Input:
Passage: Discounting his collaboration with Dukas in the completion of Guiraud's unfinished Frédégonde, Saint-Saëns wrote twelve operas, two of which are opéras comiques. During the composer's lifetime his Henry VIII became a repertory piece; since his death only Samson et Dalila has been regularly staged, although according to Schonberg, Ascanio (1890) is considered by experts to be a much finer work. The critic Ronald Crichton writes that for all his experience and musical skill, Saint-Saëns "lacked the 'nose' of the theatre animal granted, for example, to Massenet who in other forms of music was his inferior". In a 2005 study, the musical scholar Steven Huebner contrasts the two composers: "Saint-Saëns obviously had no time for Massenet's histrionics". Saint-Saëns's biographer James Harding comments that it is regrettable that the composer did not attempt more works of a light-hearted nature, on the lines of La princesse jaune, which Harding describes as like Sullivan "with a light French touch".Although most of Saint-Saëns's operas have remained neglected, Crichton rates them as important in the history of French opera, as "a bridge between Meyerbeer and the serious French operas of the early 1890s". In his view, the operatic scores of Saint-Saëns have, in general, the strengths and weaknesses of the rest of his music – "lucid Mozartian transparency, greater care for form than for content ... There is a certain emotional dryness; invention is sometimes thin, but the workmanship is impeccable." Stylistically, Saint-Saëns drew on a range of models. From Meyerbeer he drew the effective use of the chorus in the action of a piece; for Henry VIII he included Tudor music he had researched in London; in La princesse jaune he used an oriental pentatonic scale; from Wagner he derived the use of leitmotifs, which, like Massenet, he used sparingly. Huebner observes that Saint-Saëns was more conventional than Massenet so far as through composition is concerned, more often favouring discrete arias and ensembles, with less variety of tempo within individual numbers. In a survey of recorded opera Alan Blyth writes that Saint-Saëns "certainly learned much from Handel, Gluck, Berlioz, the Verdi of Aida, and Wagner, but from these excellent models he forged his own style.".
Question: What were the names of the five models Saint-Saëns forged his own style from?

Output: Gluck.


Input:
Passage: Discounting his collaboration with Dukas in the completion of Guiraud's unfinished Frédégonde, Saint-Saëns wrote twelve operas, two of which are opéras comiques. During the composer's lifetime his Henry VIII became a repertory piece; since his death only Samson et Dalila has been regularly staged, although according to Schonberg, Ascanio (1890) is considered by experts to be a much finer work. The critic Ronald Crichton writes that for all his experience and musical skill, Saint-Saëns "lacked the 'nose' of the theatre animal granted, for example, to Massenet who in other forms of music was his inferior". In a 2005 study, the musical scholar Steven Huebner contrasts the two composers: "Saint-Saëns obviously had no time for Massenet's histrionics". Saint-Saëns's biographer James Harding comments that it is regrettable that the composer did not attempt more works of a light-hearted nature, on the lines of La princesse jaune, which Harding describes as like Sullivan "with a light French touch".Although most of Saint-Saëns's operas have remained neglected, Crichton rates them as important in the history of French opera, as "a bridge between Meyerbeer and the serious French operas of the early 1890s". In his view, the operatic scores of Saint-Saëns have, in general, the strengths and weaknesses of the rest of his music – "lucid Mozartian transparency, greater care for form than for content ... There is a certain emotional dryness; invention is sometimes thin, but the workmanship is impeccable." Stylistically, Saint-Saëns drew on a range of models. From Meyerbeer he drew the effective use of the chorus in the action of a piece; for Henry VIII he included Tudor music he had researched in London; in La princesse jaune he used an oriental pentatonic scale; from Wagner he derived the use of leitmotifs, which, like Massenet, he used sparingly. Huebner observes that Saint-Saëns was more conventional than Massenet so far as through composition is concerned, more often favouring discrete arias and ensembles, with less variety of tempo within individual numbers. In a survey of recorded opera Alan Blyth writes that Saint-Saëns "certainly learned much from Handel, Gluck, Berlioz, the Verdi of Aida, and Wagner, but from these excellent models he forged his own style.".
Question: What were the names of the five models Saint-Saëns forged his own style from?

Output: Berlioz.


Input:
Passage: Discounting his collaboration with Dukas in the completion of Guiraud's unfinished Frédégonde, Saint-Saëns wrote twelve operas, two of which are opéras comiques. During the composer's lifetime his Henry VIII became a repertory piece; since his death only Samson et Dalila has been regularly staged, although according to Schonberg, Ascanio (1890) is considered by experts to be a much finer work. The critic Ronald Crichton writes that for all his experience and musical skill, Saint-Saëns "lacked the 'nose' of the theatre animal granted, for example, to Massenet who in other forms of music was his inferior". In a 2005 study, the musical scholar Steven Huebner contrasts the two composers: "Saint-Saëns obviously had no time for Massenet's histrionics". Saint-Saëns's biographer James Harding comments that it is regrettable that the composer did not attempt more works of a light-hearted nature, on the lines of La princesse jaune, which Harding describes as like Sullivan "with a light French touch".Although most of Saint-Saëns's operas have remained neglected, Crichton rates them as important in the history of French opera, as "a bridge between Meyerbeer and the serious French operas of the early 1890s". In his view, the operatic scores of Saint-Saëns have, in general, the strengths and weaknesses of the rest of his music – "lucid Mozartian transparency, greater care for form than for content ... There is a certain emotional dryness; invention is sometimes thin, but the workmanship is impeccable." Stylistically, Saint-Saëns drew on a range of models. From Meyerbeer he drew the effective use of the chorus in the action of a piece; for Henry VIII he included Tudor music he had researched in London; in La princesse jaune he used an oriental pentatonic scale; from Wagner he derived the use of leitmotifs, which, like Massenet, he used sparingly. Huebner observes that Saint-Saëns was more conventional than Massenet so far as through composition is concerned, more often favouring discrete arias and ensembles, with less variety of tempo within individual numbers. In a survey of recorded opera Alan Blyth writes that Saint-Saëns "certainly learned much from Handel, Gluck, Berlioz, the Verdi of Aida, and Wagner, but from these excellent models he forged his own style.".
Question: What were the names of the five models Saint-Saëns forged his own style from?

Output: the Verdi of Aida.


Input:
Passage: Discounting his collaboration with Dukas in the completion of Guiraud's unfinished Frédégonde, Saint-Saëns wrote twelve operas, two of which are opéras comiques. During the composer's lifetime his Henry VIII became a repertory piece; since his death only Samson et Dalila has been regularly staged, although according to Schonberg, Ascanio (1890) is considered by experts to be a much finer work. The critic Ronald Crichton writes that for all his experience and musical skill, Saint-Saëns "lacked the 'nose' of the theatre animal granted, for example, to Massenet who in other forms of music was his inferior". In a 2005 study, the musical scholar Steven Huebner contrasts the two composers: "Saint-Saëns obviously had no time for Massenet's histrionics". Saint-Saëns's biographer James Harding comments that it is regrettable that the composer did not attempt more works of a light-hearted nature, on the lines of La princesse jaune, which Harding describes as like Sullivan "with a light French touch".Although most of Saint-Saëns's operas have remained neglected, Crichton rates them as important in the history of French opera, as "a bridge between Meyerbeer and the serious French operas of the early 1890s". In his view, the operatic scores of Saint-Saëns have, in general, the strengths and weaknesses of the rest of his music – "lucid Mozartian transparency, greater care for form than for content ... There is a certain emotional dryness; invention is sometimes thin, but the workmanship is impeccable." Stylistically, Saint-Saëns drew on a range of models. From Meyerbeer he drew the effective use of the chorus in the action of a piece; for Henry VIII he included Tudor music he had researched in London; in La princesse jaune he used an oriental pentatonic scale; from Wagner he derived the use of leitmotifs, which, like Massenet, he used sparingly. Huebner observes that Saint-Saëns was more conventional than Massenet so far as through composition is concerned, more often favouring discrete arias and ensembles, with less variety of tempo within individual numbers. In a survey of recorded opera Alan Blyth writes that Saint-Saëns "certainly learned much from Handel, Gluck, Berlioz, the Verdi of Aida, and Wagner, but from these excellent models he forged his own style.".
Question: What were the names of the five models Saint-Saëns forged his own style from?

Output: Wagner.


Input:
Passage: Productions during the 1980s included the company's first presentations of Pelléas and Mélisande (1981), Parsifal (1986) and Billy Budd (1988). 1980s productions that remained in the repertory for many years included Xerxes directed by Hytner, and Rigoletto and The Mikado directed by Jonathan Miller. In 1984 ENO toured the United States; the travelling company, led by Elder, consisted of 360 people; they performed Gloriana, War and Peace, The Turn of the Screw, Rigoletto and Patience. This was the first British company to be invited to appear at the Metropolitan Opera in New York, where Patience received a standing ovation and Miller's production of Rigoletto, depicting the characters as mafiosi, was greeted with a mixture of enthusiasm and booing. In 1990 ENO was the first major foreign opera company to tour the Soviet Union, performing the Miller production of The Turn of the Screw, Pountney's production of Macbeth, and Hytner's much-revived Xerxes.The 'Powerhouse' era ended in 1992, when all three of the triumvirate left at the same time. The new general director was Dennis Marks, formerly head of music programmes at the BBC, and the new music director was Sian Edwards. Pountney's post of director of productions was not filled. Marks, inheriting a large financial deficit from his predecessors, worked to restore the company's finances, concentrating on restoring ticket sales to sustainable levels. A new production by Miller of Der Rosenkavalier was a critical and financial success, as was a staging of Massenet's Don Quixote, described by the critic Hugh Canning as "the kind of old-fashioned theatre magic which the hair-shirted Powerhouse regime despised".Marks was obliged to spend much time and effort in securing the funding for an essential restoration of the Coliseum, a condition on which ENO had acquired the freehold of the theatre in 1992. At the same time the Arts Council was contemplating a cut in the number of opera performances in London, at the expense of ENO, rather than Covent Garden. By increasing ticket sales in successive years, Marks demonstrated that the Arts Council's proposition was unrealistic. After what The Independent described as "a sustained period of criticism and sniping at the ENO by music critics", Edwards resigned as music director at the end of 1995. Paul Daniel became ENO's next music director. In 1997, Marks resigned. No official reason was announced, but one report stated that he and the ENO board had disagreed about his plans to move the company from the Coliseum to a purpose-built new home. Daniel took over the management of the company until a new general director was appointed.Daniel inherited from Marks a company thriving artistically and financially. The 1997–1998 season played to 75 per cent capacity and made a surplus of £150,000. Daniel led the campaign against yet another proposal to merge Covent Garden and ENO, which was rapidly abandoned. In 1998 Nicholas Payne, director of opera at Covent Garden, was appointed as ENO's general director. Productions in the 1990s included the company's first stagings of Beatrice and Benedict (1990), Wozzeck (1990), Jenůfa (1994), A Midsummer Night's Dream (1995), Die Soldaten (1996), and Dialogues of the Carmelites (1999). Co-productions, enabling opera houses to share the costs of joint enterprises, became important in this decade.  In 1993 ENO and Welsh National Opera collaborated on productions of Don Pasquale, Ariodante and The Two Widows.
Question: What is the full name of the man that was appointed as general director in 1998 for the company that's 'Powerhouse' era ended in 1992?

Output: Nicholas Payne.


Input:
Passage: When Ella Finch and her sister Kate inherit $30,000 each just after the end of World War I, Ella becomes dissatisfied with her dull life in South Bend, Indiana, and with Kate's butcher boyfriend Willis. She is convinced she can rectify both problems by taking Kate to New York City. Her wisecracking cigar salesman husband Ernie is unable to change her mind, so he reluctantly goes along, postponing a promotion at work by claiming to his boss, A. J. Gluskoter, that his wife is sick and needs a stay at a sanitarium. On the train, they meet New Yorker Francis Griffin. Ernie is less impressed with him than his wife and sister-in-law.
In New York, Ella helps Katie try to win over Francis, but it turns out that he is actually infatuated with Ella. She has to punch him to fend off his unexpected advances. Ernie shows up later and knocks him down too.
Ella then rents an apartment. Ella meets their wealthy neighbor, Lucius Trumball, who invites them all over for drinks. Ella is delighted, but Kate is not pleased when she discovers that Trumball is much older than her. Later she finds out he is also married when his wife returns unexpectedly from Timbuktu.
They return to the hotel they stayed at before, where they meet Herbert Daley, who owns race horses. At the track, Daley persuades them to bet on his horse. It wins, but then Daley's jockey, Sid Mercer, shows interest in Kate, much to Daley's annoyance. Kate secretly sees Sid while also going to the track with Daley with Ella and Ernie. Daley returns early from a trip and catches Sid kissing Kate, but Kate assures him there is nothing serious going on, and they become engaged.
Question: What is the full name of the person that Ernie claims is sick?

Output: Ella Finch.


Input:
Passage: In 1946, after fighting in World War II, two former United States Air Force pilots in North Africa, Brynie MacKay and Mike Brewer are forced to work for Lee Harris, an international smuggler to get money needed for their return to civilian life.  The smuggler wants them to fly to France, with Egyptian cotton cargo. When Brynie finds that their real cargo is contraband cigarettes, he extorts Harris for more money. In retaliation, Harris plants narcotics on Brynie's aircraft and informs Colonel Wilson at U. S. Counterintelligence.
With Byrnie's aircraft impounded and his money seized, Elena, Harris's mistress comes to his aid. Harris exacts a promise for 12 more illegal cargo flights, but Mike warns that they will both be killed if they go ahead with this scheme. When Mike tries to trap Harris by informing Col. Wilson about the smuggling runs, Harris, who is flying with the two pilots, kills Mike, but is knocked out by Byrnie.
Fearing Harris's gang is waiting for him at the prearranged destination, Byrnie lands his aircraft at an abandoned military air strip and informs Wilson where the contraband can be found.  With Elena at his side, Byrnie then escapes to North Africa. When Harris tracks them down, Brynie overcomes Harris and turns him over to Wilson, and because of the deal Mike had made, is released. Byrnie decides to return to the United States with Elena and become a teacher, his former profession.
Question: What is the first name of the man that extorts the smuggler after discovering what the cargo is?

Output: Brynie.


Input:
Passage: Monument 6 is a zoomorph sculpture discovered during the construction of the road that passes the site. It was moved to the Museo Nacional de Arqueología y Etnología in Guatemala City. The sculpture is just over 1 metre (39 in) in height and is 1.5 metres (59 in) wide. It is a boulder carved into the form of an animal head, probably that of a toad, and is likely to date to the Late Preclassic.Monument 7 is a damaged sculpture in the form of a giant head. It stands 0.58 metres (23 in) and was found in the first half of the 20th century on the site of the electricity generator of the Santa Margarita plantation and moved close to the administration office. The sculpture has a large, flat face with prominent eyebrows. Its style is very similar to that of a monument found at Kaminaljuyu in the highlands.Monument 8 is found on the west side of Structure 12. It is a zoomorphic sculpture of a monster with feline characteristics disgorging a small anthropomorphic figure from its mouth.Monument 9 is a local style sculpture representing an owl.Monument 10 is another monument that was moved from its original location; it was moved to the estate of the Santa Margarita plantation and the place where it was originally found is unknown. It is about 0.5 metres (20 in) high and 0.4 metres (16 in) wide. This is a damaged sculpture representing a kneeling captive with the arms tied.
Monument 66 is a local style sculpture of a crocodilian head that may date to the Middle Preclassic. It is located to the west of Structure 12.Monument 67 is a badly eroded Olmec-style sculpture showing a figure emerging from the mouth of a jaguar, with one hand raised and gripping a staff. Traces of a helmet are visible. It is located to the west of Structure 12 and dates to the Middle Preclassic.Monument 68 is a local style sculpture of a toad located on the west side of Structure 12. It is believed to date to the Middle Preclassic.Monument 69 is a potbelly monument dating to the Late Preclassic.Monument 70 is a local style sculpture of a frog or toad.Monument 93 is a rough Olmec-style sculpture dating from the Middle Preclassic. It represents a seated anthropomorphic jaguar with a human head.Monument 99 is a colossal head in potbelly style, dating to the Late Preclassic.Monument 100, Monument 107 and Monument 109 are small potbelly monuments dating to the Late Preclassic. They are all near the access stairway to Terrace 3 in the Central Group.
Question: How many inches tall is Monument 10?

Output: 20.


Input:
Passage: The Wrestlers is an oil study from life, depicting a black and a white wrestler grappling. Although at first glance the white wrestler appears to be dominant, the figures are in fact equally matched; this was unusual for the time, as it was a common belief in Britain in this period that black people were physically weaker than whites. Showing the subjects under bright light, the painting is a combination of intense juxtapositions between intimacy and violence, dark and light skin, and hard and soft surfaces. The black wrestler is naked; the white wrestler wears a loincloth, although it is possible that this was added after Etty's death. The intense light casts deep shadows, emphasising the curves and musculature of the wrestlers' bodies, as the skin of the two combatants is stretched and distorted under the pressure of the grapple. The figures are set against a dark green curtain and a brown wall, rather than in a wrestling ring.The identity of the wrestlers is not known. Alison Smith, Lead Curator of British Art to 1900 at Tate, speculates that the white figure may have been John Wilton of Somerset, who had possibly been the model for Little John in Daniel Maclise's 1839 Robin Hood and His Merry Men Entertaining Richard the Lionheart in Sherwood Forest. The figures glisten with sweat. Art historian Sarah Victoria Turner speculates that this is not simply for dramatic effect, but reflects the fact that after the Royal Academy's 1837 move to its new building in Trafalgar Square the studio used by the life class was a cramped and poorly ventilated room lit by gaslight, which when crowded with students and with the lights on could become extremely hot.
The Wrestlers is thought to have been painted in around 1840. It is likely that it was executed at the Royal Academy's life class; despite his senior status, Etty continued to attend there throughout his life. While students at the class usually worked from a single model, Etty would occasionally arrange for "a Treat", in which a group of models would be used to create an entire composition for the students to sketch (often arranged in poses derived from Old Master paintings). Painted on millboard, The Wrestlers was probably executed over the course of three evenings. On the first evening Etty would have drawn the models in chalk or charcoal and inked the outline; on the second evening the figures would have been painted in oil paint, and on the third evening a thin glaze would have been applied to the painting to which colour would then have been added.
Question: What is the name of the artist that would have drawn the oil study about two wrestlers grappling in three evenings?

Output: Etty.


Input:
Passage: Mikey, a young boy, is setting newspapers on fire in his basement. He blames his younger sister, Beth, when his foster mother, Grace, reprimands him for it. Grace slaps him, and he later yells at Beth, asking her why she didn't defend him. He ends up throwing her doll into the pool. When Beth reaches to get it, Mikey jumps up and down on the diving board, causing her to fall into the pool and drown.
He goes upstairs to the bathroom, where he overhears Grace taking a bath and telling a friend on the phone that adopting Mikey might have been a mistake. The phone dies, and Grace notices Mikey standing in front of the tub. Startled, she chides him for not knocking before he came in. He accuses Grace and Harold of not loving him anymore, but she denies that, saying they both love him very much. However, Mikey doesn't believe her; he picks up her blow dryer, turns it on, and begins to taunt her. He throws it into the water and she is instantly electrocuted.
Mikey goes downstairs and pours marbles onto the floor. When his foster father Harold arrives home, he calmly goes to greet him. They sit and talk for a moment until Harold sees his daughter floating lifelessly in the pool. He rushes towards the door, but slips on the marbles Mikey had laid down earlier. After Harold crashes through the door panel, Mikey proceeds to kill him by beating him in the head with a baseball bat. It is then revealed that Mikey has been taping the murders in secret. Soon after that, the police have arrived to investigate the murders and they finally finds Mikey "hiding" in a closet. He tells them a man came in and killed his family.
A psychiatrist recommends that Mikey be fostered as soon as possible. His foster mother's sister is put forward as a prospective foster carer, but she does not want anything to do with Mikey. She states that he was adopted, and that it was suspected that he was abused by members of his family.
Question: Who does Mikey think that Beth should have defended?

Output: Mikey.


Input:
Passage: Sir William Turner Walton, OM (29 March 1902 – 8 March 1983) was an English composer. During a sixty-year career, he wrote music in several classical genres and styles, from film scores to opera. His best-known works include Façade, the cantata Belshazzar's Feast, the Viola Concerto, the First Symphony, and the British coronation anthems Crown Imperial and Orb and Sceptre.
Born in Oldham, Lancashire, the son of a musician, Walton was a chorister and then an undergraduate at Christ Church, Oxford. On leaving the university, he was taken up by the literary Sitwell siblings, who provided him with a home and a cultural education. His earliest work of note was a collaboration with Edith Sitwell, Façade, which at first brought him notoriety as a modernist, but later became a popular ballet score.
In middle age, Walton left Britain and set up home with his young wife Susana on the Italian island of Ischia. By this time, he had ceased to be regarded as a modernist, and some of his compositions of the 1950s were criticised as old-fashioned. His only full-length opera, Troilus and Cressida, was among the works to be so labelled and has made little impact in opera houses. In his last years, his works came back into critical fashion; his later compositions, dismissed by critics at the time of their premieres, were revalued and regarded alongside his earlier works.
Walton was a slow worker, painstakingly perfectionist, and his complete body of work across his long career is not large. His most popular compositions continue to be frequently performed in the 21st century, and by 2010 almost all his works had been released on CD.
Question: What is the first name of the person who was brought notoriety as a modernist?

Output: William.


Input:
Passage: After leaving the army in January 1919, Grainger refused an offer to become conductor of the Saint Louis Symphony Orchestra and  resumed his career as a concert pianist.  He  was soon performing around 120 concerts a year, generally to great critical acclaim, and in  April 1921 reached a wider audience by performing in a cinema, New York's Capitol Theatre. Grainger  commented that the huge audiences at these cinema concerts often showed greater appreciation for his playing than those at established concert venues such as Carnegie Hall and the Aeolian. In the summer of 1919 he led a course in piano technique at Chicago Musical College, the first of many such educational duties he would undertake in later years.Amid his concert and teaching duties, Grainger found time to re-score many of his works (a habit he continued throughout his life) and also to compose new pieces: his Children's March: Over the Hills and Far Away, and the orchestral version of The Power of Rome and the Christian Heart both originated in this period.   He also began to develop the technique of elastic scoring, a form of flexible orchestration  which enabled works to be  performed by different numbers of players and instrument types, from small chamber groups  up to full orchestral strength.In April 1921 Grainger moved with his mother to a large house in White Plains, New York. This was  his  home for the remainder of his life. From the beginning of 1922 Rose's health deteriorated sharply; she was suffering from  delusions and nightmares, and became  fearful that her illness would harm her son's career. Because of the closeness of the bond between the two, there had long been  rumours that  their relationship was incestuous;  in April 1922 Rose was directly challenged over this issue by her friend Lotta Hough. From her last letter to Grainger, dated 29 April, it seems that this confrontation unbalanced Rose; on 30 April, while Grainger was touring on the West Coast, she jumped to her death from an office window  on the 18th floor of the Aeolian Building in New York City. The letter, which began "I am out of my mind and cannot think properly", asked Grainger if he had ever spoken to Lotta of "improper love". She signed the letter: "Your poor insane mother".
Question: What is the full name of woman who believed there might have been an incestuous relationship between the conductor and his mother?

Output: Lotta Hough.


Input:
Passage: Tuesday, 4 September was the day of greatest destruction. The Duke of York's command post at Temple Bar, where Strand meets Fleet Street, was supposed to stop the fire's westward advance towards the Palace of Whitehall. He hoped that the River Fleet would form a natural firebreak, making a stand with his firemen from the Fleet Bridge and down to the Thames. However, early on Tuesday morning, the flames jumped over the Fleet and outflanked them, driven by the unabated easterly gale, forcing them to run for it. There was consternation at the palace as the fire continued implacably westward; "Oh, the confusion there was then at that court!" wrote Evelyn.
Working to a plan at last, James's firefighters had also created a large firebreak to the north of the conflagration. It contained the fire until late afternoon, when the flames leapt across and began to destroy the wide affluent luxury shopping street of Cheapside.
Everybody had thought St. Paul's Cathedral a safe refuge, with its thick stone walls and natural firebreak in the form of a wide empty surrounding plaza. It had been crammed full of rescued goods and its crypt filled with the tightly packed stocks of the printers and booksellers in adjoining Paternoster Row. However, the building was covered in wooden scaffolding, undergoing piecemeal restoration by Christopher Wren, who was relatively unknown then. The scaffolding caught fire on Tuesday night.
Leaving school, young William Taswell stood on Westminster Stairs a mile away and watched as the flames crept round the cathedral and the burning scaffolding ignited the timbered roof beams. Within half an hour, the lead roof was melting, and the books and papers in the crypt caught with a roar. "The stones of Paul's flew like grenados," reported Evelyn in his diary, "the melting lead running down the streets in a stream, and the very pavements glowing with fiery redness, so as no horse, nor man, was able to tread on them." The cathedral was quickly a ruin.
In St.Paul's, falling heavy masonry broke through into its crypt, where booksellers had stored huge stocks of books, and all were burned.
During the day, the flames began to move eastward from the neighbourhood of Pudding Lane, straight against the prevailing east wind and towards Pepys's home on Seething Lane and the Tower of London with its gunpowder stores. The garrison at the Tower took matters into their own hands after waiting all day for requested help from James's official firemen who were busy in the west. They created firebreaks by blowing up houses on a large scale in the vicinity, halting the advance of the fire. In a letter to William Coventry, Pepys wrote that he "saw how horribly the sky looks, all on a fire in the night, was enough to put us out of our wits; and, indeed, it was extremely dreadful, for it looks just as if it was at us, and the whole heaven on fire.".
Question: What is the last name of person that watched the fires burn around the building that was thought to be a safe refuge?

Output: Taswell.


Input:
Passage: Finds in the nearby Karain Cave indicate occupation during the Paleolithic era as far back as 20,000 BC, and archeological evidence shows a port existed at Syedra, south of the modern city, during the Bronze Age around 3,000 BC. A Phoenician language tablet found in the district dates to 625 BC, and the city is specifically mentioned in the 4th-century BC Greek geography manuscript, the periplus of Pseudo-Scylax. The castle rock was likely inhabited under the Hittites and the Achaemenid Empire, and was first fortified in the Hellenistic period following the area's conquest by Alexander the Great. Alexander's successors left the area to one of the competing Macedonian generals, Ptolemy I Soter, after Alexander's death in 323 BC. His dynasty maintained loose control over the mainly Isaurian population, and the port became a popular refuge for Mediterranean pirates. The city resisted Antiochus III the Great of the neighboring Seleucid kingdom in 199 BC, but was loyal to the pirate Diodotus Tryphon when he seized the Seleucid crown from 142 to 138 BC.  His rival Antiochus VII Sidetes completed work in 137 BC on a new castle and port, begun under Diodotus.The Roman Republic fought Cilician pirates in 102 BC, when Marcus Antonius the Orator established a proconsulship in nearby Side, and in 78 BC under Servilius Vatia, who moved to control the Isaurian tribes. The period of piracy in Alanya finally ended after the city's incorporation into the Pamphylia province by Pompey in 67 BC, with the Battle of Korakesion fought in the city's harbor. Isaurian banditry remained an issue under the Romans, and the tribes revolted in the fourth and fifth centuries AD, with the largest rebellion being from 404 to 408.With the spread of Christianity Coracesium, as it was called, became a bishopric. Its bishop Theodulus took part in the First Council of Constantinople in 381, Matidianus in the Council of Ephesus in 431, Obrimus in the Council of Chalcedon in 451, and Nicephorus (Nicetas) in the Third Council of Constantinople in 680. Coracesium was a suffragan of the metropolitan see of Side, the capital of the Roman province of Pamphylia Prima, to which Coracesium belonged. It continued to be mentioned in the Notitiae Episcopatuum as late as the 12th or 13th century. No longer a residential bishopric, Coracesium is today listed by the Catholic Church as a titular see.Islam arrived in the 7th century with Arab raids, which led to the construction of new fortifications.  The area fell from Byzantine control after the Battle of Manzikert in 1071 to tribes of Seljuk Turks, only to be returned in 1120 by John II Komnenos.
Question: What is the name of the battle that resulted in the loss of Byzantine control in 1071 in the city that was a bishopric?

Output: Battle of Manzikert.


Input:
Passage: Others were less optimistic. Ramsey chose zero (a complete dud), Robert Oppenheimer chose 0.3 kilotons of TNT (1.3 TJ), Kistiakowsky 1.4 kilotons of TNT (5.9 TJ), and Bethe chose 8 kilotons of TNT (33 TJ). Rabi, the last to arrive, took 18 kilotons of TNT (75 TJ) by default, which would win him the pool. In a video interview, Bethe stated that his choice of 8 kt was exactly the value calculated by Segrè, and he was swayed by Segrè's authority over that of a more junior [but unnamed] member of Segrè's group who had calculated 20 kt. Enrico Fermi offered to take wagers among the top physicists and military present on whether the atmosphere would ignite, and if so whether it would destroy just the state, or incinerate the entire planet. This last result had been previously calculated by Bethe to be almost impossible, although for a while it had caused some of the scientists some anxiety. Bainbridge was furious with Fermi for scaring the guards who, unlike the physicists, did not have the advantage of their knowledge about the scientific possibilities. His own biggest fear was that nothing would happen, in which case he would have to head back to the tower to investigate.Julian Mack and Berlyn Brixner were responsible for photography. The photography group employed some fifty different cameras, taking motion and still photographs. Special Fastax cameras taking 10,000 frames per second would record the minute details of the explosion. Spectrograph cameras would record the wavelengths of light emitted by the explosion, and pinhole cameras would record gamma rays. A rotating drum spectrograph at the 10,000-yard (9,100 m) station would obtain the spectrum over the first hundredth of a second. Another, slow recording one would track the fireball. Cameras were placed in bunkers only 800 yards (730 m) from the tower, protected by steel and lead glass, and mounted on sleds so they could be towed out by the lead-lined tank. Some observers brought their own cameras despite the security. Segré brought in Jack Aeby's 35 mm Perfex 44. It would take the only known well-exposed color photograph of the detonation explosion.
Question: What were the names of the five people who chose the TNT?

Output: Ramsey.


Input:
Passage: Others were less optimistic. Ramsey chose zero (a complete dud), Robert Oppenheimer chose 0.3 kilotons of TNT (1.3 TJ), Kistiakowsky 1.4 kilotons of TNT (5.9 TJ), and Bethe chose 8 kilotons of TNT (33 TJ). Rabi, the last to arrive, took 18 kilotons of TNT (75 TJ) by default, which would win him the pool. In a video interview, Bethe stated that his choice of 8 kt was exactly the value calculated by Segrè, and he was swayed by Segrè's authority over that of a more junior [but unnamed] member of Segrè's group who had calculated 20 kt. Enrico Fermi offered to take wagers among the top physicists and military present on whether the atmosphere would ignite, and if so whether it would destroy just the state, or incinerate the entire planet. This last result had been previously calculated by Bethe to be almost impossible, although for a while it had caused some of the scientists some anxiety. Bainbridge was furious with Fermi for scaring the guards who, unlike the physicists, did not have the advantage of their knowledge about the scientific possibilities. His own biggest fear was that nothing would happen, in which case he would have to head back to the tower to investigate.Julian Mack and Berlyn Brixner were responsible for photography. The photography group employed some fifty different cameras, taking motion and still photographs. Special Fastax cameras taking 10,000 frames per second would record the minute details of the explosion. Spectrograph cameras would record the wavelengths of light emitted by the explosion, and pinhole cameras would record gamma rays. A rotating drum spectrograph at the 10,000-yard (9,100 m) station would obtain the spectrum over the first hundredth of a second. Another, slow recording one would track the fireball. Cameras were placed in bunkers only 800 yards (730 m) from the tower, protected by steel and lead glass, and mounted on sleds so they could be towed out by the lead-lined tank. Some observers brought their own cameras despite the security. Segré brought in Jack Aeby's 35 mm Perfex 44. It would take the only known well-exposed color photograph of the detonation explosion.
Question: What were the names of the five people who chose the TNT?

Output: Robert Oppenheimer.


Input:
Passage: Others were less optimistic. Ramsey chose zero (a complete dud), Robert Oppenheimer chose 0.3 kilotons of TNT (1.3 TJ), Kistiakowsky 1.4 kilotons of TNT (5.9 TJ), and Bethe chose 8 kilotons of TNT (33 TJ). Rabi, the last to arrive, took 18 kilotons of TNT (75 TJ) by default, which would win him the pool. In a video interview, Bethe stated that his choice of 8 kt was exactly the value calculated by Segrè, and he was swayed by Segrè's authority over that of a more junior [but unnamed] member of Segrè's group who had calculated 20 kt. Enrico Fermi offered to take wagers among the top physicists and military present on whether the atmosphere would ignite, and if so whether it would destroy just the state, or incinerate the entire planet. This last result had been previously calculated by Bethe to be almost impossible, although for a while it had caused some of the scientists some anxiety. Bainbridge was furious with Fermi for scaring the guards who, unlike the physicists, did not have the advantage of their knowledge about the scientific possibilities. His own biggest fear was that nothing would happen, in which case he would have to head back to the tower to investigate.Julian Mack and Berlyn Brixner were responsible for photography. The photography group employed some fifty different cameras, taking motion and still photographs. Special Fastax cameras taking 10,000 frames per second would record the minute details of the explosion. Spectrograph cameras would record the wavelengths of light emitted by the explosion, and pinhole cameras would record gamma rays. A rotating drum spectrograph at the 10,000-yard (9,100 m) station would obtain the spectrum over the first hundredth of a second. Another, slow recording one would track the fireball. Cameras were placed in bunkers only 800 yards (730 m) from the tower, protected by steel and lead glass, and mounted on sleds so they could be towed out by the lead-lined tank. Some observers brought their own cameras despite the security. Segré brought in Jack Aeby's 35 mm Perfex 44. It would take the only known well-exposed color photograph of the detonation explosion.
Question: What were the names of the five people who chose the TNT?

Output: Kistiakowsky.


Input:
Passage: Others were less optimistic. Ramsey chose zero (a complete dud), Robert Oppenheimer chose 0.3 kilotons of TNT (1.3 TJ), Kistiakowsky 1.4 kilotons of TNT (5.9 TJ), and Bethe chose 8 kilotons of TNT (33 TJ). Rabi, the last to arrive, took 18 kilotons of TNT (75 TJ) by default, which would win him the pool. In a video interview, Bethe stated that his choice of 8 kt was exactly the value calculated by Segrè, and he was swayed by Segrè's authority over that of a more junior [but unnamed] member of Segrè's group who had calculated 20 kt. Enrico Fermi offered to take wagers among the top physicists and military present on whether the atmosphere would ignite, and if so whether it would destroy just the state, or incinerate the entire planet. This last result had been previously calculated by Bethe to be almost impossible, although for a while it had caused some of the scientists some anxiety. Bainbridge was furious with Fermi for scaring the guards who, unlike the physicists, did not have the advantage of their knowledge about the scientific possibilities. His own biggest fear was that nothing would happen, in which case he would have to head back to the tower to investigate.Julian Mack and Berlyn Brixner were responsible for photography. The photography group employed some fifty different cameras, taking motion and still photographs. Special Fastax cameras taking 10,000 frames per second would record the minute details of the explosion. Spectrograph cameras would record the wavelengths of light emitted by the explosion, and pinhole cameras would record gamma rays. A rotating drum spectrograph at the 10,000-yard (9,100 m) station would obtain the spectrum over the first hundredth of a second. Another, slow recording one would track the fireball. Cameras were placed in bunkers only 800 yards (730 m) from the tower, protected by steel and lead glass, and mounted on sleds so they could be towed out by the lead-lined tank. Some observers brought their own cameras despite the security. Segré brought in Jack Aeby's 35 mm Perfex 44. It would take the only known well-exposed color photograph of the detonation explosion.
Question: What were the names of the five people who chose the TNT?

Output: Bethe.


Input:
Passage: Others were less optimistic. Ramsey chose zero (a complete dud), Robert Oppenheimer chose 0.3 kilotons of TNT (1.3 TJ), Kistiakowsky 1.4 kilotons of TNT (5.9 TJ), and Bethe chose 8 kilotons of TNT (33 TJ). Rabi, the last to arrive, took 18 kilotons of TNT (75 TJ) by default, which would win him the pool. In a video interview, Bethe stated that his choice of 8 kt was exactly the value calculated by Segrè, and he was swayed by Segrè's authority over that of a more junior [but unnamed] member of Segrè's group who had calculated 20 kt. Enrico Fermi offered to take wagers among the top physicists and military present on whether the atmosphere would ignite, and if so whether it would destroy just the state, or incinerate the entire planet. This last result had been previously calculated by Bethe to be almost impossible, although for a while it had caused some of the scientists some anxiety. Bainbridge was furious with Fermi for scaring the guards who, unlike the physicists, did not have the advantage of their knowledge about the scientific possibilities. His own biggest fear was that nothing would happen, in which case he would have to head back to the tower to investigate.Julian Mack and Berlyn Brixner were responsible for photography. The photography group employed some fifty different cameras, taking motion and still photographs. Special Fastax cameras taking 10,000 frames per second would record the minute details of the explosion. Spectrograph cameras would record the wavelengths of light emitted by the explosion, and pinhole cameras would record gamma rays. A rotating drum spectrograph at the 10,000-yard (9,100 m) station would obtain the spectrum over the first hundredth of a second. Another, slow recording one would track the fireball. Cameras were placed in bunkers only 800 yards (730 m) from the tower, protected by steel and lead glass, and mounted on sleds so they could be towed out by the lead-lined tank. Some observers brought their own cameras despite the security. Segré brought in Jack Aeby's 35 mm Perfex 44. It would take the only known well-exposed color photograph of the detonation explosion.
Question: What were the names of the five people who chose the TNT?

Output: Rabi.


Input:
Passage: Most historians describe the contacts between the Mongol Empire and the Western Europeans as a series of attempts, missed opportunities, and failed negotiations. Christopher Atwood, in the 2004 Encyclopedia of Mongolia and the Mongol Empire, summed up the relations between Western Europe and the Mongols: "Despite numerous envoys and the obvious logic of an alliance against mutual enemies, the papacy and the Crusaders never achieved the often-proposed alliance against Islam."A few other historians argue there was an actual alliance, but do not agree on the details: Jean Richard wrote that an alliance began around 1263. Reuven Amitai stated that the closest thing to actual Mongol-Frankish military coordination was when Prince Edward of England attempted to coordinate activities with Abaga in 1271. Amitai also mentioned the other attempts towards cooperation, but said, "In none of these episodes, however, can we speak of Mongols and troops from the Frankish West being on the Syrian mainland at the same time." Timothy May described the alliance as having its peak at the Council of Lyon in 1274, but that it began to unravel in 1275 with the death of Bohemond, and May too admitted that the forces never engaged in joint operations. Alain Demurger, in his own book The Last Templar, said that an alliance was not sealed until 1300.There also continues to be debate about whether or not an alliance would have been a wise idea, and whether the Crusaders at that point in history were even relevant to the Persian-Mongol conflict. The 20th-century historian Glenn Burger said, "The refusal of the Latin Christian states in the area to follow Hethum's example and adapt to changing conditions by allying themselves with the new Mongol empire must stand as one of the saddest of the many failures of Outremer." This was similar to the view of Steven Runciman, who argued, "Had the Mongol alliance been achieved and honestly implemented by the West, the existence of Outremer would almost certainly have been prolonged. The Mameluks would have been crippled if not destroyed; and the Ilkhanate of Persia would have survived as a power friendly to the Christians and the West". However, David Nicolle, describing the Mongols as "potential allies", said that early historians were writing from the benefit of hindsight, and that overall the major players were the Mamluks and the Mongols, with Christians just "pawns in a greater game.".
Question: Who did Jean Richard claim had an alliance around 1263?

Output: Mongol Empire.


Input:
Passage: Most historians describe the contacts between the Mongol Empire and the Western Europeans as a series of attempts, missed opportunities, and failed negotiations. Christopher Atwood, in the 2004 Encyclopedia of Mongolia and the Mongol Empire, summed up the relations between Western Europe and the Mongols: "Despite numerous envoys and the obvious logic of an alliance against mutual enemies, the papacy and the Crusaders never achieved the often-proposed alliance against Islam."A few other historians argue there was an actual alliance, but do not agree on the details: Jean Richard wrote that an alliance began around 1263. Reuven Amitai stated that the closest thing to actual Mongol-Frankish military coordination was when Prince Edward of England attempted to coordinate activities with Abaga in 1271. Amitai also mentioned the other attempts towards cooperation, but said, "In none of these episodes, however, can we speak of Mongols and troops from the Frankish West being on the Syrian mainland at the same time." Timothy May described the alliance as having its peak at the Council of Lyon in 1274, but that it began to unravel in 1275 with the death of Bohemond, and May too admitted that the forces never engaged in joint operations. Alain Demurger, in his own book The Last Templar, said that an alliance was not sealed until 1300.There also continues to be debate about whether or not an alliance would have been a wise idea, and whether the Crusaders at that point in history were even relevant to the Persian-Mongol conflict. The 20th-century historian Glenn Burger said, "The refusal of the Latin Christian states in the area to follow Hethum's example and adapt to changing conditions by allying themselves with the new Mongol empire must stand as one of the saddest of the many failures of Outremer." This was similar to the view of Steven Runciman, who argued, "Had the Mongol alliance been achieved and honestly implemented by the West, the existence of Outremer would almost certainly have been prolonged. The Mameluks would have been crippled if not destroyed; and the Ilkhanate of Persia would have survived as a power friendly to the Christians and the West". However, David Nicolle, describing the Mongols as "potential allies", said that early historians were writing from the benefit of hindsight, and that overall the major players were the Mamluks and the Mongols, with Christians just "pawns in a greater game.".
Question: Who did Jean Richard claim had an alliance around 1263?

Output: Western Europeans.


Input:
Passage: The incident proved stressful for Hendrix, and it weighed heavily on his mind while he awaited trial. His limousine driver and a witness to the arrest, Louis Goldblatt, described him as "genuinely dumbfounded by the whole affair." Tour manager Eric Barrett said that he looked "as if there had been a plane crash". Hendrix biographers Harry Shapiro and Caesar Glebbeek described the incident as "a nightmare which ... plagued" him for seven months. According to Redding, "the bust knocked any positive feelings Jimi was holding onto out of him" and that he was in "agonised suspense" from the arrest until the trial. In 2012, Plummer wrote: "The real possibility of prison hung over Hendrix like a spectre ... a threat to his career and the cause of much brooding and rumination." Journalist Charles Shaar Murray asserted that the incident jeopardized what he described as "Hendrix's increasingly fragile peace of mind".
Two weeks after the arrest, Hendrix told Lawrence: "Whatever I have done ... getting hooked on heroin is not one of them." He explained that his fear of needles discouraged him from using the drug and that having known junkies convinced him that it was not something he should get involved with. Soon after the story of his arrest became public, he drew a connection between the bust and anti-establishment sentiments: "All of that is the establishment fighting back ... Eventually, they will swallow themselves up, but I don't want them to swallow up too many kids as they go along."According to Shapiro and Glebbeek, in 1969 there was little confidence in the staying power of rock stars; it was assumed that their careers were going to be short, and industry insiders operated under a "take the money and run" mentality. For this reason, they speculated that had Hendrix been convicted it would have ended his music career. After the trial, his management announced to the British press that they were planning a farewell tour for the Experience. However, the US tour during which the arrest occurred was their last. The band played their final concert on June 29, at Mile High Stadium in Denver (less than two months before Hendrix's iconic solo performance at Woodstock). There were no new album releases from them during 1969. Hendrix's management later stated that concert promoters were apprehensive about booking him until after the matter had been resolved.
Question: What is the last name of the person that was genuinely dumbfounded by the whole affair?

Output: Hendrix.


Input:
Passage: On May 2, 2013, Jeff Hanneman died due to liver failure in a local hospital near his home in Southern California's Inland Empire; the cause of death was later determined to be alcohol-related cirrhosis. King confirmed that the band would continue, saying "Jeff is going to be in everybody's thoughts for a long time. It's unfortunate you can't keep unfortunate things from happening. But we're going to carry on – and he'll be there in spirit." However, Araya felt more uncertain about the band's future, expressing his belief that "After 30 years [with Hanneman active in the band], it would literally be like starting over", and doubting that Slayer's fanbase would approve such a change. Despite the uncertainty regarding the band's future, Slayer still worked on a followup to World Painted Blood. Additionally, it was reported that the new album would still feature material written by Hanneman.At the 2014 Revolver's Golden Gods Awards ceremony, Slayer debuted "Implode", its first new song in five years. The group announced that they have signed with Nuclear Blast, and planned to release a new album in 2015. It was reported that Holt would take over Hanneman's guitar duties full-time, although Holt did not participate in the songwriting. In February, Slayer announced a seventeen date American tour to start in June featuring Suicidal Tendencies and Exodus. In 2015, Slayer headlined the Rockstar Energy Mayhem Festival for the second time. Repentless, the band's twelfth studio album, was released on September 11, 2015. Slayer toured for two-and-a-half years in support of Repentless. The band toured Europe with Anthrax and Kvelertak in October and November 2015, and embarked on three North American tours: one with Testament and Carcass in February and March 2016, then with Anthrax and Death Angel in September and October 2016, and with Lamb of God and Behemoth in July and August 2017. A lone date in Southeast Asia in 2017 was held in the Philippines.
Question: What band was Jeff Hanneman a part of?

Output: Slayer.


Input:
Passage: Born at Podolskaya Street in Saint Petersburg, Russia, Shostakovich was the second of three children of Dmitri Boleslavovich Shostakovich and Sofiya Vasilievna Kokoulina. Shostakovich's paternal grandfather, originally surnamed Szostakowicz, was of Polish Roman Catholic descent (his family roots trace to the region of the town of Vileyka in today's Belarus), but his immediate forebears came from Siberia. A Polish revolutionary in the January Uprising of 1863–4, Bolesław Szostakowicz would be exiled to Narym (near Tomsk) in 1866 in the crackdown that followed Dmitri Karakozov's assassination attempt on Tsar Alexander II. When his term of exile ended, Szostakowicz decided to remain in Siberia. He eventually became a successful banker in Irkutsk and raised a large family. His son Dmitri Boleslavovich Shostakovich, the composer's father, was born in exile in Narim in 1875 and studied physics and mathematics in Saint Petersburg University, graduating in 1899. He then went to work as an engineer under Dmitri Mendeleev at the Bureau of Weights and Measures in Saint Petersburg. In 1903 he married another Siberian transplant to the capital, Sofiya Vasilievna Kokoulina, one of six children born to a Russian Siberian native.Their son, Dmitri Dmitriyevich Shostakovich, displayed significant musical talent after he began piano lessons with his mother at the age of nine. On several occasions he displayed a remarkable ability to remember what his mother had played at the previous lesson, and would get "caught in the act" of playing the previous lesson's music while pretending to read different music placed in front of him. In 1918 he wrote a funeral march in memory of two leaders of the Kadet party, murdered by Bolshevik sailors.In 1919, at the age of 13, he was admitted to the Petrograd Conservatory, then headed by Alexander Glazunov, who monitored Shostakovich's progress closely and promoted him. Shostakovich studied piano with Leonid Nikolayev after a year in the class of Elena Rozanova, composition with Maximilian Steinberg, and counterpoint and fugue with Nikolay Sokolov, with whom he became friends. Shostakovich also attended Alexander Ossovsky's music history classes. Steinberg tried to guide Shostakovich on the path of the great Russian composers, but was disappointed to see him 'wasting' his talent and imitating Igor Stravinsky and Sergei Prokofiev. Shostakovich also suffered for his perceived lack of political zeal, and initially failed his exam in Marxist methodology in 1926. His first major musical achievement was the First Symphony (premiered 1926), written as his graduation piece at the age of 19. This work brought him to the attention of Mikhail Tukhachevsky, who helped Shostakovich find accommodation and work in Moscow, and sent a driver around in "a very stylish automobile" to take him to a concert.
Question: What was the first name of the person who was of Polish Roman Catholic descent?

Output: Bolesław.


Input:
Passage: On a train trip, lawyer Richard Grant tells fellow passengers that, based on his long experience both prosecuting and defending murder cases, murder is sometimes justified and a clever man should be able to commit it undetected. He is traveling to the isolated estate of his wealthy client and friend, Gordon Rich; his young adult daughter Barbara surprises him at the train station, where she informs him that she has already been there a week.
Grant's view is soon put to the test. Rich asks him to rewrite his will, including bequests to all his former mistresses (except one who is dead already; she was just 16, and Grant believes it was suicide). When Rich explains that he wants a new will because he intends to marry Barbara, Grant is appalled. He repeats what he said on the train. Rich deserves to be murdered, and if that is what it takes to stop the marriage, Grant will do it and get away with it. Rich retorts that if necessary he will retaliate from beyond the grave.
Grant pleads with his daughter, pointing out the great age difference and Rich's indecent character. But she loves Rich and is adamant. Nor has Tommy Osgood, a young man Barbara had been seeing, been able to change her mind.
At a dinner party that night, Rich announces the wedding and says it will take place in the morning. His longtime girlfriend, Marjorie West, is dismayed, but after the party he assures her that, as usual, he will return to her once he exhausts his obsession with Barbara. He is only marrying Barbara because she would not go to bed with him otherwise.
Rich orders two servants to watch Grant's bungalow on the estate, but Grant uses a cutout mounted on a record player to cast a moving shadow on the curtain to make it appear that he is pacing restlessly, and slips back to the main house. Meanwhile, Rich goes to Barbara's room. He loses control and grabs her roughly; she recoils in disgust and he leaves.
Question: What is the full name of the person who is traveling to see their client and friend?

Output: Richard Grant.


Input:
Passage: Oliver was born Bronwyn Gooda on 22 February 1959, in Gum Flat, west of Inverell, in New South Wales. Her parents were Milton, a farmer turned greenkeeper, and Wendy, who worked in a pharmacy. Her creativity was nurtured from a young age. Aged just eight, Oliver attended weekend art classes in Inverell run by Ian Howard, who went on to become dean of the college in Sydney where she would later study. As she was dux of her school, her parents expected her to go on to university. However, Oliver wished to pursue a creative career. When she told her parents of her plans, her mother replied, "Darling, your father and I are very pleased you're going to art school, but if you'd been a son, I think we'd be a little disappointed." A rift subsequently developed between her and her family that resulted in her having no contact with them for 25 years.After leaving school, Oliver studied and worked in Sydney. She had intended to enrol in painting classes, but a computer error placed her in the sculpture course: she later said "I knew straight away I was in the right place".She graduated from the Alexander Mackie College of Advanced Education in 1980. Winning a New South Wales Travelling Art Scholarship in 1983, she then completed a master's degree at Chelsea School of Art in 1984. Her work was influenced by Richard Deacon, Antony Gormley and Martin Puryear under whom she studied while in England. Upon returning from the United Kingdom, she immediately met with further success, when in 1984 she won a Moet & Chandon Australian Art Fellowship. In 1988 she was granted a period as artist-in-residence in the city of Brest on the coast of Brittany, where she studied Celtic metalworking techniques.
Question: What was the last name of the person who worked in a pharmacy?

Output: Gooda.


Input:
Passage: Frank Moses, retired black-ops CIA agent, lives alone in Cleveland, Ohio. Lonely, Frank creates opportunities to talk to Sarah Ross, a worker at the General Services Administration's pension office in Kansas City, Missouri, by tearing up his pension checks and calling to say they haven't arrived.
One night, an assassination squad raids Frank's house and attempts to kill him but he easily wipes them out. Knowing they will have tapped his phone, he believes Sarah will be targeted. In Kansas City Sarah refuses to go with him so he kidnaps her. Meanwhile CIA agent William Cooper is assigned by his boss Cynthia Wilkes (Pidgeon) to hunt down and kill Frank.
To find out who is targeting him Frank tracks down his old associates for help. He goes to New Orleans, Louisiana, and visits his CIA mentor Joe Matheson, who tells him the same hit squad murdered a New York Times reporter. An agent posing as a police officer tries to abduct Sarah but Frank returns in time. Cooper chases them but Frank tricks the police into arresting Cooper and escapes with Sarah. The two head to New York City and find clues left by the reporter which lead them to a hit list.
They find Marvin Boggs, another old associate and a paranoid conspiracy theorist, who tells them the people on the list, including Frank and Marvin, are connected to a secret 1981 mission in Guatemala. A pilot on the list, Gabriel Singer, tells them the mission involved extracting a person from a Guatemalan village. Singer is shot by a helicopter-borne machine-gunner and the team escapes as Cooper closes in.
Question: What is the last name of the person who Frank kidnaps?

Output: Ross.


Input:
Passage: Elizabeth Masterson, a young emergency medicine physician whose work is her whole life, is in a serious car accident while on her way to a blind date. Three months later, David Abbott, a landscape architect recovering from the sudden death of his wife, moves into the apartment that had been Elizabeth's, after 'discovering' it in what seems to be a fateful happenstance.
Elizabeth's spirit begins to appear to David in the apartment with ghostly properties and abilities that make it clear that something is not right. She can suddenly appear and disappear, walk or move through walls and objects, and once takes over his actions. When they meet, they are both surprised, as Elizabeth is still unaware of her recent history and refuses to think she is dead. David tries to have her spirit exorcised from the apartment, but to no avail. Since only David can see and hear her, others think that he is hallucinating and talking to himself.
David and Elizabeth begin to bond, as much as that is possible, and he takes her out of town to a beautiful landscaped garden he designed. Elizabeth tells him she senses she has been there before, and in fact, the garden was something she was dreaming of in the opening scenes of the film, where she was awakened by a colleague from cat-napping after working a 23-hour shift in the hospital.
Together, assisted by a psychic bookstore clerk, Darryl, Elizabeth and David find out who she is, what happened to her, and why they are connected. She is not dead, but in a coma, her body being kept on life support at the hospital where she used to work. When David discovers that in accordance with her living will, she will soon be allowed to die, he tries to prevent this by telling Elizabeth's sister, Abby, that he can see her and what the situation involves. One of Elizabeth's young nieces is revealed to be able to sense her presence as well.
Question: Who is the sister of the spirit that the psychic bookstore clerk helps?

Output: Abby.


Input:
Passage: The earliest version of "This Charming Man" was recorded on 14 September 1983, in Maida Vale Studio 4, for John Peel's radio programme (first broadcast: 21 September 1983). Produced by Roger Pusey, and assisted by Ted De Bono, this version of the song was first included on the 1984 compilation Hatful of Hollow. On 28 October 1983, the "Manchester" version was released in the UK in 7" and 12" formats, reaching number 25 in the UK charts. The record sleeve uses a still frame from Jean Cocteau's 1949 film Orphée, featuring French actor Jean Marais. The song was later included as a bonus track on the cassette version of the band's debut album The Smiths in the UK, and subsequently on all American versions.
Following the 1989 bankruptcy of Rough Trade, WEA Records purchased the Smiths' back catalogue. In 1992 WEA re-issued the band's catalogue, and all subsequent pressings of The Smiths have incorporated "This Charming Man". WEA re-released the single itself in 1992 to support the Best... I compilation album. The reissued single reached number 8 on the British singles chart, the band's highest chart placing.In December 1983, DJ François Kevorkian released a "New York" mix of the single on Megadisc records. Kevorkian geared the song for nightclub dancefloors. The track was intended to be pressed in limited numbers for New York club DJs. However, Rough Trade boss Geoff Travis liked the mix and gave the release wide distribution in the UK. Morrissey publicly disowned the mix, and urged fans not to purchase copies. Travis later claimed, "it was my idea, but they agreed. They said 'Go ahead', then didn't like it so it was withdrawn." He also said, "Nothing that ever happened in the Smiths occurred without Morrissey's guidance; there's not one Smiths record that went out that Morrissey didn't ask to do, so there's nothing on my conscience.".
Question: What is the first name of the person who later claimed, "it was my idea, but they agreed"?

Output: Geoff.


Input:
Passage: Handel's earliest opera compositions, in the German style, date from his Hamburg years, 1704–06, under the influence of Johann Mattheson. In 1706 he traveled to Italy where he remained for three years, developing his compositional skills. He first settled in Florence where he was introduced to Alessandro and Domenico Scarlatti. His first opera composed in Italy, though still reflecting the influence of Hamburg and Mattheson, was Rodrigo (1707, original title Vincer se stesso ê la maggior vittoria), was presented there. It was not particularly successful, but was part of Handel's process of learning to compose opera in the Italian style and to set Italian words to music.Handel then spent time in Rome, where the performance of opera was forbidden by Papal decree, and in Naples. He applied himself to the composition of cantatas and oratorios; at that time there was little difference (apart from increasing length) between cantata, oratorio and opera, all based on the alternation of secco recitative and aria da capo. Works from this period include Dixit Dominus and the dramatic cantata Aci, Galatea e Polifemo, written in Naples. While in Rome, probably through Alessandro Scarlatti, Handel had become acquainted with Cardinal Grimani, a distinguished diplomat who wrote libretti in his spare time, and acted as an unofficial theatrical agent for the Italian royal courts. He was evidently impressed by Handel and asked him to set his new libretto, Agrippina. Grimani intended to present this opera at his family-owned theatre in Venice, the Teatro San Giovanni Grisostomo, as part of the 1709–10 Carnevale season.
Question: What is the name of the person that developed their compositional skills in Italy?

Output: Handel.


Input:
Passage: The commission for the brand new house of Knightshayes Court was obtained from Sir John Heathcoat-Amory in 1867 and the foundation stone was laid in 1869. By 1874, the building was still incomplete, owing to ongoing difficulties with Heathcoat-Amory, who objected to many of Burges's designs on the grounds of cost and of style. Although work had begun on the interior, the turbulent relationship between architect and client led to Burges's sacking in 1874 and his replacement by John Dibblee Crace. Nevertheless, Knightshayes Court remains the only example of a medium-sized Burges country house, built in a standard Victorian arrangement. Early French Gothic in style, it follows a standard neo-Tudor plan of a large central block with projecting gables. The tower Burges planned was never built.
The interior was to have been a riot of Burgesian excess but not a single room was completed to Burges's designs. Of the few interior features that were fully executed, much was altered or diluted by Heathcoat-Amory and his successors. However some of the interiors, such as the library, vaulted hall and the arched red drawing room, remain or have been re-instated.Since the house passed to the National Trust in 1972, major works of restoration and re-creation have been undertaken and a number of pieces of Burges furniture, mostly not original to the house, are displayed. These include a bookcase from Buckingham Street and a chimney piece from the Hall at Worcester College, Oxford, where, in the 1960s, some decorative works by Burges were removed, although his redecoration of the college Chapel remains. The aim is, as far as possible, to reinstate the work of Burges and Crace.
Question: What is the last name of the person who was replaced by Crace?

Output: Burges.


Input:
Passage: The first recordings were made during the European leg of Garbage's Version 2.0 world tour. After listening to the orchestral demo, the band worked on the key and tempo. Garbage used a portable studio from a number of European cities to record material for Arnold, keeping in touch by phone as he produced the song's string arrangement in London. Since the strings carried the structure of the song, they had to be finalised and recorded before Manson could sing her parts. Arnold recorded the strings with a 60-piece orchestra in one day at London's Metropolis Studios.
Garbage flew to London for a day to record the basic tracks, laying down electric guitar, bass guitar and Manson's vocals with the orchestra. Manson called working with the orchestra "exhilarating". That night, the band flew to Switzerland to resume their tour for three weeks.
The final recording was made in August at Armoury Studios in Vancouver, Canada, where Garbage built upon their first mix of the song, adding and subtracting parts, and completed final recording and mixing. The band kept the arrangement tight to preserve the song's dynamic, sweeping melody. "The orchestra took up so much space and really dictated where the song was going dynamically," keeping the recording simple, Vig recalled. "Besides the drums and bass and some percussive loops, there's a little bit of guitar that Duke and Steve did. There's not a lot of miscellaneous tracks on there. There's a few little ear-candy things that we did, but it's all meant to work around Shirley's singing." Although Garbage owned its own recording studio in Madison, Wisconsin, for legal reasons the song could not be recorded in a U.S. studio. "The World Is Not Enough" was completed, mixed and mastered at the end of the month, and the group returned to their recording studio in Madison to record their mix of the song. Garbage's version (the "chilled-out remix") downplayed the classic Bond sound in favour of the band's style. Vig later said about the original recording, "We're pretty pleased with how it turned out. To Garbage fans, it sounds like a Garbage song. And to Bond fans, it's a Bond song."  However, Manson noted that the version featured in the film “got our hopes and joys squashed,” as “they had completely screwed with all the stems of mix and it sounded completely different.”.
Question: What is the name of the song whose string arrangement was produced in London?

Output: The World Is Not Enough.


Input:
Passage: In March 1916, Thomson exhibited four canvases with the OSA: In the Northland (at that time titled The Birches), Spring Ice, Moonlight and October (then titled The Hardwoods), all of which were painted over the winter of 1915–16. Sir Edmund Walker and Eric Brown of the National Gallery of Canada wanted to purchase In the Northland, but Montreal trustee Dr. Francis Shepherd convinced them to purchase Spring Ice instead. The reception of Thomson's paintings at this time was mixed. Margaret Fairbairn of the Toronto Daily Star wrote, "Mr. Tom Thomson's 'The Birches' and 'The Hardwoods' show a fondness for intense yellows and orange and strong blue, altogether a fearless use of violent colour which can scarcely be called pleasing, and yet which seems an exaggeration of a truthful feeling that time will temper." A more favourable take came from artist Wyly Grier in The Christian Science Monitor:
Tom Thomson again reveals his capacity to be modern and remain individual. His early pictures—in which the quality of naivete had all the genuineness of the effort of the tyro and was not the counterfeit of it which is so much in evidence in the intensely rejuvenated works of the highly sophisticated—showed the faculty for affectionate and truthful record by a receptive eye and faithful hand; but his work today has reached higher levels of technical accomplishment. His Moonlight, Spring Ice and The Birches are among his best. In The Canadian Courier, painter Estelle Kerr also spoke positively, describing Thomson as "one of the most promising of Canadian painters who follows the impressionist movement and his work reveals himself to be a fine colourist, a clever technician, and a truthful interpreter of the north land in its various aspects".In 1916, Thomson left for Algonquin Park earlier than any previous year, evidenced by the many snow studies he produced at this time. In April or early May, MacCallum, Harris and his cousin Chester Harris joined Thomson at Cauchon Lake for a canoe trip. After MacCallum and Chester left, Harris and Thomson paddled together to Aura Lee Lake. Thomson produced many sketches which varied in composition, although they all had vivid colour and thickly-applied paint. MacCallum was present when he painted his Sketch for "The Jack Pine", writing that the tree fell over onto Thomson before the sketch was completed. He added that Harris thought the tree killed Thomson, "but he sprang up and continued painting".
Question: What is the last name of the person whose work today, according to Grier, has reached higher levels of technical accomplishment?

Output: Thomson.


Input:
Passage: Everything's going well at Disco Records, where singer Johnny Conroy is popular and publicity chief Marty Collins is good at her job, as well as in love with company boss Mack Adams.
Everything changes when Barney Pearl shows up. Pearl is a crude businessman who supplies records to jukeboxes coast-to-coast. He demands to be made a full partner in Disco Records or he will yank their discs out of jukes everywhere. Furthermore, he insists that singer girlfriend Mona De Luce gets to make a record of her own.
Implored not to agree, Mack goes along. Pearl keeps the pressure on, renaming the company after himself. Johnny quits and leaves on his sailboat for points unknown. Mona, meanwhile, is a much better singer than expected. Her record is a smash hit, annoying Barney, who wants her wholly dependent on him. Barney demands her career come to an end.
Marty, Mack and Mona all travel to the West Indies, where Johnny is now enjoying the sun, fun and music. Johnny suggests they begin recording calypso songs. It all works out perfectly, and when Pearl tries to cut himself in, they find a way to keep him out.
Question: What is the last name of the person who threatens to yank a record company's discs out of jukeboxes everywhere?

Output: Pearl.


Input:
Passage: The film opens on Rachel and Hector's (Matthew Goode) wedding day in North London, England. Rachel's bossy and overbearing mother, Tess, is in charge of planning the wedding. Rachel's dazed father Ned and her much younger sister Henrietta are  supportive. Prior to Rachel arriving and the ceremony beginning, flower shop owner Luce who was contracted by Tess as the wedding florist, and Henrietta are rushing along while chatting with Hector and Cooper "Coop" (Darren Boyd). Luce answers Henrietta's trick question which makes Henrietta take an immediate liking to her, and she asks if Luce can sit by her during the wedding. Rachel arrives with her father and the ceremony begins. As Rachel is walking down the aisle, her eyes wander and she makes eye contact with Luce. The ceremony continues according to plan, and Rachel and Hector marry. At the reception afterwards, Luce introduces herself to Rachel as the one who did the flowers as she is about to get punch. Rachel nervously blocks Luce's attempt to get a drink, and when she questions why she can't have any, Rachel reveals that her wedding ring accidentally fell in. The two share a moment together, but it is over after Luce fishes the ring out of the punch bowl and goes on her way.
Some time later, Rachel goes to Luce's shop and invites her to dinner with Hector and, unknown to Luce, Cooper, a perennial bachelor and self-professed Lothario. Rachel has planned to set up Luce with Coop, while Luce confides to Heck moments before Coop arrives that she's a lesbian. Heck takes this news in stride and is bemused as Coop is undeterred in his attempts to seduce Luce. During the meal, when Coop starts bragging, Luce espouses she believes in love at first sight, while Rachel says it takes time to find the right person. Later on that night, Rachel and Luce share a moment together on the balcony as it rains.
Question: What is the first name of the person that Rachel arrives with?

Output: Ned.


Input:
Passage: On 27 July 1843 Sharpe married Elizabeth Fletcher, second sister of John Fletcher, at Bolton Parish Church. The couple had five children: Francis in 1845, Edmund junior (known as Ted) in 1847, Emily in 1849, Catherine (known as Kate) in 1850, and Alfred in 1853.When Sharpe moved his family from Lancaster to live in North Wales in early 1856 he was aged 47.  The seven years he spent there were later described, in a Memoir published in 1882 by the Architectural Association, as "perhaps the happiest years of his life". The family initially lived in a semi-detached house called Bron Haul near Betws-y-Coed, on what is now the A5 road.  Two years later he bought a larger property called Coed-y-Celyn on the east bank of the River Lledr, about a mile south of Betws-y-Coed. After moving to Geneva, the family lived for about three years in a rented property called Richemont on the road from Geneva to Chêne-Bougeries. Finally in 1866 the family moved back to Lancaster to live in Scotforth, then a small village to the south of the town.Elizabeth Sharpe died on 15 March 1876, a month after the consecration of St Paul, Scotforth where a plaque to her memory can be found in the chancel of the church. A year later, Sharpe travelled to northern Italy with his two daughters, his youngest son Alfred, and three research assistants, to make drawings of 12th-century churches in the region. During the trip he became seriously ill with a chest infection and died on 8 May, in or near Milan.  His body was taken to Lancaster, where he was buried on 19 May, alongside his wife, in the municipal cemetery.  "Glowing obituaries" were carried by the local newspapers and the architectural press, including The Builder, The Building News, and The Architect. His estate was valued at "under £14,000" (equivalent to £1,290,000 as of 2018).  A plaque to his memory was placed in the chancel of St Paul's, next to that of his wife.
Question: What newspapers carried the obituary of the man who was buried next to his wife in Lancaster?

Output: The Builder.


Input:
Passage: On 27 July 1843 Sharpe married Elizabeth Fletcher, second sister of John Fletcher, at Bolton Parish Church. The couple had five children: Francis in 1845, Edmund junior (known as Ted) in 1847, Emily in 1849, Catherine (known as Kate) in 1850, and Alfred in 1853.When Sharpe moved his family from Lancaster to live in North Wales in early 1856 he was aged 47.  The seven years he spent there were later described, in a Memoir published in 1882 by the Architectural Association, as "perhaps the happiest years of his life". The family initially lived in a semi-detached house called Bron Haul near Betws-y-Coed, on what is now the A5 road.  Two years later he bought a larger property called Coed-y-Celyn on the east bank of the River Lledr, about a mile south of Betws-y-Coed. After moving to Geneva, the family lived for about three years in a rented property called Richemont on the road from Geneva to Chêne-Bougeries. Finally in 1866 the family moved back to Lancaster to live in Scotforth, then a small village to the south of the town.Elizabeth Sharpe died on 15 March 1876, a month after the consecration of St Paul, Scotforth where a plaque to her memory can be found in the chancel of the church. A year later, Sharpe travelled to northern Italy with his two daughters, his youngest son Alfred, and three research assistants, to make drawings of 12th-century churches in the region. During the trip he became seriously ill with a chest infection and died on 8 May, in or near Milan.  His body was taken to Lancaster, where he was buried on 19 May, alongside his wife, in the municipal cemetery.  "Glowing obituaries" were carried by the local newspapers and the architectural press, including The Builder, The Building News, and The Architect. His estate was valued at "under £14,000" (equivalent to £1,290,000 as of 2018).  A plaque to his memory was placed in the chancel of St Paul's, next to that of his wife.
Question: What newspapers carried the obituary of the man who was buried next to his wife in Lancaster?

Output: The Building News.


Input:
Passage: On 27 July 1843 Sharpe married Elizabeth Fletcher, second sister of John Fletcher, at Bolton Parish Church. The couple had five children: Francis in 1845, Edmund junior (known as Ted) in 1847, Emily in 1849, Catherine (known as Kate) in 1850, and Alfred in 1853.When Sharpe moved his family from Lancaster to live in North Wales in early 1856 he was aged 47.  The seven years he spent there were later described, in a Memoir published in 1882 by the Architectural Association, as "perhaps the happiest years of his life". The family initially lived in a semi-detached house called Bron Haul near Betws-y-Coed, on what is now the A5 road.  Two years later he bought a larger property called Coed-y-Celyn on the east bank of the River Lledr, about a mile south of Betws-y-Coed. After moving to Geneva, the family lived for about three years in a rented property called Richemont on the road from Geneva to Chêne-Bougeries. Finally in 1866 the family moved back to Lancaster to live in Scotforth, then a small village to the south of the town.Elizabeth Sharpe died on 15 March 1876, a month after the consecration of St Paul, Scotforth where a plaque to her memory can be found in the chancel of the church. A year later, Sharpe travelled to northern Italy with his two daughters, his youngest son Alfred, and three research assistants, to make drawings of 12th-century churches in the region. During the trip he became seriously ill with a chest infection and died on 8 May, in or near Milan.  His body was taken to Lancaster, where he was buried on 19 May, alongside his wife, in the municipal cemetery.  "Glowing obituaries" were carried by the local newspapers and the architectural press, including The Builder, The Building News, and The Architect. His estate was valued at "under £14,000" (equivalent to £1,290,000 as of 2018).  A plaque to his memory was placed in the chancel of St Paul's, next to that of his wife.
Question: What newspapers carried the obituary of the man who was buried next to his wife in Lancaster?

Output: The Architect.


Input:
Passage: Vessels from neighboring East Asian states such as Silla and Balhae of Korea and the Hizen Province of Japan were all involved in the Yellow Sea trade, which Silla dominated. After Silla and Japan reopened renewed hostilities in the late 7th century, most Japanese maritime merchants chose to set sail from Nagasaki towards the mouth of the Huai River, the Yangzi River, and even as far south as the Hangzhou Bay in order to avoid Korean ships in the Yellow Sea. In order to sail back to Japan in 838, the Japanese embassy to China procured nine ships and sixty Korean sailors from the Korean wards of Chuzhou and Lianshui cities along the Huai River. It is also known that Chinese trade ships traveling to Japan set sail from the various ports along the coasts of Zhejiang and Fujian provinces.The Chinese engaged in large-scale production for overseas export by at least the time of the Tang. This was proven by the discovery of the Belitung shipwreck, a silt-preserved shipwrecked Arabian dhow in the Gaspar Strait near Belitung, which had 63,000 pieces of Tang ceramics, silver, and gold (including a Changsha bowl inscribed with a date: "16th day of the seventh month of the second year of the Baoli reign", or 826, roughly confirmed by radiocarbon dating of star anise at the wreck). Beginning in 785, the Chinese began to call regularly at Sufala on the East African coast in order to cut out Arab middlemen, with various contemporary Chinese sources giving detailed descriptions of trade in Africa. The official and geographer Jia Dan (730–805) wrote of two common sea trade routes in his day: one from the coast of the Bohai Sea towards Korea and another from Guangzhou through Malacca towards the Nicobar Islands, Sri Lanka and India, the eastern and northern shores of the Arabian Sea to the Euphrates River. In 863 the Chinese author Duan Chengshi (d. 863) provided a detailed description of the slave trade, ivory trade, and ambergris trade in a country called Bobali, which historians suggest was Berbera in Somalia. In Fustat (old Cairo), Egypt, the fame of Chinese ceramics there led to an enormous demand for Chinese goods; hence Chinese often traveled there (this continued into later periods such as Fatimid Egypt). From this time period, the Arab merchant Shulama once wrote of his admiration for Chinese seafaring junks, but noted that their draft was too deep for them to enter the Euphrates River, which forced them to ferry passengers and cargo in small boats. Shulama also noted that Chinese ships were often very large, with capacities up to 600–700 passengers.
Question: What was proven by the discovery of the Belitung shipwreck?

Output: The Chinese engaged in large-scale production for overseas export.


Input:
Passage: The Netherlands provided William Bruce with many of his influences. He was in the Low Countries at a time when Italian Classicism was the height of fashion, and similarities have been observed between Bruce's work, particularly Holyroodhouse, and such buildings as the Amsterdam City Hall (1648–65), the work of Jacob van Campen, and Maastricht's City Hall (1659–64), by Pieter Post. Alexander Bruce had married a Dutch woman with family ties to the House of Orange, and it seems likely that he provided links to the Dutch artisans who worked on some of Bruce's projects.Bruce was certainly familiar with northern France, and in 1663 he made a further "foreign journey" at the behest of Lauderdale, although his itinerary is unknown. Whether by visit or through studying engravings, he knew several notable French houses including Vaux-le-Vicomte, Blérancourt, and the Chateau de Balleroy, the last the work of French architect François Mansart. These modern French designs, incorporating features then unknown in Scotland, such as the double-pile of major rooms in two enfilades, ranged back-to-back, were also influential on Bruce's designs.English influence is also visible in his work. His country houses took the compact Anglo-Dutch type as their model, as introduced into England by Hugh May and Sir Roger Pratt, but with Continental detailing, such as the rustication on the facade at Mertoun. Roger Pratt's Coleshill House of 1660 is often cited as a model for Bruce's Kinross House. Konrad Ottenheym concludes that Bruce employed an "international style", which was fashionable in France, Holland, and England, and that he was pivotal in disseminating this style in Scotland.
Question: What is the last name of the person who knew several notable French houses?

Output: Bruce.


Input:
Passage: Andy, Trevor, and Billy are childhood friends.
As young adults, Billy sells drugs and Andy does deliveries for him.
One night, Trevor delivers instead and gets busted by narcs.
5 years later, Trevor is released from jail and learns his girlfriend Laura is now with Billy.
Trevor gets back with her and decides to rob a local mobster.  Trevor wants some cash to buy Laura some gifts and Andy was told by some local mobsters that they are investing money with huge profits and he wants some cash to buy in. However, their robbery is very sloppy and the head mobster quickly figures out what happened.  However, he and Andy's grandfather were good friends, so he tells Andy and Trevor that they can work off what they owe by smuggling stolen diamonds.
Billy finds out what is going on and is mildly amused by it until he realizes that Trevor has gotten back together with Laura behind his back.  He retaliates by convincing the mobsters that Trevor is a junkie and is stealing the diamonds that he is supposed to be delivering to supply his habit. He also convinces the diamond dealer that Trevor cannot be trusted with real diamonds and he gives him fake diamonds instead.  When he delivers them to the mob, they quickly spot them as fakes and assume Trevor switched them.
Billy figured by doing this, the mobsters would send a goon to kill Trevor and with him out of the picture, he could have Laura back with no blood on his hands. However, since he was the one to notify the mobsters, they tell him if he wants Trevor dead he has to do the killing himself.
He finds Trevor at Laura's house having just made love and kidnaps him at gunpoint. He takes Trevor to a field to kill him. Even though Trevor begs for his life and Billy struggles with his conscience for the briefest of moments, he pulls the trigger anyway, killing Trevor in cold blood.
Question: Who tells the mobsters that Trevor is stealing?

Output: Billy.


Input:
Passage: Young David Balfour arrives at a bleak Scottish house, the House of Shaws, to claim his inheritance after his father. The house and land have been under the custodianship of his father's brother, Ebeneezer Balfour, but on reaching adulthood, the land and property become David's. Ebeneezer is having none of it, however, so he first tries to murder him, then has him kidnapped by sea captain Hoseason, with whom he has "a venture for trade in the West Indies". David is shipped off to be sold as a slave in the Carolinas. He strikes up a friendship with Alan Breck, escaping from Prince Charles Edward Stuart's defeat at Culloden. Breck is in a cobble which is run down in the fog by Hoseason's ship and once aboard, asks Hoseason to take him to France. When Hoseason refuses, Breck offers him 60 guineas to put him down on Loch Linnhe.
On discovering that Breck has a money belt full of Jacobite gold, Hoseason and his crew try to kill Breck, but he is forewarned by David and the two kill half a dozen of the crew before the others retreat. Hoseason offers terms to end the fighting, but the ship runs aground. Only Breck and Balfour appear to survive and they manage to get to land. They set out for Edinburgh, dodging the ruthless Redcoats. Numerous adventures follow as they meet up with Breck's family, friends and foes alike. These include Breck's cousin, James Stewart, and his daughter Catriona, with whom David falls in love.
Question: What is the full name of the character who has a daughter that David Balfour falls in love with?

Output: Alan Breck.


Input:
Passage: The film starts off with a scene from the novel Moby Dick, with a whaler on a stormy sea in the 19th century, chasing "the white whale". It turns out that the scene comes from the imagination of Dot, while she is sitting with the book. She goes out to play with Nelson the dolphin in his pool, and he teaches her how to stay underwater for long periods of time and to communicate underwater, as well as the history and evolution of sea creatures.
While they play together, Nelson hears the wail of a beached whale named "Tonga" from the local coast, and jumps out of his pool, over the cliff beside, and dives into the ocean on the other side, to check what is going on, with Dot coming along. Dot walks up on land to talk with Tonga, but becomes upset as two boys, Alex and Owen, stand and throw sand on the whale. The boys say that they only want to push the whale back to the sea. Together, they try to push Tonga back to the water, but fail. They decide to gather as many kids as possible, in order to help the whale as much as they can.
While Alex and Owen start to gather help, Dot sits beside Tonga, trying to converse. Tonga explains that her family has been killed by whalers, and she is the only survivor, but has lost the will to live. Dot explains that she and others want to help Tonga, and tries to by having Tonga placed in the same pool as Nelson to let her recover. Dot then realizes that they do not have a transport facility for a whale. Meanwhile, a crooked fishmonger becomes interested in Tonga as a possible "Fish" source.
Question: What is the first name of the character that the boys gather people to help?

Output: Tonga.


Input:
Passage: Bowie's songs and stagecraft brought a new dimension to popular music in the early 1970s, strongly influencing both its immediate forms and its subsequent development. Bowie was a pioneer of glam rock, according to music historians Schinder and Schwartz, who credited Marc Bolan and Bowie with creating the genre. At the same time, he inspired the innovators of the punk rock music movement. When punk musicians were "noisily reclaiming the three-minute pop song in a show of public defiance", biographer David Buckley wrote that "Bowie almost completely abandoned traditional rock instrumentation." Bowie's record company promoted his unique status in popular music with the slogan, "There's old wave, there's new wave, and there's David Bowie".Musicologist James Perone credited Bowie with having "brought sophistication to rock music", and critical reviews frequently acknowledged the intellectual depth of his work and influence. The Human League founder Martyn Ware remarked that he had lived his life "as though he were an art installation." The BBC's arts editor Will Gompertz likened Bowie to Pablo Picasso, writing that he was "an innovative, visionary, restless artist who synthesised complex avant garde concepts into beautifully coherent works that touched the hearts and minds of millions". U2 lead singer Bono commented, "I like Bowie when he’s evenly pulled in the direction of being a pop star and Picasso, where he's right down the middle. That’s usually my favorite, when the songwriting is disciplined but the recording is not. I love when he's pulled equally in the directions of art and populism."Broadcaster John Peel contrasted Bowie with his progressive rock contemporaries, arguing that Bowie was "an interesting kind of fringe figure... on the outskirts of things". Peel said he "liked the idea of him reinventing himself... the one distinguishing feature about early-70s progressive rock was that it didn't progress. Before Bowie came along, people didn't want too much change". Buckley called the era "bloated, self-important, leather-clad, self-satisfied"; then Bowie "subverted the whole notion of what it was to be a rock star".
After Bowie there has been no other pop icon of his stature, because the pop world that produces these rock gods doesn't exist any more. ... The fierce partisanship of the cult of Bowie was also unique—its influence lasted longer and has been more creative than perhaps almost any other force within pop fandom.
Question: What is the first name of the person who said that Bowie "liked the idea of him reinventing himself"?

Output: John.


Input:
Passage: At a London music hall theatre, Richard Hannay is watching a demonstration of the superlative powers of recall of "Mr. Memory" (Wylie Watson) when shots are fired. In the ensuing panic, Hannay finds himself holding a seemingly frightened Annabella Smith, who talks him into taking her back to his flat. There, she tells him that she is a spy, being chased by assassins, and that she has uncovered a plot to steal vital British military information, masterminded by a man with the top joint missing from one of his fingers. She mentions the "39 Steps", but does not explain its meaning.
Later that night Smith, fatally stabbed, bursts into Hannay's bedroom and warns him to flee. He finds a map of the Scottish Highlands clutched in her hand, showing the area around Killin, with a house or farm named "Alt-na-Shellach" circled. He sneaks out of his flat disguised as a milkman to avoid the assassins waiting outside. He then boards the Flying Scotsman express train to Scotland. He learns from a newspaper article (read by a pair of women's undergarment salesmen) that he is the target of a nationwide manhunt for Smith's murder. When he sees the police searching the train, he enters a compartment and kisses the sole occupant, Pamela, in a desperate attempt to hide his face and escape detection. She frees herself from his unwanted embrace and alerts the policemen, who stop the train on the Forth Bridge. Hannay then escapes, hiding behind the bridge's truss.
Question: What is the fate of the person Hannay brings back to his flat?

Output: fatally stabbed.