You will be given a summary of a story. You need to create a question that can be answered from the story. You can create a question about characters, events, facts and beliefs, etc. Your question should be specific, try not to use pronouns instead of full names. As the stories are sometimes movie plots, they will contain actor names in parentheses. You should not use those names. Only use character names. Try to ask a question about all parts of the plot, not just the beginning.

Input: Consider Input:  After a stirring opening on the eve of the coup d' tat, involving an idealistic young village couple joining up with the republican militia in the middle of the night, Zola then spends the next few chapters going back in time to pre-Revolutionary Provence, and proceeds to lay the foundations for the entire Rougon-Macquart cycle, committing himself to what would become the next twenty-two years of his life's work. The fictional town of Plassans (loosely based on the real city of Aix-en-Provence, where Zola grew up) is established as the setting for the novel and described in intimate detail, and then we are introduced to the eccentric heroine Adelaide Fouque, later known as "Tante Dide", who becomes the common ancestor for both the Rougon and Macquart families. Her legitimate son from her short marriage to her late husband, a labourer named Rougon who worked on Dide's land, is forced to grow up alongside two illegitimate children   a boy and a girl   from Dide's later romance with the smuggler, poacher and alcoholic Macquart, while the ageing Dide slides further and further into a state of mental illness and borderline senile dementia. From this premise, the next nineteen novels all get their central protagonists and to a certain extent their themes.
The narrative continues along double lines, following both "branches" of the family. We see Pierre Rougon (the legitimate son) in his attempts to disinherit his Macquart half-siblings, his marriage to Felicit  Puech, the voraciously ambitious daughter of a local merchant, and their continued failure to establish the fortune, fame and renown they seek, despite their greed and relatively comfortable lifestyles. Approaching old age, the Rougon couple finally admit defeat and settle, crushed, into their lower middle class destinies, until by a remarkable stroke of luck their eldest son Eug ne reports from Paris that he has some news that they might find interesting. Eug ne has become one of the closest allies of the future Emperor Napoleon III and informs his parents that a coup is imminent. Having been effectively given insider information about which side to back in the coming revolution, the Rougons then make a series of seemingly bold moves to show their loyal and steadfast support for Napoleon III, winning the admiration of the most influential people in the town, mostly royalists who are themselves afraid of showing too much commitment for fear of backing the "wrong horse" and losing their standing and fortune.
The narrative then switches over to the Macquart side of the family, whose grim working-class struggles to survive are juxtaposed keenly with the Rougons' seemingly trivial quest for greater wealth and influence in genteel drawing-room society. Descended from a drunken ne'er-do-well and a madwoman, Zola effectively predestines the Macquarts to lives of toil and misery. Zola's theories of heredity, laid out in the original preface to this novel, were a cornerstone of his entire philosophy and a major reason for his embarking on the mammoth Rougon-Macquart project in the first place in order to illustrate them. Largely discredited nowadays, the theories are largely "present but unseen" in most of the novels in the Rougon-Macquart cycle, allowing those books to be enjoyed without the overshadowing effect of Zola's somewhat suspect scientific ideas. Due to the original story nature of La Fortune des Rougon, the theories are placed much more to the fore, and can appear somewhat heavy-handed as a result.
A third branch of the family, the Mourets, descended from Macquart and Dide's daughter, are then introduced before the novel's focus is brought back to the "present", the night of the coup, via a quite brilliantly told love story. The idealistic but na ve Silv re Mouret falls madly in love with the innocent Miette Chantegreil, and after a long courtship they decide to join up with the republicans to fight the coup. The rest of the novel then picks up from where the opening chapter left off, and from then on is basically a dual narrative telling the story of the old Rougon couple and their increasingly Machiavellian machinations to get themselves into a position of fortune and respect in Plassans, juxtaposed with Silv re and Miette's continuing love story and the doomed republican militia's disastrous attempt to take the town back. Eventually, the Rougons exploit their half-brother Antoine Macquart into inadvertently helping crush the republican threat, and they achieve their life's ambition, fortune and favour. For Silv re and Miette, who committed themselves so completely to a doomed cause, there can be no such happy ending and Zola wisely leaves their half of the story at a bleak dead end..

Output: What happens to Silvere and Miette?


Input: Consider Input:  Sherman McCoy (Tom Hanks) is a Wall Street investor who makes millions while enjoying the good life and the sexual favors of Maria Ruskin (Melanie Griffith), a Southern belle gold digger. Sherman and Maria are driving back to Maria's apartment from JFK Airport when they take a wrong turn on the expressway and the two find themselves in the "war-zone" of the South Bronx. They are approached by two suspicious black youths after Sherman gets out of the car to move a tire placed purposely in the middle of the road. Sherman jumps back into the car and Maria guns the engine in reverse, running over one of the teenagers and putting him in a coma. The two drive away and decide not to report the accident to the police.
Meanwhile, indigent alcoholic journalist Peter Fallow (Bruce Willis), anxious for a story to make good with his editor, comes upon the hit-and-run case as a rallying point for the black community calling upon Jewish district attorney Abe Weiss (F. Murray Abraham), who is the Bronx District Attorney seeking re-election. According to Judge Leonard White (Morgan Freeman), almost all of DA Weiss' prosecutions end up with black and Puerto Rican defendants going to prison and Weiss is seeking a white defendant for purposes of convincing the minority-majority community that he is worth re-electing.
Weiss recognizes the press coverage inherent in prosecuting the callow Sherman, who has been discovered as the hit-and-run driver, in order to cultivate the image as an avenger for the minorities and be propelled to the mayorship of New York City. As Sherman is brought to his knees, New York City fragments into different factions who use the case to suit their own cynical purposes.
Finally, Sherman is left without any allies to support him except for the sympathetic Judge Leonard White and the remorseful Fallow. Fallow gains a tremendous advantage and insight into the case when he is dating a woman who is the sub-letting landlady of Maria's apartment, and knows of secret recordings of conversations in the apartment made by the authorities to prove that the woman is not in fact living in the rent-controlled apartment herself. She discovers information about the McCoy case (where Maria states she was driving the car), which she gives to Fallow, who in turn covertly supplies it to Sherman McCoy's defense lawyer.
Sherman gets his hands on a tape and plays the recording in court, where it reveals Maria directly contradicting the evidence she has just given, showing she has been perjuring herself and causing her to faint. Sherman plays the tape in a tape recorder inside his briefcase connected to a small loudspeaker that he holds on the desk.
When the judge orders that he approach the bench with this evidence, he asserts that the tape is all his (making it admissible evidence and it is technically truthful since it refers only to the dummy tape he was holding and ignores the real tape that is hidden which is not his), resulting in his acquittal.
The people in the court go into an uproar, to which Judge White launches into a tirade that they have no right to act self-righteous and smarmy, or that they are above Sherman, considering Reverend Bacon (John Hancock) claims to help disadvantaged New Yorkers but actually engages in race baiting, or that the District Attorney Weiss pushed this case not in the interest of justice but in the interest of appealing to minority voters to further his political career by appealing to their desire to "get even". After the Judge made his point, he begs the people to be decent and change their ways, letting Sherman go.
The film ends as it begins, where there is a large audience applauding Peter Fallow's premiere of his book. Fallow says that Sherman McCoy has moved away from New York City to an unknown destination, presumably to live in obscurity.

Output: What job does Weiss want after he is DA?


Input: Consider Input:  Professor Grady Tripp (Michael Douglas) is a novelist who teaches creative writing at an unnamed Pittsburgh university (the movie was shot chiefly in and around Carnegie Mellon). He is having an affair with the university chancellor, Sara Gaskell (Frances McDormand), whose husband, Walter (Richard Thomas), is the chairman of the English department in which Grady is a professor. Grady's third wife, Emily, has just left him, and he has failed to repeat the grand success of his first novel, published years earlier. He continues to labor on a second novel, but the more he tries to finish it the less able he finds himself to invent a satisfactory ending. The book runs to over two and a half thousand pages and is still far from finished. He spends his free time smoking marijuana.
Grady's students include James Leer (Tobey Maguire) and Hannah Green (Katie Holmes). Hannah and James are friends and both very good writers. Hannah, who rents a room in Grady's large house, is attracted to Grady, but he does not reciprocate. James is enigmatic, quiet, dark and enjoys writing fiction more than he first lets on.
During a party at the Gaskells' house, Sara reveals to Grady that she is pregnant with his child. Grady finds James standing outside holding what he claims to be a replica gun, won by his mother at a fairground during her schooldays. However, the gun turns out to be very real, as James shoots the Gaskells' dog when he finds it attacking Grady. James also steals a very valuable piece of Marilyn Monroe memorabilia from the house. Grady is unable to tell Sara of this incident as she is pressuring him to choose between her and Emily. As a result, Grady is forced to keep the dead dog in the trunk of his car for most of the weekend. He also allows James to follow him around, fearing that he may be depressed or even suicidal. Gradually, he realizes that much of what James tells him about himself and his life is untrue, and is seemingly designed to elicit Grady's sympathy.
Meanwhile, Grady's editor, Terry Crabtree (Robert Downey Jr.), has flown into town on the pretense of attending the university's annual WordFest, a literary event for aspiring authors. In reality, Terry is there to see if Grady has written anything worth publishing, as both men's careers depend on Grady's upcoming book. Terry arrives with a transvestite whom he met on the flight, called Antonia "Tony" Sloviak (Michael Cavadias). The pair apparently become intimate in a bedroom at the Gaskells' party, but, immediately afterwards, Terry meets James and becomes infatuated with him, and Tony is unceremoniously sent home. After a night on the town, Terry and James semi-consciously flirt throughout the night, which eventually leads up to the two spending an intimate night together in one of Grady's spare rooms.
Tired and confused, Grady phones Walter and reveals to him that he is in love with Sara. Meanwhile, Walter has also made the connection between the disappearance of Marilyn Monroe memorabilia and James. The following morning the Pittsburgh Police arrive with Sara to escort James to the Chancellor's office to discuss the ramifications of his actions. The memorabilia is still in Grady's car, which has conspicuously gone missing. The car had been given to him by a friend as payment for a loan, and, over the weekend, Grady has come to suspect that the car was stolen. Over the course of his travel around town, a man claiming to be the car's real owner repeatedly accosted Grady. He eventually tracks the car down, but in a dispute over its ownership the majority of his manuscript blows out of the car and is lost. The car's owner gives him a ride to the university with his wife, Oola, in the passenger seat, with the stolen memorabilia.
Grady finally sees that making things right involves having to make difficult choices. Grady tells Oola the story behind the memorabilia and allows her to leave with it. Worried that Grady's choice comes at the expense of damaging James's future, Terry convinces Walter not to press charges by agreeing to publish his book, "a critical exploration of the union of Joe DiMaggio and Marilyn Monroe and its function in American mythopoetics", tentatively titled The Last American Marriage.
The film ends with Grady recounting the eventual fate of the main characters   Hannah graduates and becomes a magazine editor; James was not expelled, but drops out and moves to New York to rework his novel for publication; and Terry Crabtree "goes right on being Crabtree." Grady finishes typing his new book (now using a computer rather than a typewriter), which is an account of the events of the film, then watches Sara and their child arriving home before turning back to the computer and clicking "Save."


Output: Why did Grady put a dead animal in his car?