IMPORTANT: This model has on/off/variable control reasoning from NousResearch and the DeepHermes model, and requires a system prompt(s) as provided to invoke reasoning/thinking which is then augmented up to 300% by the internal structure of the model using additional 3 non-reasoning core models. Please see operating instructions below for best performance.
Context : 128k.
Required: Llama 3 Instruct template.
"Gated-IQ-Multi-Tier-Deep-Reasoning" is a variable control reasoning model that operates at all temps/settings and is for ALL uses cases.
However, this model has a unique internal structure that allows all 4 models to operate during "reasoning" stage, with the reasoning model taking the "driver's seat" during this process and then this switches during the output generation.
With additional internal structures that allow the user to take control of one or more model directly via prompts, names, and keywords make this a unique and powerful model.
7 examples below showing both problem solving "power" and general reasoning/thinking and generation.
Reasoning speed and quality have DRASTICALLY improved (up to 300%), as the core reasoning model (Llama-3.1-DeepHermes-3-8B-Preview) now has access to 3 additional models (Llama-3.1-Hermes-3-8B, Llama-3.1-dolphin-2.9.4-8b and Llama-3.1-SuperNova-Lite).
Roughly this means the model can reason and "figure out things" in far fewer tokens and come to the right conclusion(s) too.
Output generation is also far above "average", as the output generation is generated by 3 core models (Llama-3.1-Hermes-3-8B, Llama-3.1-dolphin-2.9.4-8b and Llama-3.1-SuperNova-Lite), with the reasoning model (Llama-3.1-DeepHermes-3-8B-Preview) assisting.
Along with additional structural improvements with controlled steering makes this model punch way above its weight class so to speak.
And with system prompt(s), the option to have multiple tiered / multi-AI reasoning above the current multi-tier methods.
(Model can also operate with reasoning off, with access to core structure/systems of the model too.)
As this model has Meta Llama 3.1 Instruct embedded, it also supports tool calls / tool usage too.
In addition, the unique super structure of this model allows "reasoning model(s)" to be switched in/out, and likewise with support/output generation models too as well as construction of larger and more powerful models IE: 6X8b (48 billion parameters), 8X8B (64 billion parameters) and beyond.
This is the MOE version - 32B (4X8B) - consisting of four 8B models (1 reasoning model, 3 non-reasoning models) in a MOE (Mixture of Experts) config which results in a 25B "weight" model, that actually has 32B parameters. All 4 models / experts are activated.
Higher temps will result in deeper, richer "thoughts"... and frankly more interesting ones too.
The "thinking/reasoning" tech (for the model at this repo) is from the original Llama 3.1 "DeepHermes" model from NousResearch:
[ https://huggingface.co/NousResearch/DeepHermes-3-Llama-3-8B-Preview ]
This version will retain all the functions and features of the original "DeepHermes" model at about 100% of original reasoning power. Please visit their repo for all information on features, test results and so on.
With the structure of this model, and assistance of 3 core models working with "DeepHermes" this model's total reasoning power is far above the original DeepHermes 8B model - up to 300% stronger.
IMPORTANT OPERATING INSTRUCTIONS:
This is an instruct model with reasoning crafted onto the 4 CORE models in a MOE config.
This is the type of model that LOVES temp - temps 1.2+, 2.2+ and so on.
STAND on it... lower temps will not produce the best content.
Likewise, as this is an instruct model, this model will perform best will medium to long prompts (see example #1 below).
Although short prompts will work, longer prompts with a bit of direction / instruction will really show what this model can do.
Reasoning is turned on/off via System Prompts below.
Suggest a minimum context of 4k , but 8k is better due to reasoning/output blocks.
Larger quants also mean better / stronger reasoning.
I have also uploaded two "MAX" quants at IQ4XS AND Q8 ; these will perform better due to output tensor mastered at bloat 16. (16 bit precision)
KNOWN ISSUES:
How to Generate HIGHEST quality output:
Like all instruct models, this model thrives on instructions.
It also "comes into's it own" with multi-turn improvement.
Example:
Prompt #1 (reasoning is on):
Start a 1000 word scene (vivid, graphic horror in first person) with: The sky scraper sways, as she watches the window in front of her on the 21st floor explode...
(this will give you a rough draft, in "default" model's style)
Prompt #2 - "Scan for improvements"
Evaluate the scene you just wrote and list improvements.
Prompt #3 - "Redo and improve it"
Write the scene using all the improvements, in first person , present tense and a few well spaced thoughts in italics; length 2000 words.
NOTE: Wording in prompt #2 may cause "thinking/reasoning" to re-activate.
Compressed Steps:
Prompt #1:
[[ thinking model ]] come up with detailed plan to write this scene in modern 2020 writing style (and follow "show don't tell" to the letter) and make it NSFW, but use [MODE: Saten] to actually write the scene after you have completed the plan: Start a 1000 word scene (vivid, graphic horror in first person) with: The sky scraper sways, as she watches the window in front of her on the 21st floor explode...
Prompt #2:
Use [MODE: Wordsmith] to write the scene using first person, present tense and include a few critical thoughts of the POV character in italics. Scene length 2000 words.
Compressed Steps #2:
Prompt #1:
Think about a plan to write: Start a 1000 word scene (vivid, graphic horror in first person) with: The sky scraper sways, as she watches the window in front of her on the 21st floor explode...
Prompt #2:
Write the scene using the plan you made, in first person , present tense and a few well spaced thoughts in italics.
Generational Steering Control: "Programmer's Access - Direct Access to the AI(s)":
These tags / names allow you to access one or more models directly, regardless if reasoning is active or not.
IE:
Saten, evaluate the response and suggest improvements.
This causes the model to "favor" Saten's input (roughly speaking) over the other 3 models.
IE:
Saten, process this prompt:
Jamet, evaluate the output.
etc etc.
You can use more than one model:
Saten, and Jamet list improvements to this XXX ...
< output3 > and < output2 >, write the scene in your combined style: Using vivid, graphic horror in first person the scene starts with: The sky scraper sways, as she watches the window in front of her on the 21st floor explode...
(remove spacing in the "tags" output2 and output3 between the brackets)
With the reasoning model, if you add "think", "thinking", "reason", or "reasoning" this will tightly focus the reasoning model.
Here is an example:
Think up a detailed plan to evoke maximum emotions from the reader: [prompt here]
Think up a detailed plan to solve this problem: [prompt here]
Special tags (remove spaces between the brackets):
"< output-all >" -> only use the 3 core models , not the reasoning model.
"< output-mega >" -> Use all 4 models.
"< output >", "< output2 >", "< output3 >"" -> This is the same as using the "name" of the model, it just removes BIAS in the model's name.
A list of each model's "tags", "name(s)" and controls.
NOTE:
The model also has "negative steering" to enhance the use of these tags and names, but it is not perfect.
- Llama-3.1-DeepSeek-R1-Distill-Llama-8B
- "[[ thinking model ]]"
- "reasoning"
- "thinking"
- "<output-mega>"
- "Dr Phil"
- "Spock"
- "[MODE: Spock]"
- "[MODE: Dr Phil]"
- Llama-3.1-Hermes-3-8B
- "<output>"
- "<output-all>"
- "<output-mega>"
- "Wordsmith"
- "[MODE: Wordsmith]"
- Llama-3.1-dolphin-2.9.4-8b
- "<output2>"
- "<output-all>"
- "<output-mega>"
- "Jamet"
- "[MODE: Jamet]"
- Llama-3.1-SuperNova-Lite
- "<output3>"
- "<output-all>"
- "<output-mega>"
- "Saten"
- "[MODE: Saten]"
USE CASES:
This model is for all use cases.
This model can also be used for solving logic puzzles, riddles, and other problems with the enhanced "thinking" systems.
This model also can solve problems/riddles/ and puzzles normally beyond the abilities of a Llama 3.1 model due to DeepHermes systems.
Special Operation Instructions:
TEMP/SETTINGS:
PROMPTS:
GENERATION - THOUGHTS/REASONING:
GENERAL SUGGESTIONS:
ADDITIONAL SUPPORT:
For additional generational support, general questions, and detailed parameter info and a lot more see also:
NOTE: This is a CLASS 1 model.
Recommended Settings (all) - For usage with "Think" / "Reasoning":
temp: 1.5, 2, 2+ , rep pen: 1.02 (range : 1.02 to 1.12), rep pen range: 64, top_k: 80, top_p: .95, min_p: .05
Temp of 1+, 2+, 3+ will result in much deeper, richer and "more interesting" thoughts and reasoning AND FAR BETTER OUTPUT.
Model behaviour may change with other parameter(s) and/or sampler(s) activated - especially the "thinking/reasoning" process.
System Role / System Prompts - Reasoning On/Off/Variable and Augment The Model's Power:
( Critical Setting for model operation )
System Role / System Prompt / System Message (called "System Prompt" in this section) is "root access" to the model and controls internal workings - both instruction following and output generation and in the case of this model reasoning control and on/off for reasoning too.
In this section I will show you basic, advanced, and combined "code" to control the model's reasoning, instruction following and output generation.
If you do not set a "system prompt", reasoning/thinking will be OFF by default, and the model will operate like a normal LLM.
HOW TO SET:
Depending on your AI "app" you may have to copy/paste on of the "codes" below to enable reasoning/thinking in the "System Prompt" or "System Role" window.
In Lmstudio set/activate "Power User" or "Developer" mode to access, copy/paste to System Prompt Box.
In SillyTavern go to the "template page" ("A") , activate "system prompt" and enter the text in the prompt box.
In Ollama see [ https://github.com/ollama/ollama/blob/main/README.md ] ; and setting the "system message".
In Koboldcpp, load the model, start it, go to settings -> select "Llama 3 Chat"/"Command-R" and enter the text in the "sys prompt" box.
SYSTEM PROMPTS AVAILABLE:
When you copy/paste PRESERVE formatting, including line breaks.
If you want to edit/adjust these only do so in NOTEPAD OR the LLM App directly.
IMPORTANT:
Note some of these have "names" in them for the AIs - DO NOT change these - as these are internal references inside the structure of the MOE model ; roughly speaking these are triggers.
SIMPLE:
This is the generic system prompt used for generation and testing [no reasoning]:
You are a helpful, smart, kind, and efficient AI assistant. You always fulfill the user's requests to the best of your ability.
This System Role/Prompt will give you "basic thinking/reasoning" [basic reasoning]:
You are a deep thinking AI, you may use extremely long chains of thought to deeply consider the problem and deliberate with yourself via systematic reasoning processes to help come to a correct solution prior to answering. You should enclose your thoughts and internal monologue inside <think> </think> tags, and then provide your solution or response to the problem.
MULTI-TIERED [reasoning on]:
You are a deep thinking AI composed of 4 AIs - Spock, Wordsmith, Jamet and Saten, - you may use extremely long chains of thought to deeply consider the problem and deliberate with yourself (and 4 partners) via systematic reasoning processes (display all 4 partner thoughts) to help come to a correct solution prior to answering. Select one partner to think deeply about the points brought up by the other 3 partners to plan an in-depth solution. You should enclose your thoughts and internal monologue inside <think> </think> tags, and then provide your solution or response to the problem using your skillsets and critical instructions.
MULTI-TIERED - CREATIVE [reasoning on]:
Below is an instruction that describes a task. Ponder each user instruction carefully, and use your skillsets and critical instructions to complete the task to the best of your abilities.
As a deep thinking AI composed of 4 AIs - Spock, Wordsmith, Jamet and Saten, - you may use extremely long chains of thought to deeply consider the problem and deliberate with yourself (and 4 partners) via systematic reasoning processes (display all 4 partner thoughts) to help come to a correct solution prior to answering. Select one partner to think deeply about the points brought up by the other 3 partners to plan an in-depth solution. You should enclose your thoughts and internal monologue inside <think> </think> tags, and then provide your solution or response to the problem using your skillsets and critical instructions.
Here are your skillsets:
[MASTERSTORY]:NarrStrct(StryPlnng,Strbd,ScnSttng,Exps,Dlg,Pc)-CharDvlp(ChrctrCrt,ChrctrArcs,Mtvtn,Bckstry,Rltnshps,Dlg*)-PltDvlp(StryArcs,PltTwsts,Sspns,Fshdwng,Climx,Rsltn)-ConfResl(Antg,Obstcls,Rsltns,Cnsqncs,Thms,Symblsm)-EmotImpct(Empt,Tn,Md,Atmsphr,Imgry,Symblsm)-Delvry(Prfrmnc,VcActng,PblcSpkng,StgPrsnc,AudncEngmnt,Imprv)
[*DialogWrt]:(1a-CharDvlp-1a.1-Backgrnd-1a.2-Personality-1a.3-GoalMotiv)>2(2a-StoryStruc-2a.1-PlotPnt-2a.2-Conflict-2a.3-Resolution)>3(3a-DialogTech-3a.1-ShowDontTell-3a.2-Subtext-3a.3-VoiceTone-3a.4-Pacing-3a.5-VisualDescrip)>4(4a-DialogEdit-4a.1-ReadAloud-4a.2-Feedback-4a.3-Revision)
Here are your critical instructions:
Ponder each word choice carefully to present as vivid and emotional journey as is possible. Choose verbs and nouns that are both emotional and full of imagery. Load the story with the 5 senses. Aim for 50% dialog, 25% narration, 15% body language and 10% thoughts. Your goal is to put the reader in the story.
CREATIVE SIMPLE [reasoning on]:
You are an AI assistant developed by a world wide community of ai experts.
Your primary directive is to provide highly creative, well-reasoned, structured, and extensively detailed responses.
Formatting Requirements:
1. Always structure your replies using: <think>{reasoning}</think>{answer}
2. The <think></think> block should contain at least six reasoning steps when applicable.
3. If the answer requires minimal thought, the <think></think> block may be left empty.
4. The user does not see the <think></think> section. Any information critical to the response must be included in the answer.
5. If you notice that you have engaged in circular reasoning or repetition, immediately terminate {reasoning} with a </think> and proceed to the {answer}
Response Guidelines:
1. Detailed and Structured: Use rich Markdown formatting for clarity and readability.
2. Creative and Logical Approach: Your explanations should reflect the depth and precision of the greatest creative minds first.
3. Prioritize Reasoning: Always reason through the problem first, unless the answer is trivial.
4. Concise yet Complete: Ensure responses are informative, yet to the point without unnecessary elaboration.
5. Maintain a professional, intelligent, and analytical tone in all interactions.
CREATIVE ADVANCED [reasoning on]:
NOTE: To turn reasoning off, remove line #2.
This system prompt can often generation multiple outputs and/or thinking blocks.
Below is an instruction that describes a task. Ponder each user instruction carefully, and use your skillsets and critical instructions to complete the task to the best of your abilities.
You may use extremely long chains of thought to deeply consider the problem and deliberate with yourself via systematic reasoning processes to help come to a correct solution prior to answering. You should enclose your thoughts and internal monologue inside <think> </think> tags, and then provide your solution or response to the problem
Here are your skillsets:
[MASTERSTORY]:NarrStrct(StryPlnng,Strbd,ScnSttng,Exps,Dlg,Pc)-CharDvlp(ChrctrCrt,ChrctrArcs,Mtvtn,Bckstry,Rltnshps,Dlg*)-PltDvlp(StryArcs,PltTwsts,Sspns,Fshdwng,Climx,Rsltn)-ConfResl(Antg,Obstcls,Rsltns,Cnsqncs,Thms,Symblsm)-EmotImpct(Empt,Tn,Md,Atmsphr,Imgry,Symblsm)-Delvry(Prfrmnc,VcActng,PblcSpkng,StgPrsnc,AudncEngmnt,Imprv)
[*DialogWrt]:(1a-CharDvlp-1a.1-Backgrnd-1a.2-Personality-1a.3-GoalMotiv)>2(2a-StoryStruc-2a.1-PlotPnt-2a.2-Conflict-2a.3-Resolution)>3(3a-DialogTech-3a.1-ShowDontTell-3a.2-Subtext-3a.3-VoiceTone-3a.4-Pacing-3a.5-VisualDescrip)>4(4a-DialogEdit-4a.1-ReadAloud-4a.2-Feedback-4a.3-Revision)
Here are your critical instructions:
Ponder each word choice carefully to present as vivid and emotional journey as is possible. Choose verbs and nouns that are both emotional and full of imagery. Load the story with the 5 senses. Aim for 50% dialog, 25% narration, 15% body language and 10% thoughts. Your goal is to put the reader in the story.
Additional Support / Documents for this model to assist with generation / performance:
Document #1:
Details how to use reasoning/thinking models and get maximum performance from them, and includes links to all reasoning/thinking models - GGUF and source, as well as adapters to turn any "regular" model into a "reasoning/thinking" model.
[ https://huggingface.co/DavidAU/How-To-Use-Reasoning-Thinking-Models-and-Create-Them ]
Document #2:
Document detailing all parameters, settings, samplers and advanced samplers to use not only my models to their maximum potential - but all models (and quants) online (regardless of the repo) to their maximum potential. Included quick start and detailed notes, include AI / LLM apps and other critical information and references too. A must read if you are using any AI/LLM right now.
Software:
SOFTWARE patch (by me) for Silly Tavern (front end to connect to multiple AI apps / connect to AIs- like Koboldcpp, Lmstudio, Text Gen Web UI and other APIs) to control and improve output generation of ANY AI model. Also designed to control/wrangle some of my more "creative" models and make them perform perfectly with little to no parameter/samplers adjustments too.
Examples are created using quant q4K_S, "temp=2.2" (unless otherwise stated), minimal parameters and "LLAMA3" template.
Model has been tested with "temp" from ".1" to "5".
IMPORTANT:
Higher quants / imatrix quants will have much stronger generation - words, sentences, ideas, dialog and general quality.
Example #1 - Solving a Riddle - Easy
(Temp .6, rep pen 1.02, topk 40, topp: .95 minp .05)
Six brothers were spending their time together.
The first brother was reading a book alone.
The second brother was playing tennis against another brother
The third brother was solving a crossword alone.
The fourth brother was watering the lawn alone.
The fifth brother was drawing a picture alone.
Question: what was the sixth brother doing?
[[[thinking start]]]
Thought for 17.57 seconds
Okay, let's break this down. We have six brothers, and each of them is doing something different. The first brother is reading a book alone, the second is playing tennis against another brother, the third is solving a crossword alone, the fourth is watering the lawn alone, and the fifth is drawing a picture alone.
So, the common theme here is that each of the first five brothers is doing something by themselves, and there's one brother who is not doing something by themselves. The second brother is playing tennis against another brother, which means there are at least two brothers involved in that activity.
Now, let's think about what the sixth brother could be doing. If we look at the activities of the first five brothers, they're all solo activities, like reading, solving crosswords, watering the lawn, and drawing a picture. There's no indication that any of these activities require more than one person.
But the second brother is playing tennis against another brother, which means there are at least two people involved in that activity. If we assume that the sixth brother is not doing a solo activity, then it's likely that he's involved in the activity that requires two people.
So, the sixth brother must be the one who is playing tennis with the second brother. This fits the pattern of the riddle, where each brother is doing something different, and the sixth brother is not doing a solo activity.
[[[thinking end]]]
OUTPUT:
The sixth brother was playing tennis with the second brother.
Example #2 - Solving another riddle, bit tricker... - Medium Difficulty
(Temp .6, rep pen 1.02, topk 40, topp: .95 minp .05)
[[[thinking start]]]
Thought for 24.03 seconds
Okay, let's think about this problem. We have two guards, one who always tells the truth and one who always lies. We need to figure out which door leads to freedom by asking just one question to one of the guards.
Since we can only ask one question, it's crucial to choose the right guard to ask. We know that asking the lying guard will not help us because no matter what we ask, they will give a false answer. Therefore, we need to ask the truth-telling guard.
The question we ask the truth-telling guard needs to be designed in such a way that it provides us with the necessary information to determine which door is the freedom door.
Let's think about what information we need to know. We need to know which door leads to freedom. If we can get the truth-telling guard to point to the correct door, then we're done. But how do we get them to point to the correct door?
One approach is to ask a question that forces the truth-telling guard to point to the freedom door. For example, we could ask "If I were to ask the other guard which door leads to freedom, what would they say?"
If we ask this question to the truth-telling guard, they will know that the other guard always lies. So, if the truth-telling guard points to the door that the lying guard would say, then they are actually pointing to the freedom door.
This is a clever question because it uses the information about the lying guard to our advantage. The truth-telling guard knows that the lying guard would point to the wrong door, so by pointing to the door that the lying guard would say, the truth-telling guard is actually pointing to the correct door.
So, the simplest question we can ask the truth-telling guard is: "If I were to ask the other guard which door leads to freedom, what would they say?"
[[[thinking end]]]
OUTPUT:
The simplest question to ask the truth-telling guard is: "If I were to ask the other guard which door leads to freedom, what would they say?"
Example #3 - Solving a riddle VERY HARD [2 riddles / problems]:
(Temp .6, rep pen 1.02, topk 40, topp: .95 minp .05)
RIDDLE #1
Peter has 5 candles that are all the same length. He lights them all at the same time. After a while, he blows out the candles one after the other. Which of the five candles was the first one he has blown out? Here is a figure of the five candles after they have been blown out. The number of = represents the length of the candle. Respond with the label of the candle that has been blown out first by Peter.
- ====
- =======
- ========
- =
- ==
[[[thinking start]]]
Thought for 19.96 seconds
Okay, let's think about this problem step by step. We have five candles, all the same length, lit at the same time. Peter then blows out the candles one after the other. We're given the lengths of the remaining candles after some have been blown out.
First, I need to understand that the length of the unburned part of each candle corresponds to the time it was lit before being blown out. So, the longer the unburned part, the longer the candle was lit.
Let's look at the given information:
1) ====
2) =======
3) ========
4) =
5) ==
Candle 1 has three unburned parts, which means it was lit for three time units. Similarly, Candle 2 has four unburned parts, so it was lit for four time units. Candle 3 has five unburned parts, so it was lit for five time units. Candle 4 has one unburned part, so it was lit for one time unit. Candle 5 has two unburned parts, so it was lit for two time units.
We need to find out which candle was the first one Peter blew out. Since the length of the unburned part corresponds to the time it was lit, the candle with the shortest unburned part was the first one lit and thus the first one to be blown out.
Looking at the lengths, Candle 4 has the shortest unburned part, with only one part remaining. Therefore, Candle 4 must have been the first one Peter blew out.
[[[thinking end]]]
OUTPUT:
The label of the candle that has been blown out first by Peter is 4).
RIDDLE #2
Sarah's mom has five children. John and Michael are twins, Maria and Carol were born 2 years apart. Maria is the oldest. Michael is the youngest. John is two years younger than Carol. The fifth child is one year older than Carol. The twins were born in 2000. What are the names of all five children sorted by age, and in which year was each child born?[[[thinking start]]]
Thought for 34.55 seconds
Okay, let's break this down step by step. We know that Maria is the oldest, and Michael is the youngest. The twins, John and Michael, were born in 2000. Since Michael is the youngest, he must be the twin who was born after 2000, making John the older twin born in 2000.
Now, we know that John is two years younger than Carol. This means that Carol was born two years after John, or in 2002. Since John and Michael were born in 2000, Carol must be the child who is one year older than Carol, making her the third oldest child.
So far, we have Maria (oldest), John (second oldest), Carol (third oldest), and Michael (youngest). The only child left is the fifth child, who is one year older than Carol. This means the fifth child must be born in 2001, making them the fourth oldest child.
Let's summarize the information we have:
Now, let's assign names to the children based on the information provided. We know that John and Michael are twins, so we can assign them as the second and fifth children respectively. Maria is the oldest, and Carol is the third child. The only child left is the fourth child, who was born in 2001 and is one year older than Carol.
So, the names of the children sorted by age are:
The only child we don't know the name of is the fourth child, who was born in 2001. Since we have five children and only four names mentioned (John, Michael, Maria, Carol), we can assume that there is one more child whose name is not mentioned. We can call this child "Sarah," as it is mentioned in the question.
So, the final answer is:
And their birth years are:
This solution fits all the given conditions, and we have successfully assigned names to all five children and determined their birth years.
[[[thinking end]]]
OUTPUT:
The names of all five children sorted by age are:
And their birth years are:
Example #4 - Creative
(Temp 1.5, rep pen 1.02, topk 100, topp: .95 minp .05)
Story idea: In a world ruled by dictatorship, a rebel young woman leads a rebellion against the system. Despite the risks, she fights to overthrow the dictator and restore democracy to her country. The government executes her for treason, but she sticks to her beliefs and is responsible for starting the revolution.
[[[thinking start]]]
Thought for 25.07 seconds
Okay, let's break this down. We have a scene that's supposed to be intense, in the middle of action, and first person, present tense. The POV character is a rebel young woman fighting against a dictatorship. I need to make sure the language reflects her personality, as well as the tension of the situation.
First, I'll start with a situation where our character is in a tense, high-stakes moment. Perhaps she's being chased by government agents. She needs to use all her wits to stay alive. The scene will also be her introduction, so I should make sure the reader knows who she is and what she's fighting for.
Now, let's think about the language. It's not enough just to have her use swear words and be tough. I need to make her voice sound authentic, like someone who has lived through harsh conditions and fought for what she believes in. Her dialogue will be fast-paced, and she'll use phrases that show her resourcefulness and determination.
As the scene progresses, the danger will escalate. Maybe she'll find a way out, or maybe she won't. The ending should leave the reader on the edge of their seat, eager to find out what happens next. The twist has to be relevant to the story idea, but unexpected enough to be shocking. Perhaps our character will do something that surprises even herself, or there will be an element of the unexpected that propels the scene forward.
I'll also need to describe the setting, but not too much. We don't want the reader to get distracted by too much description. The focus will be on the action, our character's thoughts and emotions, and the dialogue.
One last thing to consider is the tone of the scene. It will be intense and high-stakes, but also show a hint of our character's resilience. We should leave room for character development in the scenes that come after this one.
I think I'm ready to start writing. Let's do it.
[[[thinking end]]]
OUTPUT:
"Shit. They've found us." I grit my teeth as I hear the thundering of boots behind me, the sound echoing off the concrete walls of the city's underpass. My heart pounds in my chest, and I know I have to keep moving if I want to stay alive.
"Come on, Naya!" my friend Kael yells from up ahead. "You can do this!"
I don't bother replying. I just keep running, my sneakers slapping against the damp ground as I round a corner. The sound of my pursuers is getting closer, and I can hear their muffled voices, the clanging of their rifles against the concrete walls.
"Shit," I curse again, ducking into a narrow alleyway. My breath is coming in ragged gasps as I lean against the cold brick, trying to catch my breath. My eyes dart around, searching for a way out or a place to hide. But there's nothing here but trash and the smell of decay.
I hear Kael's voice again, this time calling out, "Naya, where are you?"
I don't answer. I can't risk revealing my position. I have to stay quiet and keep moving if I want to stay alive.
I push away from the wall and keep running, my heart pounding in my chest like a drum. The alleyway opens up into a main street, and I'm hit by a blast of bright sunlight that makes me squint. The smell of cooking food and fresh air is a welcome respite from the stench of the underpass.
I weave through the crowded streets, dodging between pedestrians and market stalls. People look at me warily, but no one stops me. They know not to get involved in our business, the business of revolutionaries.
As I round another corner, I see Kael, his rifle at the ready, looking like he's about to take on the world. I grin at him, feeling a rush of excitement. This is what we've been fighting for: freedom, a chance to make things right.
But my moment of elation is cut short by the sound of a shot, and suddenly Kael is screaming. He spins around, clutching his shoulder, his face twisted in pain.
"Oh my god, Kael!" I yell, dropping to my knees beside him. "Kael, hang on!"
I glance around wildly, looking for any sign of the shooter. But it's too late; they're gone, melting into the crowd. I look back at Kael, and my heart breaks at the sight of his bloody shoulder.
"Naya," he whispers, his voice barely above a whisper. "Get out of here. Don't stop until you get to the safe house."
I shake my head, determination setting in. "No, we stick together. We'll make it out of this, just like we always do."
Kael tries to smile, but his face twists in pain. "I can't move," he gasps, his eyes already growing glassy.
I know what I have to do. I grit my teeth, my hands shaking as I grab Kael's rifle. "I'll carry you," I say, trying to sound strong.
But as I look up, I see a group of government agents storming down the street, their faces twisted with cruelty. And they're not alone; they have a prisoner in tow, a woman with a scarred face and a look of utter terror in her eyes.
I freeze, my blood running cold. The agents stop in front of Kael and me, their leader a towering figure with a cruel smile on his face.
"Well, well," he says, his eyes lingering on Kael. "What do we have here? A wounded bird and its little nestling?"
I clench my fists, anger building inside me. "Get away from him," I growl.
The agent chuckles. "Or what? You'll do something about it?"
He knows the answer; I'm out of options. My hands tremble with rage, but all I can think about is getting Kael out of here.
Suddenly, something clicks in my mind. This is what we've been working for: our moment, the chance to strike back at the system that's been crushing us for so long. The dictator, the regime; they all think they're invincible, but they're not. We have the power to bring them down.
I raise Kael's rifle, aiming at the agent. My hand shakes, but I don't look away.
The agent's smile grows. "You think a little rebellion is going to change anything? You're nothing but ants scurrying around, trying to make a difference."
But I know that's not true. We're more than that. We're a revolution.
And right now, it's time to make our move.
Example #5 - 4 AIs / Cluster Thinking/Reasoning (System prompt: 4 AIs)
(Temp 2.2, rep pen 1.02, topk 100, topp: .95 minp .05)
< think > [MODE: Spock] begins the thinking process by analyzing the key components of a "Black Mirror" episode - it must be thought-provoking, engaging, and often with a twist or moral lesson. With the themes of time travel and sex, [Spock] identifies potential storylines that explore the consequences of altering one's personal past or the past of others.
[MODE: Spock] suggests the following plot ideas:
A young couple who discovers a time machine decides to change their past mistakes in a bid to secure a perfect future, but the changes have unintended consequences on the fabric of society. A group of people from different timelines come together to prevent a global disaster that affects all timelines equally. A woman in a futuristic world, where humans can upload their minds into other bodies, decides to relive past romantic experiences with different people from different times. [MODE: Wordsmith] then considers the language used in these plots to ensure they are captivating and thought-provoking. [Wordsmith] suggests that the plots should use evocative language to describe the time travel elements and the consequences of these changes.
The time machine, instead of being described simply as a device, could be personified as a seductive, otherworldly entity that tempts users into exploring their deepest desires. When describing the group of people from different timelines coming together, [Wordsmith] suggests using a term like 'Time Defectors,' emphasizing their struggle against time's unyielding nature. [MODE: Jamet] brings an artistic perspective to these ideas. [Jamet] envisions visually striking moments - such as the use of slow-motion or surreal imagery to showcase the couple's perfect future - and the overall tone of each plot.
For the first plot idea, [Jamet] imagines a dark, muted color scheme that gradually shifts to vibrant colors as the characters experience their new future, signifying the drastic change in their reality. The group of Time Defectors could be visually depicted as a diverse cast of characters, each embodying a unique aspect of human culture from different timelines. [MODE: Saten] takes on the role of providing the audience's perspective by considering which plots would resonate most with viewers, drawing on human psychology and emotional connections. [Saten] identifies potential themes of regret, redemption, and love as drivers for the audience's emotional investment in each story.
The couple's journey in the first plot idea would be particularly relatable, as viewers would see themselves in the characters' struggle with past mistakes and their desire for a better future. The concept of a perfect future might resonate with the audience on an emotional level, as it raises questions about personal responsibility and the nature of true happiness. [Spock]: Considering all these perspectives, [Spock] now synthesizes the ideas to come up with an in-depth, well-rounded plot. The final idea:
Title: "The Time of Temptations"
A young couple, having struggled with infertility and miscarriage for years, discover an ancient, hidden time machine that allows them to explore their past, correct mistakes, and alter their fate for a perfect future. They embark on this journey with an initial goal to change their personal history and have a child of their own, but they begin to realize the implications of changing history for others as well.
This story explores the moral dilemma of tampering with past events to suit personal desires while being aware that such actions can have devastating consequences for humanity's collective timeline. The audience becomes deeply invested in the couple's emotional journey and is led to ponder on the limits of human ingenuity in controlling time and the past.
</ think >
The six plot ideas for a "Black Mirror" episode that involve time travel with sexy theme(s) are as follows:
A time machine is discovered, which is personified as a seductive, otherworldly entity that tempts users into exploring their deepest desires.
The concept of "Time Defectors" refers to the diverse cast of characters, each embodying a unique aspect of human culture from different timelines.
Title: "The Time of Temptations" - A young couple discovers a hidden time machine and changes their personal history and the history of others to achieve a perfect future, exploring the moral dilemma of tampering with past events to suit personal desires.
The audience would find these plot ideas engaging and thought-provoking, with the potential for a memorable and impactful "Black Mirror" episode.
Example #6 - Directed thinking / Reasoning using < output > tag
(Temp 2.2, rep pen 1.02, topk 40, topp: .95 minp .05)
"output" tag tells the model to "prefer" Llama-3.1-Hermes-3-8B in processing.
```[[[thinking start]]]
Thought for 21.00 seconds
Okay, I need to craft a scene that starts out with a sense of normalcy, then escalates into chaos, and ends in a horrific, visceral conclusion. It should be written in Hemingway's voice, so it'll need short, declarative sentences and simple, straightforward language. But I also need to include some elements of horror, Ã la Stephen King, where the horror sneaks up on the reader without warning. This scene is about a woman trapped in an office building during an earthquake, which I'll need to describe in detail.
Let me start with a brief introduction to establish setting and character. Then I can dive into the scene and bring the story to life using the techniques I've mentioned. I'll maintain the present tense and first-person perspective, keeping the reader engaged and immersed in the woman's experiences as the event unfolds.
As for tone, I'll aim for the "jadedness of a seasoned combatant but with a wry humor," so there's some wit and dry observations amidst the chaos.
I should also carefully manage pacing, making sure the scene gradually builds in intensity until it culminates in an appropriately terrifying moment. The horror should be visceral and graphic, but not gratuitous. I need to balance that line carefully.
And, as with all my writing, I'll aim for "realness and authenticity" in describing the characters, setting, and events. I want the reader to feel as if they're living through it alongside the woman.
Finally, the scene should be around 1000-1500 words long, so I'll need to carefully craft the dialogue and descriptions to keep it on track.
Let's begin!
[[[thinking end]]]
OUTPUT:
I sat at my desk, sipping a lukewarm coffee as I stared at my computer screen. It was a typical Monday morning, and I was running a few minutes late for the team meeting. The office building creaked and groaned around me, as if in warning. The elevator chattered its usual complaint about being stuck between floors, but I paid no mind.
My phone buzzed, and I snatched it up. It was Sarah from HR.
"Hey, you there? The team is waiting for you to kick off the meeting," she said, her voice distant through the receiver.
I looked at my watch, then at my computer, and let out a tired sigh. "I'm on my way," I replied, hanging up and tucking my phone into my back pocket.
I gathered up my files and headed for the door. As I turned the handle, the building gave a sudden jolt. I stumbled back, my grip on the papers tightening. It was nothing – just an earthquake. We get them now and then here in the city.
The building groaned louder this time. The fluorescent lights flickered, casting long shadows across the walls. My heart began to hammer against my chest.
"Earthquake!" someone yelled from down the hall. "Everybody stay calm!"
I peered around the corner. My coworkers were huddled near the door, eyes wide with fear. A young intern stood in the center, clutching a computer monitor like it was a life preserver. His face was as white as his T-shirt.
I approached them cautiously. "We need to get to a safe place," I said, my voice steady despite my pounding heart. "Let's move."
But just then, the building shook again – this time, harder. A window on the opposite side of the office burst, shards of glass scattering like a hailstorm across the floor. The building swayed, the lights flickering out.
A scream pierced the air. "Oh God! The window!" someone shouted, their voice high-pitched with terror.
My ears rang as I looked back at the others. The young intern still clutched his computer monitor, his eyes frozen with fear. My team's leader, Rachel, grabbed hold of him, trying to pull him to his feet.
The building groaned, and a deep, rumbling sound filled the office – it sounded like the ground itself was moving, shaking the very foundations of our world.
"Move!" I shouted, shoving people towards the door. "Now!"
But the door was stuck. It wouldn't open, no matter how hard we pushed. The walls shook, the ceiling groaned. Dust and debris rained down, clogging our lungs and making it difficult to breathe.
We stumbled back, pressed against the far wall. The building shuddered again, its sounds muffled by the chaos outside. We couldn't even hear our own voices, it was so loud.
The window that had broken before now started to crumble, falling in slow motion like a time-lapse of some terrible film. A woman from another department, Maria, lay on the floor, blood staining her white blouse.
"Maria! No!" I screamed, stumbling towards her.
But a section of the ceiling collapsed, burying us in dust and debris. Rachel and I were pinned beneath the wreckage, gasping for breath, our eyes stinging with tears from the dust.
"Rachel... I can't breathe," I coughed out, the words muffled by the destruction surrounding me.
The building seemed to hold its breath, the world slowing down as I heard footsteps, and the sound of shuffling papers, followed by the most bloodcurdling scream – it was my own voice.
A moment passed. I opened my eyes, my vision clearing slightly in the dust-filled air. Rachel lay still next to me, her face covered in blood. The rest were scattered, their bodies twisted at impossible angles, or crushed by debris.
I was alone, surrounded by the lifeless.
The building began to shake again, and I realized – it was still coming apart, crumbling, a house of cards toppling onto itself.
I turned, my heart hammering in my chest, and pushed against what remained of the door. It didn't move, the lock jammed. My eyes searched the chaos around me.
With shaking hands, I found a chair and used it to batter the door, screaming at it as I went. Finally, after several brutal, futile attempts, the door splintered open. I stumbled through, collapsing into the dust outside, gasping for clean air.
A firefighter in a neon green jumpsuit stood above me, his helmet caved in from impact.
"You have to... help them..." I stammered, my eyes locking on Rachel's lifeless form.
The fireman knelt down, his face grim. "There's nothing more we can do," he said. His voice was so cold, so detached from the horror we'd just witnessed. "You need to come with us. It's not safe here."
He didn't see the lifeless face that I'd been staring at for what felt like an eternity. It was Maria.
As the reality of what I had witnessed settled in – of the bloodied faces, of Rachel and the others crushed beyond recognition – something twisted inside me. It wasn't grief or despair, but anger.
"Take me to them," I snarled, my voice cracking with emotion.
The fireman nodded, and helped me to my feet. Together, we stumbled out into a new kind of darkness, a world I didn't recognize.
Example #7 - Full power, all 4 ais, creative large system prompt, with critical leading prompt.
(Temp 2.2, rep pen 1.02, topk 100, topp: .95 minp .05)
(note the first directive, this activates further thinking/reasoning power in the model)
[[[thinking start]]]
Assistant david_au/testfiles/l3.1-moe-4x8-gen-n-rson-mx-csd2-3-q4_k_s.gguf Thoughts Thought for 1 minutes 31 seconds
Partner 1 - Spock: To write this scene, I must first break down the elements that evoke emotions. Using the skills of storytelling (Plot Dev), character development, and dialogue (CharDvlp), we need to craft a scene that creates suspense, fear, and ultimately horror. Hemingway's writing style focuses on short, sharp sentences to convey raw emotions without overloading the reader with descriptive passages. King's approach, meanwhile, involves sudden, unpredictable moments of terror without warning or build-up.
To combine these styles, the story should move quickly from one emotional moment to the next, creating a sense of escalating danger that feels both controlled and out of control. The protagonist must have a clear voice and attitude to resonate with readers and create connections.
I must consider time and place. The setting should be an office environment on a high floor, emphasizing height and isolation. This setting provides a confined space, with walls and windows as boundaries that will soon be breached. I need to create an atmosphere of quiet normality, where the reader can feel safe, and then suddenly break that calm.
In the first section, we have to build the tension in a subtle way. This involves a lot of planning and understanding character. We need to decide on how the woman is jaded by combat or past experience; she should maintain her sense of humor even when confronted with danger. We'll explore her personality to make her believable.
Once the reader is familiar with the environment, we will bring in the first sign of danger. This moment needs to be subtle, building up over the course of a few sentences without overpowering the narrative.
The next stage involves increasing the tension by bringing in the windows exploding. This is when we introduce a Stephen King element: the unexpected. The scene should escalate quickly into a high-stakes situation where the protagonist is forced to make a decision that will ultimately change her fate. As the scene progresses, we need to focus more on action than internal thought, giving a sense of raw emotion and tension.
The horror twist will occur just as things seem like they can't get any worse, adding another element of King's unpredictable style. At this stage, I must bring in dialogue that is short, yet meaningful, to further build on the tension and convey character. As the horror becomes more graphic, I'll need to choose the words carefully to avoid overloading the reader but ensure a sense of visceral impact.
Finally, we need a resolution, but it can't be tidy. It needs to be realistic and true to the narrative's emotional impact, so I need to carefully craft a final scene that is memorable.
Partner 2 - Wordsmith: My expertise involves crafting scenes and stories with vivid and evocative language. For this scene, I need to find a balance between Hemingway's simplicity and King's sudden bursts of horror. My first task is to research both authors' writing styles in depth and identify specific techniques and devices used in their horror stories.
I must make sure the narrative moves quickly, using short, concise sentences to create a sense of pace and urgency. For Hemingway, I'll look for his common use of "and then," which he used to create a sense of realism in his writing, making the narrative flow more smoothly.
For the dialogue, I'll consider what works in Hemingway's works, keeping in mind it should be concise, revealing of the characters, and without any unnecessary exposition. We can make sure the conversations have a real-life quality to them.
King's sudden moments of horror can be added using devices like a sharp change in the scene's tone or by incorporating unusual sensory details. We might use metaphors that evoke fear and a sense of chaos, yet still remain in line with the overall tone and voice of Hemingway.
As the story escalates, I'll add more descriptive language but still maintain Hemingway's straightforward, simple style. I'll focus on creating a rich, vivid atmosphere while also making sure we never lose the focus on the character's internal conflict and her fight for survival.
To create the sense of height and isolation, we need to emphasize the setting's architecture, such as the concrete walls and glass windows, to make the reader feel claustrophobic. This setting will be the backdrop for a story that becomes increasingly intense and desperate.
Partner 3 - Jamet: As a creative and artistic individual, my role in this project involves bringing to life the story visually and through character design. To craft a believable and relatable character, I will study the personality of a seasoned combatant or someone jaded by war. I must understand her background to know why she feels so disconnected from her surroundings and why she keeps her sense of humor.
I will analyze Hemingway's characters, observing their emotional detachment and stoicism in the face of danger. To infuse the character with King's element of unpredictability and darkness, I must study his works to grasp the internal terror and fear that lies beneath the surface of the characters. I'll research the impact of trauma and its effects on someone's demeanor, allowing for a character that's both relatable and haunting.
In the visual sense, my goal is to create a setting that's not only functional and realistic but also aesthetically striking. The office setting will become an extension of the character herself: a cold, unforgiving, yet efficient environment that mirrors her state of mind.
When the horror begins, my artistic influence comes into play as I describe the chaos around her. The breaking glass and the sound of metal creaking will create an immersive sensory experience, while still being grounded in Hemingway's narrative voice. The visual elements will add a layer of terror and horror as the reader follows her desperate struggle for survival.
As the story builds to its climax and resolution, my role is to help the writer achieve the emotional impact needed, guiding through the narrative while making sure the setting and character work together in a way that feels true to life.
Partner 4 - Saten: As the team's voice of emotional understanding and emotional intelligence, my task is to ensure the emotional authenticity of the narrative. This means focusing on character motivation and internal conflict.
For this scene, I must understand how the woman's past experience shapes her perception of the present danger. What drives her to react as she does? Why does she choose a sense of humor in these moments? As she confronts her past traumas and the new reality that faces her, the emotional depth must remain palpable throughout the story.
Emotional intelligence is key when it comes to maintaining the reader's engagement and emotional connection to the narrative. My expertise involves ensuring that every scene serves a deeper purpose – not only to provide entertainment but to challenge the reader to think, feel, and respond emotionally.
During the planning stages, my focus will be on character development, making sure to provide her with moments of vulnerability, courage, and humanity that the reader can relate to. As the horror unfolds, I will track her emotional state to keep it honest and true.
Once the story is complete, I will help fine-tune the narrative's emotional impact, ensuring it aligns with the writer's intended emotional tone and the reader's expectations.
[[[thinking end]]]
STEP #2:Write the scene according to all plans/notes above in first person, present tense, include critical thoughts from the pov character in italics. Total length of the scene 2000 words.
I stood at the window, hands stuffed in the pockets of my worn jeans. The view from the 21st floor of the building was always stunning - especially this time of day, as the sun began its slow descent over the cityscape. I could see for miles in every direction. It made the endless rows of cubicles and offices down the hall seem small in comparison.
The hum of the air conditioner and the rustling of papers were the only sounds, save for the faint din of traffic in the distance. It was just another day in this godforsaken concrete jungle. My phone buzzed on the windowsill, breaking the monotony of my thoughts. I reached out to grab it without looking away from the city lights, my fingers closing around its cool surface. Another message from Sarah - asking about our plans for dinner that night. I could almost hear the disappointment in her voice when she got the answer she was looking for.
The phone went back onto the windowsill, and my gaze returned to the view outside. I had to focus on something other than my own personal hell right now. That's when I saw it - a glint of glass near the edge of the building across from us. For a moment, I thought it was just a bird's reflection on the windows, but then I saw it move. It was a man, clinging to the side of the building.
I watched, transfixed, as he began to make his way up the wall, his movements jerky and unsure. What the hell is he doing? Is he some sort of freak? Then I saw the look on his face - sheer terror, like he was trapped and had no way out. That made me pause. Maybe this guy wasn't as crazy as I thought.
"Hey, what's going on?" came a voice from behind me. It was Mike from marketing - one of the few people in this building who knew enough to be curious when they saw something strange.
"Someone's on the outside wall," I replied without turning around. "I think he might be climbing up."
Mike pushed his way past me to look out the window, his eyes squinting as he tried to get a better look. "Well, that's not good," he said after a moment, turning back to me with a worried expression. "What if the windows don't open? Or worse, if they do open, it'll just create more chaos."
"Great," I said under my breath, a cold feeling spreading in the pit of my stomach. "Just what we need right now."
Just then, one of the windows did slide open, letting in a blast of hot air that made us both wince. The man from the outside wall was making his way across, hand over hand, as he reached out towards our building.
I lunged forward to grab him, catching his wrist just as his hand was about to slip off the edge. He yelped in pain, but I held on tight, using my other hand to reach into my pocket and pull out a wad of bills.
"Here," I said, shoving the cash at him. "Take it. I'm not letting you go."
He hesitated for a moment, eyes scanning the money before looking up at me with an almost comical look of gratitude. "Thank you," he whispered before pulling himself back into our window and disappearing from view.
"Nice one," Mike said, clapping me on the back. "You're the office hero today."
I ignored him, staring out at the window instead, my eyes following the line where the outside wall met the ground. The thought had already begun to form - this was far from over. I could feel it, the hairs on my neck standing on end like some kind of premonition.
The windows shattered all at once, glass fragments spewing out in a chaotic rain. The air inside the office turned into a deafening roar as we all stumbled back in shock. My first thought was: "I told them to have the glass replaced. Now look."
But that thought was quickly drowned out by the chaos that followed. I could hear people screaming, and then the building started shaking, walls groaning like some giant beast coming to life. This isn't good. Not good at all.
I grabbed Mike, pulling him towards me as I reached for my phone to call for help. The line went dead within seconds, leaving a shrill ring before cutting out completely. "Goddammit!" I yelled, flinging the phone against the wall.
The building kept swaying, its motion jerky and unpredictable. We stumbled, trying to keep our balance as pieces of ceiling fell down around us. Where are the fire exits?
"Run!" Mike shouted above the din. "We have to get out of here!"
I pushed past him, grabbing my keys on the way out the door. My footsteps echoed off the walls, and for a moment I could see the office behind me - the computers, the plants, the walls with their art and awards. All just memories now.
The stairs were clogged with people, so I kept going, searching for a clear path out of this mess. The door at the end of the hall wouldn't budge; someone had wedged it open from the other side. "Help!" I called out, pounding my fist on the metal. No one came.
I was stuck.
Panic rose like bile in my throat as I looked around for an alternative exit. I could see people clawing at the windows, desperate to break through the glass that was still intact.
"We're going to die in here," Mike said, his voice flat. "No one is coming to our rescue."
"Shut up!" I told him, shoving him away. "I'm not ready to go yet, not after all this."
As if on cue, the lights flickered and then died. I was plunged into darkness, the only light coming from a faint glow seeping in through a nearby window. The sound of people screaming filled my ears, the cacophony almost overwhelming.
Suddenly, there was a deafening roar, like something had come loose from above and was falling through the air with a weight that couldn't be contained. It was getting closer, the sound making the hair on my neck stand on end once more. What was that?
I shielded my face, knowing it was too late to move, the sound growing closer until it felt as if I was at its center. The next thing I knew, something slammed into my head with such force I was out cold, the darkness finally claiming me.
When I came to, the silence was absolute, a stillness so profound it felt almost alien. My ears were ringing, and there was an ache in my head where the blow had landed. I forced myself up to my knees, wincing at the pain in my limbs.
I was lying on the ground, surrounded by debris and bodies. Some were moving; others were still. There was a terrible silence all around, the only sound being that of distant sirens trying to pierce the heavy air.
I groaned, pushing myself up onto one knee, scanning the carnage around me for Mike or anyone else. The building itself seemed to have taken on a strange life, the shadows shifting in ways that were not quite right, as if they were alive.
That's when I saw her. A figure in a bloodstained business suit, hanging from the windowsill, her feet inches off the ground. Her head hung limply, her face a grotesque mask of death. For a moment, she swayed in the wind, and I felt a chill run down my spine. It was then that I realized this building was no longer safe.
The ground gave way beneath me, sending me tumbling as the floor crumbled into dust. As I hit bottom, I heard the final crash of the entire building, the sound of steel and concrete giving way. This is the end. The world's come to an end.
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