nc33/multispan_quoref huggingface dataset:
The tracks "Countdown" and "End of Time" were distinguished by their musical and lyrical experimentalism. "Countdown" was described as "everywhere on the genre map", although predominantly dancehall-led with a "bristling brass arrangement". Its chorus describes a relationship by counting backwards from ten, using a sample from Boyz II Men's "Uhh Ahh". "End of Time"'s pulsating, brass sound—reminiscent of a marching-band—was heavily influenced by Afrobeat musician Fela Kuti. Kuti's use of horns and percussion instruments was recreated and combined with elements of electronic music and synthesizers. "Lay Up Under Me" is also built on retro horns, featuring upbeat vocals, a sound Ryan Dombal of Pitchfork associated with Michael Jackson's 1979 album Off the Wall.Other tracks were noted for their retro stylization. "Rather Die Young" is a throwback to 1960s doo-wop and Philadelphia soul, with a slow tempo and modern drums. "Party" achieves a vintage aesthetic through minimalistic production, replete with heavy synthesizers and a 1980s smooth-funk groove. The song is unique for its conversation-like structure, in which Beyoncé and guest-vocalist André 3000 sing verses that allude to socialization at parties. Elements of Prince's style was found on "Schoolin' Life" and "I Care". "Schoolin' Life" is an uptempo funk song, with lyrics that advise the listener to live life to the fullest while cautioning them about the consequences of excess. The chorus of "I Care" was compared to "Purple Rain", with themes of sadness and resentment, the song uses soft background vocals and dense percussion. "Love on Top" was noted for its energetic key changes with a joyful tone, evoking the work of Michael and Janet Jackson. Its retro sound is marked by a melding of horns as well as sweet backing harmonies that are most prominent on its bridge and chorus.

Question: What was the name of the artist that performed Countdown?
Answer: Beyoncé
The tracks "Countdown" and "End of Time" were distinguished by their musical and lyrical experimentalism. "Countdown" was described as "everywhere on the genre map", although predominantly dancehall-led with a "bristling brass arrangement". Its chorus describes a relationship by counting backwards from ten, using a sample from Boyz II Men's "Uhh Ahh". "End of Time"'s pulsating, brass sound—reminiscent of a marching-band—was heavily influenced by Afrobeat musician Fela Kuti. Kuti's use of horns and percussion instruments was recreated and combined with elements of electronic music and synthesizers. "Lay Up Under Me" is also built on retro horns, featuring upbeat vocals, a sound Ryan Dombal of Pitchfork associated with Michael Jackson's 1979 album Off the Wall.Other tracks were noted for their retro stylization. "Rather Die Young" is a throwback to 1960s doo-wop and Philadelphia soul, with a slow tempo and modern drums. "Party" achieves a vintage aesthetic through minimalistic production, replete with heavy synthesizers and a 1980s smooth-funk groove. The song is unique for its conversation-like structure, in which Beyoncé and guest-vocalist André 3000 sing verses that allude to socialization at parties. Elements of Prince's style was found on "Schoolin' Life" and "I Care". "Schoolin' Life" is an uptempo funk song, with lyrics that advise the listener to live life to the fullest while cautioning them about the consequences of excess. The chorus of "I Care" was compared to "Purple Rain", with themes of sadness and resentment, the song uses soft background vocals and dense percussion. "Love on Top" was noted for its energetic key changes with a joyful tone, evoking the work of Michael and Janet Jackson. Its retro sound is marked by a melding of horns as well as sweet backing harmonies that are most prominent on its bridge and chorus.

Question: What was the name of the artist that performed End of Time?
Answer: Beyoncé
4 received positive reviews from music critics. At Metacritic, which assigns a weighted mean rating out of 100 to reviews from mainstream critics, the album received an average score of 73, based on 36 reviews. Michael Cragg of The Observer called it Beyoncé's "most accomplished album yet". Slant Magazine's Eric Henderson believed 4 succeeds vocally as an album of mostly intimate and slow-tempo ballads. Mikael Wood of Spin magazine applauded its ballads, mid-tempo songs, and evocations of late 1970s and early 1980s pop-soul. In his review for Rolling Stone, Jody Rosen wrote that Beyoncé eschews contemporary production styles for a more personal and idiosyncratic album. Jon Caramanica of The New York Times viewed it as a good showcase for Beyoncé as a torch singer, because she convincingly sings about heartbreak and the strong emotional effect of love. Pitchfork critic Ryan Dombal found it easygoing, retro-informed, and engaging because it shows "one of the world's biggest stars exploring her talent in ways few could've predicted". AllMusic's Andy Kellman said that the quality of Beyoncé's singing and the songwriting compensate for the assorted arrangement of the songs. Uncut viewed it is an exceptional album in spite of occasionally trite lyrics.In a less enthusiastic review, Adam Markovitz of Entertainment Weekly said the first half of 4 is marred by boring ballads and the songwriting in general are not on-par with Beyoncé's vocal talent. In his review for The Guardian, Alexis Petridis was ambivalent towards the album's 1980s influence and argued that, despite well written songs, it is not very consequential. Time magazine's Claire Suddath said the songs lack lyrical substance, even though they are performed well. Greg Kot, writing in the Chicago Tribune, called 4 inconsistent, short, and unfinished. NME magazine's Hamish MacBain felt Beyoncé did not progress from her past work and that "even the OK bits here" sounded "uninspired".

Question: What is the name of the publication who's critic claimed the songs on the album lack lyrical substance?
Answer: Time
4 received positive reviews from music critics. At Metacritic, which assigns a weighted mean rating out of 100 to reviews from mainstream critics, the album received an average score of 73, based on 36 reviews. Michael Cragg of The Observer called it Beyoncé's "most accomplished album yet". Slant Magazine's Eric Henderson believed 4 succeeds vocally as an album of mostly intimate and slow-tempo ballads. Mikael Wood of Spin magazine applauded its ballads, mid-tempo songs, and evocations of late 1970s and early 1980s pop-soul. In his review for Rolling Stone, Jody Rosen wrote that Beyoncé eschews contemporary production styles for a more personal and idiosyncratic album. Jon Caramanica of The New York Times viewed it as a good showcase for Beyoncé as a torch singer, because she convincingly sings about heartbreak and the strong emotional effect of love. Pitchfork critic Ryan Dombal found it easygoing, retro-informed, and engaging because it shows "one of the world's biggest stars exploring her talent in ways few could've predicted". AllMusic's Andy Kellman said that the quality of Beyoncé's singing and the songwriting compensate for the assorted arrangement of the songs. Uncut viewed it is an exceptional album in spite of occasionally trite lyrics.In a less enthusiastic review, Adam Markovitz of Entertainment Weekly said the first half of 4 is marred by boring ballads and the songwriting in general are not on-par with Beyoncé's vocal talent. In his review for The Guardian, Alexis Petridis was ambivalent towards the album's 1980s influence and argued that, despite well written songs, it is not very consequential. Time magazine's Claire Suddath said the songs lack lyrical substance, even though they are performed well. Greg Kot, writing in the Chicago Tribune, called 4 inconsistent, short, and unfinished. NME magazine's Hamish MacBain felt Beyoncé did not progress from her past work and that "even the OK bits here" sounded "uninspired".

Question: What is the name of the the publication who's critic claimed the album that got an average score of 73 was inconsistent, short, and unfinished?
Answer: Chicago Tribune
4 received positive reviews from music critics. At Metacritic, which assigns a weighted mean rating out of 100 to reviews from mainstream critics, the album received an average score of 73, based on 36 reviews. Michael Cragg of The Observer called it Beyoncé's "most accomplished album yet". Slant Magazine's Eric Henderson believed 4 succeeds vocally as an album of mostly intimate and slow-tempo ballads. Mikael Wood of Spin magazine applauded its ballads, mid-tempo songs, and evocations of late 1970s and early 1980s pop-soul. In his review for Rolling Stone, Jody Rosen wrote that Beyoncé eschews contemporary production styles for a more personal and idiosyncratic album. Jon Caramanica of The New York Times viewed it as a good showcase for Beyoncé as a torch singer, because she convincingly sings about heartbreak and the strong emotional effect of love. Pitchfork critic Ryan Dombal found it easygoing, retro-informed, and engaging because it shows "one of the world's biggest stars exploring her talent in ways few could've predicted". AllMusic's Andy Kellman said that the quality of Beyoncé's singing and the songwriting compensate for the assorted arrangement of the songs. Uncut viewed it is an exceptional album in spite of occasionally trite lyrics.In a less enthusiastic review, Adam Markovitz of Entertainment Weekly said the first half of 4 is marred by boring ballads and the songwriting in general are not on-par with Beyoncé's vocal talent. In his review for The Guardian, Alexis Petridis was ambivalent towards the album's 1980s influence and argued that, despite well written songs, it is not very consequential. Time magazine's Claire Suddath said the songs lack lyrical substance, even though they are performed well. Greg Kot, writing in the Chicago Tribune, called 4 inconsistent, short, and unfinished. NME magazine's Hamish MacBain felt Beyoncé did not progress from her past work and that "even the OK bits here" sounded "uninspired".

Question: What is the full name of the critic who said the album with 36 metacritic reviews sounded "uninspired"?
Answer: Hamish MacBain
4 received positive reviews from music critics. At Metacritic, which assigns a weighted mean rating out of 100 to reviews from mainstream critics, the album received an average score of 73, based on 36 reviews. Michael Cragg of The Observer called it Beyoncé's "most accomplished album yet". Slant Magazine's Eric Henderson believed 4 succeeds vocally as an album of mostly intimate and slow-tempo ballads. Mikael Wood of Spin magazine applauded its ballads, mid-tempo songs, and evocations of late 1970s and early 1980s pop-soul. In his review for Rolling Stone, Jody Rosen wrote that Beyoncé eschews contemporary production styles for a more personal and idiosyncratic album. Jon Caramanica of The New York Times viewed it as a good showcase for Beyoncé as a torch singer, because she convincingly sings about heartbreak and the strong emotional effect of love. Pitchfork critic Ryan Dombal found it easygoing, retro-informed, and engaging because it shows "one of the world's biggest stars exploring her talent in ways few could've predicted". AllMusic's Andy Kellman said that the quality of Beyoncé's singing and the songwriting compensate for the assorted arrangement of the songs. Uncut viewed it is an exceptional album in spite of occasionally trite lyrics.In a less enthusiastic review, Adam Markovitz of Entertainment Weekly said the first half of 4 is marred by boring ballads and the songwriting in general are not on-par with Beyoncé's vocal talent. In his review for The Guardian, Alexis Petridis was ambivalent towards the album's 1980s influence and argued that, despite well written songs, it is not very consequential. Time magazine's Claire Suddath said the songs lack lyrical substance, even though they are performed well. Greg Kot, writing in the Chicago Tribune, called 4 inconsistent, short, and unfinished. NME magazine's Hamish MacBain felt Beyoncé did not progress from her past work and that "even the OK bits here" sounded "uninspired".

Question: What publication did the critic who said the album with a mean review score of 73 was marred with boring ballads in the first half?
Answer: Entertainment Weekly
4 received positive reviews from music critics. At Metacritic, which assigns a weighted mean rating out of 100 to reviews from mainstream critics, the album received an average score of 73, based on 36 reviews. Michael Cragg of The Observer called it Beyoncé's "most accomplished album yet". Slant Magazine's Eric Henderson believed 4 succeeds vocally as an album of mostly intimate and slow-tempo ballads. Mikael Wood of Spin magazine applauded its ballads, mid-tempo songs, and evocations of late 1970s and early 1980s pop-soul. In his review for Rolling Stone, Jody Rosen wrote that Beyoncé eschews contemporary production styles for a more personal and idiosyncratic album. Jon Caramanica of The New York Times viewed it as a good showcase for Beyoncé as a torch singer, because she convincingly sings about heartbreak and the strong emotional effect of love. Pitchfork critic Ryan Dombal found it easygoing, retro-informed, and engaging because it shows "one of the world's biggest stars exploring her talent in ways few could've predicted". AllMusic's Andy Kellman said that the quality of Beyoncé's singing and the songwriting compensate for the assorted arrangement of the songs. Uncut viewed it is an exceptional album in spite of occasionally trite lyrics.In a less enthusiastic review, Adam Markovitz of Entertainment Weekly said the first half of 4 is marred by boring ballads and the songwriting in general are not on-par with Beyoncé's vocal talent. In his review for The Guardian, Alexis Petridis was ambivalent towards the album's 1980s influence and argued that, despite well written songs, it is not very consequential. Time magazine's Claire Suddath said the songs lack lyrical substance, even though they are performed well. Greg Kot, writing in the Chicago Tribune, called 4 inconsistent, short, and unfinished. NME magazine's Hamish MacBain felt Beyoncé did not progress from her past work and that "even the OK bits here" sounded "uninspired".

Question: What is the full name of the critic who said the album with 36 metacritic reviews was not very consequential??
Answer: The Guardian
The economy of Dawson Creek is based on four major industries: agriculture, retail, tourism, and oil and gas. Agriculture has historically been the most important industry to Dawson Creek, as the city is the regional transshipment point for agricultural commodities. The city is surrounded by the Agricultural Land Reserve, where the soil can support livestock and produces consistently good yields of quality grain and grass crops, such as canola, hay, oats, alfalfa, wheat, and sweet clover. The service and retail sector caters to the city's inhabitants, smaller nearby towns, and rural communities. However, there is significant retail leakage to Grande Prairie, the closest major Alberta city, where there is no provincial tax on retail purchases, while British Columbia charges 7%. In 2006, the BC government rejected a proposal to lower the sales tax in the province's border communities to 4%. The problem of leakage has been exacerbated in recent years by the introduction of large-format retail stores into the small city. Residents still cross the border for high-priced items but now also purchase medium- and low-priced items from foreign-owned large-format chain stores.
Dawson Creek has a large tourism industry as Mile "0" of the Alaska Highway. Thousands of people drive on the highway every year, starting in Dawson Creek and ending in Fairbanks, Alaska. The trek is often made with recreational vehicles, sometimes in convoys which gather in the city. In the winter, the hospitality industry caters to workers from the oil patches. Discoveries south of Dawson Creek and higher energy prices have spurred oil and gas activities, which have in turn driven the nearby Fort St. John economy to spill over to the Dawson Creek economy. British Columbia's first wind farm, Bear Mountain Wind Park, was constructed southwest of the city in 2009.

Question: What type of leakage has been exacerbated in recent years?
Answer: retail leakage
The economy of Dawson Creek is based on four major industries: agriculture, retail, tourism, and oil and gas. Agriculture has historically been the most important industry to Dawson Creek, as the city is the regional transshipment point for agricultural commodities. The city is surrounded by the Agricultural Land Reserve, where the soil can support livestock and produces consistently good yields of quality grain and grass crops, such as canola, hay, oats, alfalfa, wheat, and sweet clover. The service and retail sector caters to the city's inhabitants, smaller nearby towns, and rural communities. However, there is significant retail leakage to Grande Prairie, the closest major Alberta city, where there is no provincial tax on retail purchases, while British Columbia charges 7%. In 2006, the BC government rejected a proposal to lower the sales tax in the province's border communities to 4%. The problem of leakage has been exacerbated in recent years by the introduction of large-format retail stores into the small city. Residents still cross the border for high-priced items but now also purchase medium- and low-priced items from foreign-owned large-format chain stores.
Dawson Creek has a large tourism industry as Mile "0" of the Alaska Highway. Thousands of people drive on the highway every year, starting in Dawson Creek and ending in Fairbanks, Alaska. The trek is often made with recreational vehicles, sometimes in convoys which gather in the city. In the winter, the hospitality industry caters to workers from the oil patches. Discoveries south of Dawson Creek and higher energy prices have spurred oil and gas activities, which have in turn driven the nearby Fort St. John economy to spill over to the Dawson Creek economy. British Columbia's first wind farm, Bear Mountain Wind Park, was constructed southwest of the city in 2009.

Question: What is the name of the highway thousands of people drive on every year?
Answer: the Alaska Highway
Dr. John Rollason, his wife, Helen, and assistant, Peter Fox, are guests of the Lama of the monastery of Rong-buk while on a botanical expedition to the Himalayas. A second expedition, led by Dr. Tom Friend accompanied by trapper Ed Shelley, photographer Andrew McNee and Sherpa guide Kusang, arrives at the monastery in search of the legendary Yeti or Abominable Snowman. Rollason, despite the objections of his wife and the Lama, decides to join Friend's expedition. Whereas Rollason is motivated by scientific curiosity to learn more about the creature, Friend seeks fame and fortune and wants to capture a live Yeti and present it to the world's press.
The expedition climbs high into the mountains and finds a set of giant footprints in the snow, evidence of the Yeti's existence. As the tensions between Rollason and Friend rise, McNee is injured by a bear trap laid by Friend to catch the Yeti and later dies in a fall. Kusang flees back to the monastery from where Helen and Fox decide to mount a rescue mission. Meanwhile, Shelley succeeds in shooting and killing a Yeti, an act that enrages the creature's fellows. When Shelley is killed in a failed attempt to catch a live specimen, Friend finally decides to cut his losses and leave with the body of the dead Yeti. However, the Yeti close in on the two survivors and Friend is killed in an avalanche.
Rollason takes refuge in an ice cave and watches in amazement as a number of Yeti arrive and take away the body of their fallen compatriot. He realises the Yeti are an intelligent species biding their time to claim the Earth when humanity has destroyed itself.
The rescue party finds Rollason and brings him back to the monastery where, when questioned by the Lama, he claims the expedition found nothing (apparently the result of telepathic hypnosis by the Yetis).

Question: What happens to the photographer on the expedition in the mountains?
Answer: injured by a bear trap, dies in a fall
Dr. John Rollason, his wife, Helen, and assistant, Peter Fox, are guests of the Lama of the monastery of Rong-buk while on a botanical expedition to the Himalayas. A second expedition, led by Dr. Tom Friend accompanied by trapper Ed Shelley, photographer Andrew McNee and Sherpa guide Kusang, arrives at the monastery in search of the legendary Yeti or Abominable Snowman. Rollason, despite the objections of his wife and the Lama, decides to join Friend's expedition. Whereas Rollason is motivated by scientific curiosity to learn more about the creature, Friend seeks fame and fortune and wants to capture a live Yeti and present it to the world's press.
The expedition climbs high into the mountains and finds a set of giant footprints in the snow, evidence of the Yeti's existence. As the tensions between Rollason and Friend rise, McNee is injured by a bear trap laid by Friend to catch the Yeti and later dies in a fall. Kusang flees back to the monastery from where Helen and Fox decide to mount a rescue mission. Meanwhile, Shelley succeeds in shooting and killing a Yeti, an act that enrages the creature's fellows. When Shelley is killed in a failed attempt to catch a live specimen, Friend finally decides to cut his losses and leave with the body of the dead Yeti. However, the Yeti close in on the two survivors and Friend is killed in an avalanche.
Rollason takes refuge in an ice cave and watches in amazement as a number of Yeti arrive and take away the body of their fallen compatriot. He realises the Yeti are an intelligent species biding their time to claim the Earth when humanity has destroyed itself.
The rescue party finds Rollason and brings him back to the monastery where, when questioned by the Lama, he claims the expedition found nothing (apparently the result of telepathic hypnosis by the Yetis).

Question: Where does the Sherpa guide go after McNee dies?
Answer: back to the monastery
Dr. John Rollason, his wife, Helen, and assistant, Peter Fox, are guests of the Lama of the monastery of Rong-buk while on a botanical expedition to the Himalayas. A second expedition, led by Dr. Tom Friend accompanied by trapper Ed Shelley, photographer Andrew McNee and Sherpa guide Kusang, arrives at the monastery in search of the legendary Yeti or Abominable Snowman. Rollason, despite the objections of his wife and the Lama, decides to join Friend's expedition. Whereas Rollason is motivated by scientific curiosity to learn more about the creature, Friend seeks fame and fortune and wants to capture a live Yeti and present it to the world's press.
The expedition climbs high into the mountains and finds a set of giant footprints in the snow, evidence of the Yeti's existence. As the tensions between Rollason and Friend rise, McNee is injured by a bear trap laid by Friend to catch the Yeti and later dies in a fall. Kusang flees back to the monastery from where Helen and Fox decide to mount a rescue mission. Meanwhile, Shelley succeeds in shooting and killing a Yeti, an act that enrages the creature's fellows. When Shelley is killed in a failed attempt to catch a live specimen, Friend finally decides to cut his losses and leave with the body of the dead Yeti. However, the Yeti close in on the two survivors and Friend is killed in an avalanche.
Rollason takes refuge in an ice cave and watches in amazement as a number of Yeti arrive and take away the body of their fallen compatriot. He realises the Yeti are an intelligent species biding their time to claim the Earth when humanity has destroyed itself.
The rescue party finds Rollason and brings him back to the monastery where, when questioned by the Lama, he claims the expedition found nothing (apparently the result of telepathic hypnosis by the Yetis).

Question: How does the trapper die?
Answer: killed in a failed attempt to catch a live specimen
Dr. John Rollason, his wife, Helen, and assistant, Peter Fox, are guests of the Lama of the monastery of Rong-buk while on a botanical expedition to the Himalayas. A second expedition, led by Dr. Tom Friend accompanied by trapper Ed Shelley, photographer Andrew McNee and Sherpa guide Kusang, arrives at the monastery in search of the legendary Yeti or Abominable Snowman. Rollason, despite the objections of his wife and the Lama, decides to join Friend's expedition. Whereas Rollason is motivated by scientific curiosity to learn more about the creature, Friend seeks fame and fortune and wants to capture a live Yeti and present it to the world's press.
The expedition climbs high into the mountains and finds a set of giant footprints in the snow, evidence of the Yeti's existence. As the tensions between Rollason and Friend rise, McNee is injured by a bear trap laid by Friend to catch the Yeti and later dies in a fall. Kusang flees back to the monastery from where Helen and Fox decide to mount a rescue mission. Meanwhile, Shelley succeeds in shooting and killing a Yeti, an act that enrages the creature's fellows. When Shelley is killed in a failed attempt to catch a live specimen, Friend finally decides to cut his losses and leave with the body of the dead Yeti. However, the Yeti close in on the two survivors and Friend is killed in an avalanche.
Rollason takes refuge in an ice cave and watches in amazement as a number of Yeti arrive and take away the body of their fallen compatriot. He realises the Yeti are an intelligent species biding their time to claim the Earth when humanity has destroyed itself.
The rescue party finds Rollason and brings him back to the monastery where, when questioned by the Lama, he claims the expedition found nothing (apparently the result of telepathic hypnosis by the Yetis).

Question: What is the profession of the person who falls and dies?
Answer: photographer
Dr. John Rollason, his wife, Helen, and assistant, Peter Fox, are guests of the Lama of the monastery of Rong-buk while on a botanical expedition to the Himalayas. A second expedition, led by Dr. Tom Friend accompanied by trapper Ed Shelley, photographer Andrew McNee and Sherpa guide Kusang, arrives at the monastery in search of the legendary Yeti or Abominable Snowman. Rollason, despite the objections of his wife and the Lama, decides to join Friend's expedition. Whereas Rollason is motivated by scientific curiosity to learn more about the creature, Friend seeks fame and fortune and wants to capture a live Yeti and present it to the world's press.
The expedition climbs high into the mountains and finds a set of giant footprints in the snow, evidence of the Yeti's existence. As the tensions between Rollason and Friend rise, McNee is injured by a bear trap laid by Friend to catch the Yeti and later dies in a fall. Kusang flees back to the monastery from where Helen and Fox decide to mount a rescue mission. Meanwhile, Shelley succeeds in shooting and killing a Yeti, an act that enrages the creature's fellows. When Shelley is killed in a failed attempt to catch a live specimen, Friend finally decides to cut his losses and leave with the body of the dead Yeti. However, the Yeti close in on the two survivors and Friend is killed in an avalanche.
Rollason takes refuge in an ice cave and watches in amazement as a number of Yeti arrive and take away the body of their fallen compatriot. He realises the Yeti are an intelligent species biding their time to claim the Earth when humanity has destroyed itself.
The rescue party finds Rollason and brings him back to the monastery where, when questioned by the Lama, he claims the expedition found nothing (apparently the result of telepathic hypnosis by the Yetis).

Question: What does the person who runs back to the monestary do as a profession?
Answer: Sherpa guide
In 1630s New England, English settler William and his family — wife Katherine, daughter Thomasin, son Caleb, and fraternal twins Mercy and Jonas — are banished from a Puritan Plymouth Colony over a religious dispute. They build a farm near a large, secluded forest and Katherine has a newborn child, Samuel. One day, Thomasin is playing peekaboo with Samuel when the baby abruptly disappears. It is revealed that a witch had stolen the unbaptized Samuel and that night kills him and uses his blood and fat to make a flying ointment.Katherine, devastated, spends her days crying and praying, while William insists a wolf stole the baby. Even though Katherine forbids the children going to the forest, William takes Caleb to lay a trap for food. Caleb asks if Samuel's unbaptized soul will reach Heaven. William chastises Caleb for raising the question and later reveals to Caleb that he traded Katherine's silver cup for hunting supplies. That night, Katherine questions Thomasin about the disappearance of her cup while implying Thomasin was responsible for Samuel's vanishing. After the children retire to bed, they overhear their parents discussing sending Thomasin away to serve another family.
Early the next morning, Thomasin finds Caleb preparing to check the trap in the forest. She forces Caleb to take her with him by threatening to awaken their parents. While walking in the woods, they spot a hare, which sends their horse Burt into a panic and their dog Fowler promptly chases. Caleb runs off after the pair, while the horse throws Thomasin off, knocking her unconscious. Caleb becomes lost in the woods and stumbles upon Fowler's disemboweled body. As he gets deeper into the woods, he comes across a hovel, where a beautiful young woman emerges and seduces him. William finds Thomasin and takes her home. Katherine angrily chastises Thomasin for taking Caleb into the woods and, to save Thomasin, William reluctantly admits that he sold Katherine's silver cup.

Question: What is the name of the family pet that chases the rabbit?
Answer: Fowler
In 1630s New England, English settler William and his family — wife Katherine, daughter Thomasin, son Caleb, and fraternal twins Mercy and Jonas — are banished from a Puritan Plymouth Colony over a religious dispute. They build a farm near a large, secluded forest and Katherine has a newborn child, Samuel. One day, Thomasin is playing peekaboo with Samuel when the baby abruptly disappears. It is revealed that a witch had stolen the unbaptized Samuel and that night kills him and uses his blood and fat to make a flying ointment.Katherine, devastated, spends her days crying and praying, while William insists a wolf stole the baby. Even though Katherine forbids the children going to the forest, William takes Caleb to lay a trap for food. Caleb asks if Samuel's unbaptized soul will reach Heaven. William chastises Caleb for raising the question and later reveals to Caleb that he traded Katherine's silver cup for hunting supplies. That night, Katherine questions Thomasin about the disappearance of her cup while implying Thomasin was responsible for Samuel's vanishing. After the children retire to bed, they overhear their parents discussing sending Thomasin away to serve another family.
Early the next morning, Thomasin finds Caleb preparing to check the trap in the forest. She forces Caleb to take her with him by threatening to awaken their parents. While walking in the woods, they spot a hare, which sends their horse Burt into a panic and their dog Fowler promptly chases. Caleb runs off after the pair, while the horse throws Thomasin off, knocking her unconscious. Caleb becomes lost in the woods and stumbles upon Fowler's disemboweled body. As he gets deeper into the woods, he comes across a hovel, where a beautiful young woman emerges and seduces him. William finds Thomasin and takes her home. Katherine angrily chastises Thomasin for taking Caleb into the woods and, to save Thomasin, William reluctantly admits that he sold Katherine's silver cup.

Question: What is the name of the person that Katherine thinks took Samuel?
Answer: Thomasin
Private Meredith Bixby simply cannot fall in line with army procedure, even though he has had 17 months of training. A psychologist, is assigned to turn him into a good soldier, so she enlists two fellow servicemen to help Bixby with his training. About the only thing that he can do right is remember things with his photographic memory.
Eventually they are assigned to a base in Morocco. One night they all head off to a bar where Bixby gets drunk on "Moroccan Delights", which he thinks are malteds. He gets involved with a femme fatale and is kidnapped by some Arabian renegades.
Abdul guards Bixby and makes him assemble a stolen cannon, knowing that Bixby had already memorized the assembly instructions back at the base. Bixby is eventually rescued by his fellow soldiers and they are all presented with medals of honor. Unfortunately, when Bixby mishandles a rifle that suddenly goes off, he damages the drinking glasses of the General and two visiting French officers. The trio (who are drinking a toast) are not hurt, but misfit Bixby gets punished with KP duty, peeling potatoes.

Question: Who abducts the man with photographic memory?
Answer: Arabian renegades
Private Meredith Bixby simply cannot fall in line with army procedure, even though he has had 17 months of training. A psychologist, is assigned to turn him into a good soldier, so she enlists two fellow servicemen to help Bixby with his training. About the only thing that he can do right is remember things with his photographic memory.
Eventually they are assigned to a base in Morocco. One night they all head off to a bar where Bixby gets drunk on "Moroccan Delights", which he thinks are malteds. He gets involved with a femme fatale and is kidnapped by some Arabian renegades.
Abdul guards Bixby and makes him assemble a stolen cannon, knowing that Bixby had already memorized the assembly instructions back at the base. Bixby is eventually rescued by his fellow soldiers and they are all presented with medals of honor. Unfortunately, when Bixby mishandles a rifle that suddenly goes off, he damages the drinking glasses of the General and two visiting French officers. The trio (who are drinking a toast) are not hurt, but misfit Bixby gets punished with KP duty, peeling potatoes.

Question: What does the Private fumble with to end up peeling potatoes?
Answer: a rifle
The film begins with a mock newsreel sequence showing the chaos around the death of 31-year-old film star Rudolph Valentino. Thousands of fans mob the funeral home until order is restored, at which point the important women in Valentino's life come to mourn. Each remembers him via flashbacks.
The first of these women Bianca de Saulles who knew Valentino when he was a  taxi dancer, and gigolo in New York City. He shares with her his dream of owning an orange grove in California.  After mobsters rob him, he decides he must make the move west.  
Next is a young movie executive and screenwriter named June Mathis, who has an unrequited love for Valentino. She first meets Valentino in California, where he upsets Mr. Fatty by grabbing the starlet next to Arbuckle and romancing her into becoming his first wife, Jean Acker. Acker's glamorous and luxurious life, made possible by acting in movies, motivates Valentino to try acting himself. Mathis recalls seeing him in a bit part in a movie and, based on that alone, recommending him for a larger role in her next project, The Four Horsemen of the Apocalypse. The hugely successful 1921 film launches Valentino to superstardom, and she is proud to have discovered him.
Back at the funeral, Alla Nazimova makes a flamboyant entrance.  She proceeds to make a scene and, when the photographers ask her to repeat it for the cameras, she obliges.  Nazimova claims a relationship with Valentino and recalls working on Camille with him.

Question: What is the first name of the person who the women remember in flashbacks?
Answer: Rudolph
The film begins with a mock newsreel sequence showing the chaos around the death of 31-year-old film star Rudolph Valentino. Thousands of fans mob the funeral home until order is restored, at which point the important women in Valentino's life come to mourn. Each remembers him via flashbacks.
The first of these women Bianca de Saulles who knew Valentino when he was a  taxi dancer, and gigolo in New York City. He shares with her his dream of owning an orange grove in California.  After mobsters rob him, he decides he must make the move west.  
Next is a young movie executive and screenwriter named June Mathis, who has an unrequited love for Valentino. She first meets Valentino in California, where he upsets Mr. Fatty by grabbing the starlet next to Arbuckle and romancing her into becoming his first wife, Jean Acker. Acker's glamorous and luxurious life, made possible by acting in movies, motivates Valentino to try acting himself. Mathis recalls seeing him in a bit part in a movie and, based on that alone, recommending him for a larger role in her next project, The Four Horsemen of the Apocalypse. The hugely successful 1921 film launches Valentino to superstardom, and she is proud to have discovered him.
Back at the funeral, Alla Nazimova makes a flamboyant entrance.  She proceeds to make a scene and, when the photographers ask her to repeat it for the cameras, she obliges.  Nazimova claims a relationship with Valentino and recalls working on Camille with him.

Question: What was the first name of the person who was a taxi driver?
Answer: Rudolph
The film begins with a mock newsreel sequence showing the chaos around the death of 31-year-old film star Rudolph Valentino. Thousands of fans mob the funeral home until order is restored, at which point the important women in Valentino's life come to mourn. Each remembers him via flashbacks.
The first of these women Bianca de Saulles who knew Valentino when he was a  taxi dancer, and gigolo in New York City. He shares with her his dream of owning an orange grove in California.  After mobsters rob him, he decides he must make the move west.  
Next is a young movie executive and screenwriter named June Mathis, who has an unrequited love for Valentino. She first meets Valentino in California, where he upsets Mr. Fatty by grabbing the starlet next to Arbuckle and romancing her into becoming his first wife, Jean Acker. Acker's glamorous and luxurious life, made possible by acting in movies, motivates Valentino to try acting himself. Mathis recalls seeing him in a bit part in a movie and, based on that alone, recommending him for a larger role in her next project, The Four Horsemen of the Apocalypse. The hugely successful 1921 film launches Valentino to superstardom, and she is proud to have discovered him.
Back at the funeral, Alla Nazimova makes a flamboyant entrance.  She proceeds to make a scene and, when the photographers ask her to repeat it for the cameras, she obliges.  Nazimova claims a relationship with Valentino and recalls working on Camille with him.

Question: What was the full name of the person who was a gigolo in New York?
Answer: Rudolph Valentino
The film begins with a mock newsreel sequence showing the chaos around the death of 31-year-old film star Rudolph Valentino. Thousands of fans mob the funeral home until order is restored, at which point the important women in Valentino's life come to mourn. Each remembers him via flashbacks.
The first of these women Bianca de Saulles who knew Valentino when he was a  taxi dancer, and gigolo in New York City. He shares with her his dream of owning an orange grove in California.  After mobsters rob him, he decides he must make the move west.  
Next is a young movie executive and screenwriter named June Mathis, who has an unrequited love for Valentino. She first meets Valentino in California, where he upsets Mr. Fatty by grabbing the starlet next to Arbuckle and romancing her into becoming his first wife, Jean Acker. Acker's glamorous and luxurious life, made possible by acting in movies, motivates Valentino to try acting himself. Mathis recalls seeing him in a bit part in a movie and, based on that alone, recommending him for a larger role in her next project, The Four Horsemen of the Apocalypse. The hugely successful 1921 film launches Valentino to superstardom, and she is proud to have discovered him.
Back at the funeral, Alla Nazimova makes a flamboyant entrance.  She proceeds to make a scene and, when the photographers ask her to repeat it for the cameras, she obliges.  Nazimova claims a relationship with Valentino and recalls working on Camille with him.

Question: What is the full name of the person who wants an orange grove in California?
Answer: Rudolph Valentino
The film begins with a mock newsreel sequence showing the chaos around the death of 31-year-old film star Rudolph Valentino. Thousands of fans mob the funeral home until order is restored, at which point the important women in Valentino's life come to mourn. Each remembers him via flashbacks.
The first of these women Bianca de Saulles who knew Valentino when he was a  taxi dancer, and gigolo in New York City. He shares with her his dream of owning an orange grove in California.  After mobsters rob him, he decides he must make the move west.  
Next is a young movie executive and screenwriter named June Mathis, who has an unrequited love for Valentino. She first meets Valentino in California, where he upsets Mr. Fatty by grabbing the starlet next to Arbuckle and romancing her into becoming his first wife, Jean Acker. Acker's glamorous and luxurious life, made possible by acting in movies, motivates Valentino to try acting himself. Mathis recalls seeing him in a bit part in a movie and, based on that alone, recommending him for a larger role in her next project, The Four Horsemen of the Apocalypse. The hugely successful 1921 film launches Valentino to superstardom, and she is proud to have discovered him.
Back at the funeral, Alla Nazimova makes a flamboyant entrance.  She proceeds to make a scene and, when the photographers ask her to repeat it for the cameras, she obliges.  Nazimova claims a relationship with Valentino and recalls working on Camille with him.

Question: What is the full name of the person who is robbed by mobsters?
Answer: Rudolph Valentino
The film begins with a mock newsreel sequence showing the chaos around the death of 31-year-old film star Rudolph Valentino. Thousands of fans mob the funeral home until order is restored, at which point the important women in Valentino's life come to mourn. Each remembers him via flashbacks.
The first of these women Bianca de Saulles who knew Valentino when he was a  taxi dancer, and gigolo in New York City. He shares with her his dream of owning an orange grove in California.  After mobsters rob him, he decides he must make the move west.  
Next is a young movie executive and screenwriter named June Mathis, who has an unrequited love for Valentino. She first meets Valentino in California, where he upsets Mr. Fatty by grabbing the starlet next to Arbuckle and romancing her into becoming his first wife, Jean Acker. Acker's glamorous and luxurious life, made possible by acting in movies, motivates Valentino to try acting himself. Mathis recalls seeing him in a bit part in a movie and, based on that alone, recommending him for a larger role in her next project, The Four Horsemen of the Apocalypse. The hugely successful 1921 film launches Valentino to superstardom, and she is proud to have discovered him.
Back at the funeral, Alla Nazimova makes a flamboyant entrance.  She proceeds to make a scene and, when the photographers ask her to repeat it for the cameras, she obliges.  Nazimova claims a relationship with Valentino and recalls working on Camille with him.

Question: What is the first name of the person who does not return June's affections?
Answer: Rudolph
The film begins with a mock newsreel sequence showing the chaos around the death of 31-year-old film star Rudolph Valentino. Thousands of fans mob the funeral home until order is restored, at which point the important women in Valentino's life come to mourn. Each remembers him via flashbacks.
The first of these women Bianca de Saulles who knew Valentino when he was a  taxi dancer, and gigolo in New York City. He shares with her his dream of owning an orange grove in California.  After mobsters rob him, he decides he must make the move west.  
Next is a young movie executive and screenwriter named June Mathis, who has an unrequited love for Valentino. She first meets Valentino in California, where he upsets Mr. Fatty by grabbing the starlet next to Arbuckle and romancing her into becoming his first wife, Jean Acker. Acker's glamorous and luxurious life, made possible by acting in movies, motivates Valentino to try acting himself. Mathis recalls seeing him in a bit part in a movie and, based on that alone, recommending him for a larger role in her next project, The Four Horsemen of the Apocalypse. The hugely successful 1921 film launches Valentino to superstardom, and she is proud to have discovered him.
Back at the funeral, Alla Nazimova makes a flamboyant entrance.  She proceeds to make a scene and, when the photographers ask her to repeat it for the cameras, she obliges.  Nazimova claims a relationship with Valentino and recalls working on Camille with him.

Question: What is the full name of the person whose first wife was Jean?
Answer: Rudolph Valentino
The film begins with a mock newsreel sequence showing the chaos around the death of 31-year-old film star Rudolph Valentino. Thousands of fans mob the funeral home until order is restored, at which point the important women in Valentino's life come to mourn. Each remembers him via flashbacks.
The first of these women Bianca de Saulles who knew Valentino when he was a  taxi dancer, and gigolo in New York City. He shares with her his dream of owning an orange grove in California.  After mobsters rob him, he decides he must make the move west.  
Next is a young movie executive and screenwriter named June Mathis, who has an unrequited love for Valentino. She first meets Valentino in California, where he upsets Mr. Fatty by grabbing the starlet next to Arbuckle and romancing her into becoming his first wife, Jean Acker. Acker's glamorous and luxurious life, made possible by acting in movies, motivates Valentino to try acting himself. Mathis recalls seeing him in a bit part in a movie and, based on that alone, recommending him for a larger role in her next project, The Four Horsemen of the Apocalypse. The hugely successful 1921 film launches Valentino to superstardom, and she is proud to have discovered him.
Back at the funeral, Alla Nazimova makes a flamboyant entrance.  She proceeds to make a scene and, when the photographers ask her to repeat it for the cameras, she obliges.  Nazimova claims a relationship with Valentino and recalls working on Camille with him.

Question: What is the first name of the person who is an actress?
Answer: Jean
The film begins with a mock newsreel sequence showing the chaos around the death of 31-year-old film star Rudolph Valentino. Thousands of fans mob the funeral home until order is restored, at which point the important women in Valentino's life come to mourn. Each remembers him via flashbacks.
The first of these women Bianca de Saulles who knew Valentino when he was a  taxi dancer, and gigolo in New York City. He shares with her his dream of owning an orange grove in California.  After mobsters rob him, he decides he must make the move west.  
Next is a young movie executive and screenwriter named June Mathis, who has an unrequited love for Valentino. She first meets Valentino in California, where he upsets Mr. Fatty by grabbing the starlet next to Arbuckle and romancing her into becoming his first wife, Jean Acker. Acker's glamorous and luxurious life, made possible by acting in movies, motivates Valentino to try acting himself. Mathis recalls seeing him in a bit part in a movie and, based on that alone, recommending him for a larger role in her next project, The Four Horsemen of the Apocalypse. The hugely successful 1921 film launches Valentino to superstardom, and she is proud to have discovered him.
Back at the funeral, Alla Nazimova makes a flamboyant entrance.  She proceeds to make a scene and, when the photographers ask her to repeat it for the cameras, she obliges.  Nazimova claims a relationship with Valentino and recalls working on Camille with him.

Question: What is the full name of the person who June recommends for a bigger movie role?
Answer: Rudolph Valentino