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.

Input: Consider Input: Passage: After three years in prison, Cruella de Vil has been cured of her desire for fur coats by Dr. Pavlov and is released into the custody of the probation office on the provision that she will be forced to pay the remainder of her fortune (eight million pounds) to all the dog shelters in the borough of Westminster should she repeat her crime. Cruella therefore mends her working relationship with her valet Alonzo and has him lock away all her fur coats. Cruella's probation officer, Chloe Simon, nevertheless suspects her, partly because Chloe is the owner of the now-adult Dipstick (one of the original 15 puppies from the previous film) who moved from Roger and Anita's house to her house.
Dipstick's mate, Dottie, has recently given birth to three puppies: Domino, Little Dipper and Oddball (who lacks spots). To mend her reputation, Cruella buys the Second Chance Dog shelter, owned by Kevin Shepherd, to resolve its financial insolvency that is on the verge of eviction. Meanwhile, Dr. Pavlov discovers that when his therapy's subjects are subjected to loud noises, they revert to their original states but conceals this discovery. Inevitably, when Big Ben rings in her presence, Cruella reverts to her former personality and enlists the help of French furrier Jean-Pierre LePelt to steal 102 Dalmatian puppies for a new fur coat with a hood, specifically modifying the original design to use Dipstick's children. 
Question: What is the first name of the person whose custody Cruella is released to?

Output: Chloe.


Input: Consider Input: Passage: As a passenger ship sails by the bleak ruins of a deserted island, Dr. Kersaint blows his former home a kiss. When a fellow passenger asks him about the place, he tells its tragic story, segueing into a flashback.
During the colonial era in the South Pacific, the natives of the island of Manakoora are a contented lot. Terangi, the first mate on an island-hopping schooner, marries Marama, the daughter of the chief. She has a premonition and begs him not to leave, or at least take her with him on the ship's next voyage, but he makes her stay behind.
Upon reaching Tahiti, the crew goes to a bar to celebrate. When a racist white man orders them to leave, Terangi strikes him and breaks his jaw. Unfortunately, the man has strong political connections, and the governor is forced to sentence him to six months in jail, over the objections of Terangi's captain, Nagle.  Back on Manakoora, Dr. Kersaint begs recently appointed local French Governor Eugene De Laage to have Terangi brought home to serve his sentence under parole, but De Laage refuses to compromise his stern interpretation of the law, despite the pleas of Captain Nagle, Father Paul, and even his own wife.
Unable to bear being confined, Terangi repeatedly tries to escape, lengthening his sentence by another 16 years, much to the delight of a particularly harsh jailer. Finally, after eight years, Terangi succeeds in getting out, but at a terrible price: he unintentionally kills a guard. He steals a canoe and returns to Manakoora after an arduous journey. At the end, he is rescued from his overturned canoe by Father Paul, who promises to remain silent. 
Question: Who does the daughter of the chief beg not to leave?

Output: Terangi.


Input: Consider Input: Passage: Productions during the 1980s included the company's first presentations of Pelléas and Mélisande (1981), Parsifal (1986) and Billy Budd (1988). 1980s productions that remained in the repertory for many years included Xerxes directed by Hytner, and Rigoletto and The Mikado directed by Jonathan Miller. In 1984 ENO toured the United States; the travelling company, led by Elder, consisted of 360 people; they performed Gloriana, War and Peace, The Turn of the Screw, Rigoletto and Patience. This was the first British company to be invited to appear at the Metropolitan Opera in New York, where Patience received a standing ovation and Miller's production of Rigoletto, depicting the characters as mafiosi, was greeted with a mixture of enthusiasm and booing. In 1990 ENO was the first major foreign opera company to tour the Soviet Union, performing the Miller production of The Turn of the Screw, Pountney's production of Macbeth, and Hytner's much-revived Xerxes.The 'Powerhouse' era ended in 1992, when all three of the triumvirate left at the same time. The new general director was Dennis Marks, formerly head of music programmes at the BBC, and the new music director was Sian Edwards. Pountney's post of director of productions was not filled. Marks, inheriting a large financial deficit from his predecessors, worked to restore the company's finances, concentrating on restoring ticket sales to sustainable levels. A new production by Miller of Der Rosenkavalier was a critical and financial success, as was a staging of Massenet's Don Quixote, described by the critic Hugh Canning as "the kind of old-fashioned theatre magic which the hair-shirted Powerhouse regime despised".Marks was obliged to spend much time and effort in securing the funding for an essential restoration of the Coliseum, a condition on which ENO had acquired the freehold of the theatre in 1992. At the same time the Arts Council was contemplating a cut in the number of opera performances in London, at the expense of ENO, rather than Covent Garden. By increasing ticket sales in successive years, Marks demonstrated that the Arts Council's proposition was unrealistic. After what The Independent described as "a sustained period of criticism and sniping at the ENO by music critics", Edwards resigned as music director at the end of 1995. Paul Daniel became ENO's next music director. In 1997, Marks resigned. No official reason was announced, but one report stated that he and the ENO board had disagreed about his plans to move the company from the Coliseum to a purpose-built new home. Daniel took over the management of the company until a new general director was appointed.Daniel inherited from Marks a company thriving artistically and financially. The 1997–1998 season played to 75 per cent capacity and made a surplus of £150,000. Daniel led the campaign against yet another proposal to merge Covent Garden and ENO, which was rapidly abandoned. In 1998 Nicholas Payne, director of opera at Covent Garden, was appointed as ENO's general director. Productions in the 1990s included the company's first stagings of Beatrice and Benedict (1990), Wozzeck (1990), Jenůfa (1994), A Midsummer Night's Dream (1995), Die Soldaten (1996), and Dialogues of the Carmelites (1999). Co-productions, enabling opera houses to share the costs of joint enterprises, became important in this decade.  In 1993 ENO and Welsh National Opera collaborated on productions of Don Pasquale, Ariodante and The Two Widows. 
Question: What is the full name of the man that was appointed as general director in 1998 for the company that's 'Powerhouse' era ended in 1992?


Output: Nicholas Payne.