Given a document, find the main entity about whom the author is writing. Write the full name if mentioned in the text. Note that URLs in the text have been replaced with [Link].

Input: Consider Input: The good news for Indy is that the only coaching vacancy still looks pretty attractive â if  Andrew Luck  is healthy.
 Luck   meanwhile  continues to be the big question as  he  rehabs from last January's surgery for a partially torn labrum in  his  throwing shoulder.
Some believe McDaniels' sudden change of heart was related to doubts about  Luck 's health.
On Wednesday  though  he attempted to alleviate lingering concerns about  Luck  while acknowledging the franchise quarterback still hasn't thrown a football since returning from Europe late last year.
"At this point  we feel very strongly that  Andrew  is in a good place.  He  doesn't need surgery " Ballard said. "I have not gotten that from the two doctors that  he 's seen here after the season.  His  strength is good.  He 's working on  his  throwing motion and  he 's working on  his  arm speed right now.  He  has not picked up a football  but  he  is throwing balls  working on arm speed.
" He 's going to do everything right to get  himself  ready to play and I'm very confident   he 's very confident  that  he 's going to come back and prove a lot of people wrong " Ballard added.

Output: Andrew Luck


Input: Consider Input: While “On Chesil Beach” deviated from the source material in effective ways  Mr McEwan seemed reluctant to do the same with “The Children Act”. Here  the internal narrative is simply layered onto a new medium. It doesn’t work (although Emma Thompson’s performance makes it watchable).  Fiona Maye (Ms Thompson)  is a well-respected judge  arrives at home to  her  husband Jack (Stanley Tucci) telling  her  that he would like to have an affair  and that Fiona  if  she  cares about him  will tolerate it. This leads to the film’s single flashback: as  she  lays awake at night   her  imagination reaches back to happier times and to a moment of pure joy when he surprised  her  with a new piano. Unlike in “On Chesil Beach”  the flashback here adds little to illuminate their predicament: the viewer is still left guessing as to how  she  ended up married to an American professor  or what their love was like at its peak.
The marriage crisis exacerbates another one  this time in  Fiona ’s working life.  She  specialises in extraordinarily hard cases involving children  often with a religious element.  Her  newest case is an urgent one: Adam  a 17-year-old Jehovah’s Witness with leukaemia  is refusing a blood transfusion that could save his life.  Fiona  must decide his corporeal and perhaps spiritual fate.  She  has been able to dispassionately dispatch such cases in the past  but since  her  husband’s disruption of their marriage   her  confidence is faltering.
 Her  interest in the boy then  so steadfast in his own faith  is both professional and personal.  Fiona  takes the unusual step of visiting him in the hospital  and under Richard Eyre’s thoughtful direction  the camera offers extreme close-ups of both characters  allowing the audience to search their eyes for meaning.  Fiona  is looking for cracks in Adam’s guarded wall of faith. The viewer is looking for the real motive behind  hers .
Unfortunately  it never quite appears.  Her  judicial ruling comes suddenly  ending its fascinating inquiry into the nature of faith and connection before it has even begun. Adam lives but becomes disillusioned with his faith and begins stalking Fiona  trading one obsession for another. Mr Eyre seems to be looking for some of the same notes that worked so well for him in “Notes of a Scandal” (2006)  but this is not a lurid tale  and efforts to make it one—with wistful glances and tense  longing strings on the soundtrack—seem out of place. For this conflict to have dramatic heft  the viewer needs to understand  Fiona  better.
Perhaps a screenwriter with more distance from the original material would have been willing to radically reshape the novel  offering more backstory or drawing  her  decision out for dramatic impact to make the story less reliant on  her  inner life. “On Chesil Beach” did not call for such revisions  but “The Children Act” does. It shows that every adaptation is a unique case  even two self-adapted novels from the same hand. Some cannot simply be transposed onto the screen. Most of all  however  it shows that the writer who knows the material best is not always the one best placed to make the hard choices that can turn a great novel into a great film.

Output: Fiona Maye


Input: Consider Input: Barely 12  with large brown eyes and sticklike arms  Fandi is three years older than his brother -- in his eyes almost a man.
 "I am older " he said sternly. "I do more rowing. But sometimes the work is hard  especially when the current is strong."
 The delay doesn't bother Fandi and Alfan. For them  the Kampar River is their local street corner  a place where they play and test themselves  becoming excellent swimmers.
 On a recent day  still dressed in his school uniform -- pink plaid shorts and matching tie -- Fandi launched his sampan from a sagging dock with rotting boards. Leaving school  he had picked up a plastic jug of cooking kerosene for his mother  which he stowed along with his green backpack.
 His gaze focused  Fandi stood for better leverage  extending two long oars into the water. The handles crossed at his chest  he pushed outward  propelling the boat forward  lifting the oars from the water as he felt the craft surge forward.
 A weary Fandi sometimes hands the oars over to his brother. Secretly  Alfan would like to row more  but he knows his place.
 Sometimes  when his Fandi is running late  Alfan leaves school without him  knowing his brother will catch another ride. The younger boy takes the sturdy little boat by himself and rows alongside a friend  like a neighborhood kid trying out a new bike without supervision.
Alfan would like to row more  but he knows his place.
 Yet the when need arises  he said  "I'm ready."
 Sometimes  when his Fandi is running late  Alfan leaves school without him  knowing his brother will catch another ride. The younger boy takes the sturdy little boat by himself and rows alongside a friend  like a neighborhood kid trying out a new bike without supervision.
 Even when the new bridge is finished  Fandi said  he isn't sure he wants to give up his daily row. The trip is quicker on water. The river is what he knows.


Output: Alfan Fandi