In this task, you will be shown an extract from a movie plot. You need to read the extract and create questions that can be answered from the extract. Once you create a question you also need to provide the correct answer for it. Write your answer like "Question: your question, Answer: your answer". The questions should be well-formed and grammatically correct. The questions should be completely answerable from the given passage and should not require any external knowledge. Subjective questions are not allowed. Short answers containing words that are present in the passage are preferred. Create questions that result in factoid answers.  A simple rule of thumb to decide whether a question is a factoid or not is to see if two different people with average reading/comprehension skills would come up with the same answer after reading the passage.

[EX Q]: Rugged mining engineer Rian Mitchell (Stewart Granger) discovers a lost emerald mine in the highlands of Colombia, which had last been operated by the Spanish conquistadors. Rian is a man consumed by the quest for wealth. However, he has to contend with local bandits and a savage jaguar.Taken to recuperate at the plantation home of local coffee grower Catherine Knowland (Grace Kelly) and her brother Donald (John Ericson), Rian manages to charm Catherine.His partner, Vic Leonard (Paul Douglas), is preparing to leave Colombia on the next ship. Rian, anxious to get Vic's assistance to mine the emeralds, tricks him into staying. Returning to the mine, Rian first gets Catherine's cooperation and then resumes his romantic overtures.However, his greed to get the emeralds at any cost soon creates trouble. He comes into conflict with the chief of the local bandits, who threatens Catherine at her home. He also takes Donald into the mining operation, despite Donald's complete inexperience, solely in order to obtain the coffee plantation workers on for his mining needs. This, however, means that Catherine does not have enough workers available to pick the coffee when harvest time arrives. Rian's mining operations also put the plantation at risk of flooding.When a tragic accident at the mine site kills Donald, even Vic abandons his old friend Rian and sets out to help Catherine with her harvest, all the while harboring his own passion for the beautiful young woman.It takes a final shootout between the bandits and Rian's men, in which Catherine and Vic do support him, for Rian to finally come to his senses and realize his mistakes. At great risk to himself, he sets in place an explosion of dynamite that not only diverts the water away from Catherine's plantation, but also buries the mine under tons of rubble, from where it can no longer be reached. Rian then reunites with a forgiving Catherine.
[EX A]: Question: With whom Rian's men fight?, Answer: The bandits

[EX Q]: Sinbad and the Eye of the TigerPrince Kassim (Damien Thomas) is transformed during his coronation as Caliph of the city and kingdom of Charak (1) into a baboon by his stepmother, the witch Queen Zenobia (Margaret Whiting), who wants the throne for her own son, Rafi (Kurt Christian). The Prince's sister, Princess Farah (Jane Seymour), seeks the help of her betrothed, Sinbad (Patrick Wayne), whilst Rafi, disguised as a merchant, tries to kill Sinbad and his crew (one, Aboo Seer (David Sterne) is poisoned) with the aid of three weapon-wielding ghouls (2) (created as stop-motion models, like most of the non-human cast, by Ray Harryhausen) brought from the depths of the earth by his mother's magic: Sinbad crushingly destroys these using falling logs.A discussion the following morning on Sinbads ship between the Princess, her uncle Balsora (Bruno Barnaby), Sinbad and his crew members Hassan (Nadim Sawalha) and Maroof (Salami Coker) discovers that the only possible saviour of Prince Kassim is the Greek sage Melanthius (Patrick Troughton), who lives on the rock-and-reef-ringed fog-bound island of Cascar (3). Zenobia however, having followed Balsora to confront him, learns of their plans. Sinbad and the Princess set sail for Cascar with the enchanted Prince, who astounds the crew by being able to write and play chess. Zenobia, fearing Melanthius may well be able to cure Kassim, decides to follow on a compact bronze boat with Rafi, rowed by their servant, the Minaton (4) (stand-in Peter Mayhew), a colossal bronze minotaur-automaton made by Rafi and animated by Zenobias magic. Balsora's guard on Zenobia, Zabid (Bernard Kay), is capsized and then skewered by the Minaton during their escape.On Cascar, after a brief encounter with rock-tossing inhabitants, Sinbad persuades Melanthius and his daughter Dione (Taryn Power) of the reality of Prince Kassim's condition, and to help: Melanthius reveals that the only cure will be to journey to the land of the former Arimaspi (5) at Hyperborea, a green valley in the polar regions maintained by the Arimaspi's powers, captured in the pyramidal Shrine of the Four Elements there to which he fortunately has the key, map and sailing directions. Speed is of the essence, as not only must Prince Kassim be crowned before seven moons have passed or renounce the Caliphate, but he will also gradually lose his remaining human abilities. However Kassim is befriended by Dione, who brings him fruit and practices writing with him.Zenobia, having been delayed by her boat being damaged when approaching Cascar, transforms herself by means of a magic potion into a seagull to fly to Sinbads ship, and there resumes her human form in miniature to spy out Melanthius plans. Spotted by Kassim, and caught by Melanthius, she learns of the trip to the lands of the Arimaspi, and is able to memorize the map, but when Melanthius uses some of the magic potion on a wasp (6), which grows to a giant size and attacks him, she is able to reclaim the potion vial, escape in seagull form, and return to her own boat. However there is now insufficient potion to effect the reverse transformation, and she retains a seagull's foot. The giant wasp is killed by Sinbad using a thrown dagger.Approaching the icebound polar regions, Sinbad passes by the ice-tunnel to the Arimaspi valley as being too small for his ship, and instead conducts his team on a journey by foot across the ice-pack (with Kassim in his cage on a sled), interrupted by a fight with a giant walrus, in which one crew member falls through the ice and another is stomped flat, to reach the outer part of the warm lands of Hyperborea, where they all relax. By this time Kassim has reverted almost wholly to animal nature, and only responds to Dione. Here the group encounters a giant Troglodyte, who shows them the way to the valley of the Arimaspi pyramid-shrine, and opens the valleys great gates for them. Meanwhile Zenobia, Rafi and the Minaton with their smaller boat have been able to take the ice-tunnel via a ruined temple directly to the shrine, where Zenobia forces an entrance using magic: however a falling stone block destroys the Minaton.Sinbad's party arrives at the now-failing shrine, where giant icicles crash down, and in a fight the baboon Kassim kills Rafi by rolling him down stairs to break his neck. Melanthius successfully restores Prince Kassim to human form by passing him in a gold cage through the fall of light from the Aurora Borealis, "the gift of the winter Apollo", within the shrine. However Zenobia vaporizes herself and possesses the body of a sabre-toothed tiger (smilodon), the guardian of the shrine, which mauls and kills the Troglodyte and Maroof before it is slain by Sinbad, firstly transfixing it with a gaff-spear originally used by the Minaton, and then using a scimitar for the coup de grace. The party escapes the collapsing shrine, which, with the whole of Hyperborea, now becomes covered in snow, and returns to Charak, where Kassim is duly installed as Caliph: he becomes enamoured of Dione, and gives his blessing to Sinbad and Princess Farah. The appearance of Zenobia's eyes at the end may mean all is not yet overNotes(1) This spelling is used on the original storyboard reproduced p185 in 'The Art of Ray Harryhausen', by Ray Harryhausen and Tony Dalton, 2006, Billboard Books, New York(2) Ibid. In the storyboard these are called 'nightmare figures' and 'zomboids' (and numbered as four, and illustrated as five, even though three eventually appear): Ray Harryhausen however refers to them consistently as 'ghouls' thereafter(3) Spelling uncertain: however, historically, 'Cascar' is the name given by Marco Polo to Kashgar, a city on the Silk Road(4) This spelling is that used by Ray Harryhausen: the original model is illustrated also p185 in 'The Art of Ray Harryhausen'(5) Historically, the Arimaspi were a legendary people of northern Scythia. The tales of their struggles with the gold-guarding griffins in the Hyperborean lands near the cave of Boreas, the North Wind, originate in a lost work by Aristeas. (6) That the insect is a wasp is confirmed by the survival of the original model: 'The Art of Ray Harryhausen' p 208
[EX A]: Question: Is is a lion or a tiger that guards the shrine?, Answer: Tiger

[EX Q]: The following is a very complete explanation of the films story from horrorwood.com.The story begins with four workmen in a phone company truck arriving at a plaza surrounded by apartment buildings. They unload a red telephone box from the back of the truck and install it in the middle of the plaza - leaving its door ajar.A human Venus fly trap has been set.Shortly afterwards a middle aged suited man sees his son off to school and then decides to go into the telephone box to make a call. He soon finds that the phone is out of order, but while trying it the door has closed behind him. Initially puzzled that the door won't open he then starts to become agitated and tries to force it open to no avail. He doesn't have to wait long before two men walking by on the way to work spot his predicament and fruitlessly try to pull the door open.Unfortunately, they can't stick around and have to leave. More people have noticed what's going on and a crowd starts to gather, obviously this is entertainment in a town where nothing much normally happens.The mood of the film so far is fairly light-hearted, though it's easy to feel sympathy for the man whose discomfort and embarrassment has become palpable now he's also become an object of curiosity and amusement. The next few minutes are played mainly for laughs as several people, including a couple of policemen, try to pull the phone box door open only to fail and fall over backward with the door handle in their hands.The crowd itself becomes a source of curiosity, too--there's a tall man stealing cakes from a tray a boy holds on his head; an old woman is invited to sit on a chair a man was taking somewhere; a couple of workmen stand around with a big mirror; and children taunt the trapped man.Symbolism and homages begin to emerge. For instance, we notice that two of the onlookers are women sat chatting and knitting. This is presumably a reference to Madame Defarge who sits knitting while people go their deaths in Charles Dickens' story A Tale Of Two Cities.Eventually, a fire truck arrives and the firemen decide to break the glass of the phone box. One of them gets on top of the box and is just about to smash the top glass with a sledgehammer when the phone company truck comes back, its horn beeping for attention.The phone company workmen proceed to load the phone box onto their truck. It's at this point that the man inside realizes that something is definitely not right about the whole situation. Despite his obvious panic and gestures to the workmen to get him out, the crowd wave him off with cries of "Good luck". Having been so close to escape his fate is getting even more puzzling.Like some kind of peculiar mobile freak show, the truck drives through the town with the trapped man eliciting jokes by passers by and lots of friendly waves. Much to his disappointment people continually misunderstand his gestures for help. On the way out of town they come to a halt in traffic and by the side of the road is a funeral party standing around a glass casket containing a corpse on display. This is an unsubtle way of signaling the man's own fate.A little later, while stopped at traffic lights another phone company truck pulls up alongside and on it is an identical phone box with a stuck man inside it. Looks of empathy and questioning pass between the two men before the other truck pulls away. Our man then becomes even more panicked and desperately tries to get the workmen's attention to let him out. This is the first indication that something more than just an unlucky accident for one person is at work.BEWARE: SPOILERS AHEAD, STOP READING NOW!!!A neat touch is when we see a man briefly struggling to get out of a phone box by the side of the road, but in his case the door soon gives way and he walks away little knowing what may have befallen him otherwise.So now we know there's a concerted effort going on to capture people. For what purpose we can only guess at but will never find out. Around this time the soundtrack becomes portentous with low register rhythms. Driving out of the town there's one final and meaningful encounter with other people. When the truck has to again stop some circus dwarves near the road look on, and they are the only ones to simply look and not laugh or wave.In return the man earnestly looks back at them. Maybe the dwarfs who are used to being stared at because of their appearance identify with the man's situation in which he's an object of curiosity and fun. Then blatant symbolism enters when the camera focuses on a ship in a bottle that one of the dwarfs is holding.The journey continues on winding mountain roads, first up and then down. For reasons that aren't obvious a helicopter joins in following the truck from the air.Eventually, the final destination gets closer as a tunnel into the mountainside is reached. The helicopter lands just outside and the pilot gets out to wave at the man as he enters the tunnel.As the truck continues into an underground complex, the soundtrack changes to sinister chanting in Latin somewhat like that used in The Omen. While driving in, they pass men cleaning out phone boxes, and also a truck going the other way full of empty phone boxes. By this time, the man is more anguished but despite frantically banging on the glass he's continually ignored.At this point I started to wonder--are the four workmen a metaphor for the Four Horsemen of the Apocalypse, or is it just coincidence because four are needed to load and unload the phone box?Soon after, the truck yields its unlikely cargo to an overhead crane that takes it away and passes it to a series of conveyor belts. The man's improbable fate is then made clear when he's taken past corpses in identical telephone boxes to his own.Coming to a halt the man's phone box is put down next to one containing the other victim he saw earlier. That man has strangled himself with the phone cord rather than endure a drawn-out death.It's all over for the man; he now knows it but still makes a last effort of banging on the glass hoping to be let out. Desperately aware that he's doomed the final shot of him is slowly sliding down the glass of his coffin in despair and resignation.What started out as an ordinary day for an ordinary man has turned into the kind of thing that nightmares are made of.Turning full circle, the film ends back at the plaza, where a shiny new telephone box is installed and its door left open. We are left wondering how long it'll be until some other unlucky person attempts to make a call. The questions about what the hell is going on are never answered.The trapped man is brilliantly played by Jose Luis Lopez Vazquez, a Spanish actor with a substantial list of acting credits to his name.I first saw this film on TV late at night many years ago, and it's been stuck vividly in my memory ever since. It's truly terrifying, playing to archetypal fears like people ignoring your pleas for help and being buried alive.-------------------------------------------------------------------------------From DVD RESURRECTIONSdvdresurrections.com/MovieReview_LaCabina.htmlThis amazing short film was directed by Antonio Mercero for Spanish television in 1972. It's a wonderful example of efficient, lean horror storytelling which squeezes in plenty of thrills and shocks in its 40 minute running time.Essentially a European riff on a Twilight Zone style format, the film begins with a team of workmen installing a new public phone box. Later a mandrops his boy off at the nearby bus stop and then pauses to make a call...But the phone doesn't work and when he tries to exit he finds himself trapped. The filmmaker makes a lot out of the claustrophobic setting in theseopening scenes, the box is glass on all four sides leaving our victim exposed and embarrassed as a crowd gathers to witness the odd spectacle.Small children taunt him, offering him peanuts and calling him a monkey. Several people offer to help including the police, the local strongman and ahandyman with a bag of tools.Soon, the telephone crew appears to take the box with our hero inside, loading it onto a flatbed truck as the amused crowd laugh and wavegoodbye to the hapless prisoner.The film up to this point is presented as a lightweight comedy, with plenty of physical comedy and pratfalls as the crowd attempt, and fail, to breakthe man out of the phone box. However, once the booth is fixed to the truck, the tone shifts subtly into one of increasing dread.First, the man witnesses another guy successfully leaving a similar booth, causing a look of anguish to cross his face. The film is very clever in thisregard, working almost in a silent movie style. The trapped man can only mouth words and use exaggerated gestures to communicate.The truck drives past a funeral in which a young woman can be seen in a glass sided coffin increasing our sense of unease. As the truck pulls up toa junction alongside another lorry transporting another hapless man-in-a-box our guy can barely keep a grip as we finally have our suspicionsconfirmed and realize that everything is wrong and something sinister is afoot...Who has kidnapped him? Where are they going? What terrible fate is about to befall him?The film is a triumph, telling a simple story with an excellent central performance from the lead that has to deliver a huge range of emotionsthrough body language without turning the whole film into an embarrassing pantomime. The photography sets this apart from the usual TVmovie fare and the varied score, which ranges from playful for the comedic opening to apocalyptic during the twisted finale, all help to create a thrillride with a shocking ending that will stay with you for a good while afterwards.
[EX A]:
Question: Where does the truck arrive after many hours?, Answer: a massive underground warehouse