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Hello and welcome to me as pod
episode 19. I'm your host D

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00:00:11,820 --> 00:00:15,810
Mitas. Our story for this
episode is when you find the

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00:00:15,810 --> 00:00:20,010
necklace by Andrew Hughes.
Before we get to the credits, I

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want to tell you about no this
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kind of the point of what I'm
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Thank you all for your support.
On with the show. Tonight's

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00:02:01,410 --> 00:02:05,130
author is Andrew Hughes. Andrew
has been writing and publishing

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short stories for the past
decade. His stories have

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00:02:07,950 --> 00:02:10,920
appeared unsanitary and
magazine, better off dead

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00:02:10,920 --> 00:02:15,330
anthologies and on the no sleep
podcast. His chapbook between

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music and the sun is available
now on Amazon. He currently

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lives in Arizona working as a
teacher and taking care of the

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world's most adorable white
husky. Ah, some pictures Andrew.

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Helping me tell this tale or
Rapunzel Rue Lorien Glenda and

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blossoming V. Rue is a voice
actress from Florida. She does

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voice work from podcasts,
animation dubbing, audio dramas

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00:02:40,020 --> 00:02:44,640
and more. She can be found at at
roughens ru on all social media

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00:02:44,640 --> 00:02:50,190
platforms. Lorien is the co host
of the podcast bowl after bowl

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00:02:50,250 --> 00:02:53,640
with her husband Spencer. You
can remember her name by saying

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DeLorean without the DA Glinda
enjoys doing voiceover work for

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00:02:58,770 --> 00:03:02,880
podcasts, audio dramas,
audiobook narration for Librivox

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00:03:03,060 --> 00:03:06,750
and ACX. Commercials, corporate
narration and elearning

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00:03:06,750 --> 00:03:10,080
projects. She's trained in
acting voiceover and audiobook

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narration. Check out our website
and other projects at Glinda

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Villamar voiceover.com.
Blossoming v as an amateur voice

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00:03:19,290 --> 00:03:22,890
actor, published poet and Twitch
streamer, you can find her at

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00:03:22,890 --> 00:03:27,990
twitch.tv/blossoming V. Links to
all of their work will be in the

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00:03:27,990 --> 00:03:30,660
show notes. Here's our story

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when you find the necklace by
Andrew Hughes

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Susan stares at Liz across the
locker room bench, visually

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tracing her figure from the
ground up are petite feet with

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her painted toes, dots of red to
adorn flawless nails, or smooth

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legs that lead up to firm curves
that make Susan's assets look

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quaint. All the way to her long,
slender neck. The part of her

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that looks almost naked. Even on
Mars. She'd still managed to

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maintain a tan. Except for the
thin pale line. Like what you

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see. Liz asks flashing a tongue
out wink. Oh no, Susan says

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slipping out of her civilian
attire.

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I just noticed you're not
wearing your necklace.

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How was a long stare to get to
my neck. I guess I forgot it at

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home

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smooth. She's so smooth.

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I'm surprised you notice my
jewelry at all with that shiny

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thing on your hand

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loses eyes point to Susan's
engagement ring. It's a simple

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silver circuit adorned with a
hexagon li cut Blue Sapphire.

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Yeah, the usually shimmering
stone seems dull tonight, even

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in the intrusive fluorescent
lighting of the locker room. Liz

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lips into the bulky white
spacesuit and yanks up the

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zipper. Somehow even this fall
Unless attire complements her

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figure

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Hurry up. We're already late.

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Yeah, sorry Susan steps into the
one piece and pulls it up to her

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neck where it seems to choke
her. She pulls the hood over her

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bald scalp and sinks the zipper
tight. By the time she's

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finished, Liz is already
standing at the door. Susan

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starts with things in her locker
hats her pocket to assure its

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contents, then shuffles across
the room to catch up. They walk

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almost in tandem down the
corridor. With Liz just a few

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steps ahead. She reaches the
door to the break room first and

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holds it open. Susan
acknowledges the gesture with a

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nod and a thanks even though she
knows the game. It's a subtle

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attempt to avoid being the face
of disappointment. As she passes

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through the entryway Captain
Mira Mota scowling face is the

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first thing she sees behind her.
The rest of the night staff is

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already seated

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Nice of you to join us
Blackheart

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She says her voice carries a
bite. But by the time Liz

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follows in behind her captain
Mara Modus is already looking

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back at the diagram on the
board. Susan inlays take a seat

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in the back row.

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As I was saying, another day
with no sightings. According to

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day shift, not a single roach.
That doesn't change the

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procedure. Got it. Stay smart,
stay vigilant and stay dark. She

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turns to face them cordovan
Jacobs you have interior 12 A

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marks and pits interior 12 B.
Cooper is the torah interior. 12

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see Blackheart and Christian,
you two will be doing exterior

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room.

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Susan says nothing. It's exactly
as she predicted. Suddenly,

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she's very aware of herself of
her place in the room of her

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body and the choking suit of the
contents of her pocket.

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All right, folks, get to the
armory and get to work.

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The other members of the 12
division stand with a rustling

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murmur. It's their first night
back after a week of sunlight.

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So there's the standard catching
up the swapping of fresh stories

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and replaying of inside jokes.
Susan feels exterior to at all

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she cannot focus on the social
routine going on around her.

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I'm going to say something. This
is three shifts in a row. No,

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don't. Let's give her a cockeyed
glance.

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You know, if you don't fight for
what you want, people are gonna

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keep walking all over you.

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Susan has no response as she
watches Liz crossed the break

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room. She feels an anger burn in
her chest. Excuse me, Liz says

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falling to attention Captain mir
Motus.

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What is it Christian?

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Well, ma'am, this is Blackheart
and I's third consecutive shift

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on exterior duty. I was thinking
it might be better if we got a

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little more variety. If we're to
excel at the survey duty, we're

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going to need to experience the
other parts of the job more

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frequently. I'm sure the others
would also benefit from seeing

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the exterior more often

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kept in mirror Motus does not
look up from the chart on her

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desk.

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If you want preferential shifts.
You need to show up at a

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00:08:07,620 --> 00:08:11,520
preferential time get your gear
and get outside.

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There's a pause and Susan feels
a sickly as she watches Liz's

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face searching for a response.
There are some things that even

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she can't manipulate. Yes,
Captain. Liz says she taps her

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heels together and turns away as
she does her face flushes with

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anger. Susan has to bury her
contentment deep within herself.

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They exit the break room and
make their way to the armory and

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pull to flash suppressed rifles
from hold this Liz says resting

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00:08:39,300 --> 00:08:42,570
hers into Susan's arms. She
crosses the room and scrolls her

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00:08:42,570 --> 00:08:46,050
name and the sign out roster. As
she does. Susan presses her

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fingers hard into the
suppression block in the barrel,

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00:08:48,810 --> 00:08:51,780
shifting the mechanism within
the bore. Can you believe her?

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00:08:51,840 --> 00:08:54,630
Liz stomps back and snatches her
weapon. What a bitch.

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00:08:54,960 --> 00:08:57,900
We've been with the 12 the
longest show about a

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preferential time. How about you
eat my ass preferentially Susan

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trucks?

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00:09:02,610 --> 00:09:04,230
I guess she doesn't like us.

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They make their way out of the
armory and walk towards the

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lift. As they do. Susan feels
that atoms in our pocket bounce

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00:09:09,990 --> 00:09:10,530
against her head.

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I don't give a damn if she
doesn't like us. We shouldn't be

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00:09:13,229 --> 00:09:17,909
taking the most dangerous job
every night. It's bullshit. It's

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00:09:17,909 --> 00:09:19,709
not like we're getting any extra
pay.

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00:09:20,010 --> 00:09:23,220
They reach the elevator and Liz
presses the code. The machine

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words and the doors wide open
with a hiss. They both pull the

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face shields of their suits down
and step inside. There's a soft

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00:09:30,150 --> 00:09:33,660
whoosh from within each suit as
the oxygenated pores fill in.

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Susan clutches her rifle tight
and takes her first sipping

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00:09:36,900 --> 00:09:40,320
breath of fabricated air.
Everything is working. The

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elevator door slides shut and
the animatronic voice crackles

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from the speaker above.

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00:09:45,330 --> 00:09:50,370
Thank you for your service to
the outpost. As you descend,

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00:09:50,640 --> 00:09:52,710
please check all

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00:09:53,010 --> 00:09:55,680
I'm just saying it'd be nice to
get some fucking respect for

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once. We're busting our ass out
here to create a future for the

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species. We shouldn't be
subjugated for little mishaps

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00:10:02,370 --> 00:10:03,060
here and there.

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00:10:03,299 --> 00:10:04,859
No, we shouldn't.

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00:10:05,039 --> 00:10:08,279
Susan says as she stares out the
porthole window at the black

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vastness of space. Liz shakes
her head. Whatever,

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00:10:13,950 --> 00:10:14,700
I'm over it.

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00:10:16,080 --> 00:10:18,750
The elevator slows and the
animatronic message comes on

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00:10:18,750 --> 00:10:20,910
again, you know, let's turn this
toward her.

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00:10:20,940 --> 00:10:22,830
I'm just glad I've got you as my
partner.

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Me too.

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All systems are functioning. A
complete seal is necessary for

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00:10:30,509 --> 00:10:37,319
survival. Additionally, please
remove all sources of light and

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engage X ray capacity.

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The message ends in the elevator
hisses. As the doors slide open,

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Susan feels the antigravity
measures in her suit and gauge.

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The first step out feels like
walking in Waterlogue boots. The

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00:10:52,140 --> 00:10:54,930
elevator door shut and the lift
descends faster than I had

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00:10:54,930 --> 00:10:59,700
calmed down as if it was fleeing
the surface. For a moment, there

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00:10:59,700 --> 00:11:04,020
is only blackness. But then the
X ray mask engages and Susan

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00:11:04,020 --> 00:11:08,160
sees the world through a film of
vibrant neon green. They're

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00:11:08,160 --> 00:11:12,150
standing outside the outpost on
their left the wall that

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00:11:12,150 --> 00:11:16,230
surrounds it stretches up almost
out of sight to the right as a

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00:11:16,230 --> 00:11:19,560
plane of craters and valleys
backdropped by the black sky.

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00:11:20,340 --> 00:11:24,600
Above there is nothing for the
mask to illuminate. They begin

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00:11:24,600 --> 00:11:26,160
to walk along the exterior.

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00:11:27,779 --> 00:11:33,749
So we go up with Jeff, how was
it? Nothing exciting. I spent

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00:11:33,749 --> 00:11:37,769
most of it working at the comm
station. Every cent counts right

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00:11:37,769 --> 00:11:38,189
now.

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00:11:38,490 --> 00:11:42,600
Liz sighs and kicks a small rock
spiral slowly up into the

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00:11:42,600 --> 00:11:43,110
blackness

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00:11:43,140 --> 00:11:46,440
of all the places to find a good
man. Can't believe you wrangled

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00:11:46,440 --> 00:11:47,040
one here.

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00:11:47,549 --> 00:11:48,299
Yeah,

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00:11:48,419 --> 00:11:52,529
he's good, isn't it? They walk a
while in silence. There is

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00:11:52,529 --> 00:11:56,219
nothing out there but the wall
and the void. Occasionally, they

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00:11:56,219 --> 00:12:00,359
stopped to survey the landscape.
As Captain Miyamoto said, It is

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00:12:00,359 --> 00:12:04,319
quiet now. The roaches? The
carnivorous insectoids that have

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00:12:04,319 --> 00:12:06,749
plagued them when they first
arrived had gone into

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00:12:06,749 --> 00:12:10,859
hibernation. Now they're
harmless, as long as they don't

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00:12:10,859 --> 00:12:11,579
sense light.

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00:12:11,909 --> 00:12:15,179
So have you guys talked about
when you'll have the ceremony?

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00:12:15,450 --> 00:12:18,660
No. We don't want to get ahead
of ourselves.

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00:12:19,950 --> 00:12:25,050
Make sense? You never know what
can happen out here. Maybe I'll

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meet a Jeff one day.

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Maybe? Susan says she feels her
heart pulsing faster. She turns

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towards the void. Hey,

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00:12:35,909 --> 00:12:39,209
what is that? what's what? Out
there?

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00:12:39,240 --> 00:12:41,970
She points to the rim of one of
the craters. Oh my god.

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00:12:42,630 --> 00:12:45,480
I don't see anything. If that's
what I think

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00:12:45,480 --> 00:12:49,140
it is. Susan begins to walk her
rifle carried down by her side.

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00:12:49,500 --> 00:12:51,180
Liz follows behind her What?

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00:12:51,479 --> 00:12:52,649
What do you think it is?

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00:12:53,279 --> 00:12:54,929
Oh my God. It is.

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00:12:55,350 --> 00:12:58,440
Susan walks faster. The
antigravity controls in her suit

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00:12:58,440 --> 00:13:01,830
struggling to keep up so every
fourth stride is a long bounding

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00:13:01,830 --> 00:13:04,470
leap. Susan, come on. Liz calls
after her.

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00:13:04,470 --> 00:13:05,310
She didn't go that far

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00:13:05,309 --> 00:13:07,739
out. No, I'm serious.

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00:13:07,890 --> 00:13:10,440
Susan reaches the edge of the
crater sticks her hand in her

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00:13:10,440 --> 00:13:14,640
pocket and lets the thing fall.
She emits a little laugh. You

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00:13:14,640 --> 00:13:18,300
gotta check this out. She waits
facing the crater as Liz catches

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00:13:18,300 --> 00:13:21,720
up. The second seem to elongate
and slither as she's surrounded

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00:13:21,720 --> 00:13:25,740
by blackness. When Liz finally
arrives, Susan points down to

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00:13:25,740 --> 00:13:29,850
the crater. It's a steep bowl
nearly two storeys deep. Do you

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see it? Liz leans forward,
squinting Wait, is that she

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starts to pull away but Susan
shoves her in the back with a

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button her rifle. For a brief
moment Liz dangles in space, her

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tan face a palette shock ghost
of itself, before the

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antigravity controls kick in and
pull her lurching down into the

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depths of the crater. She
strikes hard and lets out an

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accurate tree. Find it. Susan
asks as she dips her hand back

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into her pocket, her fingers
find the cylinder and she pulls

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it out. She looked like a tiny
green blip in the crater glass

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candy at the bottom of the bowl,
a last piece that she would

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surely eat. Even if Susan was
starving. Her left leg is

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twisted and human angle. Her
fingers are curled around the

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silver chain and the X ray
vision. It's only a line of

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slightly more vibrant neon. You
know what this is? Susan says

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she clicks on the flashlight and
tosses it over the rim. The beam

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spirals downward and Liz screams
as the ground around her

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ripples. Before the flashlight
construct the rocks a knife like

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appendage as long as her arm
breaks through the rest of the

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ropes comes behind until its
monstrous body towers above her.

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Susan watches as Liz pulls up
her rifle but there's no burst

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of sound only an audible click
Try holding your own gear Susan

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calls out was screams as the
next Roach breaks through then

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another and another. Their
ventures click because they

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slice their cycle. First frenzy
his left arm fried with a gut

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wrenching tear. As the stumps
float through the air, the board

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00:15:05,220 --> 00:15:11,940
hangs behind like a spray of
neon paint. With oxygen crushes

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her lungs, Susan waits at the
top of the crater and watches as

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the roaches disassemble her with
voracious precision. By the time

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they finished and returned to
the ground, all that is left is

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neon streaks of blood and Liz's
necklace. The necklace that Liz

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his mother had given her before
they left Earth the necklace

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that she would never forget at
home. The necklace that Susan

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had found after a night working
at the comm station temporarily

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00:15:38,580 --> 00:15:41,130
last under the bed that she and
Jeff shared

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me this part is produced by me
just media. All rights reserved

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00:15:56,339 --> 00:15:59,699
unless otherwise stated. All
written works or copyright of

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00:15:59,699 --> 00:16:03,599
their respective authors. Our
theme music is into the unknown

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00:16:03,599 --> 00:16:07,259
by odd sprite check out more of
their work at odd sprite.com

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00:16:08,099 --> 00:16:11,009
Remember folks never let the
girl whose fiancee you're

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sleeping with hold on to your
gear. Have a good one.