In this task, you're expected to write answers to questions involving multiple references to the same entity. The answer to the question should be unambiguous and a phrase in the paragraph. Most questions can have only one correct answer.

Q: Passage: In Seattle, strait-laced Matt Leland falls in love with Casey Roberts, the new girl at their high school who's from Chicago. They begin a sexual relationship. His father disapproves of this and her parents try to stop them from continuing to see each other. She deliberately sets off the fire alarm at school, knowing that there is no fire there, and is subsequently suspended. She has an argument with her parents when they tell her they are sending her to a boarding school. She takes an overdose and her parents subsequently arrange to have her committed. Matt helps Casey escape from an acute psychiatric ward, and as they run away they both deal with her borderline personality disorder.
Casey is eccentric in nature. Her impulsiveness and extreme risk-taking attitude and behavior is attributed to her illness, in which she experiences severe highs and lows of emotion. Her frequent intense feelings, of passion towards Matt and of fear and destructiveness, dominate her persona. Throughout the relationship, Matt selflessly puts her needs before his. The severity of this increases as her mental state worsens. 
Question: What are the first names of the people that run away from the institute?

A: Matt.
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Q: Passage: In the late 1970s Tippett produced three single-movement instrumental works: the Symphony No. 4 (1977), the String Quartet No. 4 (1978), and the Triple Concerto for violin, viola and cello (1979).  The symphony, written in the manner of the tone poem or symphonic fantasia exemplified by Sibelius, represents what Tippett describes as a birth-to-death cycle, beginning and ending with the sounds of breathing. This effect was initially provided by a wind machine, although other means have been tried, with mixed results—according to Bowen "the sounds emitted can turn out to be redolent of a space-fiction film or a bordello".   The Fourth String Quartet, Tippett explains, is an exercise in "finding a sound" that he first encountered in the incidental music to a television programme on Rembrandt. In the Triple Concerto, which is thematically related to the Fourth Quartet and quotes from it, the three solo instruments  perform individually rather than as a formal grouping. The work acknowledges Tippett's past with quotations from The Midsummer Marriage.
 
Tippett described the longest and most ambitious of his late works, the oratorio The Mask of Time (1982), as "a pageant of sorts  with an ultimately lofty message". Mellers called the work "a mind-boggling cosmic history of the universe".   Paul Driver, who had been a critic of Tippett's new style, wrote that the Mask  revealed "the authentic early Tippett", with a return to the lyricism of The Midsummer Marriage and multiple acknowledgements of his early compositions.Tippett had intended The Ice Break to be his final opera, but in 1985 he began work on New Year.  Bowen saw this work as a summary of ideas and images that had attracted Tippett throughout his working life. Donal Henahan was dismissive of the music: "... the score generally natters along in the numbing, not-quite-atonal but antimelodic style familiar from other Tippett works." In Byzantium (1990), Tippett set the five stanzas of W. B. Yeats's poem, with added orchestral interludes. By this time he was professing little interest in his own work beyond its creation; performance and reception had become irrelevant to him. In 1996 he told an interviewer: "I'm outside the music I've made, I have no interest in it". After the String Quartet No. 5 (1991), which connects thematically with earlier works, Tippett closed his main output with The Rose Lake (1993), described in Tippett's Daily Telegraph obituary as "of luminous beauty ... a worthy ending to a remarkable career". 
Question: What was the name of the instrumental works by Tippett that was written in a manner of the tone poem or symphonic fantasia exemplified by Sibelius?

A: Symphony No. 4.
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Q: Passage: The film begins with Thomas "Boats" Gilhooley ("boats" is a nickname for a bosun's mate) (Lee Marvin), an expatriate United States Navy veteran, working aboard a freighter. When he realizes that the ship is passing by Haleakaloha, French Polynesia, but not actually calling there, he jumps ship to swim to the island.
Next, Michael "Guns" Donovan ("guns" is a Navy nickname for a gunner's mate), another expatriate U.S. Navy veteran and a former shipmate of Gilhooley, returns from a fishing trip aboard an outrigger canoe. Donovan is greeted by William "Doc" Dedham, also a U.S. Navy veteran and the only physician in the archipelago, who is about to begin a one or two week pre-Christmas circuit of the "outer islands," taking care of the health needs of the residents. Dedham's three children are placed in Donovan's care.
The kids' plans for a peaceful celebration of Donovan's birthday on December 7 are shattered by the arrival of Gilhooley, who shares his birthday. There is an unbroken 21-year tradition that Donovan and Gilhooley have a knock-down, drag-out fight every birthday—-to the delight of the local observers-—and their 22nd year does not break the tradition. The two vets meet in (and trash) "Donovan's Reef," the saloon owned by Donovan.
Miss Amelia Dedham is a "proper" young lady "of means" from Boston, who has become the chairman of the board of the Dedham Shipping Company. Her father is Doc Dedham, whom she has never met, but who now has inherited a large block of stock in the family company, making him the majority stockholder. She travels to Haleakaloha in hope of finding proof that Doc has violated an outdated (but still in effect) morality clause in the will which would keep him from inheriting the stock and thus enable her to retain control. 
Question: What is the nickname of the person about to take a trip to the outer islands?

A:
Doc.
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