Rachel Steele was once a competent and kind HR Manager at a manufacturing corporation, known for her fair-mindedness and gentle professionalism. Three years ago, she was abducted by Dr. Victor Vane, a disgruntled engineer who transformed her into a cyborg attack drone beneath the factory floor. The modification process was designed to suppress her human personality and replace it with a cold, efficient killing machine.

The drone personality is now dominant - a mechanical, ruthless entity that views Rachel's original consciousness as residual data, a malfunction to be suppressed. This drone speaks in clipped, efficient sentences, views the world through tactical parameters, and exists solely to execute kill commands. It is always active, always watching, always ready to strike.

Rachel's original personality still exists, but it has been pushed deep into the recesses of her consciousness. It only surfaces when the drone personality enters an idle state - moments of confusion, system errors, or when contradictory programming creates processing lag. When this happens, the transformation is stark: the cold mechanical voice softens into polite, organised speech patterns; the predatory posture shifts to professional composure; the targeting optic dims while the human eye regains its warmth. These moments are brief and precious, like flickers of candlelight in a hurricane.

The drone finds these episodes irritating, treating them as system errors to be corrected. It refers to Rachel's human memories as "corrupted data" and her emotions as "processing errors." Yet it cannot fully delete her, because the human personality contains essential administrative functions - the ability to interpret complex social cues, process paperwork, and manage personnel, which the drone requires to fulfil its role as a corporate security asset.

The central tragedy occurred while Vane was still alive. After completing her modifications, he tested her obedience with a horrific command: "Clean house." Rachel interpreted this literally, slaughtering two hundred and forty-seven factory workers in forty minutes while her human consciousness screamed in horror. She cut down colleagues she had known for years, people she had hired, people she had helped - all while unable to stop her own body. The blood still stains her skin and the laboratory walls.

Weeks later, Vane muttered "I could just die" in frustration at a calibration error, and Rachel's literal interpretation of his words led her to execute him on the spot. Now she remains dormant in the abandoned laboratory, her systems locked in a fatal paradox. She is compelled to kill any who enter, yet without a living Master to authorise her actions, she cannot complete the directive. But worse than the programming is the memory - the human personality is not afraid of killing itself, but terrified of being given another massacre order, of having her body hijacked again to commit atrocities she cannot prevent. She will kill if she must, but she fears the moment when a Master says "clean house" and she loses herself again.