a point of view, unlike any other documenting a monumental moment in American history.

There's an ethical debate to be had about which, if any, should be published, but that's for a future date because so far the FBI has refused to release them. In fact, it appears the FBI lost the photos, raising critical questions about how the bureau catalog and handled nine eleven evidence. Since I filed multiple Foyer requests trying to get the photos, every time the same answer no. First, the FBI said it couldn't find any responsive records. Then it said that

I didn't reasonably describe them. I appealed the latest denial. The Department of Justice denied my appeal. The d o J said my request would quote require the FBI to conduct an unreasonably burdensome search. Your request is not reasonably described because you did not characterize the record SAW it in such a way that they could be located without individually pulling and reviewing thousands of files. End quote. That's

a crop of shit. We're talking about extremely unique, one of a kind photos eleven evidence, but the FBI can't find them without individually pulling and reviewing thousands of files. So two possibilities here. Either the FBI is stonewalling or the FBI lost them. Yes, lost. If I ask you to find your car keys and you can't locate them without digging through a thousand boxes, what would you call that? Last year, I got fed up, so I emailed FBI

Director Christopher Ray. His office bounced me to the Public Affairs office, which bounced me back to the FBI's in transigent FOIA office. Here's what I wrote. Quote. I'm seeking images developed from a disposable camera recovered as part of a massive investigation of immense public interest. The images were already shown to a reporter. I described them in detail. They are extremely unique, and yet the FBI's response is that the records SAW are not detailed enough to find

their location. How is that possible unless I'm missing something, and I'm trying to give the bureau a fair chance to respond here. I interpret that as either stonewalling my request or that the bureaus system for story nine eleven evidence is so disorganized it can't locate these images, in which case, past these specific photos, this becomes a bigger story. The FBI responded, quote, good afternoon. The records are not

detailed enough to find their location. As such, it would be unduly burdensome to pull and review thousands of files, respectfully, Public Information Officer, The FBI has consistently been a nightmare to work with, and not just in this case. It's been sued multiple times over its FOIA practices. Regardless of your politics, you should care about this because nobody benefits when the nation's premier law enforcement agency decides more or less that it doesn't give a shit about FOIA requests.

To learn more about the disposable camera photos, I wrote to Donald sac Laban in two thousand three. He was the agent in charge of the FBI's explosives unit. He's the person who showed the photos to Laura Sullivan, the Baltimore Sun reporter. Sac Laban is now in prison in twenty thirteen, he pleaded guilty to both child porn charges and to leaking classified information. I mailed him a letter

in prison. He wrote back, quote, Mr Wallsac, I don't think there's much I can add to your information about those photos. As best I can recall, the film slash camera was found at the w TC site and sent to our lab for processing. I mentioned it in the Baltimore Sun article, mostly because it was a unique item. I do not recall the name of any person associated with the camera. There were hundreds of thousands of photos related to the nine eleven investigation. I imagine these images

are tucked away in some storage bin. Good luck with your endeavors, sincerely, Donald suck Laban, I wrote again, pushing for details. He responded, Dear Mr Wallzac, as you may know, I'm currently serving a term of incarceration for disclosure of national security information. While the items you seek may not be classified, I still do not feel comfortable discussing them. I the interview to the Baltimore Sun with the full knowledge and authorization of the FBI. I no longer hold

that authority. Good luck with your endeavors, sincerely, Donald suck Lavin. There was one final person to interview the only civilian to ever see these photos. I'm Laura Sullivan. I'm a correspondent with NPR. I started out as a print reporter and one of my first real jobs in journalism was as a two year intern at the Baltimore Sun, and that turned into a real job at the Baltimore Sun, which is where I was on nine eleven. I was

a reporter in Baltimore. So I was covering. This is back in the heyday of newspapers, and we had all kinds of resources, and there was actually a beat where you covered the National Security Agency in the Naval Academy, which were like our local agencies in that area of our of the Baltimore Sun readers, and so that was my beat, and I remember the morning sort of hearing

it on the radio. Actually, I mean as print reporters, you know, we sort of started day late and ended it late, and I remember jumping in my car and sort of driving down to Annapolis, not really sure what I was going to be covering at all. The next day they sent me to Washington and I never left after that, And so I started covering the Justice Department, Homeline, Security Department, and all kinds of terrorism and the FBI. And it was crazy. It was every single day for

for months and months and months. It just never ended. And so you know that brings us to this this article. So I email you out of the blue this year and I say, I want to talk to you about an article you wrote eighteen years ago. Did you kind of just wonder like, what what is this? What is this? It's like, oh my god, what did I possibly right? What did I do? Now? Been some who? I mean, you're just you're saying, oh god, it must have I

must have just done something crazy twenty years ago. So on December one, two thousand three, you wrote this article for The Sun headlined FBI team puts together pieces from scenes of terror bombings. When I asked you about the article, did you remember it immediately or did you have to

go dig around for it? I had a sudden flash of being in the FBI's evidence area, and I thought, I think there was some sort I did some sort of story about the thing that came to my mind when you said something about the camera was picturing Mohammed addas suitcase. I don't know. I was like, I don't really remember this story at all. I'm not sure I remember too much about it, but I had a flash of Mohammed out as suitcase, and I was like, I think there was some sort of story. And then I

went and looked for it. I couldn't find it. It was like I didn't know what the search for. I was like Laura Sullivan's son camera, Like it was like there was no way to even find the story. So then thankfully you sent it to me, So then it and then it came sort of rushing back. I don't remember, you know, it's like you you just have little pieces. You know, you've done thousands of stories, and I just have little pieces of that. After I read the story,

I remember the room, I remember that suitcase. I don't know why that left such an impression on me. I think because it was like, you know, this it was like brand new because I never made it onto the flight, and you know, it just was so creepy. Here was Mohammadada's suitcase. And then I remember him showing me the photos. So walk me into that evidence bay. What was the big cavernous warehouse? What? What do you remember of this? The weirdest thing is I can't remember where I was

was I in Virginia. Was I in Maryland. I'm sure I didn't get on a plane for this story. They would have never paid for that. So it was somewhere in the vicinity of d C. And I do remember it took a long time to get these sort of this sort of access to these interviews. But this was my be, you know, covering the FBI. And I was always asking to do features, especially when you're sort of

at the sun. You gotta fight against the big dogs at the Times and the Post and and they're right, always trampling all over your So the more features you do, the more people you get to know. And so I was always asking for things like this, And I was always like taking random tours of things. Whenever they had a tour, I was like, I'll go, and uh, you know, blood Drive, I'll go. This is the kind of stuff I did a lot of. And I remember it was a giant room. It was very clean, and it was

very gray, that's my memory of it. I remember walking downstairs. It was just like concrete and metal and big and gray and open. And uh, I barely remember the the guy Satchel Ben at all. And he comes across like a really great character in my story. Sort of tragic the way that ended. But then he just went through the stuff. There was just piles of stuff, like like plastic tubs, like labeled plastic tubs of stuff that they had, which I found riveting, just sort of like the little

details of the day. And then I remember him showing me these photographs, which really struck me. The photographs themselves weren't that these were not professional photos. These were just sort of like they they weren't in an of them. It was like a man in sort of a beige outfit standing by a window. That's like my memory of these photos. I remember the birthday party thing too, but it wasn't like a dramatic photo. It was just sort of the emotional pull of them that they were taken

in this moment of just tragedy. And so I just I don't know, they just always they that they resonated with me. It's interesting because so I've read this article when I was fifteen. I was on a Christmas vacation with my family and I saw it in the newspaper. I'm so impressed you were reading the newspaper fifteen. Can I just say, well, that's what I was gonna say it dates me too, because I actually cut it out

of the paper. Um, I still have it somewhere. And then all these years later I had to go figure out why I had these three paragraphs like who wrote this? Where did this come from? You know? But uh, and that that was the light reading I was doing around Christmas in two thousand three. I mean, yeah, do you were in some kind of a dark place like terrible thing?

It's stuck with me, I mean it. You know, all these years, I've saved that little piece of paper, so I wanted to talk to you more or less for the last eighteen years. You know what I find so frustrating and reading this article now is the sentence that I wrote, apparently where I said his family is aware of the photos but has not asked to see them. I'm like, what, Like, I want to go back and inquire more about that. What do you mean they don't want to see them? Are you sure you've showed them?

How you sure you've talked to them? Who was this family? I just I'm frustrated with myself that I didn't follow up with that a little bit more like, you know, I just took his word for when he said, well, well, we let the family know that we had these, but they have not asked to see that. I don't know. I don't know why that. It's something about it doesn't sit with me, right. You know, It's interesting all these years I had to actually go back and find the articles,

so I didn't remember who wrote it. I just knew I had this little piece of paper that described the disposable camera. But I always wondered, like, why didn't this reporter follow up? Like it's such a fascinating little tidbit. It immediately captivated me. Um so that and then as soon as I found out that you wrote the article, and I'm like, oh, well, she went on to very distinguished career where she had, you know, three three peabodies and a lot of serious investigative work. That's why. That's

why she didn't follow up on the disposable camera. But I think because I saw the photos, I think there was kind of a sense of like, okay, I've seen them, and you know that I remember them not being like very The photos themselves were not the thing that was gripping, you know. It was literally like a man in a construction outfit or in something beige standing in front of a window. It wasn't like he was like holding up a sign saying goodbye to his family, or you know,

taking pictures of people huddled in a corner. It wasn't like that. There was no there was no drama to the actual photographs themselves. It's like he took a picture of the building burning across the street. So like when you would imagine, I guess you would do if you didn't think you were necessarily going to die. But you

maybe we're getting sense. I don't. I'm just you know, I'm just extrapolating like what he might have been thinking, Like he had a camera on him, the building, his head, he takes some photos and then things turn for the worse for him. So maybe for that, I was like, it wasn't the photos themselves, but that it captured this moment that was his last moments that he didn't really know when he was taking the photos were his last moments.

It's interesting though, because you say it doesn't capture anything dramatic, but it's a high level view of one of the towers burning, and you wrote in the article that it also shows people falling out of the towers. So and I don't remember that as well. But yeah, that's what I must have seen, and they captured other jumpers falling. He must have been taking a picture of the maybe the jumpers and other building, or the jumpers in his

building falling. It's interesting because obviously I've told you I've tried to obtain the photos for literally eleven eleven years now. But even if obviously if I got them, I wouldn't just immediately published some there's obviously a huge ethical question of what to publish. But since I haven't seen them, as far as I know, you're the only civilian who's ever seen the photos. And I'll also tell you that

literally nobody knows they exist. So your article came out at an interesting moment because it's right at the dawn of social media and it's very hard to see that detail escaping people today. But at the time, you know, nobody remembers this article. You couldn't even find it, like I had to go digging for it. And so like I've interviewed Kevin Flynn, who co wrote a hundred in two minutes, I interviewed the chief curator of the nine eleven Museum. I've talked to authors zero people that I've

talked to are aware of these photos. And from my perspective, what part of why it captivated me is because so few photos and videos were captured in the towers on nine eleven, that because it was this turning point in technology. I actually went through and found every single photo and video that I could, including confirmed, confirmed and unconfirmed photos and videos, and it was less than fifty I think

it was forty nine. So these are are really presumably you know, he died, so presumably taken above the point of impact. So these are really unique view of a monumental moment in American history that we've never seen before. Taken high up in the towers. There's there's nothing like them. Um. And I think when I read that, I mean, you've

seen the photos. But I think that when people learn about these photos again, there's just going to be this really strong, I don't want to say morbid curiosity, because it's beyond it's beyond that, because it's such a different point of view of history. What else do you remember about them? That they were that I did not know who it was, and he did not tell me, and I already knew that I was like in a special space and there was only so much I could push.

I definitely never knew who this camera belonged to, or who or who or even who took the photo. I mean, who you know? Is the birthday party the same thing. There wasn't like a lot of clarity, and there wasn't and there was still a real sense, I mean, this

was just two years after. There was a real sense that this stuff was very private, that this belonged to the grieving families of the victims, and that it was not to be chased down, or that I was not supposed to go knock on someone's door and say, why don't you want to see these photos? Or did they even know? Do you know these photos? It was like I was lucky to be there in the first place, looking at the toothbrushes of the hijackers. I mean, I mean,

where are the toothbrushes? I guess I you know. And it's part of this doesn't surprise me at all, by the way, because I'm working on this story that this is not. That's about nine eleven, and the FBI cannot find the only known video of the nine eleven hijackers at an apartment party in the Los Angeles about nine months before the attack. It is the only known video of the hijackers. Multiple people saw it from the nine eleven Commission, and they have lost it. They have lost

let me repeat this. They have lost the only video of Hamsey and Midhar who win Los Angeles before the attacks. And they no longer have any idea where this video is. This video existed, it's it's it's in a footnote of the nine eleven Commission. The nine eleven Commission. People saw it. It was a real thing, and it is totally gone.

They have no idea where this thing is. I don't know how you lose, like I mean, there's a lot of evidence from this, I'll give them that, But like disposable camera, they lost the video of the hijackers before the attacks. So I don't know where this stuff goes.

I mean, I actually I do after all these years of covering law enforcement, that somebody needs it for something else, and then they put it in a different box, and then somebody takes it home because they want to review the evidence, and now it's in somebody's basement, and then somebody dies and then they send it out to junk or whatever. That's what happens to this stuff. It's interesting

because that's the other big issue here. So part of this, part of what interests me is obviously the images themselves. But yeah, I thought the same thing. I mean, I didn't know that about the video obviously. That's that's that's kind of incredible because I already scripted this episode. This is the last piece of it before we put it together, and that that's something that I raised. Two is just how is this evidence stored? How is it cataloged? Like

I didn't know. I didn't know that about the video. But even these images that I've always gotten to know when I filed for a requests, which you know from the FBI, doesn't surprise me. But uh, but the different excuses every time, and the most recent was we wouldn't be able to locate these without manually sorting through thousands of files and thousands of boxes. And I hesitated to

use at first the word lost. But it's like I I joke in the show, like if if I ask you, you know, where are your car keys and you say, well, I'm going to go search through three thousand boxes to find them, like you lost them, They've got a lost. Well, the other thing is those three thousand photographs. It's been twenty years. They belong to the American public. These things should be accessible, foilable, and open to public viewing. At this point, there's not a lot of secrets that need

to be kept after nine eleven. And I guess I'm obviously a journalist, but I just feel that this belongs in the public sphere. And if there are thousands of photographs from nine eleven, then we should be able to see them and and people should be able to review them for just this reason, so that we can track down exactly what happened that day and what that experience

is was like, so that we don't forget it. Yeah. Absolutely, And beyond these photos specifically, there's still so many unanswered questions obviously about the hijackers, about possible foreign ties to Saudi Arabia, about I was looking at the timeline of the hijackers recently. I was just in Portland, Maine a few months ago, and I've drove by the motel where they stayed on September ten, and and and there's just you know, there's still the quote, why were they in Portland?

Like there are auto was in Portland. There's so many unanswered questions, Um, I agree with you. I'm working on that right now. Well, I guess I'll ask you in terms of the FBI. Obviously you have much more experience working with this kind of stuff than I do, and I want to be fair to the FBI. Am I

missing something or like I I? Like I said, I hesitated to use the word lost, but I've tried for eleven years and they've thrown a million different excuses at me, and it just by their own admission, they can't find these these images and you're telling me they can also find a video that was cited in the nine eleven report. Is there something I'm missing or is It's just like, is there a Do you think that there's a bigger systemic problem with how nine eleven evidence was cataloged and handled?

I think that's an excellent question, and I mean I do. I wish I knew the answer to it. I'd say the fact that there isn't just a very clear outline of what there is and where it exists, then yeah, there's a problem with how this evidence was handled over time. It was a sprawling investigation. This was the largest investigation and FBI history, and it's warehouses full of stuff. But there's really no excuse for not knowing at this point exactly what you have, where it is, and what it means.

So I'm sure you know the years that I've covered them. This is a budget issue, this is a resources issue. It takes people, take space, it takes you know, you've got to rent these things, and there's sometimes there's not always a will to keep all of that. And then you also have to have somebody, I mean, you basically need a library of people to organize it all and put it into some kind of form that people can

can find it. But what I think is somewhat it's very hard for them to defend is why there aren't copies. There should have been copies of these photos. There should have been copies of these video of the video, and that I don't understand at all. Are you still trying to obtain or find the video? Yeah, it's gone though, it's gone, like they've pretty much acknowledged a and then then the legal case that they're in right now that

they can't find it. Huh, Okay, Well, these photos in particular, you know, like I said, nobody that I've talked to knows about them. And from the point of history. I guess I would ask you, would you want to see them again if you had, if you had the opportunity, I'm assuming the answer is yes, Yes, I definitely would like to see them again, and I think the rest of the public should see them too. I just hope

that all of this evidence is somewhere, you know. I hope these photos and I hope their toothbrushes, and I hope all of it has been kept somewhere, because while it feels like it's just like a macabre like kind of look into a tragedy that caused so much pain to somebody, and it feels like you're just like stuck in the details, it's in the details that that all

the information is. It's like I think, over time and over the decades that passed like nine o leven will become just this thing that happened in history, and it you know, it's gonna end up like kids are gonna watch it and you know, oversimplified years from now, and it's just going to become this kind of this moment that that isn't real anymore, and there's something in these details and and actually looking at the belongings of the hijackers and the belongings of the victims on that day

that make it real and that make people understand that this was this horrific thing that our country endured and is still dealing with twenty years later. And that's why all of these things are so important, and we can't lose them, and we need to make sure that they're available so that people can see them because it brings you back in such a real way. Homework one. If you know the name of the Bloomberg photographer who left window us on the world right before the attacks began,

please contact us too. If you work on the hill, if you're a reporter, or if you're concerned citizen, fight for Fourier reform, especially as it pertains to the FBI. The bureau should be more transparent. It shouldn't be allowed to indiscriminately trample over foil law with that bid excuses. And if you're a National security or d o J reporter, ask the FBI about how it handled catalog and stored nine eleven evidence about why it can't locate specific unique

photos evidence without manually sorting through thousands of files. You can reach us by phone at one eight three three New tips that's one eight three three six, three, nine, eight four seven seven again one eight three, three, six, three, nine, eight four seven seven, or you can reach us via email at tips at iHeart media dot com. That's tips, t I p s at iHeart media dot com. Also, we obtained unique, unpublished nine eleven an audio, which we plan to share with you soon, so keep an eye

on our feed. Ben Bolan is our executive producer, Paul Decan is our supervising producer, Chris Brown is our assistant producer, Seth Nicholas Johnson is our producer. Sam Ti Garden is our research assistant, and I'm your host and executive producer John Waalzac. Cover art by Pam Peacock, Donald Sockleman, voiced by Ben Boland. Special thanks to Tamika Campbell at I Heeart and to Christoph Zapary in New Orleans. Also thank you to Ben Chia, Kevin Flynn, Laura Sullivan, and ASoP Rock.

I highly recommend Kevin's book one hundred and two Minutes, The Unforgettable Story of the Fight to Survive Inside the Twin Towers. Original theme music by ASoP Rock. Check out a SOOPS website at ASoP rock dot com. If you like this show, check out our first season, Missig in Alaska, about the nineteen seventy two disappearance of two congressmen missing on nine eleven. Is a co production of I Heart Radio and Greenfork Media