In this task, you will be shown an extract from a movie plot and a question. You need to provide the correct answer for it. Short answers containing words that are present in the passage are preferred.

Input: Consider Input: David (Maguire) and his twin sister Jennifer (Witherspoon) lead different high-school social lives. Jennifer is shallow and extroverted; David is introverted and spends most of his time watching television. One evening while their mother, Sherry (Jane Kaczmarek), is away, they fight over the TV. Jennifer wants to watch a concert on MTV, but David wants to watch a marathon of Pleasantville, a black and white 1950s sitcom about the idyllic Parker family, who live in the squeaky-clean suburb of Pleasantville, Iowa. During the fight, the remote control breaks, and the TV cannot be turned on manually.A mysterious TV repairman (Knotts) shows up, quizzes David about Pleasantville, then gives him a strange remote control. The repairman leaves, and David and Jennifer resume fighting. However, they are then transported by the remote into the Parkers' black and white Pleasantville living room in 1958. David tries to reason with the repairman (with whom he communicates through the Parkers' television), but he succeeds only in chasing him away. With the remote no longer functioning, David and Jennifer must now pretend they are Bud and Mary Sue Parker, the son and daughter on the show.David and Jennifer witness the wholesome nature of the town, such as a group of firemen who only rescue cats stuck in trees, as there are no fires to fight. David tells Jennifer they must stay in character and not disrupt the lives of the town's citizens, who do not notice any difference between Bud and Mary Sue, and David and Jennifer. To keep the show's plot Jennifer dates a boy from high school, but, due to her impatience, Jennifer skips all forms of storybook romance and has sex with himâa concept unknown to him and everyone else in town.Slowly, Pleasantville begins changing from black and white to color, including flowers and the faces of people who have experienced bursts of emotion and personal transformation (usually through sex). Though against Jennifer's disruption at first, David eventually joins in when he begins to see the shows characters as real people and not just avatars. David introduces Mr. Johnson (Daniels), owner of the cheeseburger joint/soda shop where Bud works, to colorful modern art via a book from the library, sparking in him an interest in painting. Johnson and Betty Parker (Allen) fall in love, causing her to leave home, throwing George Parker (Macy), Bud and Mary Sue's father, into confusion. The only people who remain unchanged are the town's fathers, led by the mayor, Big Bob (Walsh in his final performance), who sees the changes eating at the values of Pleasantville. They resolve to do something about their increasingly independent wives and rebellious children.As the townsfolk become more colorful, a ban on "colored" people is initiated in public venues. Eventually, a riot is touched off by a nude painting of Betty (painted by Johnson) on the window of Mr. Johnson's soda shop. The soda shop is destroyed, books are burned, and people who are "colored" are harassed in the street. As a reaction, the town fathers announce rules preventing people from visiting the library, playing loud music, or using paint other than black, white, or gray. In protest, David and Mr. Johnson paint a colorful mural on a brick wall, depicting their world, prompting their arrest. Brought to trial in front of the town, David and Mr. Johnson defend their actions, and their passion begins to influence the non-colored members of the population into becoming colored. David also eventually arouses enough anger and indignation in Big Bob that the mayor becomes colored as well. The mayor runs off, effectively ending the segregation.With Pleasantville and its populace now in full color, Jennifer and David both reflect on how their actions in changing Pleasantville have changed their own views on how they perceive the real world and their place in it, noting that it had been far more difficult for them to become colorful as opposed to the other townsfolk, and the circumstances that eventually allowed them to. Jennifer stays to finish her education, citing that her poor academic record in the real world would not allow for college. David uses the remote control, now working again, to return to the real world, and surprises his mother with his newfound maturity. The mysterious TV repairman, who had been outside the house in his truck the whole time, smiles as he drives away., Question: What is the name of the town that is now in full color?

Output: Answer: Pleasantville


Input: Consider Input: This article's plot summary may be too long or excessively detailed. Please help improve it by removing unnecessary details and making it more concise. (June 2015) (Learn how and when to remove this template message)Anna Quarrels (Rhonda Griffin), librarian in the Rare Books Room, is approached by Mr. Jamison from the University of Chicago who wishes to study Mary Shelley's original manuscript for "Frankenstein; or, The Modern Prometheus". After he's finished, Anna is about to return the manuscript to the stacks when she discovers that Jamison has switched blank paper for the manuscript and walked out of the library with it. Investigating, she learns he used a fake I.D. to access the Rare Books Room and so hires Private Detective, David Raleigh (Justin Lauer) to track him down. David finds fingerprints on the sign-in sheet and discovers the man claiming to be Jamison is really Dr. Winston Berber, an unscrupulous scholar with doctorates in Physics, Mathematics, Folklore, and Philosophy. Berber (Bill Moynihan) is meanwhile gloating over his collection of rare manuscripts; along with the Shelley manuscript, he has obtained the originals of Guy Endore's "The Werewolf of Paris" (1933) and James Putnam's "Mummy" (1993). He now seeks the first edition of Bram Stoker's "Dracula" (1897) to complete his collection. Berber has invented an "Archetype Inducer" and plans to use the manuscripts to bring the four greatest monsters from horror history to life to do his bidding.David has been so busy at the video store he runs that he has not yet located Berber, but when Berber returns to the library looking for the first edition of "Dracula", Anna recognizes him, holds him at bay with a pair of scissors, and phones David and tells him to hurry over. Before David can arrive, Berber zaps Anna with a taser, steals the "Dracula" manuscript, and takes both the book and Anna to his laboratory. She regains consciousness and finds herself handcuffed to a table. Berber informs her that she is just what he needs: a virgin between the ages of 20 and 35 to be sacrificed naked in order to make the Archetype Inducer work. David breaks into the lab, having found Berber's address with an internet search. He overcomes Berber and releases Anna. She grabs the manuscripts, and the two hurriedly leave the lab. Unfortunately, Berber had already turned on the Archetype Inducer, and while David and Anna are making their escape, the four monsters step out of the machine. But strangely, The Mummy (Joe Smith), Frankenstein's monster (Thomas Wellington), the Wolfman (Jon Simanton), and Dracula (Phil Fondacaro) are all midgets. Dracula is unhappy that he has been brought to life three feet tall, but Berber assures him that he and the other monsters can be increased in stature if he can recapture Anna. The monsters offer to get her for him.Anna isn't too happy either about the $6200 invoice presented by David for his services, and Anna's supervisor, Miss Christina (Kristin Norton), is herself unhappy because Anna keeps dodging her romantic advances. When her advances are again dodged, Christina stays late at the library in order to make love to the first edition of "Jane Eyre" in the Rare Book Reading Room. She hears a noise out on the floor, and in investigating falls prey to Dracula's net. Back at the lab, Berber is unhappy because Christina was not Anna, and insists he needs Anna. Dracula forces him to try the procedure anyway, and when it does not work, the antagonists set out again to find Anna.At David's house, Dracula is unable to get Anna's address from David, and tries to bite his neck. David exposes his crucifix and races out the door. Assuming that he will lead them to Anna, the monsters and Berber follow as David leads them to the library. When the monsters attempt to capture Anna, David grabs Berber and threatens to break his neck if they don't leave Anna alone. David pulls out Berber's taser to threaten Dracula, who simply zaps it and causes it to explode. Anna and David are taken back to the lab and Berber prepares for the procedure. Dracula asks for assurance that it will work this time, but Berber won't guarantee it because Anna is not a virgin. Dracula suggests that they find another virgin in order to go through the procedure, but Berber says that will unbalance things. The only way to keep everything balanced is to find a male virgin opposite of Anna. After asking, Dracula is assured that David is indeed a virgin, and the preparations continue while David tries to come up with an idea. But at the last minute, it is Anna who has an idea. She points out to the monsters that, if they stay in the real world they will eventually die like all humans do. But if they return to the pages of the novels from whence they came, they will live on forever as the legends they are. Berber pushes the red button to start his machine, and David and Anna escape from their cuffs. Rather than the two being sucked into the machine, Christina reappears as a Viking, grabs Berber, and they both disappear. Anna and David conclude that the machine turned the two into archetypes of a Viking and a mad scientist. Having had a little time to ponder Anna's idea, Dracula tells David to press the red button again, as the monsters have chosen to return to their own lands as the legends they are rather than to die in the real world. Before the four are sucked back into the pages of their respective novels, Dracula tells Anna that she is wise "for someone who has not yet lived a single lifetime. But do not fear," he adds, "we will always be with you... in your nightmares."Anna later shows up at David's video store, gives him a check for $6200 and informs him that Berber's lab has been torn down. She also gives him a book, the first English language edition of "Venus in Furs". David thanks her and admits that he saw the movie in "1970, directed by Jess Franco (Jesus Franco), starring Klaus Kinski. Actually, there was an earlier version directed by Larry Buchanan, the guy who did Zontar: The Thing from Venus (1966). Actually, I think there's a '94 version but it's all in Dutch...," he drones on. Anna interrupts him with a kiss., Question: What happened after David zapped the taser?

Output: Answer: It exploded.


Input: Consider Input: The film opens to the sound of a gramophone playing Axxon N, "the longest-running radio play in history". Meanwhile, a young prostitute, identified in the credits as the "Lost Girl", cries while watching television in a hotel room, following an unpleasant encounter with her client. The Lost Girlâs television displays a family of surrealistic anthropomorphic rabbits who speak in cryptic statements and questions. Occasionally, there are laugh track responses within these Rabbit scenes. These three elements become recurring motifs throughout Inland Empire.The main plot follows an actress named Nikki Grace (Dern), who has applied for a comeback role as Sue in a film entitled On High in Blue Tomorrows. The day before the audition, Nikki is visited by an enigmatic old woman (Zabriskie) who says she is her neighbor; she predicts that Nikki will get the role, and recounts two folk tales. One tells of a boy who, sparking a reflection after passing through a doorway, "caused evil to be born." The other tells of a girl who, wandering through an alleyway behind a marketplace, "discovers a palace." The old woman presses Nikki for details on her new film, asking whether the story is about marriage and involves murder. Nikki denies both, but her neighbor disagrees. Disregarding Nikki's offended response, the old woman comments on the confusion of time, claiming that were this tomorrow, Nikki would be sitting on a couch adjacent to them. The film then pans to where the neighbor is pointing, and we see Nikki and two girlfriends sitting on the couch. Her butler (Ian Abercrombie) walks into the living room with a phone call from her agent, announcing that she has won the role. Ecstatic, Nikki and her friends celebrate while her husband Piotrek (Peter J. Lucas) ominously surveys them from atop a nearby staircase.Some time later, Nikki and her co-star Devon Berk (Theroux) receive an interview on a talk show. The host (Ladd) asks them both whether they are having an affair, to which each of them respond negatively. Devon is warned by his entourage that Nikki is out of bounds, due to her husband's power and influence. Later, on the set being built for the film, Nikki and Devon rehearse a scene with the director, Kingsley Stewart (Irons). They are interrupted by a disturbance, but upon investigation Devon finds nothing. Shaken by the event, Kingsley confesses that they are shooting a remake of a German feature entitled 47. Production was abandoned after both leads were murdered, creating rumors of the film being cursed.Immersed in her character, while the film is being shot, "Sue" / Nikki appears to begin an affair with Devon / "Billy". A strange scene follows based on what the old woman had described: Nikki appears in a mysterious alley walking to her car, carrying a bag of groceries, but then she notices a door in the alley marked Axxon N, and enters. It leads her back to soundstage where the earlier rehearsal took place. She witnesses that rehearsal from across the roomââshe herself was what had interrupted it earlier. This time, when Devon seeks to discover who's observing them, she disappears from the rehearsal scene, and flees among the half-built backgrounds and into the house of a character named Smithy (possibly her husband in the film's story, but this is never made clear). Despite the set being merely a wooden facade, Nikki enters to find an illuminated suburban house inside. Devon looks through the windows, but sees only darkness, not hearing her frantic cries of his character's name, "Billy."At this point, the film takes a drastic stylistic turn. Various plotlines and scenes begin to entwine and complement each other. The chronological order is often confused or nonexistent. Inside the house, Nikki sees her husband (whether it's "Smithy" or Piotrek is unclear) in bed. Hiding from him, she enters a different room and encounters a troupe of prostitutes. One of the women advises her to burn a hole through silk with a cigarette and look through the hole. Nikki complies and witnesses several strange happenings, many of which seem to revolve around her, or alternate versions of herself.Prior to these scenes, the woman who plays Billyâs wife tells a policeman that she had been hypnotised to murder someone with a screwdriver, but finds the screwdriver embedded in her own side. A mysterious organization claims to have captives from Inland Empire. A parallel plotline involves Polish circus artists in the present day, as well as Polish prostitutes in ÅÃ³dÅº during the 1930s, who are confronted by strange pimps while murder permeates their city. Nikki, having become one of the group of present-day prostitutes, wanders the streets while her companions ask, "Who is she?" Both Nikki and her prostitutes frequently ask people to look at them and "say whether you've known me before." In a parallel plotline, Sue climbs the dark staircase behind a nightclub to deliver long monologues to an unidentified man touching upon her childhood sexual abuse, disastrous relationships, and retaliations. Her husband Smithy seems to be connected with both the pimps and the organization, and then is hired by a circus from Poland because he is said to be "good with animals." There is much talk of the Phantom, an elusive hypnotist. Convinced sheâs being stalked by a red-lipped man, Sue arms herself with a screwdriver.Finally, Sue walks down Hollywood Boulevard, and is startled to see her doppelgÃ¤nger across the street. Before Sue can investigate, Doris arrives and attempts to kill her, having been hypnotized by The Phantom. Sue is brutally stabbed in the stomach with her own screwdriver, causing her to stagger down the street and eventually collapse next to some homeless people on the corner of Hollywood and Vine. One woman remarks that Sue is dying, then proceeds to debate with another, younger homeless woman about taking a bus to Pomona. Her companion talks at length about a friend named Niko, a prostitute whose blond wig makes her look like a movie star, thus allowing her to walk through the rich district without drawing attention. The older woman comforts Sue by holding a lighter in front of her face until she finally dies, promising her "no more blue tomorrows." Off-camera, Kingsley yells "Cut!" and the camera pans back to show this has merely been a film scene.As the actors and film crew wrap for the next scene, Sue slowly arises, Nikki once more. Kingsley announces that her scenes for the film are complete. In a daze, Nikki wanders off set and into a nearby cinema, where she sees not only On High in Blue Tomorrowsâencompassing some of the subplots of the filmâbut events that are currently occurring. She wanders to the projection room, but finds an apartment building marked "Axxon N". Eventually, Nikki confronts the red-lipped man from earlier, now known to be the Phantom. She shoots him, which causes his face to morph first into a distorted copy of Nikki's own face, and then an even more distorted face bleeding from its mouth.Nikki flees into a nearby roomâRoom 47, which houses the rabbits on television, though she fails to see them. Elsewhere in the building, Nikki finds the Lost Girl, who has been watching and crying all along. The two women kiss, before Nikki fades away into the light along with the rabbits. The Lost Girl runs out of the hotel and into Smithy's house, where she happily embraces a man and child.Nikki is then seen back home, smiling at the old woman from the beginning of the film. The concluding scene takes place at her house, where she sits with many other people, among them Laura Harring, Nastassja Kinski, and Ben Harper. A one-legged woman who was mentioned in Sue's monologue looks around and says, "Sweet!" Niko, the girl with the blonde wig and monkey, can also be seen. The end credits roll over a group of women dancing to Nina Simone's "Sinner Man" while a lumberjack saws a log to the beat., Question: who does Nikki confront?


Output: Answer: the Phantom