ibm-research/duorc huggingface dataset:
Thick as Thieves

In New York City, we see veteran thief Keith Ripley (Morgan Freeman) walk into a health spa with a gun and shoot and kill a man in a hot tub. We later learn that it was Victor Korolenko who was Ripleys partner, but Victor body has disappeared. Later Ripley recruits younger crook Gabriel Martin (Antonio Banderas) to help him pull off one final job in order to repay his debt to the Russian mob. Martin is unsure of Ripley, but Ripley's goddaughter (Ripleys ex-partners daughter), Alexandra Korolenko (Radha Mitchell) convinces him other wise. Ripley doesn't like that the two are getting close. Ripley tells Martin the plan, that they are going to steal from a Russian Museum that has been smuggling Russian treasures into the country and bribing the NYPD with large donation and expensive equipment. The two infiltrate a party at the museum posing as cops to gather information about their vault.The Russian mob, led by Nicky (Rade Serbedzija), grow impatient with Ripley and kidnap Alexandra. They tell them they must steal two Fabergé eggs from the Russian Museum in order to get her back. When the duo get into the vaults of the museum with the eggs, Martin reveals he is an undercover cop from Miami planted to catch Ripley. He leaves Ripley locked in the vault and takes the eggs to the Russian mobster to free Alexandra. After Alexandra is released Martin is forced to meet with Nicky. Meanwhile, Lt .Weber (Robert Forster) and his squad enter the museum, but are detained by the security guards due to Martin telling the guards he was a cop as he escaped.Martin reports in to the police the next morning after the police have picked up Nicky, only to learn that the man they have in custody isn't the man Martin met, and that he was actually Victor Korolenko, who had faked his death with Ripley's help. It is then revealed that Ripley had escaped, letting the museum know cops were on the way and that they had cleaned out the vault of all the smuggled items (which had included the eggs) before the police could inspect it, meaning there was no evidence that anything had been stolen and that Martin's testimony would be worthless as his actions have been kept off the book to prevent Ripley from finding out and that Martin's involvement with Alex compromises him, and Ripley had to be let go.Ripley later calls Martin from a tarmac ready to leave with Victor to meet with a buyer for the eggs, letting him know that they knew Martin was a cop from the beginning, and that they plan on going into hiding, although Alex will continue to stay in New York (having been in on the plan the whole time) and where he can pick up his cut. Martin later meets up with Alex, who confesses that her feelings for him are real, and decides to become a thief.

Question: Who has been picked by police?
Answer: Nicky
Thick as Thieves

In New York City, we see veteran thief Keith Ripley (Morgan Freeman) walk into a health spa with a gun and shoot and kill a man in a hot tub. We later learn that it was Victor Korolenko who was Ripleys partner, but Victor body has disappeared. Later Ripley recruits younger crook Gabriel Martin (Antonio Banderas) to help him pull off one final job in order to repay his debt to the Russian mob. Martin is unsure of Ripley, but Ripley's goddaughter (Ripleys ex-partners daughter), Alexandra Korolenko (Radha Mitchell) convinces him other wise. Ripley doesn't like that the two are getting close. Ripley tells Martin the plan, that they are going to steal from a Russian Museum that has been smuggling Russian treasures into the country and bribing the NYPD with large donation and expensive equipment. The two infiltrate a party at the museum posing as cops to gather information about their vault.The Russian mob, led by Nicky (Rade Serbedzija), grow impatient with Ripley and kidnap Alexandra. They tell them they must steal two Fabergé eggs from the Russian Museum in order to get her back. When the duo get into the vaults of the museum with the eggs, Martin reveals he is an undercover cop from Miami planted to catch Ripley. He leaves Ripley locked in the vault and takes the eggs to the Russian mobster to free Alexandra. After Alexandra is released Martin is forced to meet with Nicky. Meanwhile, Lt .Weber (Robert Forster) and his squad enter the museum, but are detained by the security guards due to Martin telling the guards he was a cop as he escaped.Martin reports in to the police the next morning after the police have picked up Nicky, only to learn that the man they have in custody isn't the man Martin met, and that he was actually Victor Korolenko, who had faked his death with Ripley's help. It is then revealed that Ripley had escaped, letting the museum know cops were on the way and that they had cleaned out the vault of all the smuggled items (which had included the eggs) before the police could inspect it, meaning there was no evidence that anything had been stolen and that Martin's testimony would be worthless as his actions have been kept off the book to prevent Ripley from finding out and that Martin's involvement with Alex compromises him, and Ripley had to be let go.Ripley later calls Martin from a tarmac ready to leave with Victor to meet with a buyer for the eggs, letting him know that they knew Martin was a cop from the beginning, and that they plan on going into hiding, although Alex will continue to stay in New York (having been in on the plan the whole time) and where he can pick up his cut. Martin later meets up with Alex, who confesses that her feelings for him are real, and decides to become a thief.

Question: Who was let go?
Answer: Ripley
The Piano Teacher

Erika Kohut is a piano professor at a Vienna music conservatory. Although already in her forties, she still lives in an apartment with her domineering mother. Her father is a long-standing resident in a psychiatric asylum.
The audience is gradually shown truths about Erika's private life. Behind her assured faÃ§ade, she is a woman whose sexual repression is manifested in a long list of paraphilia, including (but by no means limited to) voyeurism and sadomasochistic fetishes such as sexual self-mutilation.
When Erika meets Walter Klemmer, a charming 17-year-old engineering student from a middle class background, a mutual obsession develops. Even though she initially attempts to prevent consistent contact and even tries to undermine his application to the conservatory, he eventually becomes her pupil. Like her, he appreciates and is a gifted interpreter of Schumann and Schubert.
Erika destroys the musical prospects of an insecure but talented girl, Anna Schober, driven by her jealousy of the girl's contact with Walterâand also, perhaps, by her fears that Anna's life will mirror her own. She does so by hiding shards of glass inside one of Anna's coat pockets, damaging her right hand and ruining her aspirations to play at the forthcoming jubilee concert. Erika then pretends to be sympathetic when Anna's mother asks for advice on her daughter's recuperation. (The sub-plot of the pupil and her mother, mirroring the main relationship in the film, is absent in Jelinek's novel.) In a moment of dramatic irony, the girl's mother rhetorically asks Erika who could do something so evil.
Walter pursues Erika into a lavatory immediately after she has secretly ruined her pupil's hand. Walter passionately kisses Erika even though she is rebuffing him. Erika finally responds to his passion, but insists on repeatedly controlling, humiliating and frustrating Walter.
Walter is increasingly insistent in his desire to start a sexual relationship with Erika, but Erika is only willing if he will satisfy her masochistic fantasies, which repulse him. The film climaxes, however, when he attacks her in her apartment in the fashion she let him know she desired, beating and then raping her, outside her mother's bedroom door. He then leaves.
The next day, Erika takes a kitchen knife to the concert where she is scheduled to fill in for the injured Anna. She delays going to the stage because she is desperate to see Walter, but Walter enters cheerful and laughing with his family. Moments before the concert is due to start, Erika stabs herself superficially in the shoulder and exits the concert hall into the street.

Question: What does Erika hide in Anna's pockets?
Answer: shards of glass
The Piano Teacher

Erika Kohut is a piano professor at a Vienna music conservatory. Although already in her forties, she still lives in an apartment with her domineering mother. Her father is a long-standing resident in a psychiatric asylum.
The audience is gradually shown truths about Erika's private life. Behind her assured faÃ§ade, she is a woman whose sexual repression is manifested in a long list of paraphilia, including (but by no means limited to) voyeurism and sadomasochistic fetishes such as sexual self-mutilation.
When Erika meets Walter Klemmer, a charming 17-year-old engineering student from a middle class background, a mutual obsession develops. Even though she initially attempts to prevent consistent contact and even tries to undermine his application to the conservatory, he eventually becomes her pupil. Like her, he appreciates and is a gifted interpreter of Schumann and Schubert.
Erika destroys the musical prospects of an insecure but talented girl, Anna Schober, driven by her jealousy of the girl's contact with Walterâand also, perhaps, by her fears that Anna's life will mirror her own. She does so by hiding shards of glass inside one of Anna's coat pockets, damaging her right hand and ruining her aspirations to play at the forthcoming jubilee concert. Erika then pretends to be sympathetic when Anna's mother asks for advice on her daughter's recuperation. (The sub-plot of the pupil and her mother, mirroring the main relationship in the film, is absent in Jelinek's novel.) In a moment of dramatic irony, the girl's mother rhetorically asks Erika who could do something so evil.
Walter pursues Erika into a lavatory immediately after she has secretly ruined her pupil's hand. Walter passionately kisses Erika even though she is rebuffing him. Erika finally responds to his passion, but insists on repeatedly controlling, humiliating and frustrating Walter.
Walter is increasingly insistent in his desire to start a sexual relationship with Erika, but Erika is only willing if he will satisfy her masochistic fantasies, which repulse him. The film climaxes, however, when he attacks her in her apartment in the fashion she let him know she desired, beating and then raping her, outside her mother's bedroom door. He then leaves.
The next day, Erika takes a kitchen knife to the concert where she is scheduled to fill in for the injured Anna. She delays going to the stage because she is desperate to see Walter, but Walter enters cheerful and laughing with his family. Moments before the concert is due to start, Erika stabs herself superficially in the shoulder and exits the concert hall into the street.

Question: Which of Anna's hands are damaged?
Answer: right hand
The Piano Teacher

Erika Kohut is a piano professor at a Vienna music conservatory. Although already in her forties, she still lives in an apartment with her domineering mother. Her father is a long-standing resident in a psychiatric asylum.
The audience is gradually shown truths about Erika's private life. Behind her assured faÃ§ade, she is a woman whose sexual repression is manifested in a long list of paraphilia, including (but by no means limited to) voyeurism and sadomasochistic fetishes such as sexual self-mutilation.
When Erika meets Walter Klemmer, a charming 17-year-old engineering student from a middle class background, a mutual obsession develops. Even though she initially attempts to prevent consistent contact and even tries to undermine his application to the conservatory, he eventually becomes her pupil. Like her, he appreciates and is a gifted interpreter of Schumann and Schubert.
Erika destroys the musical prospects of an insecure but talented girl, Anna Schober, driven by her jealousy of the girl's contact with Walterâand also, perhaps, by her fears that Anna's life will mirror her own. She does so by hiding shards of glass inside one of Anna's coat pockets, damaging her right hand and ruining her aspirations to play at the forthcoming jubilee concert. Erika then pretends to be sympathetic when Anna's mother asks for advice on her daughter's recuperation. (The sub-plot of the pupil and her mother, mirroring the main relationship in the film, is absent in Jelinek's novel.) In a moment of dramatic irony, the girl's mother rhetorically asks Erika who could do something so evil.
Walter pursues Erika into a lavatory immediately after she has secretly ruined her pupil's hand. Walter passionately kisses Erika even though she is rebuffing him. Erika finally responds to his passion, but insists on repeatedly controlling, humiliating and frustrating Walter.
Walter is increasingly insistent in his desire to start a sexual relationship with Erika, but Erika is only willing if he will satisfy her masochistic fantasies, which repulse him. The film climaxes, however, when he attacks her in her apartment in the fashion she let him know she desired, beating and then raping her, outside her mother's bedroom door. He then leaves.
The next day, Erika takes a kitchen knife to the concert where she is scheduled to fill in for the injured Anna. She delays going to the stage because she is desperate to see Walter, but Walter enters cheerful and laughing with his family. Moments before the concert is due to start, Erika stabs herself superficially in the shoulder and exits the concert hall into the street.

Question: Who is Walter hesitant to start a sexual relationship with?
Answer: Erika
The Piano Teacher

Erika Kohut is a piano professor at a Vienna music conservatory. Although already in her forties, she still lives in an apartment with her domineering mother. Her father is a long-standing resident in a psychiatric asylum.
The audience is gradually shown truths about Erika's private life. Behind her assured faÃ§ade, she is a woman whose sexual repression is manifested in a long list of paraphilia, including (but by no means limited to) voyeurism and sadomasochistic fetishes such as sexual self-mutilation.
When Erika meets Walter Klemmer, a charming 17-year-old engineering student from a middle class background, a mutual obsession develops. Even though she initially attempts to prevent consistent contact and even tries to undermine his application to the conservatory, he eventually becomes her pupil. Like her, he appreciates and is a gifted interpreter of Schumann and Schubert.
Erika destroys the musical prospects of an insecure but talented girl, Anna Schober, driven by her jealousy of the girl's contact with Walterâand also, perhaps, by her fears that Anna's life will mirror her own. She does so by hiding shards of glass inside one of Anna's coat pockets, damaging her right hand and ruining her aspirations to play at the forthcoming jubilee concert. Erika then pretends to be sympathetic when Anna's mother asks for advice on her daughter's recuperation. (The sub-plot of the pupil and her mother, mirroring the main relationship in the film, is absent in Jelinek's novel.) In a moment of dramatic irony, the girl's mother rhetorically asks Erika who could do something so evil.
Walter pursues Erika into a lavatory immediately after she has secretly ruined her pupil's hand. Walter passionately kisses Erika even though she is rebuffing him. Erika finally responds to his passion, but insists on repeatedly controlling, humiliating and frustrating Walter.
Walter is increasingly insistent in his desire to start a sexual relationship with Erika, but Erika is only willing if he will satisfy her masochistic fantasies, which repulse him. The film climaxes, however, when he attacks her in her apartment in the fashion she let him know she desired, beating and then raping her, outside her mother's bedroom door. He then leaves.
The next day, Erika takes a kitchen knife to the concert where she is scheduled to fill in for the injured Anna. She delays going to the stage because she is desperate to see Walter, but Walter enters cheerful and laughing with his family. Moments before the concert is due to start, Erika stabs herself superficially in the shoulder and exits the concert hall into the street.

Question: Whose hand was damaged in the movie?
Answer: Anna's.
The Piano Teacher

Erika Kohut is a piano professor at a Vienna music conservatory. Although already in her forties, she still lives in an apartment with her domineering mother. Her father is a long-standing resident in a psychiatric asylum.
The audience is gradually shown truths about Erika's private life. Behind her assured faÃ§ade, she is a woman whose sexual repression is manifested in a long list of paraphilia, including (but by no means limited to) voyeurism and sadomasochistic fetishes such as sexual self-mutilation.
When Erika meets Walter Klemmer, a charming 17-year-old engineering student from a middle class background, a mutual obsession develops. Even though she initially attempts to prevent consistent contact and even tries to undermine his application to the conservatory, he eventually becomes her pupil. Like her, he appreciates and is a gifted interpreter of Schumann and Schubert.
Erika destroys the musical prospects of an insecure but talented girl, Anna Schober, driven by her jealousy of the girl's contact with Walterâand also, perhaps, by her fears that Anna's life will mirror her own. She does so by hiding shards of glass inside one of Anna's coat pockets, damaging her right hand and ruining her aspirations to play at the forthcoming jubilee concert. Erika then pretends to be sympathetic when Anna's mother asks for advice on her daughter's recuperation. (The sub-plot of the pupil and her mother, mirroring the main relationship in the film, is absent in Jelinek's novel.) In a moment of dramatic irony, the girl's mother rhetorically asks Erika who could do something so evil.
Walter pursues Erika into a lavatory immediately after she has secretly ruined her pupil's hand. Walter passionately kisses Erika even though she is rebuffing him. Erika finally responds to his passion, but insists on repeatedly controlling, humiliating and frustrating Walter.
Walter is increasingly insistent in his desire to start a sexual relationship with Erika, but Erika is only willing if he will satisfy her masochistic fantasies, which repulse him. The film climaxes, however, when he attacks her in her apartment in the fashion she let him know she desired, beating and then raping her, outside her mother's bedroom door. He then leaves.
The next day, Erika takes a kitchen knife to the concert where she is scheduled to fill in for the injured Anna. She delays going to the stage because she is desperate to see Walter, but Walter enters cheerful and laughing with his family. Moments before the concert is due to start, Erika stabs herself superficially in the shoulder and exits the concert hall into the street.

Question: who does walter pursue into the lavatory?
Answer: erika
The Piano Teacher

Erika Kohut is a piano professor at a Vienna music conservatory. Although already in her forties, she still lives in an apartment with her domineering mother. Her father is a long-standing resident in a psychiatric asylum.
The audience is gradually shown truths about Erika's private life. Behind her assured faÃ§ade, she is a woman whose sexual repression is manifested in a long list of paraphilia, including (but by no means limited to) voyeurism and sadomasochistic fetishes such as sexual self-mutilation.
When Erika meets Walter Klemmer, a charming 17-year-old engineering student from a middle class background, a mutual obsession develops. Even though she initially attempts to prevent consistent contact and even tries to undermine his application to the conservatory, he eventually becomes her pupil. Like her, he appreciates and is a gifted interpreter of Schumann and Schubert.
Erika destroys the musical prospects of an insecure but talented girl, Anna Schober, driven by her jealousy of the girl's contact with Walterâand also, perhaps, by her fears that Anna's life will mirror her own. She does so by hiding shards of glass inside one of Anna's coat pockets, damaging her right hand and ruining her aspirations to play at the forthcoming jubilee concert. Erika then pretends to be sympathetic when Anna's mother asks for advice on her daughter's recuperation. (The sub-plot of the pupil and her mother, mirroring the main relationship in the film, is absent in Jelinek's novel.) In a moment of dramatic irony, the girl's mother rhetorically asks Erika who could do something so evil.
Walter pursues Erika into a lavatory immediately after she has secretly ruined her pupil's hand. Walter passionately kisses Erika even though she is rebuffing him. Erika finally responds to his passion, but insists on repeatedly controlling, humiliating and frustrating Walter.
Walter is increasingly insistent in his desire to start a sexual relationship with Erika, but Erika is only willing if he will satisfy her masochistic fantasies, which repulse him. The film climaxes, however, when he attacks her in her apartment in the fashion she let him know she desired, beating and then raping her, outside her mother's bedroom door. He then leaves.
The next day, Erika takes a kitchen knife to the concert where she is scheduled to fill in for the injured Anna. She delays going to the stage because she is desperate to see Walter, but Walter enters cheerful and laughing with his family. Moments before the concert is due to start, Erika stabs herself superficially in the shoulder and exits the concert hall into the street.

Question: What did Anna cut her hand on?
Answer: Shards of glass.