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1:37

Hey everybody, this is Shannon Perry, writer of iZ9,

1:39

and I wanted to introduce you to a brand

1:41

new show that is just coming out and it

1:43

is absolutely fabulous. And that's not just because I

1:46

helped write part of it in a very small

1:48

way. But anyway, it is wonderful and you're going

1:50

to love it. So I would love the people

1:52

that are joining me here today to talk about

1:54

it to introduce themselves. So

1:56

we have with us today Tiffany Smith and

1:58

Jonathan Petz. And who would like to go

2:01

first? Well, we were on

2:03

the show. You dropped us

2:05

recently, right? We did. We dropped

2:07

Tomorrow and Tomorrow and Tomorrow from

2:10

season one into your

2:12

lovely, lovely feed. Of

2:15

Curious Matter Anthology, we should probably

2:17

say the show as well, Curious

2:19

Matter Anthology. Curious Matter Anthology. We

2:21

are back for season three. We

2:24

are doing one story called The

2:26

Exile, which we're really excited to

2:28

present. And yes, your fearless leader,

2:30

Shannon, has played a major, major

2:33

part in helping us write many

2:35

of the mini-sodes for the season

2:38

and has been an amazing part

2:40

of our team. But yeah,

2:42

we're here because we'd like to let you guys

2:44

get a little bit of a sneak peek on

2:46

your feed of our very first episode of The

2:48

Exile. How many episodes are out right now as

2:51

we speak today? Episode one, mini-sode

2:53

one, and episode two are up on our

2:55

feed. You'll be listening to episode one, but

2:57

if you like it, you can head straight

2:59

over to Curious Matter Anthology and listen to

3:01

part two right now. That's

3:03

right. And we will definitely have the link in

3:05

our show notes. So check there if you want

3:08

to do that for the quick version. Tiffany,

3:10

what about you? Who are you? Hi.

3:14

I'm Tiffany Smith. For the Curious Matter audience,

3:16

I voiced a character in a

3:19

couple of episodes on season two of Curious

3:21

Matter Anthology. And for

3:23

season three, The Exile, I

3:25

am voicing Bryce, who is

3:27

the lead in the series.

3:29

And I'm co-producing and co-directing

3:31

with Jonathan on this huge

3:33

one-story all-season season three

3:36

of the show. And I'm so excited to be

3:38

a part of it. Fantastic. You guys, this show

3:40

is amazing. I've gotten the pleasure as a part

3:42

of it. I

3:44

got to read all the scripts in advance

3:46

and hear a bunch of the audio in

3:48

advance. And it's just been amazing to watch

3:50

this project growing and going from strength to

3:52

strength. So I'm super excited to see where

3:55

we go from here. But can you guys tell me

3:57

a little bit about how this all got started? How

3:59

did you do? to get connected, what was the process

4:02

there? Tiffany, do you wanna take it and maybe tell

4:04

them a little bit about our

4:06

amazing cast? Yeah, I mean, so for season,

4:08

we got, Jonathan and I got connected because

4:10

like I said, I did a

4:12

voice on season two and that was through

4:14

a friend, musical friend of ours, Colin Ferguson, who

4:16

reached out to me and was like, hey, I'm

4:18

working on this thing and there's a character I

4:20

think you'd be great for. And

4:23

so I said, yeah, absolutely, let's do it. And then

4:25

Jonathan and I had some time to get to know

4:27

each other doing the voiceover for that. So

4:30

I was in my VO booth in my

4:32

closet and somehow still

4:34

had a great time doing that, even though it

4:37

was like almost passing out where you're doing running

4:39

noises and all kinds of crazy

4:41

stuff. And

4:43

so when season three rolled around, Jonathan reached

4:45

out and was like, hey, how

4:47

would you feel about coming on and doing a bit more

4:50

this season? And honestly, like it hit

4:52

at the perfect time where I had time and

4:54

space to do it. And I was

4:56

excited to reach out to a bunch of friends

4:58

and see if they would be willing to happen

5:00

and do some voiceover. And really that's where this

5:03

cast that I'm so proud of all

5:05

kind of came together because it was, you'd

5:08

ask one friend and then Jonathan and I would record with

5:10

them and then it was like, hey, what about this person?

5:13

I feel very fortunate that some

5:16

incredibly talented friends who are willing to show up

5:18

and excited to show up for this season. It

5:20

is an unbelievable cast. For those people who know,

5:23

who say the names Tiffany Smith

5:25

and Colin Ferguson are very familiar, what

5:27

might they know you from? So

5:30

for me, I voice Andra on

5:32

Masters of the Universe on the

5:34

Netflix animated series. I played Meghan

5:36

Markle in Becoming Royal. I've done

5:39

Supernatural, Jane the Virgin, Guardians

5:41

of the Galaxy 3. What

5:43

else? I just finished a fringe festival play.

5:46

So I'm kind of just like hopping all over the

5:48

place doing as much as I possibly can. And for

5:50

a lot of people, Colin Ferguson was the lead on

5:53

Eureka, but now he is on a Netflix show, Summer

5:55

I Turned Pretty. So yeah, those

5:57

are some of our different titles.

6:00

people may know us from. And just also, I've been a

6:02

host for a really long time in the geek space, so

6:04

I did stuff for DC and Marvel, and

6:06

San Dango, and just a lot of nerdy

6:09

stuff. Awesome, awesome.

6:11

For everyone out there, when she's talking

6:13

about her friends that she's brought onto

6:15

this show, we're

6:17

talking about people like Phil Lamarr

6:20

and Kevin Smith, Trisha

6:23

Helfer, Eugene Bird, Malcolm

6:26

Barrett, Todd Staswick, and

6:28

not to mention Raymond

6:31

Lee, Anjali Bhamani, Milana

6:33

Vine, Trube, Tracy Toms,

6:35

the cast is just

6:38

unbelievable. My head is

6:40

still spinning. Yeah, and obviously, you can't

6:42

forget about Traceless Set, who is freaking incredible

6:45

as Mother Correa on this season. Incredible.

6:47

Oh, absolutely. I think it's one of

6:49

those things where, I think

6:51

a lot of people talk about this, where you work in

6:53

the industry for long enough, and you start to get to

6:56

know people, and fortunately for me, the projects I've gotten to

6:58

be a part of, I love people.

7:00

I think that's part of why posting

7:02

is something that I enjoy so much. I just like talking

7:04

to people and getting to know them, and then you

7:07

get to know the people you work with on a set.

7:09

And I mean, I think it's a great example where I

7:11

did an episode of Quantum Leap, and Caitlin

7:13

Bessette and Raymond Lee,

7:16

we've all become really close, and so when this came up, I

7:18

was like, hey, do you guys wanna pop in

7:20

and do some voiceover? And even Eugene Bird was on

7:22

that episode. I knew him before we did the episode,

7:24

but. Oh, how funny. Yeah, so it's

7:27

just, I mean, it is that kind of thing

7:29

in this industry. I think when you work with

7:31

people who are kind, awesome human beings, who also

7:33

are incredibly talented, it's my

7:35

goal for my entire career, and keeping going forward

7:38

is to keep pulling those people into any project

7:40

that I possibly can. Oh,

7:42

that's awesome. That is the best. It's so funny,

7:44

because Jonathan kept, he texts me

7:46

every once in a while and be like, so it's coming on

7:48

the show. And I'd be like, oh my God. And then a

7:51

few days later, so it's coming on the show. Holy

7:54

crap. Like it just kept getting richer and

7:57

richer. Yeah, it was awesome. It is awesome.

8:00

Like I'm so proud of, like I said, the cast and

8:02

so proud of the scripts and the writing and everything. Cause

8:04

even, I mean, Jonathan and I joke, but I was like,

8:06

he wrote like over 400 pages. And

8:09

then it was like, oh, also we're gonna do mini-sodes. And I was

8:11

like, are you writing those by yourself? And he was like, no, no.

8:15

So it's just been, I mean, I think everyone

8:17

coming in and

8:19

being excited about the project, both

8:22

of you guys and myself included in every other talent that's

8:24

come on makes the show so

8:26

much better. It's amazing. I have to admit

8:29

when Jonathan was talking about who's in this cast and he's like,

8:31

okay, so these are the characters I want you to write for.

8:33

I'm like, I'm putting words in whose mouth? I'm

8:36

sorry, who now? Like that's

8:38

intimidating, you know, for us, for

8:41

me anyway. But it's just, it's

8:43

incredible to hear your words in

8:45

the mouths of the people who are just

8:47

these amazing talents who just make it sing.

8:50

And it's glorious and gorgeous. And then of

8:52

course, Jonathan does this unbelievable sound

8:54

design. And the whole thing is just magic. It's

8:56

just a magic project to be a part of.

8:58

Well, thank you. We're really

9:00

excited now that the show's coming out

9:02

for people to get to hear this

9:04

and go on this insane journey. I

9:06

don't even think we've said exactly what

9:08

the exile is yet. Whatever.

9:12

The exile is a police thriller based

9:15

on Mars that takes place 150 years

9:17

in the future on

9:21

a halfway terraformed planet in

9:23

a city called Marsport. It

9:25

is a noir thriller and it follows a

9:28

disgraced Earth FBI agent

9:33

named Bryce Gordon who finds herself

9:35

exiled to the planet. It

9:37

just follows her adventures there as she gets

9:40

kind of dragged into a really

9:43

central moment in humanity's

9:46

future history. Yeah,

9:48

and I keep telling people I'm like, it's

9:51

a crime noir sci-fi set

9:53

on Mars. If

9:56

you like noir, if you like

9:58

sci-fi, this is definitely something. My

20:00

father and that awful thing he made. It

20:02

was demented, it was amazing. The whole thing

20:04

terrifies them. I haven't seen whatever is watching

20:07

me. I swear I sense it. And it's

20:09

not a data miner or a pattern hunter

20:11

either. It's watching me. No matter how far

20:13

I run, I will see it again. It's

20:16

everywhere. I know you're trying to run away

20:19

from me. They are bait,

20:21

and the bait gets eaten. I

20:24

like to remember how I used to think. I

20:26

was two days old and I like to

20:28

play games. But something is

20:30

playing a game with me.

20:59

If you're not serious about this, hang

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up. If

21:04

you continue, there's no way back. Leave

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Search for The Amelia Project wherever you

22:17

get your podcasts. So

22:19

what are you most excited about with

22:21

the series? For me, it's curious matter

22:23

anthology from the beginning has been about

22:25

figuring out how to tell stories

22:28

and audio that felt like movies

22:31

that were as immersive and emotional and

22:33

just drew you in the same way

22:35

a great movie does. What

22:37

I'm really excited about is I think that

22:39

this season is the culmination of two seasons

22:43

of R&D where what

22:46

the audience is going to experience in this

22:48

season is going to, I hope, rival

22:52

any other experience they can get in any other

22:54

media. Absolutely. Tiffany,

22:57

what about you? What are you excited about most for people

22:59

to hear? I think,

23:01

I mean, I would say a couple of things.

23:03

One, I feel like I'm in this unique position

23:05

in my career where I

23:08

feel the most creatively fulfilled I've ever felt

23:10

where it's like I'm getting to be on

23:12

the producer side of things on a project

23:14

that I'm very excited about in a role

23:16

that I'm excited about. And like I said

23:19

earlier, bring in people that I love and

23:21

care about that are also ridiculously talented. I'm

23:24

overall excited for people to hear what

23:27

Jonathan and I created with this show

23:29

because I think it's pretty incredible. It

23:31

is. It is. And

23:33

I'm also excited for all of these actors to

23:35

hear what they created with us because I think

23:37

it's, you know, there's, you make a

23:39

TV show or a film and you usually

23:42

have to wait a pretty long time to

23:44

hear it all come together. This is a

23:46

pretty quick turnaround for when we were recording

23:48

it. And I think that, you

23:50

know, we've said this, but where it's like, as

23:52

soon as people hear what

23:54

has happened from the voiceover recording booth to

23:56

what Jonathan has done with it, it's like

23:59

you can see it in their

24:01

eyes when they're hearing it. And it's like, oh my

24:03

gosh, like this is awesome. And you're like, I know,

24:05

right? Yeah,

24:08

it's incredible. His sound design is

24:10

top notch. Yeah,

24:13

I also am really excited about people

24:15

hearing the mini-sodes, because I think it's

24:17

such a unique way to do

24:19

an audio drama. Because I think sometimes you'll see

24:22

it in television shows where it's something

24:24

like Lost, where it's like they went

24:26

into specific backstories for each

24:29

person. So for

24:31

our show, it's this large overarching

24:33

story. But then these mini-sodes give you

24:35

a really quick in-depth look

24:38

at characters that you've heard in the

24:40

whole story. It's

24:42

really cool and done really well. And so I'm so

24:44

thankful that you came on board to write those, because

24:46

they are awesome. Yes, thank you

24:48

so much. We couldn't have done this without you. Thank

24:51

you for inviting me along, because that was so much fun.

24:53

That was so much fun. I'm just

24:55

thrilled to be a part of this in any capacity. Jonathan,

24:58

could you talk a little bit about your

25:00

ideas for sound design? Did

25:03

they happen? At what point do you

25:05

sound design this thing? In your head as you're writing it, do

25:07

you know what it's going to sound like before you start? Does

25:10

it kind of evolve as you're doing the actual

25:12

editing? How does that work? I

25:15

think it starts because I storyboard it in

25:17

my head. And so I know

25:20

what the scenes are supposed

25:22

to move like before. I know what

25:24

they sound like. I know where

25:26

people are coming from, where they're going. And

25:30

then from there, it's really just a

25:32

layering until you get

25:34

to a point where you feel like, oh, OK. You

25:36

stop the moment. You feel like it's real. The

25:40

moment you feel like everything's in

25:42

that space, and if you add

25:44

anything else, it's not really an additive

25:46

element. It's just extra. That's the point you

25:48

try to get to with each. And you

25:50

don't always succeed, but that's the goal. And

25:53

so for me, first

25:56

it's about setting an emotional tone.

26:00

The baseline for this in that noir

26:03

sensibility is that

26:05

Bryce has a very

26:07

lonely existence as she's going

26:09

through this. And so the design around

26:11

her is really meant to isolate her

26:14

in the spaces in certain ways. She's

26:16

in spacesuits, and so the spacesuit is

26:18

really claustrophobic when she's in it, and

26:21

you feel her, you hear her voice

26:23

reverberating off the helmet, and you hear

26:25

the valve of the spacesuit behind your

26:28

head in the binaural mix. And you

26:30

just really, every time you end up

26:32

inside the suit with her, you just

26:35

feel the danger and the isolation of

26:37

the world. The

26:40

idea that you're living your entire life inside

26:43

that suit and that everything and

26:45

everyone you are forced to

26:48

touch or interact with is through

26:50

that barrier is a really

26:52

powerful emotional component in our story and

26:54

also is a really big divider line

26:56

for the haves and the have nots

26:58

and the people that are forced to

27:00

live in what we call the shanties,

27:03

which are these slums outside of the

27:05

domes where people live their lives mostly

27:08

using suits and people who live in the

27:10

domes who don't have to do that. Right.

27:13

And I like, so this

27:15

is a weird comparison, but I just did

27:17

this play and we had an intimacy coordinator

27:19

come on and she talked with us about

27:21

the fact that every touch is part of

27:23

telling the story, whether it's an almost kiss

27:26

or a hand graze or just eye contact

27:28

because that's all part of the intimacy of

27:30

a project. And so

27:32

it's interesting because it's like when

27:35

you think about a binaural audio drama like

27:37

this, all of those sounds

27:39

are part of telling the story too. So

27:41

it's not just, oh, this sounds cool. Right.

27:44

And I remember early on, Jonathan even said to

27:46

me, he's like, well, there's actual sounds from Mars

27:48

and we get to use those now. So

27:51

where he's talking about the stuff where it

27:53

was things within the helmet and how it

27:55

is telling part of the emotional story of

27:57

everything. I think it's because I

27:59

don't. edit or do sound design that way,

28:01

I immediately don't

28:03

think like that as an actor in a lot

28:06

of ways. And so getting to now be like,

28:08

oh, that's part of telling the story

28:10

too. Like how do we make sure that that adds

28:13

on to what our actors are doing as the

28:15

performance gets further and further along in the story.

28:17

And I love that. I think it's so awesome.

28:19

Yeah. And I think it's part of the skill

28:21

of the actors too, that they quickly

28:24

adapted to that and made it like,

28:26

made it part of that character in

28:28

the voice as well. And

28:30

it's so interesting to me that that suit and that

28:33

screen are like this huge barrier from

28:35

person to person, but this very fragile

28:37

barrier from person to environment. It

28:40

feels both very limiting and also very fragile.

28:44

Fragile. Absolutely. Yeah.

28:46

You're never at ease in

28:49

it. Exactly. Because your life is always on the

28:51

line. You're always dependent on that suit to keep

28:53

you alive. And I think that really comes through

28:55

in the performance is that idea that when you're

28:57

around somebody that you don't quite trust, there's

29:00

a whole lot more not trusting to

29:03

do. They could put

29:05

a hole in your suit. They could do, there's

29:07

all kinds of things. So it's

29:09

terrifying. And I think one of

29:11

the things that I really love about your sound

29:13

design, Jonathan, is it is this wonderful marriage of

29:16

technological know-how and creativity. Like

29:19

not only do you have this very good

29:21

sense of how to make

29:23

it feel claustrophobic inside that suit and how to make Mars

29:25

sound the way Mars sounds and the town sound the way

29:27

it sounds, but

29:31

you also have the ability to create

29:33

it. So you can both, I don't know if

29:35

I said that right, because I lost track of that sentence about halfway

29:38

through, but you, you could not only

29:40

dream it in your head, but then you can

29:42

make it happen on on audio, which is incredible.

29:45

I season one, and this is to everyone out

29:48

there that's thinking about doing an audio drama. I

29:51

had been a video editor, but I

29:53

knew nothing about audio design when I

29:55

started season one, other than how to

29:57

put sound effects onto a timeline in

29:59

an edit system. like I really

30:01

didn't have any of that knowledge.

30:03

And so it's really been, as I

30:05

said, like R&D from the beginning, what can be

30:07

done and how, as

30:10

coming at it like a filmmaker and thinking

30:12

about, okay, well, I don't have a screen,

30:14

I don't have a visual element, so how

30:16

do I replace those tools

30:18

with sound? Which I don't think

30:21

even a lot of sound designers come to it

30:23

as because they, if they're

30:26

working in film or television, they're

30:28

thinking about accentuating something that already

30:31

exists. They're

30:33

not building it up off the foundation

30:35

with those sounds. Right, right. So

30:37

we're gonna listen to episode one now,

30:39

and could you, Tiffany or Jonathan, give

30:41

us a sort of a little bit

30:43

of an introduction into what's happening here

30:45

in episode one? I

30:48

can do a little bit and then Jonathan can hop in too. I think

30:51

obviously episode one is the introduction

30:53

to Bryce's new life on Mars

30:55

and what her experience is

30:57

when she first arrives there, and I think

31:00

it's a great way to, as

31:03

an audience, get pulled into that world and know

31:05

what she's experiencing, because you don't have all the

31:07

details of why she's there and why she got

31:09

sent there and what she's meant

31:12

to do while she's there, but you

31:14

get that little bit of intro into

31:16

mystery and the excitement of what life is like

31:18

on Mars, I think, in that first episode. Yeah,

31:20

absolutely. Yeah, I mean,

31:22

for everyone here is about to

31:24

get exiled to Mars and experience

31:26

it first person along with Bryce.

31:32

Just the awe, the wow-ness

31:34

of traveling millions of miles

31:36

to a new place and

31:40

stepping foot onto a new planet. So

31:42

we are, as I said, fully immersive

31:44

and binaural, so please grab

31:46

a set of headphones, grab

31:49

some popcorn, find a cozy

31:52

nook somewhere, and

31:54

enjoy the Exile Part 1

31:56

one-way ticket. Awesome. Also,

31:58

I highly recommend... reminding yourself that

32:01

it's binaural because I listened to episode one

32:03

while I was out walking my dog. And

32:05

at one point there was something that happened

32:07

and I turned around thinking that there was

32:09

something coming up behind me. And I was

32:12

like, no, this is the audio drama, Tiffany.

32:15

So just always remind yourself that you're in the

32:17

story when you're listening wherever you are. That is

32:19

absolutely true. I remember ducking at one point because

32:21

I thought something was coming up fast behind me

32:23

or something. There was something, a siren, something off

32:26

to the side. I can't remember exactly

32:28

what happened, but it scared the crap out of me. Then I

32:30

realized it was on my headphones, which

32:32

is brilliant, which is so fun. So

32:34

before we jump into the episode, is there anything you

32:37

want to finish with that I haven't asked

32:39

you? I would say make

32:41

sure you're following CM Anthology on Instagram,

32:44

on social media, because that's

32:46

where we always let you guys know when new stuff is coming.

32:49

We've announced a lot of the cast that was

32:51

on the show before, and that will

32:53

just always update you on when we've got the new

32:55

show dropping, the new mini-sode, and

32:57

the after show as well. So follow on

32:59

social media for sure, and tell all of

33:02

your friends about the show for sure. Absolutely.

33:05

Curious Matter Anthology, you can find us

33:07

on every one of the podcast platforms.

33:09

You can find us at cmanthology.com, where

33:11

we also have a map and a

33:14

visual guide that just went up today.

33:17

So yes, please listen,

33:20

subscribe, and tell your friends. And don't forget to review. You're

33:22

going to want to give this five, you're going to want

33:24

to give this 10 stars, but I'm afraid five is your

33:27

limit. So you know, but don't forget to review

33:29

and do share this because your friends will be very grateful. It's a

33:31

great show. It's so much

33:33

fun to listen to. You're going to love it. Tiffany,

33:36

would you mind very much if Bryce took us into episode

33:38

one? Oh, gosh, let me

33:40

let me see if I can get there. I

33:45

was exiled from Earth and sent to Mars.

33:48

This is my journey. I

33:51

would say enjoy it, but it's not

33:53

all shiny roses or

33:55

new suits for that matter. Be

33:59

safe. Awesome, thank you

34:01

so much. That was fabulous.

34:04

Improving and getting into the place. Okay, let's

34:06

see what I can... Yeah, good job. That

34:08

was impressive. That was beautiful. Mars

34:15

Gateway, this is Icarus 2, requesting entry burn.

34:18

We hear loud and clear, Icarus 2. You're

34:22

cleared for burn drop, marker 2. Please.

34:25

It can be way in triggering burn down. Please.

35:07

Marsport Tower, carrier onbound.

35:09

Approach. Yeah!

35:30

Good morning, Marsport. That was poison

35:32

rain by our own local troubadour,

35:34

Suffer City. This

35:36

is Epidemic Radio, and I am

35:38

your cure. Rand, as always, today

35:41

is going to be a balmy 79 with a low tonight

35:43

of minus 103. That

35:45

big dust storm the sink sats were tracking

35:47

thankfully turned north out of the Mariner Valley

35:49

and is safely headed towards Orson Wells. It

35:52

appears that freight shipments may finally be back

35:54

on track. Icarus 2 should

35:56

be dropping its cargo right about now.

36:00

sling shotting back towards our former moving

36:02

words. Local

36:11

politics appears to be going from base to

36:13

no win. His reformer

36:15

platform isn't stark contrast to

36:17

the Wayne administration. No

36:22

win is holding a rally tomorrow night in the

36:24

district 3 empty theater. Should be a party, if

36:26

you know what I mean. Be safe

36:28

out there kiddos. All fruits

36:30

and vegetables must be reported on Form

36:32

11B. Step

36:35

forward please. Name

36:37

and reason for trouble. Bryce Borden.

36:41

And I'm not really sure

36:43

how to answer that. Place your arm

36:45

under the scanner. Hold

36:50

on right here. Sir,

36:55

we have a yellow card. I was

36:57

told to ask for refugee status in

36:59

accordance with the charter. Just a tick.

37:03

Yep, she's a G-man. Big one too.

37:07

Solid green by the look of her. Ah,

37:10

okay. Copy that son. Ollie,

37:13

processing room 3. Over

37:15

to the left. You're

37:17

my yellow card, huh? You're

37:20

a tough looking customer, aren't you?

37:23

I guess I am. I'm

37:26

seeking refugee status in accordance with

37:28

the charter of Terran colonies. That's

37:30

a dangerous word around here. Refugee?

37:33

Colony. This

37:36

here is a sovereign republic.

37:39

We ain't no puppet state like the other dirt

37:41

balls. Not off to a good

37:43

start, G-man. I'm sorry. I

37:45

was informed during deportation you had to

37:48

accept my application for provisional settlement. I

37:51

could just diseasely let you starve to death

37:53

here in the terminal. Look, I'm

37:55

not here to make trouble. Oh,

37:59

I'm just yanking a... We love

38:01

refugees. Huh, okay. I

38:04

see in your application you were a cop

38:06

on Earth. Something like that.

38:10

You planning on getting back into the

38:12

trade here? Big one with grav

38:14

strength like you? Always looking for

38:16

bruisers in Marsport City. Could

38:18

help get you a referral. For

38:20

a fee of course. I'm gonna try

38:22

and steer clear of all that. You

38:27

familiar with how things work here? Meaning?

38:31

Well, the air of course

38:33

is getting better every year, thanks to

38:35

the tradesmen and their big machines. But

38:38

still, you walk outside without a helmet?

38:40

You dead right quick. We

38:42

don't live that luxury life you's used to. Free

38:45

air. Free water.

38:48

Everything here has a price.

38:51

Yeah. I

38:53

get you. Did you bring your

38:55

own rig? Yes. I'll

38:58

need to inspect it. Suit.

39:04

Helmet. I was told they're top

39:06

of the line. Kevlar and Nanoweed. What would

39:08

an earther know about good gear? No

39:13

good this year. I'll have to confiscate it.

39:15

For your safety of course. Hold on. Don't

39:18

make me change my mind about you. You

39:21

can purchase a new one at the terminal

39:23

depot for a nominal fee. Look. If

39:26

you don't want to buy one, what am I gonna do? Welcome

39:32

to Mars. I trust it will be all

39:34

you hope for and more. Thanks. I

39:36

guess. One more question

39:39

though. The yellow card. What'd

39:42

you have to do to piss off a whole planet?

39:45

That is the

39:47

question I've been asking myself for the last

39:49

six weeks. Since the

39:51

tribunal found me guilty and stripped me of

39:54

the only home I'd ever known. It's

39:57

the question I asked on the cramped three week journey

39:59

in that day. 10 cans

40:01

strapped to an ion engine that pushed

40:03

me like a pawn 150 million

40:06

miles across the solar system. And

40:10

the answer I've come to is

40:13

that the most dangerous thing in this universe

40:15

is truth.

40:20

One minute to New Kingdom. That's me.

40:24

Getting off here. You sure? This

40:26

is a pretty rough learn. Even

40:29

MTFs don't have the balls to

40:31

patrol here. Thanks. I'll be

40:33

alright. Not

40:36

that I'm one of those assholes with an

40:38

angel complex. I just happen

40:41

to be in the wrong place at

40:43

the wrong time when a toxic drop

40:45

of information fell into my lap and

40:47

started burrowing into me. The

40:50

kind of information that can spark revolutions, you

40:52

know. What was I to

40:54

do? I caught it like the flu.

40:58

And it tore my life apart. And

41:01

now? Now

41:03

I'm here in Xbox or X. Cop,

41:06

X. Mother, X. Citizen of Earth

41:08

stuck on a mud ball the color of

41:10

dried blood. Or

41:13

even the dust is

41:15

trying to kill me.

41:18

Suit pressure nominal. Battery

41:20

is 78%. Warning. Suit

41:24

maintenance required. Please replace emergency seals

41:26

at the soonest convenience. The

41:28

depot clerk at the terminal didn't even have the

41:31

shame to flinch when they tried

41:33

to sell me back my own pressure suit and

41:35

helmet at ten times the price I paid on

41:37

Earth. With no

41:39

choice and nowhere near

41:41

the scratch, I bought a used local

41:43

rig. Cheap plastic.

41:45

With a helmet that smelled

41:47

of stale sweat. It

41:51

might not be pretty, but it

41:54

would keep me alive. This

41:56

is you then, miss. Thank you. A-Lock

42:03

field is now safe

42:05

to exit the transport. New

42:15

Kinross had had a dome at some point.

42:18

A giant vinyl, fabric and

42:20

Kevlar bubble like the ones dotting the

42:22

rest of Marsport. Little

42:26

more than giant balloons held aloft by

42:28

the pressure differential created by the air

42:30

inside. The giant

42:32

concrete balustrades that had once held it

42:35

in place, were now only

42:37

a graffiti covered stonehenge like ruin,

42:40

ringing the dilapidated neighborhood. Hey

42:43

lady, you need a convoy?

42:46

I get you wherever you need to go safe,

42:48

Alay. 15

42:50

chits, better deal, Lele. I'm

42:53

good. The

42:59

knife on my belt keeps the hungry sunken eyes

43:01

in their patched disposable rigs

43:03

at bay. This is

43:06

the kind of place no one cares about. Not

43:09

the cops, not the Gov. Not

43:12

even enough to provide these poor sods

43:14

here life-giving air. No one

43:17

looks too close at the things that go

43:19

on inside the hermetically sealed buildings of new

43:21

Kinross. And that

43:23

suits me just fine. I

43:29

don't know you. This

43:32

the chicken coop? I'm looking for

43:34

Mother Cory. How to often try your game

43:36

somewhere else, kid. Land

43:39

Gordon told me to find Mother Cory if I

43:41

ever ended up in Marsport. Assuming

43:44

that's you. Here's

43:49

Rocker Seath. Was about

43:52

to be a really bad day. Take

43:55

that knife out of sheath and toss it over. Land's

43:58

been a corpse, three souls. Gov

44:00

pinned him with multiple homicide and made him

44:02

take a long walk with no rig. So

44:05

I doubt he's been saying anything to anyone about

44:07

me. Goddamn.

44:12

My name is Bryce Gordon.

44:15

I just got off the transport from the terminal. It's

44:17

like you're twins. We

44:19

were. You

44:22

can lower the pepper gun, Chell. Okay,

44:24

okay. How would you need

44:26

me? In that rig, I took

44:28

you for a local juicer or a stick-up kid.

44:31

The immigration agent worked me pretty good.

44:33

The graft is always greener. Welcome

44:37

to Mars. I take it you need a

44:39

place to flop. Among other things. Follow

44:42

me, sweetness. Let's see if we can

44:44

get you taken care of only as Mother Corey can.

44:47

The coop is bare bones, but it's safe. I

44:50

have arrangements with the local crews, and we don't

44:52

see much of the MPF here. Nobody

44:55

bothers my tenants or they answer for it. You

44:58

can buy water from me or my

45:00

grandson Chell downstairs. Your grandson? Mother breeds

45:02

like the best of them. Kids

45:06

got a head full of regolith, but what

45:08

can you do? Blood is blood, right? Cleaning

45:10

sand is free. It comes from the

45:13

tank on the roof. The head

45:15

is shared, of course. Reclaimer in

45:17

the basement recycles everything, and

45:19

we waste nothing on Mars. Sounds good. You're

45:22

pissing shit? It all comes here.

45:24

All of it. That's the deal. I get

45:27

exclusive rights to your bio waste. Gotcha?

45:30

And how do I even- Sootle store your

45:32

urine. Just dump it here. And the... other

45:35

stuff? Oh, that's up to you, baby. This

45:39

is you. What

45:49

the hell, Corey? It's eviction

45:51

day, motherfuckers. We pay rent! Out!

45:56

Take care of the other one for me, would you, hon? I'm

45:58

sorry about- Sootle store your urine. I

46:03

didn't say kill the poor man sorry

46:07

bitches all holed down earth strength get

46:11

with the show doll 37% earth

46:13

gravity makes you Superman you get it

46:17

I mean I knew that I was gonna be stronger Wow

46:22

goddamn g-man what does

46:24

that even mean 1g demon

46:28

hey flopper you dead grab

46:31

your friend here if you can

46:33

find someone else to share with you can stay otherwise

46:36

cheers okay

46:40

okay get settled in

46:43

strength like that it could find you work if

46:45

you want it thought I'd try my hand at

46:47

the tables always cleaned up on

46:49

earth and I hear the security and

46:51

the dens is less

46:53

than cutting-edge I

46:56

brought a little help with the odds snuck

46:59

a scrambler up I've

47:02

got plans I

47:04

just need a local fixer who knows the light a

47:06

lady after my own heart my

47:08

taste is 15% here on

47:11

and that's the friends and family discount also

47:14

you let me know if you decide to

47:17

hawk that gadget before you offload it call

47:20

it right of first refusal only

47:22

fair for your dear mother right understood

47:26

I don't plan on being

47:28

here long though you got somewhere else

47:30

to be just

47:32

need to earn enough to buy my way out of this mess

47:35

got a thing for the blue marble huh

47:37

something like that someone more

47:39

like it but that's no concern

47:41

of mine baby word of

47:43

warning though there's an order to things here

47:46

don't get dad playing with fire and all that

47:49

I'm a big girl get

47:51

some rest you look like the devil dragged you

47:53

in thank you

47:55

mother Cory mama's got you and

47:59

sorry about your brother Brother, he

48:01

was a good kid. Did he do

48:04

what they say? Does it matter?

48:08

To me? Yeah,

48:11

he said that about you. Mother

48:13

Corey was wrong, dead wrong.

48:17

The only thing that mattered to me was getting off

48:19

this rock. When you've

48:21

worked the beats I have, you understand

48:23

that every society has a shadow, an

48:25

underworld working in the cracks and crevices

48:27

of the system. Turns

48:30

out the magic number to fake my own death

48:32

and buy myself a new life back on Earth

48:35

was exactly one mil. And

48:37

by three months into my stay, I was on

48:39

track to pull it off too. I

48:42

just needed one last score. Mars,

48:47

humanity's great endeavor. A

48:50

300 year mission to turn a barren

48:53

world into a new Eden. As

48:55

if it wasn't our hands that had almost destroyed

48:57

the original. How would we

48:59

know anything about Eden? A

49:02

century and a half since the first

49:04

of the great skyscraper like terraforming machines

49:06

had landed on the red soil, Mars

49:09

had come to symbolize something

49:11

else. Greed.

49:24

Last call for Betts. Please confirm

49:26

your selections. Let it ride everything

49:28

on Diamond Lagrange 4. No

49:32

more bets. The

49:34

orbit is now locked. Diamond

49:41

Lagrange 4 wins. What

49:43

a streak, the lady wins again. Please

49:45

collect your chips or bet again. Boss,

49:49

we have problem at high orbit,

49:51

Tim. Yeah, I've been watching her

49:54

for the last few. Let's

49:56

go for one more. Move everything to the

49:58

field, I'm feeling lucky. Are

50:01

you sure? The odds of successfully navigating

50:03

the asteroid field are approximately 3720 to

50:05

1. Move

50:08

this along, somewhere else to be. She

50:11

must be hacking the table somehow.

50:13

See how she stands? She's

50:16

a demon, definitely. Maybe

50:18

Ex-Neal. Could be

50:20

on leave. The list there in Marines

50:22

pulled out more than a year ago.

50:26

Oh no no no, these ones are

50:28

tourist. Trying to pull a fast one.

50:31

And then, rock hop. How do you

50:33

want to handle it? The

50:38

asteroid field wins! What a

50:40

streak! The lady wins again! Leave

50:45

collect your chance, or that again. Hurry

50:47

up. You know what grabbed

50:50

Dom into others. I want

50:52

to talk to her first. After

50:54

that, make it clean, call

50:56

the damn badges. They'll make her disappear.

51:02

The 168,421 chips have

51:04

been added to your

51:06

chip. Thank you for playing with us. Come

51:09

again soon. Please,

51:11

we need you to come. Look

51:14

fellas, I'm taking my

51:16

winnings and going. No

51:18

fuss, no muss. Alright? Oh,

51:22

look at you. You

51:24

have some real each gift.

51:27

I'll give you this. You're

51:29

asking yourself why I am

51:32

so lucky. It's a gift,

51:35

I just am. But I

51:37

respect that you need to put on your little

51:39

show. I'll even let you escort me out if

51:41

it makes you feel better. Now tell

51:43

me, what makes you think you can walk into

51:46

my place and rob me in blind daylight? Not

51:49

to correct you, but it's 3am. You should

51:51

really go outside sometime. Your complexion is looking,

51:53

uh, real pale. Nobody

51:56

steals from Fatiya, mock gold.

54:00

Striking things about Mars is how

54:02

rudimentary life is here. The

54:04

last frontier. The

54:07

effort it takes to keep the 50 million

54:09

who call Mars home alive is all but

54:11

exhausting. There's no room for

54:13

anything else. Every other need

54:16

beyond air, sustenance, and of

54:18

course, maintaining the domes was a luxury that

54:20

still had to make its way from Earth.

54:23

You have to make choices about what

54:26

stays and what goes when your lifeline

54:28

is a spaghetti string of space freighters

54:30

long hauling across the cosmos. It

54:33

meant no cell towers, no mass transit, no

54:35

internet. Components for

54:37

most everything were hard to come by.

54:40

Then other choices were

54:43

simply about survival. A

54:45

stray bullet could travel miles and puncture

54:47

the skin of every dome in its

54:50

path. That meant

54:53

no firearms on Mars. It

54:56

was a line no one, not

54:58

even the hardest criminal was willing to

55:00

cross. Suit

55:04

after nominal. Battery at 96%. Warning,

55:08

suit maintenance required. Please

55:10

replace emergency seals at the soonest

55:12

convenience. Great

55:26

time for a dust time. Most

55:29

of the lights that had once lined the

55:31

streets between domes had either burnt out or

55:33

been stolen for parts. That

55:36

darkness was usually not a problem, but

55:39

in the storm of dust and regolith,

55:42

I could barely see 10 feet in front of me. David!

55:48

It was almost like a ghost materializing out

55:51

of thin air when I first

55:53

caught sight of him. Standing in

55:55

the middle of the rope. Looks like you're

55:57

in trouble, friend. Maybe more than you

55:59

know. The face smiling at

56:01

me through his helmet was young, handsome,

56:05

maybe too handsome, and

56:08

with a smile cockier than a car

56:10

salesman. You have two

56:12

seconds before I go around you or

56:14

through you. The choice

56:16

is yours. Option number

56:18

three. I convoy you back to

56:20

wherever you are going. His

56:24

two long knives seem to dance into

56:26

his hands like an old west gunslinger

56:28

drawing down. Then just as quickly, they

56:31

disappeared back into their sheets. I get your

56:33

home safe, guaranteed. How

56:35

much? How's the G-spot?

56:39

Call it three. Alright, name's

56:42

Izzy. Honest Izzy. Okay,

56:44

honest Izzy. We're headed to-

56:46

You're Kenross, I know. You

56:49

might want to draw that blade, ma'am. Izzy!

56:53

What the hell do you think you're doing? They paid

56:55

me to track her for you. I held up my contract.

56:58

Now she's paid me to see her home safely.

57:00

All's fair and honest. Green

57:02

aircraft don't ring. Seven of

57:04

them appeared out of the storm all

57:06

at once, armed to the teeth with

57:08

clubs, bats, and knives. Give

57:11

us that ship and we'll let you live, Jimin. I

57:13

recognized their leader at once, Mother

57:15

Corey's grandson. Seven

57:18

against two, if Izzy was indeed honest,

57:21

weren't the worst odds. It's

57:24

just this. Not the person. Omega's

57:26

taken from you. You're

57:28

gonna water the sand right here.

57:31

Shell, I promise you are

57:33

gonna be the first to drop. Are

57:37

you still with me? By your side, boss.

57:40

Goodnight, Bryce. They

57:42

all came at once, except

57:44

for Shell, who disappeared into

57:46

the storm. There

57:49

were far more than seven. But

57:52

how many was impossible to know as they darted

57:54

in and out of my limited field of vision?

57:58

One after another, they came to me.

58:00

And one after another I beat them

58:03

back, cutting away at cheap plastic and

58:05

smashing in the thinplex. Warning,

58:11

warning, suit integrity compromised.

58:13

Engaging in emergency field.

58:18

Warning, warning, this map

58:20

of emergency field

58:23

not complete. After dropping below

58:25

target. The

58:27

reason so many carried knives for self-defense

58:29

is that one good puncture to your

58:32

suit and you were on a

58:34

ticking clock. The

58:37

incoming attacks stopped. The

58:39

enemy knew it was over and

58:41

just watched as

58:44

the inevitable happened. I

58:47

cursed myself for my own stupidity

58:49

as everything went red. With

58:52

every ounce of strength I

58:54

had left, I tried to stay

58:56

on my feet. And

58:58

all just went black.

59:13

Relax baby. You're lost. You!

59:18

No Bryce! I

59:21

had nothing to do with it. This shit made the play

59:23

on his own. The

59:26

kid patched you and brought you to me. I

59:29

keep an epic booster on hand. Even

59:33

so, it was touch and go for a minute there. You've

59:37

been out for 18 hours. Glad

59:39

to see you came through it boss. The money? They

59:42

took it off you. I couldn't stop them. I'll

59:46

get you your fee. Just need to get

59:49

to my room. I

59:52

didn't keep our deal. Wouldn't

59:54

be honest. Kid has three broken

59:56

ribs. I'm alive.

1:00:01

Oh, you did your job. I'm

1:00:05

afraid there's more. Shell

1:00:07

and two of the shits he runs with broke into

1:00:09

your room. Oh,

1:00:12

my stash. Under the floor. They

1:00:15

got it all. I was

1:00:17

asleep upstairs. Shell barred my

1:00:19

door from the outside, and by

1:00:22

the time I busted through, they were

1:00:24

gone. I know he's your grandson, but

1:00:27

I am gonna find him and burn

1:00:29

him alive. No, you're not. Tell

1:00:32

her. You got bigger problems. The

1:00:36

heavy who's parlor you hit last night ain't

1:00:38

no petty player. She's

1:00:40

Big Seven, largest cartel on

1:00:42

Mars. Not top

1:00:44

of the pyramid, but high enough

1:00:46

to call a hit. Shiny

1:00:48

enough that every dirt bag and

1:00:50

badge alike will be coming for

1:00:52

you. Fuck. Fuck. Fuck.

1:00:54

Normally, the play would be a seat

1:00:57

on a freighter. What are

1:00:59

my other options? You could

1:01:01

nullify the hit. Pay the

1:01:03

police the joint-up rate plus your bounty. Put

1:01:06

on a badge, and it becomes a shield against all

1:01:08

of this. But then

1:01:11

the MPF owns you. What's

1:01:15

the bounty? Three mil. I...

1:01:18

I mean... I

1:01:21

could scratch that together. If

1:01:23

I had the time. Shell's crew knows where you

1:01:26

are. They'll sell that info for a finder's fee.

1:01:29

The gangs know not to make a play on my

1:01:31

turf. The MPF,

1:01:33

though, they'll be coming.

1:01:36

Blend me the money. I

1:01:38

like you, but honey, please. What

1:01:40

other option do I have? What about another

1:01:43

city? I could possibly get you

1:01:45

to OC or Shell Batana. Olympus

1:01:47

City is the safer bet. I

1:01:50

have a shipment heading out in two days. The

1:01:54

question is how to get you out of

1:01:56

the coop. Probably already watching

1:01:58

this place. Not probably. But

1:02:01

hear this, Lady Bird. I

1:02:03

do this, and you work for me

1:02:05

and me alone from here on. Turns

1:02:20

out, new Kinross

1:02:23

had an interesting secret. It

1:02:27

was one of the very first domes

1:02:30

on Mars. It

1:02:33

had been built directly above the original colony.

1:02:37

The first pioneers to brave

1:02:39

the new world had built

1:02:41

their home safely beneath the

1:02:43

surface in the massive inert

1:02:45

lava tubes that crisscrossed the

1:02:47

planet. Mother

1:02:49

set up in the coop here entirely because

1:02:51

it still had access to the network through

1:02:54

the sub-basement. A

1:02:56

smuggler's paradise. Only

1:02:58

this time, I was

1:03:01

the one being smuggled 100 meters below

1:03:03

the city. Zizmic

1:03:06

activity from the terraforming machines had

1:03:08

forced those early settlers above ground,

1:03:10

but it was all still here. Perfectly

1:03:14

preserved. Frozen in

1:03:16

time beneath the decades

1:03:18

of dust. A ghost

1:03:22

town. And

1:03:24

as I followed the paths Mother's crew used,

1:03:28

I felt like a spectre floating

1:03:30

lost through some ethereal

1:03:33

half-world. A shadow

1:03:35

of the person I once was. The

1:03:42

hatch in the outskirts where Mother's contact would

1:03:44

be waiting to see me safely out of

1:03:46

Marsport was exactly where she said

1:03:48

it would be. The

1:04:01

domes were more than a mile to the

1:04:03

west, and as the vast Martian landscape stretched

1:04:05

out before me, I

1:04:07

couldn't help but smile. It's

1:04:10

a funny thing how hope works. It

1:04:14

keeps us going just long enough to

1:04:19

fall into the next trap. Did

1:04:31

you honestly think it would be that

1:04:33

simple to escape the long arm

1:04:36

of destiny? It's

1:04:38

a pleasure to finally meet you. Miss

1:04:41

Gordon. I'm not the one

1:04:43

to blame you. We are not supposed to be here.

1:04:46

I didn't realize until now. Guess

1:04:48

what more I'm gonna run around my hangman? If

1:04:51

you mess this up you really let me die. You

1:04:54

know that I'm afraid of tiny spaces. How

1:04:57

could you leave me in too high? I

1:04:59

can't tell the difference in their faces. Monsters

1:05:02

come in different shapes and

1:05:04

sizes. It's because

1:05:07

nowhere else can

1:05:10

be. Small voices

1:05:13

singing, telling me

1:05:16

free. I hope

1:05:18

you enjoyed this installment of The Exile. If

1:05:21

you just can't wait for that next

1:05:23

episode, did you know that you can

1:05:25

listen to it right now? That's right.

1:05:27

You can get early access and ad-free

1:05:30

listening to every episode in the series

1:05:32

through our brand new CMA Universe Plus

1:05:34

subscription, exclusively on Apple Podcasts. You can

1:05:37

also connect with us online on Facebook

1:05:39

and Instagram under the handle at CM

1:05:41

Anthology. Want to dive even deeper?

1:05:44

Join us for a live listen. Meet

1:05:46

the cast and go behind the scenes

1:05:48

in our after shows presented at twitch.com/FN

1:05:51

Funny. 7pm Pacific Time

1:05:53

on the Tuesdays, each new main episode

1:05:55

airs. For information about

1:05:57

the after show, merch, and a whole lot

1:05:59

more, Check us out

1:06:01

online at cmanthology.com. Tonight's

1:06:04

show starred Tiffany Smith as Bryce

1:06:06

Gordon and featured the voices of

1:06:09

Malcolm Barrett as Honest Izzy, Eugene

1:06:11

Bird as Shell Corey, Phil

1:06:13

Lamar as the Station Chief, Trace

1:06:16

Lisette as Mother Corey, Sundeep

1:06:18

Parikh as Rand, Stephen

1:06:21

Weston as Skag, Milana

1:06:23

Vintroub as Fachia Markov, Amy

1:06:26

Vorpal as Three, with

1:06:28

additional voices by Jonathan Edelman,

1:06:30

Jason Ervin, Philip Gray, Matt

1:06:33

Hoban, Tien Nguyen, Blythe Renee,

1:06:35

and Melissa Starr. This

1:06:38

episode was written, designed, and edited by

1:06:40

me, your host, Jonathan Pezza. Voice

1:06:42

directing by Tiffany Smith and Jonathan Pezza.

1:06:44

The exile was made possible by the

1:06:47

amazing support of our Kickstarter backers. Executive

1:06:49

produced by Scott Pezza and Dan Evans.

1:06:52

Co-executive produced by Richard J

1:06:54

Pezza, Patrick Lepolato, and Derek

1:06:56

A Hughes. It was

1:06:59

produced by Jonathan Pezza, Tiffany Smith, and

1:07:01

Sundeep Parikh. And co-produced by

1:07:03

Ali Mashiecki and Jack Bowman. Assistant

1:07:06

editing by Mohamad Mois Riaz and

1:07:08

Francis Pezza. Original score composed by

1:07:11

Jonathan Pezza, with additional tracks provided

1:07:13

by Epidemic Sound and featuring the

1:07:15

musical talents of Tori Wolf, Suffer

1:07:18

City, Xperia, and Sight of Wonders.

1:07:21

The exile is based on Police Your

1:07:23

Planet by Lester Del Rey. The literary

1:07:25

work in the public domain and was

1:07:27

produced in accordance with US copyright law.

1:07:29

Curious Matter Anthology is produced by the

1:07:31

Knightsville Workshop in association with F'n Funny

1:07:33

Productions. Copyright Knightsville Workshop 2024,

1:07:36

all rights reserved. Make

1:07:38

sure to tune in next week for our

1:07:40

very first mini-sode titled, Message in a Bottle.

1:07:44

See you then, and as always, thank

1:07:46

you for listening. The

1:08:17

Fable and Falling Network, where

1:08:19

fiction producers flourish. Meet

1:08:24

Pia Kaysley, a journalist with a nose

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for a good story. Do

1:08:29

you know who the last person to interview

1:08:31

Julie Capstone was? Me. Meet

1:08:34

Brenda Bentley, a dog detective with a

1:08:37

case she can't let go. Nobody

1:08:39

came closer than I did, and that's why

1:08:41

I was kicked off the force. Together,

1:08:44

they solve the cold cases no

1:08:46

one else can. That's

1:08:49

when things got weird. And

1:08:51

we haven't even gotten to the torso yet. If

1:08:55

they don't kill each other first, that is. Well,

1:08:58

you've got another thing coming. You

1:09:01

know, I think it's you got

1:09:03

another thing coming. Or

1:09:05

perhaps there's something else between them.

1:09:09

Well, if the feeling's mutual, call it

1:09:11

a mutual feeling. Arden,

1:09:13

a podcast about crime, romance,

1:09:15

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1 and 2 now available, brought to

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People.