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.

[Q]:  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..
[A]: What happens to Silvere and Miette?


[Q]:  In this novel, the characters of Plantagenet Palliser, his wife Lady Glencora and their uncle the ailing Duke of Omnium are in the background. The plot centres on Lizzie Greystock, a fortune-hunter who ensnares the sickly, dissipated Sir Florian Eustace and is soon left a very wealthy widow and mother. While clever and beautiful, Lizzie has several character flaws; the greatest of these is an almost pathological delight in lying, even when it cannot benefit her. (Trollope comments that Lizzie sees lies as "more beautiful than the truth.") Before he dies, the disillusioned Sir Florian discovers all this, but does not think to change the generous terms of his will.
The diamonds of the book's title are a necklace, a family heirloom that Sir Florian gave to Lizzie to wear. Though they belong to her husband's estate (and thus eventually will be the property of her son), Lizzie refuses to relinquish them. She lies about the terms under which they were given to her, leaving their ownership unclear. The indignant Eustace family lawyer, Mr Camperdown, strives to retrieve the necklace, putting the Eustaces in an awkward position. On the one hand, the diamonds are valuable and Lizzie may not have a legal claim to them, but on the other, they do not want to antagonise the mother of the heir to the family estate (Lizzie having only a life interest).
Meanwhile, after a respectable period of mourning, Lizzie searches for another husband, a dashing "Corsair" more in keeping with her extravagantly romantic fantasies. She becomes engaged to a dull, but honourable politician, Lord Fawn, but they have a falling out when her character becomes better known, especially her determination to keep the diamonds. She then considers her cousin, Frank Greystock, even though he is already engaged to Lucy Morris, a poor but much beloved governess of the Fawn daughters. Greystock is a successful lawyer and Member of Parliament, but his income is inadequate to his position and spendthrift lifestyle. Lizzie believes he can shield her from the legal proceedings being initiated by Mr Camperdown. Another more Corsair-like possibility is one of the guests at her Scottish home, the older Lord George de Bruce Carruthers, a man who supports himself in a somewhat mysterious manner.
Among the other guests is a young woman named Lucinda Roanoke, whose financially straitened aunt, Mrs Carbuncle, is desperate to marry her off. Despite Lucinda's deep detestation of the brutish Sir Griffin Tewett, the aunt has her way and the mismatched couple become engaged.
Things take a dramatic turn on a trip to London. Lizzie, out of fear of Mr Camperdown, keeps her diamonds with her in a conspicuous strongbox. One night, at an inn, the strongbox is stolen and everybody assumes the jewellery is lost. As it turns out, Lizzie had taken the gems out and put them under her pillow, but acting on her first instincts, she perjures herself when she has to report the theft to the magistrate, thinking that she can sell the diamonds and let the robbers take the blame. Suspicion falls on both Lizzie and Lord George, acting either together or separately. In any case, the thieves, aided by Lizzie's disloyal maid, Patience Crabstick, try again and succeed in their second attempt. Lizzie feigns illness and takes to her bed. Lady Glencora Palliser pays Lizzie a visit to offer her sympathy.
The police begin to unravel the mystery, putting Lizzie in a very uncomfortable position. In the end, the diamonds are lost, the police discover the truth, and Lizzie is forced to confess her lies, though she escapes legal retribution since her testimony is needed to convict the criminals. Both Frank Greystock and Lord George become disgusted by her conduct and desert her. Lucinda Roanoke grows to loathe Sir Griffin more and more intensely until, on what would have been the day of their wedding, she loses her sanity. Frank Greystock returns to Fawn Court to marry Lucy Morris. Mr Emilius, a foreign crypto-Jewish clergyman, woos Lizzie while she is in a vulnerable state and succeeds in marrying her (though it is hinted earlier in the book and is later confirmed in Phineas Redux that he is already married).
[A]: What legally happens to Lizzie when she reports the theft to the magistrates?


[Q]:  Film producer James Ballard (James Spader) and his wife, Catherine (Deborah Kara Unger), are in an open marriage. The couple engage in various infidelities but, between them, have unenthusiastic sex. Their arousal is heightened by discussing the intimate details of their extramarital sex.
While driving home from work late one night, Ballard's car collides head-on with another, killing its male passenger. While trapped in the fused wreckage, the driver, Dr. Helen Remington (Holly Hunter), wife of the dead passenger, exposes a breast to Ballard when she pulls off the shoulder harness of her seat belt.
While recovering, Ballard meets Remington again, as well as a man named Vaughan (Elias Koteas), who takes a keen interest in the brace holding Ballard's shattered leg together and photographs it. While leaving the hospital, Remington and Ballard begin an affair, one primarily fueled by their shared experience of the car crash (not only do all of their sexual assignations take place in cars, all of Remington's off-screen sexual encounters take place in cars as well). In an attempt to make some sense of why they are so aroused by their car wreck, they go to see one of Vaughan's cult meetings/performance pieces, a re-creation of the car crash that killed James Dean with authentic cars and stunt drivers. When Transport Ministry officials break up the event, Ballard flees with Remington and Vaughan.
Ballard becomes one of Vaughan's followers who fetishize car crashes, obsessively watching car safety test videos and photographing traffic collisions. Ballard drives Vaughan's Lincoln convertible around the city while Vaughan picks up and uses street prostitutes and, later, Ballard's wife. In turn, Ballard has a dalliance with one of the other group members, Gabrielle (Rosanna Arquette), a beautiful woman whose legs are clad in restrictive steel braces and who has a vulva-like scar on the back of one of her thighs, which is used as a substitute for a vagina by Ballard. The film's sexual couplings in (or involving) cars are not restricted to heterosexual experiences. While watching videos of car crashes, Remington becomes extremely aroused and gropes the crotches of both Ballard and Gabrielle, suggesting an imminent m nage   trois. Instead, Vaughan and Ballard eventually turn towards each other and have sex while, later, Gabrielle and Remington have sex with each other.
Though Vaughan claims at first that he is interested in the "reshaping of the human body by modern technology," in fact his project is to live out the philosophy that the car crash is a "fertilizing rather than a destructive event, mediating the sexuality of those who have died with an intensity that's impossible in any other form."
The film's climax begins with Vaughan's death and ends with Ballard being involved in another semi-deliberate car crash, this one involving his wife. Their fetish for car crashes has, ironically enough, had an unusual bonding effect on the Ballards' marriage. As he caresses her bruised body on the grass median near the crash, Ballard and his wife display affection for each other, ending with Ballard saying, "Maybe the next one," possibly implying that the logical end result of their extreme fetish is death.
[A]:
Who causes Mr. Ballard to flee?