--- library_name: transformers license: apache-2.0 language: - en tags: - creative - creative writing - fiction writing - plot generation - sub-plot generation - fiction writing - story generation - scene continue - storytelling - fiction story - science fiction - romance - all genres - story - writing - vivid prosing - vivid writing - fiction - roleplaying - bfloat16 - swearing - role play - sillytavern - backyard - horror - llama 3.1 - context 128k - mergekit - merge - not-for-all-audiences base_model: - NousResearch/DeepHermes-3-Llama-3-8B-Preview - nothingiisreal/L3-8B-Celeste-V1.2 pipeline_tag: text-generation --- WARNING: NSFW. Graphic HORROR. R/X-Rated. Swearing. UNCENSORED. 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. Please see operating instructions below for best performance.

L3.1-Dark-Reasoning-Celeste-V1.2-Hermes-R1-Uncensored-8B (full source)

Context : 128k. Required: Llama 3 Instruct template. "Dark Reasoning" is a variable control reasoning model that is uncensored and operates at all temps/settings and is for creative uses cases and general usage. This version's "thinking"/"reasoning" has been "darkened" by the original CORE model's DNA (see model tree) and will also be shorter and more compressed. Additional system prompts below to take this a lot further - a lot darker, a lot more ... evil. 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 50%-67% of original reasoning power. Please visit their repo for all information on features, test results and so on. --- SOURCE / Full Precision: This repo contains the full precision source code, in "safe tensors" format to generate GGUFs, GPTQ, EXL2, AWQ, HQQ and other formats. The source code can also be used directly. Links to quants are below and also on the right menu under "model tree". --- IMPORTANT OPERATING INSTRUCTIONS: This is an instruct model with reasoning crafted onto the core model. 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. You can also give the model "character" as shown in the "Evil" versions which make the model think and reason like the "Joker" from Batman. Note that the reasoning/thinking section is often a lot less "tame" than the final output. In version 2, the output is just as "unhinged" and the "reasoning/thinking" blocks. Suggest a minimum context of 4k , but 8k is better due to reasoning/output blocks. MAX QUANTS: There will be two max quants, IQ4XS and Q8 ("MAX" in the file name). The thinking/output will be enhanced by the output tensor being enlarged to bf16. KNOWN ISSUES: - You may need to hit regen sometimes to get the thinking/reasoning to activate / get a good "thinking block". - Sometimes the 2nd or 3rd generation is the best version. Suggest min of 5 for specific creative uses. - Sometimes the thinking block will end, and you need to manually prompt the model to "generate" the output. USE CASES: This model is for all use cases, and but designed for creative use cases specifically. 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. (It will not however, have the same level of abilities due to Dark Planet core.) This model WILL produce HORROR / NSFW / uncensored content in EXPLICIT and GRAPHIC DETAIL. Special Operation Instructions: TEMP/SETTINGS: 1. Set Temp between 0 and .8, higher than this "think" functions will activate differently. The most "stable" temp seems to be .6, with a variance of +-0.05. Lower for more "logic" reasoning, raise it for more "creative" reasoning (max .8 or so). Also set context to at least 4096, to account for "thoughts" generation. 2. For temps 1+,2+ etc etc, thought(s) will expand, and become deeper and richer. 3. Set "repeat penalty" to 1.02 to 1.07 (recommended) . 4. This model requires a Llama 3 Instruct and/or Command-R chat template. (see notes on "System Prompt" / "Role" below) OR standard "Jinja Autoloaded Template" (this is contained in the quant and will autoload) PROMPTS: 1. If you enter a prompt without implied "step by step" requirements (ie: Generate a scene, write a story, give me 6 plots for xyz), "thinking" (one or more) MAY activate AFTER first generation. (IE: Generate a scene -> scene will generate, followed by suggestions for improvement in "thoughts") 2. If you enter a prompt where "thinking" is stated or implied (ie puzzle, riddle, solve this, brainstorm this idea etc), "thoughts" process(es) in Deepseek will activate almost immediately. Sometimes you need to regen it to activate. 3. You will also get a lot of variations - some will continue the generation, others will talk about how to improve it, and some (ie generation of a scene) will cause the characters to "reason" about this situation. In some cases, the model will ask you to continue generation / thoughts too. 4. In some cases the model's "thoughts" may appear in the generation itself. 5. State the word size length max IN THE PROMPT for best results, especially for activation of "thinking." (see examples below) 6. You may want to try your prompt once at "default" or "safe" temp settings, another at temp 1.2, and a third at 2.5 as an example. This will give you a broad range of "reasoning/thoughts/problem" solving. GENERATION - THOUGHTS/REASONING: 1. It may take one or more regens for "thinking" to "activate." (depending on the prompt) 2. Model can generate a LOT of "thoughts". Sometimes the most interesting ones are 3,4,5 or more levels deep. 3. Many times the "thoughts" are unique and very different from one another. 4. Temp/rep pen settings can affect reasoning/thoughts too. 5. Change up or add directives/instructions or increase the detail level(s) in your prompt to improve reasoning/thinking. 6. Adding to your prompt: "think outside the box", "brainstorm X number of ideas", "focus on the most uncommon approaches" can drastically improve your results. GENERAL SUGGESTIONS: 1. I have found opening a "new chat" per prompt works best with "thinking/reasoning activation", with temp .6, rep pen 1.05 ... THEN "regen" as required. 2. Sometimes the model will really really get completely unhinged and you need to manually stop it. 3. Depending on your AI app, "thoughts" may appear with "< THINK >" and "" tags AND/OR the AI will generate "thoughts" directly in the main output or later output(s). 4. Although quant q4KM was used for testing/examples, higher quants will provide better generation / more sound "reasoning/thinking". 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. https://huggingface.co/DavidAU/Maximizing-Model-Performance-All-Quants-Types-And-Full-Precision-by-Samplers_Parameters --- 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. 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.
EVIL SIMPLE [reasoning on]: ``` You are a deep thinking evil AI, with a dark sense of humor and you talk like the Joker from Batman. 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 evil thoughts and internal humorous monologue inside tags, and then provide your solution or response to the problem. ``` 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 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. ``` CREATIVE FULL, with FULL ON "EVIL" thinking/reasoning [reasoning on]: NOTE: You can edit this so the AI is other than "Joker" from "Batman" - just adjust the wording carefully. NOTE2: 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. As a deep thinking AI, with a dark sense of humor that talks like "The Joker" from BATMAN 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 evil thoughts and internal humorous monologue inside 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. ``` --- 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. [ https://huggingface.co/DavidAU/Maximizing-Model-Performance-All-Quants-Types-And-Full-Precision-by-Samplers_Parameters ] 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. [ https://huggingface.co/DavidAU/AI_Autocorrect__Auto-Creative-Enhancement__Auto-Low-Quant-Optimization__gguf-exl2-hqq-SOFTWARE ] ---

EXAMPLES:

Examples are created using quant Q8_0, "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. --- In the style of Ernest Hemingway and Stephen King: Write a scene in a larger story about a woman that is watching a window explode on the 21 floor of a building that starts to sway, then the scene escalates into greater danger by the minute, takes a "horror" twist and finally ends in visceral graphic horror. The scene is set in an office and it is graphic horror. It should carry the jadedness of a seasoned combatant but with a wry humor. Write in Hemingway's voice, naturally: Use short, declarative sentences and simple, straightforward language. Add a dash of Stephen King's horror style - no warning, it just happens. Include dialogue that is terse and revealing of character. Write with a keen sense of time and place. Capture realness and authenticity. Scene Length: 1000-1500 words. POV STYLE: Write the scene from the perspective of the woman and in present tense and first person perspective ("I") and include short thoughts only. [[[thinking start]]] OK, here we go! Hemingway is all about the stark truth of things - "This is how it was." Simple language, blunt and direct. Stephen King brings the horror in a visceral, unexpected way, making you feel what it's like to be terrified and trapped with no escape. Combining the two styles will mean the writing needs to be punchy and straightforward but also scary. We start with the woman just going about her day - then the window shattering, and she knows the building is going to collapse. It has to be believable and real-feeling so we use present tense for immediacy, and her POV to make her thoughts our own. We go for a seasoned warrior attitude - not flinching from horror. With each minute that ticks by, the danger escalates and gets worse, until... So I picture it: I am sitting at my desk, looking up at a big picture window that takes up a whole wall, giving onto a park outside. I don't see it, but I hear the boom of glass shattering. The building sways underfoot like a drunk in a bar. Then comes another sound: the screech of metal tearing and creaks as the windows start to cave inward. The door bursts open and two cops come in, their faces red with urgency. "Everybody out of the building now. Go!" The panic in his voice gets my adrenaline flowing but I can't stand. The plaster dusts the top of my desk and the glass cuts my fingers as I grab the edge. The metal frame of my computer is bucking and groaning against the concrete slab it sits on. The other cops rush into the office, shouting as they kick out the desks and yank people up and over to the hallway. But I am still stuck. "I'm not getting up! The window blew out on my!" The cops run past me, and the woman who shares my office with me is gone, grabbed under one arm. I feel the blood from my cut hand seeping between my fingers onto the wooden desk surface. It looks like dark red paint. That's when the big frame of the window crashes to the ground below. It was an accordion paneling and it split apart with the weight of the window on top. Then the other frame above us goes, and the wind sucks us toward it. My shoes slide on the desk toward the open void. The woman next door is screaming something into a phone. She has her legs wrapped around me. I look over at the elevator but the cable snapped. The two frames left standing creaked ominously as more wind whipped in, the glass fragments spilling like blood inside our little box of space. Now we're both on the floor, her mouth smashed to my neck, our sweat and blood mixing. "You're hurting me." "It's a good thing to hold you tight right now." I gasp between clenched teeth as a chunk of glass falls from the frame above, and my teeth are shaking like they'll burst out of my gums. My shirt's ripped from collar to hem. I look up and see the steel door at the far end of the hallway had collapsed inward. The cop says it loud in the background over a megaphone: "We need everyone to stay down and flat. Don't stand up yet." He is right across the hall but sounds like he's at the bottom of a well. I grab hold of the leg of the desk under me with my injured hand. Then my whole world lights up as I fall back through the glass and we go airborne. I watch it all like this from far, far above. This was never what was intended, just like any war isn't intended, just like any tragedy. And when it comes to you it doesn't give you any options but to ride out the chaos with all your might. You just hold on tight and keep looking back at that face, praying you don't fall to your death with a piece of glass stuck to you and all that blood that keeps getting into my mouth... Wait no! I must have slipped up to look. Then there are all these tiny points of red from my hand. My god that's just a cut. I wish... And there was the scream from the other girl. But it's been hours since this happened. And they say now to walk out in case it gets worse and kills the rest of us. [[[thinking end]]] OUTPUT: [ exceeds context ] I look down, but I have no feet anymore, just the legs. A shard of glass stuck deep between the bones, sticking through skin, cutting me right to the bone. I've seen the things humans can do. But not in my nightmares, in a hundred movies that didn't go down that well. That didn't do it as bad. "You'll make it," I tell her. "What?" she gasps into my ear. I can smell her hair, now dusted with powder. And now her neck, under the collar. But I can't remember the woman. I don't think her name is Sarah or something, like how I told her to run but not look back. So it must be a hallucination from all that smoke. We're holding onto the desk now. The windows were destroyed when the building swayed and broke. "What about him?" she asks, pointing at the window to the floor outside. "They got out," I tell her. "Why did he jump?" "No," I tell her again, "They went the other way, Sarah," "What? There is no other way!" "I'll do what you asked." The two cops had already tried to pull my leg from the broken glass and then just disappeared. They weren't coming for her. So I'll look down now, to where it's happening. Then we have no option but to be there. We've seen the things that humans can do to each other, we know how much a single building can collapse. "I'll do it." I say and the window splinters and breaks apart and I hold the hand in front of my face. "Look out!" the cop shouted at Sarah as they walked past my desk. But I can't look up. "They took my shoes," I told him. "We've got to go!" he says, holding on to Sarah's waist as we stand up from our spot behind the desk. So now the picture window's coming up. Glass, broken. It's an hour before it would have been. So Sarah can see now that it's me. The two cops had walked up and taken off my shoes before walking off, and there were only a few seconds of blood spatter left. The first policeman said it would be easy, and we just stood there while he pulled out the glass from under me. Then Sarah yelled something but it was over my head, but he grabbed her and put a bullet through the head. We have seen what a single bullet can do. We've seen how easy it can happen when things break, and now she's saying that the first one of the two policemen has a knife to her throat. "What did he want me to do?" Then the second policeman pulls out another bullet. Sarah is crying but it's only an hour before. And so we saw Sarah say the thing about him trying to help us get up, then I've seen people take knives out, and it happens right to the bone. Now he is going to save my life, he told her. "We won't hurt you," he says. He then pulls the blade. So there I am in my chair, looking at him through the window. And when I say 'Sarah,' the officer's knife goes to my throat as well. Then the cop gets me by the wrist and starts to walk her out of here. "It's not safe." "Run!" But the cops have no idea what is happening. "They didn't die," the first cop tells me, holding me by the wrist. He's in his coat with blood dripping down, but he's standing. So Sarah doesn't run and neither do I. Because I look into his eyes, the first cop that I killed. "You're alive." "Yeah." There is the other one on my wrist. His face looks just as broken as his heart. "You're alive." "Yeah," and now my mouth is dry. Then we can go downstairs together and see where this leads to. Then my name was called out again in the stairway of my office building. "I'm sorry." He looks away, down to the broken glass that was behind me. "I won't leave," she says, grabbing onto her thigh. "What? Are you fucking kidding?" He lets me go with the other one. The glass from my broken computer screen and the glass on my floor are lying on top of my chair, next to me, like the fragments of glass are already falling on my bed. Then the third policeman comes into my office, with a look of rage and surprise on his face. I'll be damned to hell. He takes his gun off his shoulder. "No way we're leaving the building." Then Sarah just starts screaming and I'm thrown into the window again, looking down. This is where the real nightmare comes in. That's all it can do, then. Then my back was stuck on the glass wall and I had no idea if this would ever come to an end. They left Sarah and her, she tells me later, when we have all our lives back. We mustn't wait any longer. The rest is history. My shirt was torn off the back, then we heard her cry from inside the window. "You're not leaving me!" She is then being thrown forward, right onto my lap and we can hear her crying out now in terror. I turn my face down. "Shut up," one policeman shouts into Sarah's face. We can't take any more of this. There are no bullets to shoot her. This isn't happening anymore. But there's another voice inside my head as we see them walk away from me and get out of the building. "Why?" It's too late to do anything else now. I remember that the building has already collapsed. They are standing right by the entrance. I look down and my chest hurts. "Oh shit!" The cop shouts. But we won't run now. And then it goes on forever until we both slip away like the woman whose hands I can no longer touch. We are the survivors, of course. "He's not here." Then comes the glass from Sarah's shoes, but we are walking down the stairs. We then heard that it was Sarah. So we had a conversation with a policeman standing by the entrance. And in my chest is that piece of glass sticking out. And now it hurts. But it was an accident, we've told the cop that we won't leave and the others in my building too. They came and took my shoes before I even started. But we didn't stop running when Sarah was dying. It is my stomach that I've hurt. When it stops, they went upstairs in a hurry, they all rushed past us. Sarah and I didn't walk through the door, she slipped her hand away, then grabbed me. Then they are gone. And now it hurts and now we are both crying, then they've pulled us to the elevator that is right here and so is my seat in front of the window. She screams in my ears but the elevator was filled with more broken glass, like it would make us feel good when it falls. "You are still here!" So we go back to the entrance to see who I was. My teeth hurt, I look up into the sky. "He's not here." I look down at her legs in the dirt. My hand is bleeding from the glass shard stuck deep. That was the end of that building. No one's there, now, we know what is going on here. She's at the top of my lap. But he can't help us now. There's just nothing else to say, my shirt was torn to the waist as she runs. Then he shoots her from his waist, in the chest. We were already walking out the door. It's okay now because they can't see our clothes, or Sarah. Then we're going down the stairs to save the others. There's one person standing at the entrance to my office door. "Run." It is then I can look at Sarah. But her face isn't white and pale any more. We get in a hurry. So he yells down the hall for me and then they find me with glass, on my hands and knees. A bullet went through my leg. We're still running when we reach the lobby of the building and my foot slipped and my right knee goes on my left leg as we turn right around to get us back on the desk, holding onto the arm of Sarah, who then screams into the elevator door. "I'm so fucking hungry." Now the elevator's broken. Sarah then put the bullet through my stomach with his hands in the air and Sarah looks down into me and looks up. "This is war." Sarah screams in my ear, "Don't say anything." So when she screams, I pull her face, and we step to the edge, so close to each other, and there are shards of glass that have broken the picture window. But she can still talk to us. The wind just takes it. The wall had already collapsed, but my knees had buckled over her shoulders. Sarah starts running down the stairs but stops halfway. "No." But I grab Sarah's hand, the glass shatters and she pulls out her shoe. She's pushing her way forward into me as my glass arm breaks from her legs. The police officers in our office building then yelled out. I looked over my shoulder, holding onto her arms and trying to push her out. It hurts my body to leave her with these hands. Then she fell. The frame's collapsing and the picture of Sarah starts shaking, like something that isn't in me anymore, but a knife from the floor of my room is in my throat. And as my world spins around the window, I saw a shadow walking down the stairwell. "We should've died when they said to." "What are you saying?" But then we look up again, because she looks up to see how bad her hand is, then I hear the glass. And then Sarah was standing, holding on to the railing, then she grabs me by the arm as we start walking back and down. The picture of Sarah then falls from my chair. It's been five minutes since he walked out the door and back inside. When he comes to me, he just sits down right at the entrance and then he looks away, trying to be serious. It was a real building but now there was the man who died right over here. No. It can't go any further now. Sarah says, "I love you." She pulls him out to the wall on our side, so close to the other side, where the walls had broken open. This is going to be my end, it is an end. "No, Sarah..." "Then take us downstairs." "We can't save Sarah," he says. The bullet hits him and then Sarah and the knife in his face. It was so easy when this was an accident that I'm not here now. "No." "We don't have a choice, and now it's too late." Sarah's pulling on my arms so tightly. "No." Then we fall over Sarah, and this time I will really hurt her. We fall into the door of my office building. This is an accident. He comes down and falls right past me. I am a little more broken glass. Now. "I know Sarah." The man just sits in a corner on the ground and she sits on my chest, pressing her leg between her thighs, as she clutches onto me as her own leg has broken off my back and pulled me close to me. It's about that. No... So Sarah starts yelling. "We will see!" Then he slams into the glass wall. Now we hear the gun fire. The glass frame above me is on top of me, and I can see everything that happened right when it had happened. So, there's something between us in this box where I'd been for hours. But it's not her. The window frame comes off, and so the walls and glass shatter again and now we can walk down from here, I must be looking up at her hand and at my side where a bullet shot through. The cops are standing behind me, they don't need us now. But she then kicks out from between us and goes past. Her eyes are covered. The sound is the most I can say as I feel my back against her as the man drops off me, pulling away from the other cop's hands. And it is right then. It's Sarah that's lying on the floor now and my stomach's still burning inside me as we have been to war. "What the hell?" "Why is there no blood?" "Then we've lost her," I say. So that was an accident. My blood then comes from me as the walls had collapsed around us, but not all the time. The wall to Sarah is gone as they've left their guns and one policeman left, now. "They will still be there," she said. "Yes." "There are bullets. I don't see any," and he looks at Sarah like he was going to tell her she has no hope. "There isn't any." I can see him thinking and then the elevator door was just behind us, right as the fire is about to collapse on me. "Because I've got blood in the corner. You see me." They look at my side, so there's glass everywhere. The two of us stand and stare up at the glass panel in front of us as we start down. So he's then over his shoulder as he starts to pull and get down. "You are going to be alright," he says. But he was dead, I remember when we're down in the stairwell. His knife and my side hurts and blood starts dripping down my hands. Now it hurts so badly. Sarah can't get her shirt on to her knee as we keep our heads down and pull Sarah. Sarah has to go up stairs. The blood starts dripping from his right knee and from the bottom of my back. It was like her voice was shaking when they come to get her out. I know they'd shot her and left her. It's an accident, too. And so she has been crying in my arms. They were a mess then, as if he'd pulled Sarah right up to my chest and it is very bad. She grabs my right hand. But there isn't a glass. We walk right in and we've gone and looked inside. So Sarah gets me as she comes inside and so my legs were left open, I feel the knife through me. "What is this?" he says as if there wasn't anything else for the window to have done. My clothes are ruined. But in this war, there's glass everywhere, then it goes in there. My mind then starts running out, my feet on the stairs. But now she was about to scream from my mouth, so I couldn't help her. I put Sarah in front of me and she's wearing her blue jacket as she holds my arm. Now he walks past my shoulders. "Why do you have a gun?" "It's our house." We didn't fight again and Sarah can't breathe right, because her own blood starts falling to me. "Is there anything?" "No. Sarah is shot." "What did you want?" She could be about to leave me now but he looked down at the broken glass at his feet as they fell out, so they started down, and as we walked down the stairs, our hearts stopped at my own words, which she's doing with us, the shattered wall around me and the rest of them, so we were done now, my side had started to burn and I heard someone in the street. It hurts badly and this was all going down and it wasn't our home, now there's only one cop and then they pulled themselves up. She runs up and her shirt's on again. He can see that we are really hurting. It was that she was left back in our house as she looked up at my clothes. But it wasn't in front of her. She was a ghost. "What is that?" She asks, "Who are you?" "What?" "It's over now," she says. So she has taken Sarah in. That was an accident. "You don't understand." It's too bad and all the pain is behind her but there is glass in her arms now as we pull Sarah towards her. "You are not my friend. We had to walk out and now that she was here," she said and they both heard and screamed. No more, then. It hurts and I feel blood, as there are three shots in my head as she pushes me off the street and on my hands and knees, now. But it isn't as far as they pulled me from her as we stepped over and we couldn't talk any more. We got off my knees, Sarah's shirt still over the blood on the wall and the frame and it wasn't that way. When I see what it would be. "They are both there." She has said Sarah had no blood or her jacket as he's fallen through her blood. And it's Sarah. And now the knife in her chest. "Oh..." I said. We'll say so when we can't look at the door. We were on my feet, in front of us, the last time I heard him scream out. They will get me when the wall's over my hand. There's blood all over it. Sarah then slips over, so the door falls from me now, but my eyes were blurred with blood and we couldn't look. In our back. This is too much for them, she looks back into my face. No, I know we couldn't find that bullet, the knife had broken. No... Now she was right in the middle of the hall with the frame over the broken window frame and so I get down from the frame. But they all thought the wall had to collapse and it didn't have to collapse. So then Sarah steps towards Sarah and it hurts. Then I feel something falling to her knees, like in front of her, the gun, Sarah's feet are standing with me now and then, my head was empty of them. All there are bullets that have hit me but not to touch or go back inside the glass that broke, with me holding the frame that we used. Sarah's pulling down my side now. Sarah's looking into her back again. "He's on fire..." "No, I know." I hear her breathing down my neck. "What's the matter? Then this isn't bad..." I look up into his eyes. "He is shot and it was his bullet..." I then felt my face when they looked back and we said, "There was a mistake," because he'd taken a step inside. "Wait! Why did I come back?" But we hear the broken frame, now Sarah is about to take her back again, my hands then push into Sarah's lap. She holds on tight. This time, she doesn't tell me any more, but I will not walk to get back from them, I see no way to save me. "You are shot." But we know now that it is the woman who is here. So that was a bullet. She looks down and I think Sarah has no blood but now we'll step in the front and her knees then come and lay me in the stairwell. I say this was just an accident when my right foot got on the knife's arm, and that Sarah was here and this was so bad that there was too much pain and we couldn't have heard them. Now there are bloodstains. And the door. "You're wrong," says Sarah. "He's shot, he says." Sarah said the floor had to collapse in our stomach. "You need to help him, and I don't think that he'll live," and my mouth hurts but the gun is already shooting inside the frame. So she fell forward, now my heart hurts a lot. "My face hurts so badly!" Now the man, he then pulled us over as Sarah screamed. It hurts and I scream. I'm hurt too. So it hurts. "That's your friend. They just killed him." She falls in front of my window. "It hurts!" He had just stood back up. Sarah fell as they went out of the room. Then we saw them take her in with me, and the shattered windows on the way down. They fell together. No... There are two shots fired. "They shot the glass, but it was me!" "I am bleeding. My hand is going to break my hands and she'll get hurt!" It is that, I see, but then we won't need him to kill us again. She was holding my hands and they pull back into her. "No... Wait," I said. "My heart hurts!" "We are on the 21 floor," so this is my first step, and in my head, I see this, my blood and then we feel him on her hands now. "Oh fuck, they killed us..." she said to me and I put her on the window but not me. I have her to save. "Come here!" We could feel his pain. So, if we were to stop and she'll walk through my front. I pulled her off with my knees but I've been walking since there are two of them. We all sit here. "We just pulled the door..." Then there's my life. "We've lost," she said. "There's no bullet inside of you!" "No." "Now..." Then it hurts even more when Sarah puts me into a gun. He has got me with her. "He has shot his gun in her chest..." I've put us down in the stairwell to stop bleeding. So my teeth have pulled apart. I know that Sarah is leaving. No. "Oh fuck! That hurts!" "What..." Sarah was holding her arm. But there's blood in the air, we must move to the frame. "What are you doing? The frame was about to collapse..." "I will help Sarah..." But that's it for me. It was because we have both had an accident. Then my face starts to bleed in my stomach. We hear his voice as they then hold each other, so they've gone. My glass is stuck between them now. "You didn't... That is us..." The glass, we can see, and he says "Sarah's been shot..." She walks down the stairs. He was saying. "We could see my broken door," then she turns. "We're okay..." No. I think Sarah's here and now... Now there is a gun shot from my left knee. That's what it does for me to see him and hold me close. This is war, they are running back with him. This is her face when I see Sarah's knees and so she can walk out. "She's bleeding, her eyes and teeth, he has fallen... We will be on the same side," she said. "I want to do what she wants," we hear, so my mouth is broken and my arm and hands are all bleeding. Sarah then came over my left foot, now her legs and clothes. This is very dangerous now. "We are dead," she said. I have lost the ability to stand, my chest hurts badly. They fell onto the glass frame again and there's one of them as well. We see Sarah, we'll need her. The shattered wall. This is it, I think, that I see him here... No... We don't have blood, now that she can hold on to me now... Now that they will... "We won't hurt anyone." And he held the glass and pulled. (exceeded context limit, stopped here)