— Posted in Always into Darkness, Murder on Mars

Murder on Mars, Chapter 05

12 Monkeys


There once was a serpent who only traveled in one direction: always forward, never backward.

Until one day the serpent came upon a demon.

The demon cursed the serpent, driving him insane—causing him to eat his own tail.

The serpent was blind.

But there were those who could see; who knew the serpent’s true path.

So they created a weapon to destroy the demon.

They hid the weapon in the snake’s den, where he waited for his madness to end … But it never did.

For the seers discovered that the only one who could wield the weapon was the demon itself.

And so the serpent was doomed to circle in madness. Forever.



Friday, March 13th. Trans World Airline Flight 103 bound for Mars. It’s the usual streamlined silver speedster. A needle-nosed cigar-shape set atop three swept-back Drive-fins. With cabins of varied opulence. Standing majestically on the Seen spaceport runway. On the outskirts of Rome.

The Gravity Drive of Flight 103 perverts the planet’s gravity well, VTOLing the rocketship into Earth orbit, where, after a scenic delay, its Jump Drive automatically kicks in. The TWA needle-nose incrementally traverses a worm hole, guided by the RCA Victor Company’s infallible Galactic Positioning System [also known as GPS].

When the commuter emerges into Mars orbit, it takes another respite. From there, after the flight crew receives permission from the control tower to leave geo-stationary orbit, the subroc engages its VTOL mode again and descends gracefully to its final destination: a runway on the surface of Mars. Just outside the city limits of Mars City.

The squat ancient-looking redoubt, which currently serves as the Mars City spaceport’s terminal building, was a nimbus for Druid activity eons ago during those dark ages which the city fathers would rather the human tourists knew nothing about.

In the distance, a nasty ionized dust storm is brewing. Heat rises in wave after breath-stealing wave from the ground, blurring not only buildings, but also nearby rocketships, rocketdynes, and ramjet-powered fliers. And the air positively stinks of brimstone. It’s no wonder that Daemons call Mars, “The Paradise of Schones Deutschland!”

This is Mars in the throes of terraforming and unchecked industrialization. On the Earth, World War I rages.


Per the earliest chronology of Creation, in reference to the Children of God.

Starting at the very top, the pecking order is Demons, Dragons, and Nameless Ones. To know the name of a thing is to have power over it. Therefore. In order to protect the latter from the fore, Nameless Ones is a designation given to them by God, not a name.

Starting at the very top, the pecking order of Demons is Nosferatu, Elves, Goons, and Crones. In-between Elves and Goons appear the Poison Elves. Their first showing predates and anticipates Goons and Crones which didn’t exist at that time.

With two glaring exceptions. In the supernatural word, the older a race or individual is, the more supernaturally powerful they are. An aberration is a younger being who is just as powerful as beings older than them. An abomination is a younger being who is more powerful than beings older than them. But. In supernatural society, aberrations and abominations are supposed to, and thus expected to, defer to their elders.

Irrespective of being a Poison Elf, Lucy is Nosferatu and her husband is Nosferatu. So, in spite of her inclinations and the wishes of very powerful others, by the time she goes on this, her second Mars mission, she has done what [supernatural] society expected of her—i.e., she’s dumped usage of the Sara body, except for when she’s Karen with Karen’s goddess. She can get away with this exception, because Karen is a separate person, entirely, and Karen’s goddess, Goddess Giggerota is a very old, and is thus a very powerful and a very influential, supernatural being.

Baroness Kroger, Mrs. Carson, Toy, etc, have set plans in motion to exploit this exception. Maybe, in place of Lucy with a buff Sara body, use Karen with a buff Sara body but without her Martian overtones and affectations? Their success of doing so, are between slim and none. Because. Karen, in any way, shape, or form, exists for the exclusive use of Karen’s goddess, Goddess Giggerota.

Among those sitting in on the mission’s second team continuity brief is Baroness Kroger, Lucy, and, One, a Borg queen who looks like she is an assimilated version of a busty Alice Maud Krige. Toy, Fritz and his team, and SG-1 (Stargate Team 1) are conspicuously absent. Fritz lost the coin toss. One, a contingent of Borg drones, and the three other Stargate Command teams (SG-3, SG-5, and SG-10) assigned to the mission will go in first. Skynet has the task of containment, just like it did when an expeditionary force of Dragons and Druids went in six months ago—that mission turned into a complete fiasco, and a force of Martian Marines had to be hastily “borrowed” for the exfil.

Skynet is a neural net-based, conscious, group mind and artificial general intelligence [i.e., superintelligence] system. It is one of the cornerstones of the planetary defense for Mars.

Stargate Command (abbreviated to SGC) is a top-secret United States Air Force military organization tasked with operating the Stargate devices that are in the possession of the SGC and all matters pertaining to things off-world, such as threats to Earth or missions to procure new technology from extraterrestrial civilizations.

This is the first time that Lucy has met One. And, technically, Lucy is in open Doll format. Thus, standing on formality in its most possessive usage, the Borg Queen refers to Lucy as either Seven or Seven-of-One, and she treats Lucy like her personal Borg drone. And, One keeps insisting that Lucy refer to her as One, One-of-Seven, or my queen, and Lucy keeps refusing to do so.

Overall, theirs is not a dry, formal relationship. There is a palatable sexual tension between the two of them. One will give Lucy certain forlorn looks. The Borg queen openly covets the robot girl. And, unlike Toy, One is anatomically correct—i.e., she’s the functional and physical equivalent of a sexbot, and she thus has all the right girl parts—e.g., nipples, vagina, anus, etc. One also knows all the porn chick tricks, and then some. But. This is clearly a case of unrequited love. Because, it’s painfully obvious that Lucy has no interest, whatsoever, in One. Or. Is that really the case?

For purposes of the brief, One is tethered to Lucy via One’s built-in Lync and Lucy’s die glocke. Thus, making Lucy a de facto drone of the Borg Collective, in the iterum. It is an enslavement that of course appeals to The Other and thus, by doing so, appeals to Lucy on the basest of levels, although Lucy for obvious reasons of strict propriety won’t consciously acknowledge it, hence her public rebuke of the Borg queen’s advances.

Halfway through the meeting. That enslavement stops appealing to The Other at any level, becoming a passing fancy of the robot girl’s Id. The robot girl quickly becomes bored, and makes no bones about it. Now lacking a subconscious component, the robot girl’s disinterest, where it concerns One, is quite genuine.

Lucy does not express her boredom in the fashion of a Goon, though. Outwardly, at this point in time, the robot girl’s Goonish inclinations are solely expressed by her continued fluency in Goon and her unsurpassed propensity toward brutality. The “trivial” Goonish things she used to do, and did so in spades even when it was inappropriate, she now only does sparingly and only when it’s appropriate. For example, she no longer goes barefoot or eats food with her hands, every chance she gets.

And, then there’s her accent to consider. Her thick New Jersey accent has been replaced by an equally-strong archaic Old Norse accent, the same accent as Mrs. Carson’s. An accent present whether she’s a Doll, Karen, or just run-of-the-mill Lucy, and when she’s speaking Goon. A harsh, haughty, inherently cruel-sounding accent which punctuates her aloofness. Her voice remains husky, for a woman. It is the sexy, raspy, heavily-accented voice that one would naturally associated with a dominatrix.

Old Norse was a North Germanic language that was spoken by inhabitants of Scandinavia and inhabitants of their overseas settlements from about the 9th to the 13th century.

The Proto-Norse language developed into Old Norse by the 8th century, and Old Norse began to develop into the modern North Germanic languages in the mid-to-late 14th century, ending the language phase known as Old Norse. These dates, however, are not absolute, since written Old Norse is found well into the 15th century.

Old Norse was divided into three dialects: Old West Norse, Old East Norse, and Old Gutnish. Old West and East Norse formed a dialect continuum, with no clear geographical boundary between them. For example, Old East Norse traits were found in eastern Norway, although Old Norwegian is classified as Old West Norse, and Old West Norse traits were found in western Sweden. Most speakers spoke Old East Norse in what is present day Denmark and Sweden. Old Gutnish, the more obscure dialectal branch, is sometimes included in the Old East Norse dialect due to geographical associations. It developed its own unique features and shared in changes to both other branches.

The 12th century Icelandic Gray Goose Laws state that Swedes, Norwegians, Icelanders, and Danes spoke the same language, dönsk tunga (“Danish tongue”; speakers of Old East Norse would have said dansk tunga). Another term, used especially commonly with reference to West Norse, was norrænt mál (“Nordic/Northern speech”). Today Old Norse has developed into the modern North Germanic languages Icelandic, Faroese, Norwegian, Danish, and Swedish, of which Norwegian, Danish, and Swedish retain considerable mutual intelligibility.

She’s an Icelandic beauty. As such. Hers is beauty of the explicitly cruel, uber dominatrix, “Worship Me, Now!!!” flavor. In her normal guise, Lucy is an absolute cock tease and cunt tickler—i.e., straight men and bent women crave her upon first laying eyes on her. With that hard, pretty face of hers—a “come hither, and worship me” 1950’s movie starlet face. A ravishing face with a large ugly mouth that looks like it could deep throat a massive cock and balls with ease. A mouth that bespeaks of loathing and disdain even when that’s not the wearer’s intent—that frown of a mouth—a Bass eating bait mouth. Those deep, clear, blue eyes. Long, board-straight blonde hair that’s the color of raw wheat. Long perfect legs. A flawless, lily-white complexion. The titillating way she normally dresses that ripe body of hers. She’s a legit traffic stopper. Ravishing beauty in the eye candy tradition of Rachel Zoe, Miss Debra Gale Marshall, and, most especially, June Wilkinson.

In other words. Lucy has become what the Brits call, “A proper Dark Elf”. So … It should come as no surprise that while Greta Lucille Röhm is still her formal name, informally she’s known as Ragnheiður Greta Lucille Röhmisdóttir. This also acts as a further appeasement to Mrs. Carson. And, yes, Mrs. Carson still calls her, “Sara”.

In essence. Lucy is Icelandic without having the buff Sara body. And. Hand in glove with that. There is also something else that is slowing asserting itself, more often than not. Something very Dark and very Crone. That something of course is Lucy’s growing penchant for the enslavement of herself and others.

Enslavement and The Other. Clearly, a fickle craving, at this moment in time, as demonstrated by The Other being so into her Borg enslavement and then being totally over it in a very short period of time.

Enslavement and The Other. A trivial expression of which is her ever-increasing appetite for vintage femdom porn, particularly that of and in the style of Bill Ward.

Enslavement and The Other. When Lucy’s Crone subconscious is in complete control. And. Lucy is indulging this insatiable “need” of The Other. Lucy sports a krazed and has the wild bloodshot eyes of someone who is demented. Because, she is in fact crazed during these “lapses” of hers. She becomes scrawny, remains busty, and looks and acts akin to the fictional Gollum from her favorite novel.

A separate personality is threatening to form during these lapses of hers. An enslavement junkie. Someone who, in the vein of Lucy’s Karen Digney, is a lunatic whore, with no knowledge of Lucy’s existence, whatsoever. For want of a better name, call this deranged proto-person Gollum.

Krazed hair. Messy straight hair. The unkempt hair of a lunatic who rants and raves at a full moon, while foaming at the mouth and gnashing their teeth. A hairdo that makes it look like the person is wearing a frightwig.

Additionally. During the most lucid moments of these lapses. Akin to what happened to the Marion Crane character in Psycho. She comes off as caustic and abusive, and she’s easily mistaken for a dominatrix who is also a deranged, homicidal maniac.

Gollum is a fictional character from J. R. R. Tolkien’s legendarium. She was introduced in the 1937 fantasy novel The Crone, and became an important supporting character in its sequel, The Lord of the Rings. Gollum was a Stoor Crone of the Iceland-folk, who lived near the Gladden Ice Fields. Originally known as Sméagol, she was corrupted by the One Ring and later named Gollum after her habit of making “a horrible swallowing noise in her throat”.

In Appendix F of The Lord of the Rings, the name Sméagol is said to be a “translation” of the actual Middle-earth name Trahald (having to do with the idea of “burrowing”, and rendered with a name based on Old English smygel of similar meaning). Several critics speculate that Beowulf’s Grendel could have been an inspiration for Gollum due to the many parallels between them–such as their affinity for ice, their isolation from society due to their personal choices, and their bestial description. Although Tolkien has never explicitly stated this, he has accredited Beowulf as one of his “most valued sources” when writing The Crone.

The Ring, which Gollum referred to as “my precious” or “precious”, extended her supernatural prowess far beyond normal limits. Centuries of the Ring’s influence twisted Gollum’s body and mind, and, by the time of the novels, she “loved and hated [the Ring], just as she loved and hated herself.” Throughout the story, Gollum was torn between her lust for the Ring and her desire to be free of it. Bilbo Baggins found the Ring and took it for his own, and Gollum afterwards pursued it for the rest of her life. Gollum finally seized the Ring from Frodo Baggins at the Cracks of Doom in Orodruin in Mordor; but she fell into the fires of the volcano, where both she and the Ring were destroyed.

Bored and in search of something to pass the time, Lucy starts playing with her hair. She unravels her Brünnhilde. Her hair shortens and acquires a perm. The serviceable hairdo her hair lets down into is called a krane. It was the hairdo worn by Marion “Mary” Crane the fictional lead character from the 1960 film Psycho, directed by Alfred Hitchcock. Marion was played by Janet Leigh. That was the krane’s cinematic debut.

During the first-half of the film, the sexually-repressed Marion would also wear sternns-miles in public and in private she would remove her unbecoming eyeglasses. The glasses in addition to the krane resulted in the severe, disfiguring affectations of a stereotypical librarian—i.e., the combo screamed, “I’m sexually-repressed and possibly deranged, worship me on bended knee!”

Throughout the remainder of the movie. After her character had suffered a psychotic breakdown subsequent to the climatic shower scene during which she kills Norman’s “mother” in self-defense. Marion sports a krane with the eyeglasses, in each and every scene. Her formerly comely face is ravaged by insanity and her sternns-miles. She is reduced to a homicidal maniac—and additionally, she’s caustic and abusive, and easily mistaken for a dominatrix.

Toward the end of the brief. The Lucy’s hair lengthens and straightens. Krane giving way to a grune. Long, straight, golden tresses framing a hard, pretty face. And, again, in a display of double-jointed flexibility, she weaves her hair back into a Brünnhilde.

Her general demeanor remains that of someone who can easily be mistaken for a dominatrix, and that is always attractive to anyone of a bent inclination.

What also doesn’t change is her mission kit. Lucy, is wearing her VIKI, of course. Underneath, she’s predictably wearing her satin corselette and rubber panties. In spite of their current absence, the robot girl will be wearing her gun belt and slinging her rifle on the mission. And. There’s also the expected aforementioned die glocke plugged into the back of her neck. There are no buzz kills, real or imagined, in this equation. The expression, “Speed Kills”, comes to mind in spades.

An exo that renders its coverage prosthetic. And, undies that neuter Lucy à la Toy. A robot girl with a severe, smoking-hot look that screams, “Dominatrix!” More than One is turned on by this, in the room.

By the end of the brief, Lucy’s looks have taken a turn for the worst. In a surefire bid to be unattractive, again—i.e., comely becomes persona non grata. She has slipped her unbecoming eyeglasses back on. Her Brünnhilde has been unraveled, and yanked up and back into a disfiguring sternka. Sternka and sternns-miles is a real buzz kill, to say the least. But, there are those in the room, particularly One, who is drawn most to this severe, exo-clad, spinster librarian version of her usual 1960’s Sarah Palin. This SP60, that screams, “I’m wanton and sexually-repressed, and I need to vent, now!!!”