Sequestered in a storage room on board the Spectre, Rho attempts to learn more about her new captors while also figuring out a way to free herself as quickly as possible. Meanwhile, Dr. Amos and Dr. Bennett funnel nearly all of their resources into retrieving their missing asset.
Cast (in order of appearance):
Stef Howerton -- Rho
David S. Dear -- Garyn Beikirch
Sarah Rhea Werner -- Greer Niedmeier
Marcus Rothenberg -- Grape
Tal Minear -- Macie Vincent
Newton Schottelkotte -- Atalanta "Atta" Harris
Allen Chan -- Warren Lee
David Ault -- First Mate Edward Whitlaw
Karim Kronfli -- Dr. Karl Amos
Lindsay Zana -- Dr. Cicely Bennett
Stephanie Tobin -- Captain Lillian Dunne
Music: Tim Rosko
Sound Design: Brad Colbroock
Written, Directed, and Produced by Stef Howerton
Show Art by Stef Howerton
Photography by Xiaoyi
Support this podcast at — https://redcircle.com/spectre/donations
Thanks so much for listening! <3
STEF HOWERTON: Hey everybody, it’s Stef, creator of SPECTRE. I wanted to take a moment - uh - before this episode to thank everyone for the warm welcome that you all extended to the show on our launch on May 22nd. Hearing your feedback and excitement over the characters, story, music, and sound design made me so happy, and I hope that the cast, crew, and I are able to keep you all entertained for the duration of the series. Additionally, if you stick around to the very end of this episode, you’ll get to hear the fantastic trailer for ROGUEMAKER, another fantastic scifi, mystery audio drama that features music, intercepted fast food advertisements, and things that should never be found. You’ll want to listen to the trailer. I promise you won’t be disappointed. Thanks again, and I hope you enjoy SPECTRE’s second episode: Stowed.
SHOWRUNNER: SPECTRE is intended for mature audiences. Listener discretion is advised.
[SFX: The theme music plays fully, beginning with a haunting, dark humming that escalates into an electronic melody with a surging arpeggio that pushes the tempo forward. It ends in a fade, punctuated by a high-tone chord that reverberates into silence.]
[SFX: From the hallway outside of RHO's quarters, RHO can be heard mercilessly banging on the metal door of her quarters, the metallic thumps reverberating around the hard walls of the room.]
RHO: (muffled) Let! Me! OUT!
[SFX: Inside her room, RHO begins to kick the door, but beyond some scuffing from the rubber soles of her shoes, no damage is done. She stands with her face close to the door jamb and yells as loudly as she can.]
RHO: (clear) Helloooo? Anybody out there?
[SFX: Only the ambient sound of the Spectre engines and filtration systems can be heard.]
RHO: Guess not.
[SFX: RHO walks away from the door and plops on her bed, the spring mattress creaking underneath her. The hard metal surface underneath the mattress is unforgiving and RHO thuds against it as her weight pushes her through the resistance of the springs.]
RHO: Gods, this bed... Torture device all on its own.
[SFX: A ‘ding’ sounds overhead from the communications system as a call comes through the speaker system in RHO's room. A call crackles through.]
GARYN: (through an unstable connection) Rho. Rho? Can you hear me?
GARYN: (through an unstable connection) Gods damn it. Macie has got to fix this piece of crap comms system.
RHO: Hey, I can't understand you. (sarcastically) Might want to jiggle the aux cable or something.
GARYN: (through an unstable connection, missing the joke) What? Aux cable? We're a bit more advanced than that. Actually, you know what? Hold on.
[SFX: With the comms link still connected, a loud series of clangs can be heard on GARYN's end as he does a bit of impromptu handyman work. After a final, strong clang, the connection clears.]
GARYN: (breathless, clearly over comms) Alright, can you hear me now?
RHO: Crystal clear.
GARYN: (over comms) Great. I'm calling because I read elevated levels from you. Are you okay?
RHO: (sarcastic) Oh, I'm so glad you asked, thank you. (tone flip, annoyed) No. I am not okay. I’m cooped up in this stupid room, and all I want is to get off of this rusty old space boat!
GARYN: (over comms) You know I can’t do anything about that.
RHO: Well, let me talk to the people who can then.
GARYN: (over comms) You'll get to talk to them... maybe.
RHO: You know, for a doctor, your bedside manner could really use some work.
GARYN: (over comms) I'm not a doctor.
RHO: You're running the medbay, and you're not a doctor?
GARYN: (over comms) Nope. Just a medic.
RHO: Well... Good to know. Note to self, don't get sick or hurt.
GARYN: (exasperated) Anything else I can help you with?
RHO: You know, I didn't think it was customary to ask your hostages what you can do to help them.
GARYN: (over comms) Look, you’re not -- Fine.
[SFX: A ‘ding’ signals that GARYN has closed the connection.]
RHO: (muttering) Thanks for the help… (beat) Left to my own devices again. Hmm... Let's see what's in here.
[SFX: RHO leans forward and opens up the bedside drawer and begins rifling through its contents. The majority of the items are nondescript, possibly possessions left over from a previous occupant. She ruffles through a stack of papers that she finds in the bedside stand.]
RHO: Okay, so... bills, looks like. For a Greer Niedmeier. Niedemeier? Whatever.
[SFX: She lifts one of the papers to eye level and begins to read.]
RHO: Oof, looks like Greer's in debt. Better get those finances in order, buddy.
[SFX: She puts the stack of papers back in the drawer but notices something hidden away in the back.]
RHO: Ooh, what are you hiding here, Niedmeier?
[SFX: A small, hard object scrapes against the metal of the drawer as she pulls it out. It fits snugly in her hand and has four small buttons on its surface. RHO pushes 2 of the buttons, but nothing happens. After the third, however…]
GREER NIEDMEIER: (over the recorder) Day y minus one forty-two, twenty-three hundred Earth time. Entry number one. (laughing) You know, okay, it's funny. This is the first time I'm picking up this recorder after buying it two or three cycles ago, and even funnier that it's going to be my last time.
[SFX: Sentimental music begins to play quietly in the background.]
GREER NIEDMEIER: I've taken a position with another ship. Lillian is none too happy, but she respects it. I'll be closer to home more regularly, so that's my main reason. The ship is a lot smaller though, so I'm having to pare down my belongings. Only taking the essentials, as it were. I imagine whoever replaces me will be able to use this better than I can, so I'll leave it.
[SFX: The music gets louder.]
GREER NIEDMEIER: Whoever you are, know that you've just joined a crew of good people. Rough around the edges, yes, but good nonetheless. Be patient with them, work with them, and in time you'll have some of the best team - no, family - that you've ever had. Greer out.
[SFX: The recording shuts off, and the music fades.]
RHO: I don't wanna call you a liar, Greer, but...
[SFX: She fiddles with the buttons and accidentally rewinds a short amount.]
[SFX: When she stops the rewind, the recording automatically begins to play again.]
GREER: ...know that you've just joined a crew of good people. Rough around the edges, yes, but good nonetheless. Be patient with them, work with them, and in time you'll have some of the best team - no, family - that you've ever had.
RHO: Yeah, right.
[SFX: RHO turns off the playback and accidentally hitting the record button.]
RHO: Oh, shoot. Didn't mean to hit record. (beat) You know what, why not? Day "who the hell knows" at approximately "nobody cares" o'clock. Status log. I’m not in the medbay anymore, which is nice, but I’m in what I’m told is called a “guest suite,” but that’s definitely not the phrase I’d used to describe it. Jail cell, maybe. Torture chamber? (beat) Okay, maybe that’s not fair. It’s not like this ship is a luxury cruiser or anything. The bed is unreasonably uncomfortable, but I have an en-suite bathroom, and I get three square meals a day. I’m just annoyed that I can’t step foot outside this room without an escort. And there’s nothing to do. Besides the bed, a bedside stand filled with bills that aren't mine, and a cubby on the opposite wall with a single copy of some ancient manual for obsolete thrusters in it, I’ve got nothing to entertain myself. Other than my brain, that is. Oh, and this recorder. They didn’t even have the decency to give me a personal comms unit. At least that way, I could play a game or something. All I’ve got is this stupid wall box that connects to various rooms on board. (beat) Ooh, wait. There’s a thought…
[SFX: RHO walks over to the comms unit on the wall, and starts fiddling with it. Various beeps and ticks signal RHO’s work. Suddenly, static comes from the comms speaker as she transitions between channels, and then a conversation in the mess hall.]
GRAPE: (over comms) -- have much experience with that.
MACIE: (over comms) So you just think it, and the suit does it?
ATTA: (over comms) Yes and no. It’s more like ideation paired with strategically planned micro-movements.
MACIE: Ohh, how many movements?
ATTA: All depends on the action I want it to take.
GRAPE: Does anyone want any more of this stew?
MACIE: Nah, I’m good. Thanks though!
ATTA: I could use another plate. You really outdid yourself with this one, buddy.
GRAPE: I tried something new with the lab-grown meat substitute. I don’t know how I feel about it yet. It feels too... chewy, I think.
MACIE: Ooh, hey, Grape! Did you ever get any of those strawberries synthesized?
GRAPE: They've been very stubborn, but they're getting closer.
ATTA: Nobody told me about strawberries. I haven't had a strawberry since I left home. Please, can I have one?
GRAPE: I wouldn't get too excited. Natural strawberries are too difficult to grow in interstitial space, even onboard a climate- and ozone-controlled ship, so the ones I've been working on are purely synthesized. Right now, everything is wrong: the color, the flavor, the texture. But I’ll get there.
[SFX: A few beeps sound from one of the personal comms in the mess hall.]
MACIE: (somewhat confused) Hey, what is tha--
[SFX: Static interrupts the signal as RHO pushes additional buttons.]
RHO: Okay, who else is chatting?
[SFX: Continued static flicks through dead channels until she catches another channel.]
WARREN: (over comms) -- answer is no.
EDWARD: (over comms) Warren, you’re being unreasonable.
WARREN: Unreasonable? This is a bad idea. I have too much on my plate already, and--
EDWARD: – and she can help take some of that off your shoulders. I don’t understand why you’re so opposed.
WARREN: You are fully aware of why this is such a profoundly shitty idea. (short beat, quickly) I don’t play well with others.
EDWARD: Well, it’s about time you learned how. This order comes directly from Lillian, and as your First Mate--
WARREN: (pleading) Ed, don’t make me do this.
EDWARD: (resolute, yet apologetic) You know I don’t have a choice. Orders are orders.
[SFX: A door slides open, and MACIE strides into the bridge.]
MACIE: (over comms) Hey--
EDWARD: Macie, now is not the best time.
MACIE: Sorry for butting in, but I’m pretty sure you’d want to know that we have a potential issue with the comms system.
RHO: (inside her room) Uh-oh.
[SFX: RHO navigates through the system to see if she can hide her tracks, various beeps and clicks indicating her choices.]
MACIE: I don’t have it totally figured out just yet, but I got lots of warning pings just now. We’ve been hacked.
MACIE: Look here. A few minutes ago, a pathway was created between here and here - that’s the mess hall and that’s the storage berth - and our passcode was bypassed manually. Now, I can without a doubt confirm that I didn’t do it, and Grape and Atta were with me when it happened, and I’m pretty sure neither of you has the technical know-how. So that leaves me to believe that our new friend knows more than she’s letting on. In fact, she could very well be listening to this conversation right now.
WARREN: Can’t you just shut off access for that room?
MACIE: Not without shutting down the entire comms system for everyone. Remember how I recommended an upgrade to our existing system? Well, this is why. I’d say I told you so, but...
EDWARD: (annoyed) Macie, go check the storage berth. Play it casual.
MACIE: (excited) Got it. Espionage mode... on.
RHO: Damn it, I should have known better. How can I make this look like a malfunction...
[SFX: RHO presses a series of buttons, closing the connection and feverishly working to delete active channels and action entries.]
RHO: Okay, no wait.
[SFX: More buttons chirp and click.]
RHO: Ah! There. That should do it.
[SFX: RHO quickly backs away from the comms panel and looks for something to make it appear that she's been doing anything else other than hacking the Spectre's internal systems.]
RHO: Ooh, the manual.
[SFX: RHO grabs the hefty tome from the cubby in the wall and plops on the bed, opening to a random page, pretending to read while she waits for MACIE to arrive. It's none too soon because just moments later, a quick series of knocks sound on RHO’s door.]
MACIE: (from outside the door, cheerfully) Hey! Wanna let me in?
RHO: You know as well as I do that I don’t control when that door opens or closes.
MACIE: (laughing): Oh. Right. Sorry about that!
[SFX: A few seconds pass, and after a short beep the door slides open, followed by MACIE walking in energetically.]
RHO: Hi. Who are you?
MACIE: (proudly) Macie, Spectre's Engineer. (friendly) It’s really nice to finally meet you! How ya doin’?
RHO: (sarcastically) Just fancy, notwithstanding.
MACIE: (beat, genuine) I know you didn’t ask, but I’m just wonderful. (giggling, then an uncomfortable beat) Well, anyway, I’ve heard Ed and Warbly talking about you all secret-like, so I thought I’d come say hello and see you for myself.
RHO: Well... hello. I was in the middle of reading, and I was kind of into it, so...
MACIE: Oh, that old thruster manual? I guess it could be interesting to the right kind of person. I mean... Sorry. I was kind of hoping that we could talk. You’re the shiny new penny everyone’s talking about, and I want all of the details.
RHO: I hate to break it to you, but I’m probably the worst person to ask for details.
MACIE: (without missing a beat) So where do you come from?
RHO: (short beat, with a sigh) Wherever you folks picked me up.
MACIE: (rapid-fire) Hm. I don’t really keep tabs on where we go. I’m from a small colony on Ganymede. I’m actually like you. I wanted to get off-moon, so I snuck on board and hid in this really small area in the cargo bay until we were far enough away that it didn’t make sense to take me back. Pretty smart, huh?
RHO: Yeah, if only I had thought of that...
MACIE: Well, being cooped up in a room with a bed and stuff is a whole lot better than a smuggler’s compartment, so maybe it’s better that they found you. So are you gonna stay with us?
RHO: I don’t think that’s up to me right now.
MACIE: I think you should stay. The Spectre is really fun once you get used to it. We’re always going to exciting places, meeting really interesting people... You should stay.
RHO: I’ll keep that in mind.
MACIE: In fact, what can you do? I think they’re looking to find someone to help Warbly out in navigation. Know anything about that?
RHO: I’m not sure.
MACIE: Well, don’t worry too much. You could always learn. You seem like you're pretty smart. That’s what I did with engineering. Luckily, it comes really easy to me, so I caught on pretty quickly.
RHO: Good for you.
MACIE: That’s your ticket to staying here, though. Find a way to make yourself useful, even if it’s maintenance or something. Though we all take turns with that. Grape doesn’t have as good a nose as the rest of us, so they normally handle the gross stuff. They don’t seem to mind.
RHO: Grape seems like a real stand-up human.
MACIE: Oh, Grape’s not human. Grape is... you’ll see. Grape's great. Lots of fun.
RHO: Got it.
MACIE: You know, actually, while I’m here, I’m going to check out your comms unit if you don’t mind. I got a weird signal from it earlier.
[SFX: MACIE begins to fiddle with the comms unit, beeps and ticks sounding quietly as they work.]
RHO: Be my guest.
MACIE: So how did you know we’d pick up that trash bin?
RHO: I didn’t.
MACIE: (confused) Oh. Really? Wait, then why were you in it?
RHO: I was hiding.
[SFX: The beeps and ticks stop, and MACIE turns to face RHO with sudden, rapt interest.]
MACIE: Ooh, from who?
RHO: Bad people.
[SFX: MACIE strides quickly over to RHO’s bed and sits down on the floor next to it.]
MACIE: (entranced) Oooooh. Tell me more.
RHO: That’s all I’ve got. I don’t remember much else. And what I do remember is really blurry.
MACIE: So what, your memory just really blows, or what? Got a bad concussion… Fought a space whale?
RHO: (chuckling) Yeah. It just really blows.
MACIE: That’s okay! We can help you make new memories on the Spectre!
[SFX: Macie goes back to the comms unit, and the beeps and ticks resume.]
RHO: Yeah, we’ll see.
MACIE: So you’re considering it?
RHO: Considering what?
MACIE: Staying onboard the Spectre, silly!
RHO: I don’t really have anywhere else to go, do I?
[SFX: As MACIE finishes their work, the beeps and ticks stop.]
MACIE: Oh, good! You’ll love it here. You’ll find that we’re all really open with one another. Super friendly and welcoming. We’re a family. We trust each other. (beat) Well, I’m all done here, I think. Do you need anything?
RHO: Don’t think so. Unless you can convince Edward to give me free rein on board.
MACIE: Oh, that’ll happen, just not yet. It’s like my mother used to say: “Never cut a tree down in the wintertime, Macie!” (beat) You know, now that I think about it, that makes no sense. We don’t have any trees on Ganymede. What are you goin’ on about, Mom? (quickly switching gears) Well, anyway, I’ve got to get back to the engineering deck. See ya when I see ya!
[SFX: The berth door opens and shuts as MACIE departs. After a few seconds, RHO gets up from the bed to inspect the comms unit.]
RHO: If they found anything, they certainly hid it well.
[SFX: RHO taps on the comms unit screen.]
RHO: Oh, how clever... They've installed an encrypted channel blocker and key-logger. Hm... I’ll need to keep an eye on that kid.
[SFX: Moody transition music]
[SFX: KARL and CICELY stand in KARL's office, several feet apart, as CICELY provides an update on her efforts to retrieve RHO. A clock ticks incessantly on a shelf behind KARL's desk, and ominous music drones in the background.]
KARL: Any updates?
CICELY: The last time she was seen was at the spaceport. Nothing since then. The only logical explanation is that she's no longer on the planet.
KARL: And no further transmissions from the implant?
CICELY: There was one blip out in the Bantham Sector, but we've determined that to be a false reading.
KARL: Why is that?
CICELY: The Bantham Sector is nearly 200,000 light-years outside Via Lactea. The only ships that could have gotten there between the time she escaped to when we received the signal are military. And if she was under their care, we’d know about it.
KARL: Contact General Abawi to confirm. And send a reconnaissance vessel to the location of the ping. Canvas the area, ask questions at nearby stations and outposts.
CICELY: (hesitant) Sir, don’t you think that’s a reckless use of our resources? We don't know that--
KARL: Do it. I expect a report in forty-eight hours.
[SFX: KARL begins to walk out of the room.]
CICELY: Sir, it will take the reconnaissance vessel nearly forty-eight hours just to get there.
KARL: (short) Then make it fifty.
[SFX: A door slams as KARL leaves.]
CICELY: Fine… asshole.
[SFX: Cicely departs, and transition music plays.]
[SFX: RHO is lying on her bed, flipping mindlessly through the pages of the thruster manual when her door opens suddenly.]
RHO: Ugh, what do you want?
ATTA: You need to come with me.
ATTA: (beat, annoyed) Yes. Need. Captain’s orders.
RHO: Not my Captain.
ATTA: It’d behoove you not to test me.
RHO: (after a short beat, sighing) Aye aye...
[SFX: RHO gets out of her bed and follows ATTA out into the hallway, the door sliding closed behind her.]
RHO: So... care to tell me what’s going on?
ATTA: Don’t know. Don’t care.
RHO: Ah. I see...
[SFX: The two continue to walk down the hallway in awkward silence, only the thrum of engines and their footsteps on the grated flooring to fill the void.]
RHO: So how long--
ATTA: I’m not here to be your friend, girlie.
EDWARD: (over ATTA’s personal comms unit) Atta, report. On the way?
ATTA: Begrudgingly, but yes.
EDWARD: (over ATTA’s comms unit, warning) Play nice, Atalanta.
ATTA: You know me. I’m always nice.
RHO: (under breath) Oh, just the nicest…
[SFX: ATTA stops in the middle of the hallway, causing RHO to pause as well.]
ATTA: What was that?
RHO: Nothing even in the slightest.
ATTA: That's what I thought.
[SFX: The bridge door slides open, and ATTA and RHO enter in silence.]
ATTA: Atta reporting to the bridge with our stowaway.
RHO: How many times do I have to tell you people that I am not a stowaway??
EDWARD: Thank you for joining us, Rho.
RHO: Funny. You say that like I had a choice.
ATTA: You’re lucky we didn’t toss you out the airlock. If it had been up to me --
EDWARD: Atta, thank you. You’re dismissed.
ATTA: Whatever. Comms if you need me.
[SFX: ATTA strides out of the bridge, and the door slides closed quietly behind her.]
RHO: You know, she is just a peach.
EDWARD: Don’t mind Atta. She’ll warm up eventually.
RHO: Will I be here long enough for her to warm up to me?
EDWARD: Rho, you must realize the position we’re in.
RHO: What position is that?
EDWARD: We are currently harboring a fugitive. We may be in space, but that doesn’t mean we don’t check the news or that we’re not held accountable by law.
RHO: (beat, resolute) They were holding me against my will.
RHO: I don’t know! I don’t remember anything! Look, just... just drop me off on the nearest rock. I’ll figure something out. That way, you can wash your hands of me. No harm done. I won’t tell a soul.
EDWARD: I can’t do that.
EDWARD: Surely we can negotiate something that benefits us both.
RHO: Why in the universe do you think I’d even want to join ranks here?
LILLIAN DUNNE: (over comms) I like her, Edward. She’s got spunk.
RHO: Uh... who--?
EDWARD: Hello, Lillian.
RHO: Lillian? As in the Captain?
LILLIAN: Yes, as in the Captain. Nice to meet you... Rho, is it?
RHO: Likewise. May I please leave your ship?
LILLIAN: Straight to the point. I like that. But no.
EDWARD: Rho, let’s just take a moment to --
LILLIAN: Because I find you fascinating. Former military poster child turned mental patient? I’ll admit the details about you were limited at best, but what I did find was very interesting.
RHO: Military? I’ve never been in the military. You must have me confused with someone else.
LILLIAN: See, Edward? Fascinating.
RHO: Okay, look here--
EDWARD: Rho, let me explain.
RHO: No explanation necessary. I just need to know when I’ll be allowed to get off this tin bucket.
LILLIAN: At this time, we have no plans of dropping you off on some remote planet, if that’s what you mean. But please be aware that we want you to be as comfortable as possible.
[SFX: RHO scoffs.]
LILLIAN: I believe we can help each other.
RHO: How’s that?
LILLIAN: That will be largely dependent upon you.
RHO: I’m going to need a little more information to go on than that.
LILLIAN: You need a place to crash. Lay low for a bit, correct?
RHO: (beat, warily) Perhaps. And that helps you how?
LILLIAN: It doesn’t. You’re an extra mouth to feed. But I’m sure we could find a place for you on board. Help us carry some of the burdens of running the business, lend a hand around the ship... You know, basic things.
RHO: I’m assuming you’ll want this so-called “help” free of charge.
LILLIAN: Absolutely not. You’ll receive a cut of the profits, just like everyone else. I’m not a tyrant.
RHO: That has yet to be determined.
LILLIAN: (chuckling) While I would support you taking the time to make this decision, I’m afraid we’re a bit limited in how much we can offer.
RHO: How limited?
LILLIAN: Edward, when will we be arriving?
EDWARD: Just over 36 hours.
LILLIAN: (quickly) You can sleep on it.
RHO: You’ve got to be kidding me…
[SFX: Rho laughs incredulously.]
EDWARD: What if we do a trial period?
EDWARD: We could take her on the mission with us. See how she performs and how she likes the work. If it’s a good fit, we’ll continue. If it’s not, then we part ways. No harm, no foul.
LILLIAN: Including her on a mission could make us vulnerable.
EDWARD: We can’t expect her to take a leap of faith unless we do the same.
LILLIAN: Hm… (beat) Approved.
RHO: Hey. Me again. Do I get any say in this?
EDWARD: Now’s your time to say whatever you’d like.
RHO: (stunned) Oh. Uh… (beat) Provisionally accepted?
LILLIAN: Well, then I suppose I should say ‘Welcome aboard the Spectre... provisionally.’
EDWARD: Welcome aboard, Rho. (beat, yawning) Pardon me, but it’s time to get some shut-eye. We have some prep to do before we arrive. Lillian, do you need anything else from me?
LILLIAN: I don’t believe so. Report back before leaving the ship.
[SFX: The line between Lillian and the ship disconnects.]
EDWARD: Do you know your way back?
RHO: I can figure it out.
EDWARD: The code to your room is "stowaway92b*." You're welcome to change it via the comms panel just inside the door.
RHO: Ha ha ha… Very funny.
[SFX: Transition music, suddenly interrupted by blaring sirens over the Spectre’s security system.]
EDWARD: Atta! I’m showing a hull breach in the cargo hold.
[SFX: The comms line stutters on. The sounds of a struggle fill the bridge.]
GARYN: (over comms, struggling) Atta and I... are a bit... incapacitated.
EDWARD: Macie, what have we got on security?
MACIE: (over comms) Bunch of goons just forced their way onto the ship. Garyn and Atta are holding them off in the cargo hold, but it looks like a few have broken through. They’re headed straight for you.
EDWARD: Warren, prep for combat.
[SFX: WARREN readies his blasters, and a few beeps signal that he has disengaged the safeties.]
MACIE: (over comms) Uhh... hey– hey, folks?
[SFX: The bridge doors shudder loudly from sudden impact. EDWARD readies his weapons as well.]
EDWARD: Not now, Macie. We’ve got company. (to Warren) Ready, Warren?
[SFX: The door continues to quake as the invaders barrage it with hit after hit. It’s beginning to fail when the sounds dampen and morph into something different. Instead of attacking the door, the invaders’ attention has been directed elsewhere.]
MACIE: (over comms) No, seriously. You need to--
EDWARD: (frustrated) Macie! Hold! That is an order!
[SFX: Shouts and screams fill the corridor outside the bridge door, all unidentifiable. After a few moments, they gradually quiet until all is silent.]
MACIE: Can I talk now?
EDWARD: Fine. What’s going on?
MACIE: A group splintered off and went for Rho instead of the bridge. They got into her quarters.
WARREN: What? Is she okay? I’ll go check it out.
MACIE: (stunned) No need. She... took care of them? I guess?
EDWARD: What do you mean?
MACIE: Pretty sure they’re all dead. She’s standing right outside the bridge doors. (short beat, in awe) You should have seen it. She’s amazing!
EDWARD: (urgently) Bridge doors, open.
[SFX: Having sustained a fair bit of damage, the doors scrape open at EDWARD’s command. Just outside, RHO stands in the middle of the hallway looking a bit worse for wear but still in one piece. She is surrounded by a handful of bodies strewn on the ground, all of whom are covered in lacerations and blood, their limbs broken and unrecognizable.]
WARREN: Holy shit.
RHO: How nice of you to join me.
[SFX: The Spectre theme begins playing in the background as the credits roll.]
SHOWRUNNER: You have just been listening to "Stowed," the second episode of Spectre, an indie, sci-fi, audio drama podcast. I'm Stef Howerton, the creator and showrunner, and I am so glad that you chose to spend some time with us today. If you have a moment, I'd appreciate it if you could rate and review Spectre on your podcast platform of choice. It’s a really great and easy way to help new listeners find the show, and the more people who listen, the more we can do in future episodes. This episode featured the voice talents of myself, Stef Howerton, as Rho, Allen Chan as Warren Lee, David Ault as Edward Whitlaw, David S. Dear as Garyn Beikirch, Tal Minear as Macie Vincent, Newton Schottelkotte as Atalanta Harris, Stephanie Tobin as Lillian Dunne, Karim Kronfli as Dr. Karl Amos, and Lindsay Zana as Dr. Cicely Bennett. Sarah Rhea Werner was also featured in this episode as Greer Niedmeier. Sound Design by Brad Colbroock, and Music by Tim Rosko. For a written list of credits and a full script of this episode, please visit spectrepod.com - that's s-p-e-c-t-r-e-pod.com. You can also chat with us on Twitter or Instagram via the handle @spectrepod. Thank you so much again for spending part of your day with us. There are a plethora of great podcasts to listen to out there, and I'm so honored that you opted to listen to Spectre. Have an absolutely wonderful day.
[SFX: The theme music fades to silence.]
Creator & Showrunner, Rho
A native Nashvillian, Stef Howerton (She/Her) has devoted much of her life to the pursuit of artistic creation. With studies in New York for Musical Theatre and a Bachelors in Opera from Belmont University, the arts are home to her, a respite from the sometimes harsh realities of the world. She has played The Baker's Wife in Into the Woods, Madame de la Grande Bouche in Beauty and the Beast, and she also has voiced roles in Apollyon and Boom by Observer Pictures and plays DV1 Vicki Allen and Dr. Monroe in Boston Harbor Horror by Asylum 94. When not creating or performing, Stef is likely working as an Enterprise Project Manager, cuddling with her pups (Cupcake and Nelson), playing Mass Effect on her Xbox, or consuming films at a rate that some might deem unhealthy.
In addition to creating and running SPECTRE, Stef also voices Rho.
First Mate Edward Whitlaw
David (He/Him) is a voice actor from North Yorkshire, UK. He started voice acting with Darker Projects in 2005, moving through The Byron Chronicles, Pendant Audio, Colonial Radio Theatre to modern-day antics with Fool & Scholar, the NoSleep Podcast team, and Shadows at the Door: The Podcast. He's a big fan of tea, ghosts and astronomy, and can be found online at DavidAult on Twitter, or www.davidault.co.uk.
David S. Dear (He/Him) has appeared in over 20 audio dramas and is the creator/producer of A Ninth World Journal as well as the co-creator/co-producer of the comedy Deconstructive Criticism. He has also narrated over 30 audiobooks which are available on Audible. When not writing or voice acting he hangs with his wife and two canine kids and hobnobs with family.
Allen Chan (He/Him) is a voice actor based out of California. You can hear his voice in multiple visual novels and podcasts: When We Were Monsters, A Forsaken Place, Play Dead!, Sierra Ops, Space Yandere, PENTHOS, and more! For more information, please visit his website.
Tal (They/Them) is a SoCal-based podcaster who cannot be stopped from making things. Tal is the producer of Sidequesting, What Will Be Here?, and Someone Dies In This Elevator, and is working on several upcoming projects for Parazonium Podcasts and The Shadow Network. Their voice can also be heard in audio fiction shows such as The Path Down, Deconstructive Criticism, Arden, and Inn Between. Follow them on Twitter @starplanes and find more of their work at talminear.com.
Captain Lillian Dunne
Stephanie (She/Her) is an Aussie voice actor based in London, celebrated for her versatile voice and love of storytelling. Also known under the pseudonym ‘Stephanie Swan Quills’, if she’s not streaming on Twitch or writing stories, she’s off adventuring in a D&D game. A passionate performer with a drive to share her voice with the world, Stephanie is honoured to be part of this incredibly talented crew!
Dr. Karl Amos
Karim (He/Him) has been a professional performer for over 25 years originally working as a juggler and firebreather. With plays, and film added to his professional repertoire Karim now loves directing as much as performing. Trained at City Lit in London he eventually got introduced to working behind the microphone at BFBS. Specialising in audio drama he has appeared in several shows such as Unseen, What’s the Frequency, The Magnus Archives, SCP Archives, Liberty: Tales From the Tower, and many more.
Dr. Cicely Bennett
Lindsay (She/Her) is a voice actor and singer currently located in LA, with a passion for Shakespeare, musicals, and tales of grand adventure. When she's not emoting behind a microphone, she can be found playing D&D, singing with Top Shelf Vocal, or binging shows with her partner and pup. You can find out more about her and her work at lindsayzana.com.
Tim Rosko (He/Him) is a composer, singer, and voice-over artist based in Los Angeles, CA. Tim creates exciting music and immersive audio designs for everything from engaging video games to innovative virtual reality experiences and can even be heard as the voice of Mo the Monster. Tim is also the creator and co-host of the podcast 50 Bad Songs which can be found on Spotify and Apple Music. For more information, go to his website.
Atalanta "Atta" Harris
Newton (They/Them) is a writer, sound designer, actor, and more! A Commercial Songwriting and Film student in the Nashville area, they are the creator of the audio dramas Inkwyrm and Where the Stars Fell. You can find them feeding their fancy notebook obsession, trying to be funny on Twitter, and on their website.
Brad Colbroock (They/Them/He) is a sound designer and foley artist currently located in Southern California. You can find their work on shows like Crime Scene Arcanum, The Way We Haunt Now, Sector Ø, and many others. Brad is also the co-founder of Parazonium Podcasts as well as the Audio Drama Shadow Network and enjoys telling weird stories on headphones. Find out more or send them a microphone at bradcolbroock.com.
The creator of Girl in Space and the Write Now Podcast, Sarah (She/They) lives in the midwest with one hubbins and two cats, and (in addition to podcasting) ghostwrites books and builds websites for a living. Learn more about Sarah at sarahwerner.com.