nc33/multispan_quoref huggingface dataset:
The Story of the Kelly Gang (1906), the world's first feature length film, spurred a boom in Australian cinema during the silent film era. After World War I, Hollywood monopolised the industry, and by the 1960s Australian film production had effectively ceased. With the benefit of government support, the Australian New Wave of the 1970s brought provocative and successful films, many exploring themes of national identity, such as Wake in Fright and Gallipoli, while Crocodile Dundee and the Ozploitation movement's Mad Max series became international blockbusters. In a film market flooded with foreign content, Australian films delivered a 7.7% share of the local box office in 2015. The AACTAs are Australia's premier film and television awards, and notable Academy Award winners from Australia include Geoffrey Rush, Nicole Kidman, Cate Blanchett and Heath Ledger.Australia has two public broadcasters (the Australian Broadcasting Corporation and the multicultural Special Broadcasting Service), three commercial television networks, several pay-TV services, and numerous public, non-profit television and radio stations. Each major city has at least one daily newspaper, and there are two national daily newspapers, The Australian and The Australian Financial Review. In 2010, Reporters Without Borders placed Australia 18th on a list of 178 countries ranked by press freedom, behind New Zealand (8th) but ahead of the United Kingdom (19th) and United States (20th). This relatively low ranking is primarily because of the limited diversity of commercial media ownership in Australia; most print media are under the control of News Corporation and Fairfax Media.

Question: What are the names of the two public broadcasters in Australia?
Answer: Australian Broadcasting Corporation, Special Broadcasting Service
During his time with Jikken Kōbō, Takemitsu came into contact with the experimental work of John Cage; but when the composer Toshi Ichiyanagi returned from his studies in America in 1961, he gave the first Japanese performance of Cage's Concert for Piano and Orchestra. This left a "deep impression" on Takemitsu: he recalled the impact of hearing the work when writing an obituary for Cage, 31 years later. This encouraged Takemitsu in his use of indeterminate procedures and graphic-score notation, for example in the graphic scores of Ring (1961), Corona for pianist(s) and Corona II for string(s) (both 1962). In these works each performer is presented with cards printed with coloured circular patterns which are freely arranged by the performer to create "the score".Although the immediate influence of Cage's procedures did not last in Takemitsu's music—Coral Island, for example for soprano and orchestra (1962) shows significant departures from indeterminate procedures partly as a result of Takemitsu's renewed interest in the music of Anton Webern—certain similarities between Cage's philosophies and Takemitsu's thought remained. For example, Cage's emphasis on timbres within individual sound-events, and his notion of silence "as plenum rather than vacuum", can be aligned with Takemitsu's interest in ma. Furthermore, Cage's interest in Zen practice (through his contact with Zen scholar Daisetz Teitaro Suzuki) seems to have resulted in a renewed interest in the East in general, and ultimately alerted Takemitsu to the potential for incorporating elements drawn from Japanese traditional music into his composition:
I must express my deep and sincere gratitude to John Cage. The reason for this is that in my own life, in my own development, for a long period I struggled to avoid being "Japanese", to avoid "Japanese" qualities. It was largely through my contact with John Cage that I came to recognize the value of my own tradition.
For Takemitsu, as he explained later in a lecture in 1988, one performance of Japanese traditional music stood out:
One day I chanced to see a performance of the Bunraku puppet theater and was very surprised by it. It was in the tone quality, the timbre, of the futazao shamisen, the wide-necked shamisen used in Bunraku, that I first recognized the splendor of traditional Japanese music. I was very moved by it and I wondered why my attention had never been captured before by this Japanese music.

Question: What is the name of the person who claims that, in his own life and development, he struggled to avoid being "Japanese", to avoid "Japanese" qualities?
Answer: Takemitsu
During his time with Jikken Kōbō, Takemitsu came into contact with the experimental work of John Cage; but when the composer Toshi Ichiyanagi returned from his studies in America in 1961, he gave the first Japanese performance of Cage's Concert for Piano and Orchestra. This left a "deep impression" on Takemitsu: he recalled the impact of hearing the work when writing an obituary for Cage, 31 years later. This encouraged Takemitsu in his use of indeterminate procedures and graphic-score notation, for example in the graphic scores of Ring (1961), Corona for pianist(s) and Corona II for string(s) (both 1962). In these works each performer is presented with cards printed with coloured circular patterns which are freely arranged by the performer to create "the score".Although the immediate influence of Cage's procedures did not last in Takemitsu's music—Coral Island, for example for soprano and orchestra (1962) shows significant departures from indeterminate procedures partly as a result of Takemitsu's renewed interest in the music of Anton Webern—certain similarities between Cage's philosophies and Takemitsu's thought remained. For example, Cage's emphasis on timbres within individual sound-events, and his notion of silence "as plenum rather than vacuum", can be aligned with Takemitsu's interest in ma. Furthermore, Cage's interest in Zen practice (through his contact with Zen scholar Daisetz Teitaro Suzuki) seems to have resulted in a renewed interest in the East in general, and ultimately alerted Takemitsu to the potential for incorporating elements drawn from Japanese traditional music into his composition:
I must express my deep and sincere gratitude to John Cage. The reason for this is that in my own life, in my own development, for a long period I struggled to avoid being "Japanese", to avoid "Japanese" qualities. It was largely through my contact with John Cage that I came to recognize the value of my own tradition.
For Takemitsu, as he explained later in a lecture in 1988, one performance of Japanese traditional music stood out:
One day I chanced to see a performance of the Bunraku puppet theater and was very surprised by it. It was in the tone quality, the timbre, of the futazao shamisen, the wide-necked shamisen used in Bunraku, that I first recognized the splendor of traditional Japanese music. I was very moved by it and I wondered why my attention had never been captured before by this Japanese music.

Question: What is the name of the person who, through his contact with Cage, came to recognize the value of his own tradition?
Answer: Takemitsu
By 1970, Takemitsu's reputation as a leading member of avant-garde community was well established, and during his involvement with Expo '70 in Osaka, he was at last able to meet more of his Western colleagues, including Karlheinz Stockhausen. Also, during a contemporary music festival in April 1970, produced by the Japanese composer himself ("Iron and Steel Pavilion"), Takemitsu met among the participants Lukas Foss, Peter Sculthorpe, and Vinko Globokar. Later that year, as part of a commission from Paul Sacher and the Zurich Collegium Musicum, Takemitsu incorporated into his Eucalypts I parts for international performers: flautist Aurèle Nicolet, oboist Heinz Holliger, and harpist Ursula Holliger.Critical examination of the complex instrumental works written during this period for the new generation of "contemporary soloists" reveals the level of his high-profile engagement with the Western avant-garde, in works such as Voice for solo flute (1971), Waves for clarinet, horn, two trombones and bass drum (1976), Quatrain for clarinet, violin, cello, piano and orchestra (1977). Experiments and works that incorporated traditional Japanese musical ideas and language continued to appear in his output, and an increased interest in the traditional Japanese garden began to reflect itself in works such as In an Autumn Garden for gagaku orchestra (1973), and A Flock Descends into the Pentagonal Garden for orchestra (1977).Throughout this apogee of avant-garde work, Takemitsu's musical style seems to have undergone a series of stylistic changes. Comparison of Green (for orchestra, 1967) and A Flock Descends into the Pentagonal Garden (1977) quickly reveals the seeds of this change. The latter was composed according to a pre-compositional scheme, in which pentatonic modes were superimposed over one central pentatonic scale (the so-called "black-key pentatonic") around a central sustained central pitch (F-sharp), and an approach that is highly indicative of the sort of "pantonal" and modal pitch material seen gradually emerging in his works throughout the 1970s. The former, Green (or November Steps II) written 10 years earlier, is heavily influenced by Debussy, and is, in spite of its very dissonant language (including momentary quarter-tone clusters), largely constructed through a complex web of modal forms. These modal forms are largely audible, particularly in the momentary repose toward the end of the work. Thus in these works, it is possible to see both a continuity of approach, and the emergence of a simpler harmonic language that was to characterise the work of his later period.
His friend and colleague Jō Kondō said, "If his later works sound different from earlier pieces, it is due to his gradual refining of his basic style rather than any real alteration of it."

Question: What was the name of the person whose experiments and works that incorporated traditional Japanese musical ideas and language continued to appear in their output?
Answer: Takemitsu
By 1970, Takemitsu's reputation as a leading member of avant-garde community was well established, and during his involvement with Expo '70 in Osaka, he was at last able to meet more of his Western colleagues, including Karlheinz Stockhausen. Also, during a contemporary music festival in April 1970, produced by the Japanese composer himself ("Iron and Steel Pavilion"), Takemitsu met among the participants Lukas Foss, Peter Sculthorpe, and Vinko Globokar. Later that year, as part of a commission from Paul Sacher and the Zurich Collegium Musicum, Takemitsu incorporated into his Eucalypts I parts for international performers: flautist Aurèle Nicolet, oboist Heinz Holliger, and harpist Ursula Holliger.Critical examination of the complex instrumental works written during this period for the new generation of "contemporary soloists" reveals the level of his high-profile engagement with the Western avant-garde, in works such as Voice for solo flute (1971), Waves for clarinet, horn, two trombones and bass drum (1976), Quatrain for clarinet, violin, cello, piano and orchestra (1977). Experiments and works that incorporated traditional Japanese musical ideas and language continued to appear in his output, and an increased interest in the traditional Japanese garden began to reflect itself in works such as In an Autumn Garden for gagaku orchestra (1973), and A Flock Descends into the Pentagonal Garden for orchestra (1977).Throughout this apogee of avant-garde work, Takemitsu's musical style seems to have undergone a series of stylistic changes. Comparison of Green (for orchestra, 1967) and A Flock Descends into the Pentagonal Garden (1977) quickly reveals the seeds of this change. The latter was composed according to a pre-compositional scheme, in which pentatonic modes were superimposed over one central pentatonic scale (the so-called "black-key pentatonic") around a central sustained central pitch (F-sharp), and an approach that is highly indicative of the sort of "pantonal" and modal pitch material seen gradually emerging in his works throughout the 1970s. The former, Green (or November Steps II) written 10 years earlier, is heavily influenced by Debussy, and is, in spite of its very dissonant language (including momentary quarter-tone clusters), largely constructed through a complex web of modal forms. These modal forms are largely audible, particularly in the momentary repose toward the end of the work. Thus in these works, it is possible to see both a continuity of approach, and the emergence of a simpler harmonic language that was to characterise the work of his later period.
His friend and colleague Jō Kondō said, "If his later works sound different from earlier pieces, it is due to his gradual refining of his basic style rather than any real alteration of it."

Question: What was the name of the person who had a friend named Jō Kondō?
Answer: Takemitsu
By 1970, Takemitsu's reputation as a leading member of avant-garde community was well established, and during his involvement with Expo '70 in Osaka, he was at last able to meet more of his Western colleagues, including Karlheinz Stockhausen. Also, during a contemporary music festival in April 1970, produced by the Japanese composer himself ("Iron and Steel Pavilion"), Takemitsu met among the participants Lukas Foss, Peter Sculthorpe, and Vinko Globokar. Later that year, as part of a commission from Paul Sacher and the Zurich Collegium Musicum, Takemitsu incorporated into his Eucalypts I parts for international performers: flautist Aurèle Nicolet, oboist Heinz Holliger, and harpist Ursula Holliger.Critical examination of the complex instrumental works written during this period for the new generation of "contemporary soloists" reveals the level of his high-profile engagement with the Western avant-garde, in works such as Voice for solo flute (1971), Waves for clarinet, horn, two trombones and bass drum (1976), Quatrain for clarinet, violin, cello, piano and orchestra (1977). Experiments and works that incorporated traditional Japanese musical ideas and language continued to appear in his output, and an increased interest in the traditional Japanese garden began to reflect itself in works such as In an Autumn Garden for gagaku orchestra (1973), and A Flock Descends into the Pentagonal Garden for orchestra (1977).Throughout this apogee of avant-garde work, Takemitsu's musical style seems to have undergone a series of stylistic changes. Comparison of Green (for orchestra, 1967) and A Flock Descends into the Pentagonal Garden (1977) quickly reveals the seeds of this change. The latter was composed according to a pre-compositional scheme, in which pentatonic modes were superimposed over one central pentatonic scale (the so-called "black-key pentatonic") around a central sustained central pitch (F-sharp), and an approach that is highly indicative of the sort of "pantonal" and modal pitch material seen gradually emerging in his works throughout the 1970s. The former, Green (or November Steps II) written 10 years earlier, is heavily influenced by Debussy, and is, in spite of its very dissonant language (including momentary quarter-tone clusters), largely constructed through a complex web of modal forms. These modal forms are largely audible, particularly in the momentary repose toward the end of the work. Thus in these works, it is possible to see both a continuity of approach, and the emergence of a simpler harmonic language that was to characterise the work of his later period.
His friend and colleague Jō Kondō said, "If his later works sound different from earlier pieces, it is due to his gradual refining of his basic style rather than any real alteration of it."

Question: What was the name of the person that Jō Kondō was referring to in this quote; "If his later works sound different from earlier pieces, it is due to his gradual refining of his basic style rather than any real alteration of it."?
Answer: Takemitsu
In a Tokyo lecture given in 1984, Takemitsu identified a melodic motive in his Far Calls. Coming Far! (for violin and orchestra, 1980) that would recur throughout his later works:
I wanted to plan a tonal "sea". Here the "sea" is E-flat [Es in German nomenclature]-E-A, a three-note ascending motive consisting of a half step and perfect fourth. [... In Far Calls] this is extended upward from A with two major thirds and one minor third ... Using these patterns I set the "sea of tonality" from which many pantonal chords flow.
Takemitsu's words here highlight his changing stylistic trends from the late 1970s into the 1980s, which have been described as "an increased use of diatonic material [... with] references to tertian harmony and jazz voicing", which do not, however, project a sense of "large-scale tonality". Many of the works from this period have titles that include a reference to water: Toward the Sea (1981), Rain Tree and Rain Coming (1982), riverrun and I Hear the Water Dreaming (1987). Takemitsu wrote in his notes for the score of Rain Coming that "... the complete collection [is] entitled "Waterscape" ... it was the composer's intention to create a series of works, which like their subject, pass through various metamorphoses, culminating in a sea of tonality." Throughout these works, the S-E-A motive (discussed further below) features prominently, and points to an increased emphasis on the melodic element in Takemitsu's music that began during this later period.
His 1981 work for orchestra named Dreamtime was inspired by a visit to Groote Eylandt, off the coast of the Northern Territory of Australia, to witness a large gathering of Australian indigenous dancers, singers and story tellers.  He was there at the invitation of the choreographer Jiří Kylián.Pedal notes played an increasingly prominent role in Takemitsu's music during this period, as in A Flock Descends into the Pentagonal Garden. In Dream/Window, (orchestra, 1985) a pedal D serves as anchor point, holding together statements of a striking four-note motivic gesture which recurs in various instrumental and rhythmic guises throughout. Very occasionally, fully fledged references to diatonic tonality can be found, often in harmonic allusions to early- and pre-20th-century composers—for example, Folios for guitar (1974), which quotes from J. S. Bach's St Matthew Passion, and Family Tree for narrator and orchestra (1984), which invokes the musical language of Maurice Ravel and American popular song. (He revered the St Matthew Passion, and would play through it on the piano before commencing a new work, as a form of "purificatory ritual".)

Question: What is the collection where Takemitsu's S-E-A motive features prominently?
Answer: Waterscape
In a Tokyo lecture given in 1984, Takemitsu identified a melodic motive in his Far Calls. Coming Far! (for violin and orchestra, 1980) that would recur throughout his later works:
I wanted to plan a tonal "sea". Here the "sea" is E-flat [Es in German nomenclature]-E-A, a three-note ascending motive consisting of a half step and perfect fourth. [... In Far Calls] this is extended upward from A with two major thirds and one minor third ... Using these patterns I set the "sea of tonality" from which many pantonal chords flow.
Takemitsu's words here highlight his changing stylistic trends from the late 1970s into the 1980s, which have been described as "an increased use of diatonic material [... with] references to tertian harmony and jazz voicing", which do not, however, project a sense of "large-scale tonality". Many of the works from this period have titles that include a reference to water: Toward the Sea (1981), Rain Tree and Rain Coming (1982), riverrun and I Hear the Water Dreaming (1987). Takemitsu wrote in his notes for the score of Rain Coming that "... the complete collection [is] entitled "Waterscape" ... it was the composer's intention to create a series of works, which like their subject, pass through various metamorphoses, culminating in a sea of tonality." Throughout these works, the S-E-A motive (discussed further below) features prominently, and points to an increased emphasis on the melodic element in Takemitsu's music that began during this later period.
His 1981 work for orchestra named Dreamtime was inspired by a visit to Groote Eylandt, off the coast of the Northern Territory of Australia, to witness a large gathering of Australian indigenous dancers, singers and story tellers.  He was there at the invitation of the choreographer Jiří Kylián.Pedal notes played an increasingly prominent role in Takemitsu's music during this period, as in A Flock Descends into the Pentagonal Garden. In Dream/Window, (orchestra, 1985) a pedal D serves as anchor point, holding together statements of a striking four-note motivic gesture which recurs in various instrumental and rhythmic guises throughout. Very occasionally, fully fledged references to diatonic tonality can be found, often in harmonic allusions to early- and pre-20th-century composers—for example, Folios for guitar (1974), which quotes from J. S. Bach's St Matthew Passion, and Family Tree for narrator and orchestra (1984), which invokes the musical language of Maurice Ravel and American popular song. (He revered the St Matthew Passion, and would play through it on the piano before commencing a new work, as a form of "purificatory ritual".)

Question: Where did Takemitsu visit that inspired his 1981 work?
Answer: Groote Eylandt
In a Tokyo lecture given in 1984, Takemitsu identified a melodic motive in his Far Calls. Coming Far! (for violin and orchestra, 1980) that would recur throughout his later works:
I wanted to plan a tonal "sea". Here the "sea" is E-flat [Es in German nomenclature]-E-A, a three-note ascending motive consisting of a half step and perfect fourth. [... In Far Calls] this is extended upward from A with two major thirds and one minor third ... Using these patterns I set the "sea of tonality" from which many pantonal chords flow.
Takemitsu's words here highlight his changing stylistic trends from the late 1970s into the 1980s, which have been described as "an increased use of diatonic material [... with] references to tertian harmony and jazz voicing", which do not, however, project a sense of "large-scale tonality". Many of the works from this period have titles that include a reference to water: Toward the Sea (1981), Rain Tree and Rain Coming (1982), riverrun and I Hear the Water Dreaming (1987). Takemitsu wrote in his notes for the score of Rain Coming that "... the complete collection [is] entitled "Waterscape" ... it was the composer's intention to create a series of works, which like their subject, pass through various metamorphoses, culminating in a sea of tonality." Throughout these works, the S-E-A motive (discussed further below) features prominently, and points to an increased emphasis on the melodic element in Takemitsu's music that began during this later period.
His 1981 work for orchestra named Dreamtime was inspired by a visit to Groote Eylandt, off the coast of the Northern Territory of Australia, to witness a large gathering of Australian indigenous dancers, singers and story tellers.  He was there at the invitation of the choreographer Jiří Kylián.Pedal notes played an increasingly prominent role in Takemitsu's music during this period, as in A Flock Descends into the Pentagonal Garden. In Dream/Window, (orchestra, 1985) a pedal D serves as anchor point, holding together statements of a striking four-note motivic gesture which recurs in various instrumental and rhythmic guises throughout. Very occasionally, fully fledged references to diatonic tonality can be found, often in harmonic allusions to early- and pre-20th-century composers—for example, Folios for guitar (1974), which quotes from J. S. Bach's St Matthew Passion, and Family Tree for narrator and orchestra (1984), which invokes the musical language of Maurice Ravel and American popular song. (He revered the St Matthew Passion, and would play through it on the piano before commencing a new work, as a form of "purificatory ritual".)

Question: Who invited the composer of Dreamtime to Groote Eylandt?
Answer: Jiří Kylián
In a Tokyo lecture given in 1984, Takemitsu identified a melodic motive in his Far Calls. Coming Far! (for violin and orchestra, 1980) that would recur throughout his later works:
I wanted to plan a tonal "sea". Here the "sea" is E-flat [Es in German nomenclature]-E-A, a three-note ascending motive consisting of a half step and perfect fourth. [... In Far Calls] this is extended upward from A with two major thirds and one minor third ... Using these patterns I set the "sea of tonality" from which many pantonal chords flow.
Takemitsu's words here highlight his changing stylistic trends from the late 1970s into the 1980s, which have been described as "an increased use of diatonic material [... with] references to tertian harmony and jazz voicing", which do not, however, project a sense of "large-scale tonality". Many of the works from this period have titles that include a reference to water: Toward the Sea (1981), Rain Tree and Rain Coming (1982), riverrun and I Hear the Water Dreaming (1987). Takemitsu wrote in his notes for the score of Rain Coming that "... the complete collection [is] entitled "Waterscape" ... it was the composer's intention to create a series of works, which like their subject, pass through various metamorphoses, culminating in a sea of tonality." Throughout these works, the S-E-A motive (discussed further below) features prominently, and points to an increased emphasis on the melodic element in Takemitsu's music that began during this later period.
His 1981 work for orchestra named Dreamtime was inspired by a visit to Groote Eylandt, off the coast of the Northern Territory of Australia, to witness a large gathering of Australian indigenous dancers, singers and story tellers.  He was there at the invitation of the choreographer Jiří Kylián.Pedal notes played an increasingly prominent role in Takemitsu's music during this period, as in A Flock Descends into the Pentagonal Garden. In Dream/Window, (orchestra, 1985) a pedal D serves as anchor point, holding together statements of a striking four-note motivic gesture which recurs in various instrumental and rhythmic guises throughout. Very occasionally, fully fledged references to diatonic tonality can be found, often in harmonic allusions to early- and pre-20th-century composers—for example, Folios for guitar (1974), which quotes from J. S. Bach's St Matthew Passion, and Family Tree for narrator and orchestra (1984), which invokes the musical language of Maurice Ravel and American popular song. (He revered the St Matthew Passion, and would play through it on the piano before commencing a new work, as a form of "purificatory ritual".)

Question: What did Takemitsu call it when he played through the St Matthew Passion before he'd start new work?
Answer: a form of "purificatory ritual"
Composers whom Takemitsu cited as influential in his early work include Claude Debussy, Anton Webern, Edgard Varèse, Arnold Schoenberg, and Olivier Messiaen. (Messiaen was introduced to him by fellow composer Toshi Ichiyanagi, and remained a lifelong influence.) Although Takemitsu's wartime experiences of nationalism initially discouraged him from cultivating an interest in traditional Japanese music, he showed an early interest in "... the Japanese Garden in color spacing and form ...". The formal garden of the kaiyu-shiki interested him in particular.He expressed his unusual stance toward compositional theory early on, his lack of respect for the "trite rules of music, rules that are ... stifled by formulas and calculations"; for Takemitsu it was of far greater importance that "sounds have the freedom to breathe. ... Just as one cannot plan his life, neither can he plan music".Takemitsu's sensitivity to instrumental and orchestral timbre can be heard throughout his work, and is often made apparent by the unusual instrumental combinations he specified. This is evident in works such as November Steps, that combine traditional Japanese instruments, shakuhachi and biwa, with a conventional Western orchestra. It may also be discerned in his works for ensembles that make no use of traditional instruments, for example Quotation of Dream (1991), Archipelago S., for 21 players (1993), and Arc I & II (1963–66/1976). In these works, the more conventional orchestral forces are divided into unconventional "groups". Even where these instrumental combinations were determined by the particular ensemble commissioning the work, "Takemitsu's genius for instrumentation (and genius it was, in my view) ...", in the words of Oliver Knussen, "... creates the illusion that the instrumental restrictions are self-imposed".

Question: What is the first name of the person who was introduced to Takemitsu by fellow composer Toshi Ichiyanagi?
Answer: Olivier
When charter-boat skipper Jack O'Conner finds a gold Spanish dollar off the Florida Keys, he decides to go in search of a legendary hoard of Spanish doubloons sunk during the "Hundred Years Storm" of 1780. For, as Jack's friend Cap'n Billau reveals, the coin bears a clue to the treasure's whereabouts – one of four islands etched by the infamous pirate, Jacques Un-Oeil upon the original doubloon. At Billau's urging, Jack tracks down the two beautiful women who unknowingly hold the remaining clues.
Streetwise Sandy Sequoia's piece of eight came from her murdered drug dealer boyfriend in Miami. And lonely-heart Portia Pennington inherited her coin from her merchant tycoon grandfather, who died at sea in the "Hundred Years Storm" of 1893, while hunting for the lost gold.
Jack convinces the girls to go in search of the pirate treasure with him. But first, the two must learn to crew his 76' schooner; and then, all three adventurers must learn to trust one another, if they expect to navigate the treacheries of love and the unpredictable Caribbean.
As Jack introduces the girls to life at sea, he starts to fall in love with Sandy. All seems to be going well, until Jack discovers Sandy with drugs on his boat – a kilo of her dead boyfriend's cocaine (which she has steadily been using since coming aboard). He has Portia dump the coke overboard; and while Sandy wrestles to overcome her addiction, Jack turns his attentions to Portia.
When Sandy and Portia realize that Jack has seduced each of them in turn and convinced each to reveal to him the name of the island on her coin, they turn on him. Feeling betrayed and realizing that they no longer need Jack in order to sail the boat or find the gold, they maroon him on a small island and go after the sunken treasure themselves.

Question: What is the last name of the person who is friends with Cap'n Billau?
Answer: O'Conner
When charter-boat skipper Jack O'Conner finds a gold Spanish dollar off the Florida Keys, he decides to go in search of a legendary hoard of Spanish doubloons sunk during the "Hundred Years Storm" of 1780. For, as Jack's friend Cap'n Billau reveals, the coin bears a clue to the treasure's whereabouts – one of four islands etched by the infamous pirate, Jacques Un-Oeil upon the original doubloon. At Billau's urging, Jack tracks down the two beautiful women who unknowingly hold the remaining clues.
Streetwise Sandy Sequoia's piece of eight came from her murdered drug dealer boyfriend in Miami. And lonely-heart Portia Pennington inherited her coin from her merchant tycoon grandfather, who died at sea in the "Hundred Years Storm" of 1893, while hunting for the lost gold.
Jack convinces the girls to go in search of the pirate treasure with him. But first, the two must learn to crew his 76' schooner; and then, all three adventurers must learn to trust one another, if they expect to navigate the treacheries of love and the unpredictable Caribbean.
As Jack introduces the girls to life at sea, he starts to fall in love with Sandy. All seems to be going well, until Jack discovers Sandy with drugs on his boat – a kilo of her dead boyfriend's cocaine (which she has steadily been using since coming aboard). He has Portia dump the coke overboard; and while Sandy wrestles to overcome her addiction, Jack turns his attentions to Portia.
When Sandy and Portia realize that Jack has seduced each of them in turn and convinced each to reveal to him the name of the island on her coin, they turn on him. Feeling betrayed and realizing that they no longer need Jack in order to sail the boat or find the gold, they maroon him on a small island and go after the sunken treasure themselves.

Question: What is the last name of the person who tracks down the two women?
Answer: O'Conner
When charter-boat skipper Jack O'Conner finds a gold Spanish dollar off the Florida Keys, he decides to go in search of a legendary hoard of Spanish doubloons sunk during the "Hundred Years Storm" of 1780. For, as Jack's friend Cap'n Billau reveals, the coin bears a clue to the treasure's whereabouts – one of four islands etched by the infamous pirate, Jacques Un-Oeil upon the original doubloon. At Billau's urging, Jack tracks down the two beautiful women who unknowingly hold the remaining clues.
Streetwise Sandy Sequoia's piece of eight came from her murdered drug dealer boyfriend in Miami. And lonely-heart Portia Pennington inherited her coin from her merchant tycoon grandfather, who died at sea in the "Hundred Years Storm" of 1893, while hunting for the lost gold.
Jack convinces the girls to go in search of the pirate treasure with him. But first, the two must learn to crew his 76' schooner; and then, all three adventurers must learn to trust one another, if they expect to navigate the treacheries of love and the unpredictable Caribbean.
As Jack introduces the girls to life at sea, he starts to fall in love with Sandy. All seems to be going well, until Jack discovers Sandy with drugs on his boat – a kilo of her dead boyfriend's cocaine (which she has steadily been using since coming aboard). He has Portia dump the coke overboard; and while Sandy wrestles to overcome her addiction, Jack turns his attentions to Portia.
When Sandy and Portia realize that Jack has seduced each of them in turn and convinced each to reveal to him the name of the island on her coin, they turn on him. Feeling betrayed and realizing that they no longer need Jack in order to sail the boat or find the gold, they maroon him on a small island and go after the sunken treasure themselves.

Question: What are the last name of the two women that Jack tracks down?
Answer: Sandy Sequoia, Portia Pennington
When charter-boat skipper Jack O'Conner finds a gold Spanish dollar off the Florida Keys, he decides to go in search of a legendary hoard of Spanish doubloons sunk during the "Hundred Years Storm" of 1780. For, as Jack's friend Cap'n Billau reveals, the coin bears a clue to the treasure's whereabouts – one of four islands etched by the infamous pirate, Jacques Un-Oeil upon the original doubloon. At Billau's urging, Jack tracks down the two beautiful women who unknowingly hold the remaining clues.
Streetwise Sandy Sequoia's piece of eight came from her murdered drug dealer boyfriend in Miami. And lonely-heart Portia Pennington inherited her coin from her merchant tycoon grandfather, who died at sea in the "Hundred Years Storm" of 1893, while hunting for the lost gold.
Jack convinces the girls to go in search of the pirate treasure with him. But first, the two must learn to crew his 76' schooner; and then, all three adventurers must learn to trust one another, if they expect to navigate the treacheries of love and the unpredictable Caribbean.
As Jack introduces the girls to life at sea, he starts to fall in love with Sandy. All seems to be going well, until Jack discovers Sandy with drugs on his boat – a kilo of her dead boyfriend's cocaine (which she has steadily been using since coming aboard). He has Portia dump the coke overboard; and while Sandy wrestles to overcome her addiction, Jack turns his attentions to Portia.
When Sandy and Portia realize that Jack has seduced each of them in turn and convinced each to reveal to him the name of the island on her coin, they turn on him. Feeling betrayed and realizing that they no longer need Jack in order to sail the boat or find the gold, they maroon him on a small island and go after the sunken treasure themselves.

Question: What are the first names of the people who Jack convinces to go in search of the treasure with him?
Answer: Sandy, Portia
When charter-boat skipper Jack O'Conner finds a gold Spanish dollar off the Florida Keys, he decides to go in search of a legendary hoard of Spanish doubloons sunk during the "Hundred Years Storm" of 1780. For, as Jack's friend Cap'n Billau reveals, the coin bears a clue to the treasure's whereabouts – one of four islands etched by the infamous pirate, Jacques Un-Oeil upon the original doubloon. At Billau's urging, Jack tracks down the two beautiful women who unknowingly hold the remaining clues.
Streetwise Sandy Sequoia's piece of eight came from her murdered drug dealer boyfriend in Miami. And lonely-heart Portia Pennington inherited her coin from her merchant tycoon grandfather, who died at sea in the "Hundred Years Storm" of 1893, while hunting for the lost gold.
Jack convinces the girls to go in search of the pirate treasure with him. But first, the two must learn to crew his 76' schooner; and then, all three adventurers must learn to trust one another, if they expect to navigate the treacheries of love and the unpredictable Caribbean.
As Jack introduces the girls to life at sea, he starts to fall in love with Sandy. All seems to be going well, until Jack discovers Sandy with drugs on his boat – a kilo of her dead boyfriend's cocaine (which she has steadily been using since coming aboard). He has Portia dump the coke overboard; and while Sandy wrestles to overcome her addiction, Jack turns his attentions to Portia.
When Sandy and Portia realize that Jack has seduced each of them in turn and convinced each to reveal to him the name of the island on her coin, they turn on him. Feeling betrayed and realizing that they no longer need Jack in order to sail the boat or find the gold, they maroon him on a small island and go after the sunken treasure themselves.

Question: What is the last name of the person who convinces the girls to help him look for the treasure?
Answer: O'Conner
When charter-boat skipper Jack O'Conner finds a gold Spanish dollar off the Florida Keys, he decides to go in search of a legendary hoard of Spanish doubloons sunk during the "Hundred Years Storm" of 1780. For, as Jack's friend Cap'n Billau reveals, the coin bears a clue to the treasure's whereabouts – one of four islands etched by the infamous pirate, Jacques Un-Oeil upon the original doubloon. At Billau's urging, Jack tracks down the two beautiful women who unknowingly hold the remaining clues.
Streetwise Sandy Sequoia's piece of eight came from her murdered drug dealer boyfriend in Miami. And lonely-heart Portia Pennington inherited her coin from her merchant tycoon grandfather, who died at sea in the "Hundred Years Storm" of 1893, while hunting for the lost gold.
Jack convinces the girls to go in search of the pirate treasure with him. But first, the two must learn to crew his 76' schooner; and then, all three adventurers must learn to trust one another, if they expect to navigate the treacheries of love and the unpredictable Caribbean.
As Jack introduces the girls to life at sea, he starts to fall in love with Sandy. All seems to be going well, until Jack discovers Sandy with drugs on his boat – a kilo of her dead boyfriend's cocaine (which she has steadily been using since coming aboard). He has Portia dump the coke overboard; and while Sandy wrestles to overcome her addiction, Jack turns his attentions to Portia.
When Sandy and Portia realize that Jack has seduced each of them in turn and convinced each to reveal to him the name of the island on her coin, they turn on him. Feeling betrayed and realizing that they no longer need Jack in order to sail the boat or find the gold, they maroon him on a small island and go after the sunken treasure themselves.

Question: What are the first names of the three adventurers who must learn to trust each other?
Answer: Jack, Sandy, Portia
When charter-boat skipper Jack O'Conner finds a gold Spanish dollar off the Florida Keys, he decides to go in search of a legendary hoard of Spanish doubloons sunk during the "Hundred Years Storm" of 1780. For, as Jack's friend Cap'n Billau reveals, the coin bears a clue to the treasure's whereabouts – one of four islands etched by the infamous pirate, Jacques Un-Oeil upon the original doubloon. At Billau's urging, Jack tracks down the two beautiful women who unknowingly hold the remaining clues.
Streetwise Sandy Sequoia's piece of eight came from her murdered drug dealer boyfriend in Miami. And lonely-heart Portia Pennington inherited her coin from her merchant tycoon grandfather, who died at sea in the "Hundred Years Storm" of 1893, while hunting for the lost gold.
Jack convinces the girls to go in search of the pirate treasure with him. But first, the two must learn to crew his 76' schooner; and then, all three adventurers must learn to trust one another, if they expect to navigate the treacheries of love and the unpredictable Caribbean.
As Jack introduces the girls to life at sea, he starts to fall in love with Sandy. All seems to be going well, until Jack discovers Sandy with drugs on his boat – a kilo of her dead boyfriend's cocaine (which she has steadily been using since coming aboard). He has Portia dump the coke overboard; and while Sandy wrestles to overcome her addiction, Jack turns his attentions to Portia.
When Sandy and Portia realize that Jack has seduced each of them in turn and convinced each to reveal to him the name of the island on her coin, they turn on him. Feeling betrayed and realizing that they no longer need Jack in order to sail the boat or find the gold, they maroon him on a small island and go after the sunken treasure themselves.

Question: What are the last names of the people Jack introduces to life at sea?
Answer: Sequoia, Pennington
When charter-boat skipper Jack O'Conner finds a gold Spanish dollar off the Florida Keys, he decides to go in search of a legendary hoard of Spanish doubloons sunk during the "Hundred Years Storm" of 1780. For, as Jack's friend Cap'n Billau reveals, the coin bears a clue to the treasure's whereabouts – one of four islands etched by the infamous pirate, Jacques Un-Oeil upon the original doubloon. At Billau's urging, Jack tracks down the two beautiful women who unknowingly hold the remaining clues.
Streetwise Sandy Sequoia's piece of eight came from her murdered drug dealer boyfriend in Miami. And lonely-heart Portia Pennington inherited her coin from her merchant tycoon grandfather, who died at sea in the "Hundred Years Storm" of 1893, while hunting for the lost gold.
Jack convinces the girls to go in search of the pirate treasure with him. But first, the two must learn to crew his 76' schooner; and then, all three adventurers must learn to trust one another, if they expect to navigate the treacheries of love and the unpredictable Caribbean.
As Jack introduces the girls to life at sea, he starts to fall in love with Sandy. All seems to be going well, until Jack discovers Sandy with drugs on his boat – a kilo of her dead boyfriend's cocaine (which she has steadily been using since coming aboard). He has Portia dump the coke overboard; and while Sandy wrestles to overcome her addiction, Jack turns his attentions to Portia.
When Sandy and Portia realize that Jack has seduced each of them in turn and convinced each to reveal to him the name of the island on her coin, they turn on him. Feeling betrayed and realizing that they no longer need Jack in order to sail the boat or find the gold, they maroon him on a small island and go after the sunken treasure themselves.

Question: What is the last name of the person that introduces the girls to life at sea?
Answer: O'Conner
When charter-boat skipper Jack O'Conner finds a gold Spanish dollar off the Florida Keys, he decides to go in search of a legendary hoard of Spanish doubloons sunk during the "Hundred Years Storm" of 1780. For, as Jack's friend Cap'n Billau reveals, the coin bears a clue to the treasure's whereabouts – one of four islands etched by the infamous pirate, Jacques Un-Oeil upon the original doubloon. At Billau's urging, Jack tracks down the two beautiful women who unknowingly hold the remaining clues.
Streetwise Sandy Sequoia's piece of eight came from her murdered drug dealer boyfriend in Miami. And lonely-heart Portia Pennington inherited her coin from her merchant tycoon grandfather, who died at sea in the "Hundred Years Storm" of 1893, while hunting for the lost gold.
Jack convinces the girls to go in search of the pirate treasure with him. But first, the two must learn to crew his 76' schooner; and then, all three adventurers must learn to trust one another, if they expect to navigate the treacheries of love and the unpredictable Caribbean.
As Jack introduces the girls to life at sea, he starts to fall in love with Sandy. All seems to be going well, until Jack discovers Sandy with drugs on his boat – a kilo of her dead boyfriend's cocaine (which she has steadily been using since coming aboard). He has Portia dump the coke overboard; and while Sandy wrestles to overcome her addiction, Jack turns his attentions to Portia.
When Sandy and Portia realize that Jack has seduced each of them in turn and convinced each to reveal to him the name of the island on her coin, they turn on him. Feeling betrayed and realizing that they no longer need Jack in order to sail the boat or find the gold, they maroon him on a small island and go after the sunken treasure themselves.

Question: What is the last name of the person who starts to fall in love with Sandy?
Answer: O'Conner
When charter-boat skipper Jack O'Conner finds a gold Spanish dollar off the Florida Keys, he decides to go in search of a legendary hoard of Spanish doubloons sunk during the "Hundred Years Storm" of 1780. For, as Jack's friend Cap'n Billau reveals, the coin bears a clue to the treasure's whereabouts – one of four islands etched by the infamous pirate, Jacques Un-Oeil upon the original doubloon. At Billau's urging, Jack tracks down the two beautiful women who unknowingly hold the remaining clues.
Streetwise Sandy Sequoia's piece of eight came from her murdered drug dealer boyfriend in Miami. And lonely-heart Portia Pennington inherited her coin from her merchant tycoon grandfather, who died at sea in the "Hundred Years Storm" of 1893, while hunting for the lost gold.
Jack convinces the girls to go in search of the pirate treasure with him. But first, the two must learn to crew his 76' schooner; and then, all three adventurers must learn to trust one another, if they expect to navigate the treacheries of love and the unpredictable Caribbean.
As Jack introduces the girls to life at sea, he starts to fall in love with Sandy. All seems to be going well, until Jack discovers Sandy with drugs on his boat – a kilo of her dead boyfriend's cocaine (which she has steadily been using since coming aboard). He has Portia dump the coke overboard; and while Sandy wrestles to overcome her addiction, Jack turns his attentions to Portia.
When Sandy and Portia realize that Jack has seduced each of them in turn and convinced each to reveal to him the name of the island on her coin, they turn on him. Feeling betrayed and realizing that they no longer need Jack in order to sail the boat or find the gold, they maroon him on a small island and go after the sunken treasure themselves.

Question: What is the last name of the person who finds out that Sandy has drugs on the boat?
Answer: O'Conner