0:00

This episode of The Truth includes strong language.

0:07

Previously on Pariah. Do I

0:09

have cancer? Did Eli not tell you that when you talked?

0:12

No. So Eli finds

0:14

out she's gonna live a lot longer, right after

0:17

he was fired and facing a lawsuit.

0:19

I'm sure if I ask Eli, he'll explain

0:21

everything. We're only gonna get one shot at

0:23

confronting him. We have to make sure it counts.

0:26

I could film it. Are you okay?

0:29

Not really. I was wrong. I

0:31

think if they'd killed you, I'd have proof.

0:34

Can you actually meet at my Airbnb in like

0:36

half an hour? So we're going to the air place? Yeah,

0:38

but I should tell you, I know

0:41

where Inga's been.

0:43

She's been with me.

0:50

Inga? Inga?

0:55

Is she still here? Maybe she left? Inga?

1:00

I'm sorry. Hi.

1:03

Oh. What are they doing here? Andy?

1:07

Lake? Hello. Hey.

1:09

Hi. I can explain. You

1:12

look pale in the face, Meg. Yeah,

1:15

I just... I'm just gonna grab some water. One second. I

1:18

don't know why she brought you here, but... It

1:22

is good to see you. You

1:24

too. You

1:27

know, I would never do what they are saying, right? We're

1:30

here. Then...

1:34

Well, thank you for coming. Hey.

1:37

Okay. Inga, I

1:39

brought Andy and Lake back with me because we

1:42

want to get an interview with you for the film.

1:44

For the documentary? Yeah.

1:47

Andy's gonna set up his camera right now. Just

1:50

my phone. But yeah. Inga,

1:53

can I have you sit at this card table? It's

1:57

a good thing to get your perspective

1:59

on camera. Okay.

2:02

Great. Um... Face

2:04

across the table at the empty chair, like

2:07

the artist is present. The

2:08

Marina Abramovich piece? Why? Andy,

2:10

stop being so precious about the camera angles. Sorry. Sorry. The

2:14

artist is present. Who's

2:17

going to sit across from me? Who is

2:19

this? Who

2:21

is it? Uh, shh. Just stay

2:24

there. I'll go check. Hey,

2:30

come on in. Have

2:34

a seat right through here. What?

2:37

Inga? Meg? Why

2:40

is he here? Why are you here? Just...

2:44

What is this? I'm going to explain. Have

2:46

you all known where she was? No, not

2:48

Andy and Lake, but I knew. She's

2:50

been with me. This

2:52

whole time? Yes.

2:54

She contacted me before you reached out. So you lied

2:56

to my face? No,

2:58

just take a breath. Don't fucking

3:01

tell me how to breathe! He is dangerous. What

3:03

did you say? Eli, Eli, you've been looking

3:05

for Inga. She's here now.

3:07

Don't you want to talk to her while you can? Yeah.

3:15

Yeah, alright.

3:22

Hi. Hi.

3:28

Hi. Hi.

3:34

This is Pariah, a three-part series

3:36

from The Truth. Number

3:39

three, the performance of

3:41

a lifetime.

3:54

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And now back to our last episode

5:38

for now. Pariah

5:40

number three.

5:44

Are you recording? Yeah, yeah. Are

5:48

you okay? Uh-huh.

5:52

Are you? No.

5:56

I can't understand. What can

5:58

you not understand? How

6:01

can you look me in the eyes after what you did to

6:03

Jo? I thought

6:05

you said he wanted to clear my name. I did.

6:08

Oh. And now you change

6:10

your mind. Convenient. Conven- What

6:13

are you getting at? She

6:16

thinks that you killed Joanna. That

6:19

I killed- What? Did

6:21

you? Wow.

6:25

Wow. And you actually believe her,

6:27

Meg? It's

6:30

not that- Okay. Well, I just came from

6:32

the police station and I got the preliminary autopsy

6:35

report. Three pages

6:38

of physical evidence of strangulation.

6:41

Can I see? Mm-hmm. Jo

6:44

wasn't drowned. She was strangled

6:46

and thrown in the pool. Jesus. Medical

6:50

examiner found skin buried under her fingernails. It

6:53

matches the DNA they found in our motel room.

6:56

She must have tried to fight you off. He's

7:01

right. Inga, did you do this? It

7:05

was you. It was

7:07

you, Inga. You met her on that

7:09

platform. You strangled her

7:12

and you threw her in. Right before you met

7:14

me at the bar- Jesus, do you see this?

7:17

She's fucking laughing. Does everyone-

7:19

You're a fucking psychopath, Inga.

7:22

How could you do this? No,

7:23

it is because of the choke.

7:26

Was there a joke? The

7:29

choke. What are you talking

7:31

about? Just let her talk. Why?

7:33

This isn't up for interpretation. It's

7:36

over. I... I

7:40

did. I did choke,

7:42

Joanna. What? I did

7:44

a terrible thing. A terrible thing. But

7:48

I did not kill her. What

7:51

are you talking about? We

7:53

got to do a fight before the last rehearsal.

7:57

And it got violent. of

8:00

the work prior to the

8:02

show. I am aware. Our accountant

8:05

is out this week. You'll need to wait.

8:07

Until after I do the show.

8:10

I've done the work without payment. Now you're

8:12

asking me to finish the show without payment? It

8:15

really gets me, the entitlement. I

8:17

am entitled to payment. And you're getting it. Not

8:20

on time. Not on time.

8:22

I am supposed to do

8:24

all the work in good faith. God forbid.

8:26

This is an internationally known gallery. You

8:28

think I'm not gonna pay you? You are not. That

8:30

is irrelevant.

8:32

You cannot pay whenever you feel like. I

8:34

can't? This is what you do

8:36

not understand. Oh yeah, please. Tell me what I don't understand.

8:39

You are not doing me a favor by

8:41

paying me for my work. In 2004,

8:44

you didn't get press because of your art. You

8:46

got it because you stole a child. You

8:48

know how lucky you are? You are the lucky

8:50

one. You are the lucky one. Do you want to cancel the

8:52

show? You must think I am so stupid.

8:55

When will you get this? I make

8:57

you mad. You don't matter

9:00

without me. Who

9:04

do you think you are to slap

9:07

me? Ah, just a fragile

9:09

little... You

9:17

know how scared we should

9:19

be, old lady? It

9:22

would be so easy. I

9:24

love you. Oh!

9:28

Your grandson and I are fucking... Did you

9:30

know that? He

9:32

loves me. It

9:35

would be so easy.

9:43

There's something wrong with you. Then

9:47

you should be more careful. I

9:50

will see you at rehearsal. Put

9:53

a schedule around your neck. Is

9:55

that story supposed to make me feel better? You

9:58

told me to explain. Do you know how fucked

10:01

up it is to hear that? It is what happened. I

10:04

don't care how you feel. Yeah,

10:07

you don't. I...

10:12

I did not know I could have done something

10:14

like this. I did not know.

10:19

I did not know until the moment it was happening.

10:22

And she hit me so hard.

10:26

And I was so, so angry.

10:27

I...

10:32

I acted like I was okay after it

10:34

happened, but I wasn't. And...

10:39

And when you told me in the motel

10:41

that the police thought it was me, I almost

10:43

felt as though it was. You

10:46

felt guilty. Yes. And

10:48

so you ran? Yeah. And

10:51

no one... Look,

10:53

no one would have believed

10:54

me. I

10:57

want to believe you. I

10:59

really do. But

11:02

you're a liar. You

11:05

are. You said you didn't know how

11:07

Jo knew about us. Why

11:10

did you tell her? To

11:13

hurt her.

11:15

Were you... Were

11:18

you with me to hurt

11:21

her?

11:22

No. No. That

11:24

wasn't what... No.

11:29

What? It... It

11:32

wasn't planned. It was

11:34

real. It was. It

11:36

was real. Say

11:39

that it was real.

11:42

Say that it was real. I... I

11:44

still don't believe that you would blow off a performance.

11:47

For... For a romance?

11:50

That's... That is so not like

11:52

you, Inga.

11:54

I know. I

11:56

know. I... Yeah. I

11:59

blew off... because I wasn't okay

12:03

with what I did to Joanna. And,

12:07

you know, Eli being upset, me being there for him, it

12:09

was the perfect excuse. Inga,

12:13

you shouldn't be here. You are not okay.

12:16

If you were okay, you would not invent

12:19

a lie of being sick. What has happened?

12:21

Just go back to the gallery, please. Bartender,

12:25

Scotch on ice, please. So

12:28

then, Eli, you were

12:32

getting a drink because of a fight

12:34

you had with Joanna. Yeah,

12:37

I was upset. Really

12:39

upset? It was a bad fight

12:41

with my grandmother. And your only living relative.

12:44

You think I killed Joanna for money?

12:47

For less than half a million dollars?

12:49

That is a lot of money. It's

12:51

really not. For some of us. Give it a rest.

12:54

You think I'd risk life in prison for the nouveau?

12:57

It's a money suck. The art's

12:59

on loan, the business doesn't work. Well,

13:01

why didn't you tell me Joanna

13:03

had cancer? Why were you hiding that? Where

13:07

did you hear that?

13:09

I didn't tell you because it was irrelevant. Irrelevant?

13:11

Feels kind of relevant.

13:14

It's not. She got better

13:16

a month ago. Yeah, a month ago, right

13:18

after you got fired and possibly sued

13:21

by your ex-company. Yeah, I didn't kill

13:23

Joanna. This is ridiculous.

13:26

Even if I wanted to kill Joanna, why would

13:28

I orchestrate some elaborate plan to make it look like art? Well,

13:31

because then you could frame Inga, right? I

13:33

mean, why would anyone think that you did that if

13:35

the crazy artist who kidnapped a baby was in town?

13:38

I am not crazy. I know, I'm sorry, I didn't

13:40

mean it like that. The choking story didn't help.

13:43

Hold

13:43

on, why would I frame anyone at all? I

13:47

don't know. Look, I

13:50

don't think that either of you did it. I don't,

13:52

but if I had to say who's more likely based

13:55

on this conversation, I'd

13:57

say Inga. What? No way.

14:00

Yeah, it's just the idea that you choked her

14:02

but didn't kill her and then she was

14:04

choked later. That just feels...

14:06

it's hard to believe.

14:08

No, I know. It is hard to believe.

14:10

I would think the same. I

14:14

don't think it's Inga. Remember that

14:16

talk about how you wanted to keep performing? You

14:18

wouldn't have blown up your career again. What

14:21

talk? When was this? A

14:24

couple weeks ago at my place.

14:27

Oh, I decided something. What?

14:31

I want the piece to be a series. Really?

14:35

Yeah. Yes, I want to come back

14:38

for good. Yeah. So

14:42

is the title going to be like weight number

14:44

one now? No, no, no. I

14:47

never number the titles of my performances.

14:49

Just, you know, even if they are

14:52

part of a series.

14:53

Why not? Well,

14:56

you know, blah number one, blah number

14:58

two. If you are referencing

15:00

a past work, it

15:03

is implying the future and it removes

15:05

people from this experience, you know.

15:08

They are not present.

15:11

Don't you feel like the past

15:13

stays with you? I feel like

15:15

the past is in the room.

15:20

Oh, this is beautiful, Andy. Yes.

15:24

Maybe I will call it weight number one

15:27

and everyone will

15:29

know more is coming. It's

15:31

all a continuation. Yes.

15:37

Yes. I

15:40

do like the mushrooms. So

15:43

Inga's motive of revenge on the art world, it

15:46

just doesn't make sense. Thank

15:48

you, Andy. Ah,

15:51

this is exhausting. I haven't

15:54

slept since before the show. Yeah,

15:58

me neither. I was

16:00

going to be awake for three days anyway, so... I

16:04

was up looking for you. You

16:09

have bags under your eyes. Your

16:13

eyes always look exhausted. I

16:16

know.

16:19

I did love you. I

16:22

loved you. I

16:25

want to believe you. I

16:28

want to believe you. Maybe

16:30

it wasn't you and you're telling the truth. That would

16:32

be so good. Eli,

16:36

I never

16:37

ran from what I did in Berlin. If

16:40

I had done this as a piece of art, I would

16:42

have stood by it. You

16:49

know, I... I

16:52

think that I believe you. Give

16:56

me your hand. Either

16:59

way... I

17:02

am so sorry. She...

17:07

she loved you. She did. Yeah. Very

17:10

much. She

17:14

hated you. It

17:18

seems that most people do. Huh?

17:22

Uh... Wait.

17:25

Wait a second. Give me... Give me the autopsy

17:27

report. Yeah. Here you go. What

17:29

is it? It's... it's

17:31

just that... Well,

17:33

okay. Inga, you're right. You're controversial. People hate

17:36

you. Well,

17:38

it is less humorous when another person says this. No. I...

17:41

listen, I'm saying the autopsy proves that Joanna didn't

17:43

drown, okay? She was strangled first and then she was thrown in the

17:46

pool. Yeah.

17:50

I can't imagine anyone carrying her body all the way

17:52

up to that platform without somebody

17:54

seeing right before the show, right? Yeah.

17:56

Okay. Yes. So then it would

17:58

have happened on the platform. And

18:01

why would Joanna be on the platform before

18:03

the show started? She was probably

18:05

waiting for Inga to show up. Right.

18:09

She was where Inga was supposed to be. Okay,

18:12

so? So, the whole time

18:15

we've been thinking of people who wanted to kill Joanna,

18:17

but what if we're looking for someone

18:20

who wanted to kill Inga?

18:21

Wait, so someone who wants to kill Inga goes

18:23

up to the platform of the pool, sees that it's Joanna,

18:26

and then just kills

18:28

her instead? Right, right. I

18:31

know that sounds... Maybe

18:34

someone wanted both of them dead. Have

18:36

we looked through the opening night guest list?

18:39

I have it on my phone. One second. Good

18:41

call. Oh my

18:43

god. Make? Are you

18:45

okay? I... I

18:47

just need to sit down for a minute. You

18:50

do look pale in the face again. Do you

18:53

want water? No, no, no. I'm

18:55

fine. I'm fine, actually. I

18:57

just... I

19:00

just feel kind of stupid. What?

19:04

Yeah. It's

19:07

just kind of hitting me right now that this whole

19:10

time I've been treating a murder

19:13

investigation as artistic

19:16

criticism, which is

19:19

really fucking dumb.

19:20

It's not dumb. No. You

19:23

said whatever happens during a

19:25

piece becomes part of the performance.

19:28

I said some people might argue that. But

19:31

not after the review I write. I'm

19:34

gonna make it really clear that this was

19:37

not art at all.

19:38

I mean, that's my job, so. Uh,

19:41

good for you. We were gonna look through the

19:43

guest list and get that out. Yeah. Let me see it.

19:46

Yeah, totally, totally. Just go back to what you were doing.

19:49

Wait,

19:49

Meg, where is this coming from? I

19:52

got caught up in this and I just

19:55

lost my perspective, but

19:57

my review has to be clear.

19:59

Yeah. We do not care about

20:01

the review. Yeah, exactly. I don't

20:04

even know why I'm here. What happened was entirely

20:06

devoid of any artistic meaning. No,

20:08

it wasn't. Huh.

20:13

Jesus. Do

20:15

you want to tell them, or should I? Tell

20:18

us what. Andy, what is it? Why

20:22

did you set up their chairs to look like Marina

20:25

Abramovich's The Artist Is Present? I

20:28

just thought it'd be cool to make a reference

20:30

to performance art in the film. I mean,

20:32

it's about Inga's life. It

20:34

is? I thought this was

20:37

about the performance at the Nouveau Gallery. Now

20:39

this is about Inga's life?

20:42

I don't know what you're getting at. Tell

20:46

them. Andy.

20:51

Okay, it's not a big deal. The film became

20:54

more about you. I

20:56

had to at least preface the documentary with

20:58

the Bergen family, the kidnapping in

21:00

Berlin. No,

21:01

Andy, I told you to never

21:03

contact the Bergen family. I

21:05

never contacted them. But

21:08

I learned a lot about them. The

21:13

kids' parents, they couldn't take

21:15

the gossip in Berlin after what happened, so

21:17

they moved. And the kid, Friedrich

21:21

Johann Anders Bergen, went to

21:22

the American school in Los Angeles. He

21:26

was five. He

21:28

adjusted. He barely remembered

21:31

Germany. He speaks perfect English.

21:34

Oh my God. Now

21:37

he's 18 years old

21:39

in his first year at NYU

21:42

film school. He

21:44

studies documentary there. Holy

21:47

shit. Friedrich

21:49

Johann Anders Bergen. Now

21:52

he goes by Andy. Huh.

21:58

Well, we'll find out what happens next.

21:59

in just a moment. But first, we

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want to tell you about some folks who helped make this show

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And now back to Priya, number

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three. Friedrich

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Johann Anders Bergen. Now

23:53

he goes by Andy. What?

23:57

Inga, I'm

23:59

the big.

25:55

So

26:01

she wouldn't recognize me? No. Well,

26:04

look, you've grown. I mean, this

26:07

woman used you in your

26:09

innocence for her art. Now,

26:11

why not turn the tables and use her

26:13

in yours?

26:14

When

26:16

would I tell her who I am? That's the piece

26:18

de la résistance, right? Exactly

26:21

the moment after her show. A

26:23

reunion in front of the crowd. Is that

26:26

art or what? And it'd be your film. Oh,

26:28

could I get the other iced tea, please? Fucking

26:31

waiters don't want tips.

26:34

She gave you the opportunity to meet the

26:36

performance artist who kidnapped

26:38

you. Yeah. And

26:40

I took it. Oh,

26:43

God. Did

26:45

you want to hurt her? I didn't want

26:47

to hurt anyone. I thought

26:49

I was making a film, but I was a joke.

26:52

I was a publicity stunt for Joanna. That's

26:56

why she didn't want any paperwork done. Can

26:58

you send me the new intern's contact information? I

27:01

think you said his name was

27:02

Andy. What for? Onboarding.

27:05

No, he's not getting paid. Yeah, but I

27:07

think we still need to send him his... Oh, my God. If you could

27:09

just listen to me the first time I say something, so

27:11

I don't have to say it again, I would appreciate

27:13

it. Thank you.

27:15

She didn't want me to see your full legal

27:17

name. She said for the

27:19

reveal to work, no one else could know.

27:22

Tell me what the fuck happened to my grandmother right now.

27:24

Okay, okay.

27:26

The night of the show, Lake

27:28

and I, we took shrooms. Are

27:32

we touching the paintings or

27:34

the

27:35

paintings colorful?

27:38

Colorful. I

27:40

don't know. I

27:43

think we're bringing them to life. Yeah.

27:51

This is what it should feel like, the

27:53

museum. It's

27:56

all press hits and publicity

27:58

most of the time. What

28:00

do you mean? Executives

28:03

don't touch the paintings. They need

28:06

our hands for that. Andy, Andy. Andy,

28:10

you should know something. Joanna

28:13

doesn't care about your movie. Ugh,

28:17

wait. I only said that about

28:19

Joanna because I was... Lake, it's okay. You

28:23

told me the truth, Lake. And

28:25

I realized that who I was being was a lie.

28:29

And that's when I started to lose myself. This

28:33

is surreal. This is

28:36

this surreal. Surreal.

28:40

I know where we should go. And

28:44

I left you there in that room. But

28:48

you were there. The first 20 minutes

28:50

you were in there, I wasn't. And you

28:52

didn't even notice I'd left. Where

28:55

did you go? I thought

28:57

about how I was supposed to tell everyone who

28:59

I was after the show. And

29:01

I looked all over the gallery for Joanna to

29:04

tell her I wouldn't do it. She

29:07

was pacing

29:07

up on the platform by the pool.

29:12

What are you doing up here? Waiting.

29:17

Inga's not here yet? She's

29:19

an hour late. She's

29:21

not coming. She's probably with

29:23

Eli, that fucking whore. Hey, don't

29:25

say that. What do you want?

29:29

I don't want to tell everyone who I am anymore.

29:33

Well, too bad. You're going to. No,

29:36

Inga wouldn't want that. She's a fucking

29:39

psychopath. No, stop.

29:41

That's not- Do you know why I'm wearing this scarf? She

29:44

did this to me. Do you see that?

29:46

Stop it. I thought she was gonna

29:48

kill me. Stop. Stop.

29:50

Stop. Stop. And

29:54

in that moment, everything

29:57

became clear. in

30:00

the art and Joanna was

30:02

the money, the gatekeeper,

30:05

the capitalist, and she was

30:09

right there in front of me. Shut

30:12

up, shut up, shut up, shut

30:15

up! Shut up! Ah! Ah!

30:18

I was moved to do it. It

30:21

came through me, the piece came

30:24

through me and I

30:27

was the performance again.

30:31

I was born a performance. Jesus

30:35

Christ, call the police. Like, come stand by me.

30:37

Oh my God, it was Andy, Andy killed her.

30:41

911, what is your emergency? There's a murderer in my

30:43

house. I'm at 17 Forest Road

30:45

in Beacon, New York. I was always going

30:47

to turn myself in. I

30:49

just needed to finish the film. You say another fucking

30:52

word. I mean, this scene, this scene,

30:55

this right now has to be in it. I swear

30:57

to fucking God. Eli,

30:59

the police are coming. It

31:02

is over and there are things

31:04

that I really need

31:06

to say that really just, they must

31:09

come from me. Don't

31:11

get too close. I

31:13

won't. Hi,

31:18

Inga. Hi. You

31:22

are all grown. We

31:26

don't have much time, do we? No.

31:30

Those interviews, we did the questions

31:33

you asked me. Have you views about the

31:35

ethics of the Berlin piece changed?

31:39

For me, the ethics of that piece just

31:41

get more and more complicated. So

31:44

you still think about it?

31:45

All the time. Every

31:48

day. Did

31:51

you get the answers you were looking

31:53

for? It was like

31:55

finding out who I was. I

31:58

got to do another one of our performances. Oh,

32:02

you have to understand something. What

32:04

you did was

32:07

not art. Of course it was.

32:10

No. Once it happened, it was. I'm

32:13

not like a murderer.

32:14

You

32:18

have been put in a difficult

32:20

situation. But

32:23

you need to know from me that this

32:26

was murder.

32:30

It's what you would have done. No.

32:33

No, it is not. I

32:36

am sorry. But

32:40

you will be in prison a long time.

32:44

The time served is part of the peace. Andy,

32:47

stop. Stop.

32:51

Just listen, you know. If

32:54

I had known then... That

32:57

the baby I was holding in my arms

32:59

would...

33:00

I know.

33:05

It feels like yesterday. It

33:08

was a lifetime ago. I

33:12

hear sirens. Me too. Inga,

33:18

it's over. Yeah.

33:23

You, stand up and get the fuck

33:26

out of this house. Hey,

33:30

Meg. One thing. Um,

33:34

will you send it to me? Send

33:37

you what? The review.

33:43

Fine. Get

33:45

out. Goodbye,

33:49

Inga. Goodbye.

34:00

I'm not gonna let anyone make it. Oh

34:04

my girl. Eli. Inga,

34:06

are you okay? Come here. I've

34:08

never met you. No, shh, it's okay. It's

34:11

okay. I know. It is all my fault.

34:14

It's not your fault. It's not. How

34:16

could I be here?

34:17

In Inga Sved's weight number one, the

34:20

surface of the water would have been a platform

34:22

dividing existence and expiration.

34:26

Sved's body would have been a vessel of conflict

34:28

in a fight to stay afloat for three days.

34:33

But weight number one never even happened.

34:36

The performance I saw centered around the

34:38

embodiment of a power structure, one

34:41

that birthed its own demise and

34:44

sent rippling waves of damage in all directions.

34:48

The

34:48

durational peace was 18 years in

34:50

the making.

34:52

It was untitled. But

34:55

I would have called it Berlin number two. This

34:59

was a series about how the past

35:02

stays in the room. Oh.

35:36

To hear more original stories like this, go

35:39

to thetruthpodcast.com. You

35:41

can also follow us on Twitter and Instagram. Our

35:43

handle is thetruthfiction. Pariah

35:47

was written by Davy Gardner and produced by

35:49

me, Jonathan Mitchell. This episode

35:51

was performed by Federico Rodriguez,

35:54

Liz Limecooler, Ann Carr,

35:57

Dimitri Shine,

35:59

Amy Warren. Margaret Burrus,

36:02

Woody Fu, and Hunter Nelson. The

36:05

Truth is a proud member of Radiotopia from

36:07

PRX, where a network of independent,

36:10

creator-owned, listener-supported podcasts discover

36:13

audio with vision at radiotopia.fm.

36:17

Our associate producer is Cadence Mandebura. And

36:20

just a quick note about Cadence, she

36:22

is the secret ingredient that has made this show

36:24

work for the past year and a half or so. She

36:28

got all the performers together. She made

36:30

sure everyone was there on time. She's the one

36:32

who makes sure everything happens.

36:35

So thank you so much, Cadence, for

36:37

all of your help. And thank you all

36:39

for listening to our show. Hopefully we will

36:41

be back

36:42

at some point in the future. I'm not sure

36:45

when. But we've

36:47

really enjoyed making these stories for you, and

36:49

we hope you've enjoyed listening to them.

36:52

Please keep looking for us. We're going to be out there in other

36:54

places, you know, making more stories.

36:57

We'll be looking for you.

36:58

So if you see we've made something, check

37:00

it out.

37:03

Thank you so much for listening for these past 12 years.

37:06

And until next time, I'm

37:09

Jonathan Mitchell, and you have been hearing.

37:12

The truth.