niryuu/sni-each-converted huggingface dataset:
Passage: Whales have evolved from land-living mammals. As such whales must breathe air regularly, although they can remain submerged under water for long periods of time. Some species such as the sperm whale are able to stay submerged for as much as 90 minutes. They have blowholes (modified nostrils) located on top of their heads, through which air is taken in and expelled. They are warm-blooded, and have a layer of fat, or blubber, under the skin. With streamlined fusiform bodies and two limbs that are modified into flippers, whales can travel at up to 20 knots, though they are not as flexible or agile as seals. Whales produce a great variety of vocalizations, notably the extended songs of the humpback whale. Although whales are widespread, most species prefer the colder waters of the Northern and Southern Hemispheres, and migrate to the equator to give birth. Species such as humpbacks and blue whales are capable of travelling thousands of miles without feeding. Males typically mate with multiple females every year, but females only mate every two to three years. Calves are typically born in the spring and summer months and females bear all the responsibility for raising them. Mothers of some species fast and nurse their young for one to two years.
Once relentlessly hunted for their products, whales are now protected by international law. The North Atlantic right whales nearly became extinct in the twentieth century, with a population low of 450, and the North Pacific grey whale population is ranked Critically Endangered by the IUCN. Besides whaling, they also face threats from bycatch and marine pollution. The meat, blubber and baleen of whales have traditionally been used by indigenous peoples of the Arctic. Whales have been depicted in various cultures worldwide, notably by the Inuit and the coastal peoples of Vietnam and Ghana, who sometimes hold whale funerals. Whales occasionally feature in literature and film, as in the great white whale of Herman Melville's Moby Dick. Small whales, such as belugas, are sometimes kept in captivity and trained to perform tricks, but breeding success has been poor and the animals often die within a few months of capture. Whale watching has become a form of tourism around the world.
Output: What people sometimes hold funerals for whales?
Passage: Whales have evolved from land-living mammals. As such whales must breathe air regularly, although they can remain submerged under water for long periods of time. Some species such as the sperm whale are able to stay submerged for as much as 90 minutes. They have blowholes (modified nostrils) located on top of their heads, through which air is taken in and expelled. They are warm-blooded, and have a layer of fat, or blubber, under the skin. With streamlined fusiform bodies and two limbs that are modified into flippers, whales can travel at up to 20 knots, though they are not as flexible or agile as seals. Whales produce a great variety of vocalizations, notably the extended songs of the humpback whale. Although whales are widespread, most species prefer the colder waters of the Northern and Southern Hemispheres, and migrate to the equator to give birth. Species such as humpbacks and blue whales are capable of travelling thousands of miles without feeding. Males typically mate with multiple females every year, but females only mate every two to three years. Calves are typically born in the spring and summer months and females bear all the responsibility for raising them. Mothers of some species fast and nurse their young for one to two years.
Once relentlessly hunted for their products, whales are now protected by international law. The North Atlantic right whales nearly became extinct in the twentieth century, with a population low of 450, and the North Pacific grey whale population is ranked Critically Endangered by the IUCN. Besides whaling, they also face threats from bycatch and marine pollution. The meat, blubber and baleen of whales have traditionally been used by indigenous peoples of the Arctic. Whales have been depicted in various cultures worldwide, notably by the Inuit and the coastal peoples of Vietnam and Ghana, who sometimes hold whale funerals. Whales occasionally feature in literature and film, as in the great white whale of Herman Melville's Moby Dick. Small whales, such as belugas, are sometimes kept in captivity and trained to perform tricks, but breeding success has been poor and the animals often die within a few months of capture. Whale watching has become a form of tourism around the world.
Output: People from which countries sometimes hold funerals for whales?
Passage: The "magnificent and accurate" Shakespeare edition which Boydell began in 1786 was to be the focus of his enterprise—he viewed the print folio and the gallery as offshoots of the main project. In an advertisement prefacing the first volume of the edition, Nicol wrote that "splendor and magnificence, united with correctness of text were the great objects of this Edition".  The volumes themselves were handsome, with gilded pages that, unlike those in previous scholarly editions, were unencumbered by footnotes.  Each play had its own title page followed by a list of "Persons in the Drama".   Boydell spared no expense.  He hired the typography experts William Bulmer and William Martin to develop and cut a new typeface specifically for the edition.  Nicol explains in the preface that they "established a printing-house ... [and] a foundry to cast the types; and even a manufactory to make the ink". Boydell also chose to use high-quality wove Whatman paper. The illustrations were printed independently and could be inserted and removed as the purchaser desired. The first volumes of the Dramatic Works were published in 1791 and the last in 1805.
Boydell was responsible for the "splendor", and George Steevens, the general editor, was responsible for the "correctness of text". Steevens, according to Evelyn Wenner, who has studied the history of the Boydell edition, was "at first an ardent advocate of the plan" but "soon realized that the editor of this text must in the very scheme of things give way to painters, publishers and engravers". He was also ultimately disappointed in the quality of the prints, but he said nothing to jeopardize the edition's sales. Steevens, who had already edited two complete Shakespeare editions, was not asked to edit the text anew; instead, he picked which version of the text to reprint. Wenner describes the resulting hybrid edition:
The thirty-six plays, printed from the texts of Reed and Malone, divide into the following three groups: (1) five plays of the first three numbers printed from Reed's edition of 1785 with many changes adopted from the Malone text of 1790 (2) King Lear and the six plays of the next three numbers printed from Malone's edition of 1790 but exhibiting conspicuous deviations from his basic text (3) twenty-four plays of the last twelve numbers also printed from Malone's text but made to conform to Steevens's own edition of 1793.
Throughout the edition, modern (i.e. 18th-century) spelling was preferred as were First Folio readings.Boydell sought out the most eminent painters and engravers of the day to contribute paintings for the gallery, engravings for the folio, and illustrations for the edition. Artists included Richard Westall, Thomas Stothard, George Romney, Henry Fuseli, Benjamin West, Angelica Kauffman, Robert Smirke, James Durno, John Opie, Francesco Bartolozzi, Thomas Kirk, Henry Thomson, and Boydell's nephew and business partner, Josiah Boydell.
Output: What is the first name of the person who  who had already edited two complete Shakespeare editions?
Passage: The "magnificent and accurate" Shakespeare edition which Boydell began in 1786 was to be the focus of his enterprise—he viewed the print folio and the gallery as offshoots of the main project. In an advertisement prefacing the first volume of the edition, Nicol wrote that "splendor and magnificence, united with correctness of text were the great objects of this Edition".  The volumes themselves were handsome, with gilded pages that, unlike those in previous scholarly editions, were unencumbered by footnotes.  Each play had its own title page followed by a list of "Persons in the Drama".   Boydell spared no expense.  He hired the typography experts William Bulmer and William Martin to develop and cut a new typeface specifically for the edition.  Nicol explains in the preface that they "established a printing-house ... [and] a foundry to cast the types; and even a manufactory to make the ink". Boydell also chose to use high-quality wove Whatman paper. The illustrations were printed independently and could be inserted and removed as the purchaser desired. The first volumes of the Dramatic Works were published in 1791 and the last in 1805.
Boydell was responsible for the "splendor", and George Steevens, the general editor, was responsible for the "correctness of text". Steevens, according to Evelyn Wenner, who has studied the history of the Boydell edition, was "at first an ardent advocate of the plan" but "soon realized that the editor of this text must in the very scheme of things give way to painters, publishers and engravers". He was also ultimately disappointed in the quality of the prints, but he said nothing to jeopardize the edition's sales. Steevens, who had already edited two complete Shakespeare editions, was not asked to edit the text anew; instead, he picked which version of the text to reprint. Wenner describes the resulting hybrid edition:
The thirty-six plays, printed from the texts of Reed and Malone, divide into the following three groups: (1) five plays of the first three numbers printed from Reed's edition of 1785 with many changes adopted from the Malone text of 1790 (2) King Lear and the six plays of the next three numbers printed from Malone's edition of 1790 but exhibiting conspicuous deviations from his basic text (3) twenty-four plays of the last twelve numbers also printed from Malone's text but made to conform to Steevens's own edition of 1793.
Throughout the edition, modern (i.e. 18th-century) spelling was preferred as were First Folio readings.Boydell sought out the most eminent painters and engravers of the day to contribute paintings for the gallery, engravings for the folio, and illustrations for the edition. Artists included Richard Westall, Thomas Stothard, George Romney, Henry Fuseli, Benjamin West, Angelica Kauffman, Robert Smirke, James Durno, John Opie, Francesco Bartolozzi, Thomas Kirk, Henry Thomson, and Boydell's nephew and business partner, Josiah Boydell.
Output: What is the first name of the person who studied the history of the Boydell edition, and was "at first an ardent advocate of the plan?"?
Passage: The "magnificent and accurate" Shakespeare edition which Boydell began in 1786 was to be the focus of his enterprise—he viewed the print folio and the gallery as offshoots of the main project. In an advertisement prefacing the first volume of the edition, Nicol wrote that "splendor and magnificence, united with correctness of text were the great objects of this Edition".  The volumes themselves were handsome, with gilded pages that, unlike those in previous scholarly editions, were unencumbered by footnotes.  Each play had its own title page followed by a list of "Persons in the Drama".   Boydell spared no expense.  He hired the typography experts William Bulmer and William Martin to develop and cut a new typeface specifically for the edition.  Nicol explains in the preface that they "established a printing-house ... [and] a foundry to cast the types; and even a manufactory to make the ink". Boydell also chose to use high-quality wove Whatman paper. The illustrations were printed independently and could be inserted and removed as the purchaser desired. The first volumes of the Dramatic Works were published in 1791 and the last in 1805.
Boydell was responsible for the "splendor", and George Steevens, the general editor, was responsible for the "correctness of text". Steevens, according to Evelyn Wenner, who has studied the history of the Boydell edition, was "at first an ardent advocate of the plan" but "soon realized that the editor of this text must in the very scheme of things give way to painters, publishers and engravers". He was also ultimately disappointed in the quality of the prints, but he said nothing to jeopardize the edition's sales. Steevens, who had already edited two complete Shakespeare editions, was not asked to edit the text anew; instead, he picked which version of the text to reprint. Wenner describes the resulting hybrid edition:
The thirty-six plays, printed from the texts of Reed and Malone, divide into the following three groups: (1) five plays of the first three numbers printed from Reed's edition of 1785 with many changes adopted from the Malone text of 1790 (2) King Lear and the six plays of the next three numbers printed from Malone's edition of 1790 but exhibiting conspicuous deviations from his basic text (3) twenty-four plays of the last twelve numbers also printed from Malone's text but made to conform to Steevens's own edition of 1793.
Throughout the edition, modern (i.e. 18th-century) spelling was preferred as were First Folio readings.Boydell sought out the most eminent painters and engravers of the day to contribute paintings for the gallery, engravings for the folio, and illustrations for the edition. Artists included Richard Westall, Thomas Stothard, George Romney, Henry Fuseli, Benjamin West, Angelica Kauffman, Robert Smirke, James Durno, John Opie, Francesco Bartolozzi, Thomas Kirk, Henry Thomson, and Boydell's nephew and business partner, Josiah Boydell.
Output: What was the first name of the person who was ultimately disappointed in the quality of the prints?
Passage: The "magnificent and accurate" Shakespeare edition which Boydell began in 1786 was to be the focus of his enterprise—he viewed the print folio and the gallery as offshoots of the main project. In an advertisement prefacing the first volume of the edition, Nicol wrote that "splendor and magnificence, united with correctness of text were the great objects of this Edition".  The volumes themselves were handsome, with gilded pages that, unlike those in previous scholarly editions, were unencumbered by footnotes.  Each play had its own title page followed by a list of "Persons in the Drama".   Boydell spared no expense.  He hired the typography experts William Bulmer and William Martin to develop and cut a new typeface specifically for the edition.  Nicol explains in the preface that they "established a printing-house ... [and] a foundry to cast the types; and even a manufactory to make the ink". Boydell also chose to use high-quality wove Whatman paper. The illustrations were printed independently and could be inserted and removed as the purchaser desired. The first volumes of the Dramatic Works were published in 1791 and the last in 1805.
Boydell was responsible for the "splendor", and George Steevens, the general editor, was responsible for the "correctness of text". Steevens, according to Evelyn Wenner, who has studied the history of the Boydell edition, was "at first an ardent advocate of the plan" but "soon realized that the editor of this text must in the very scheme of things give way to painters, publishers and engravers". He was also ultimately disappointed in the quality of the prints, but he said nothing to jeopardize the edition's sales. Steevens, who had already edited two complete Shakespeare editions, was not asked to edit the text anew; instead, he picked which version of the text to reprint. Wenner describes the resulting hybrid edition:
The thirty-six plays, printed from the texts of Reed and Malone, divide into the following three groups: (1) five plays of the first three numbers printed from Reed's edition of 1785 with many changes adopted from the Malone text of 1790 (2) King Lear and the six plays of the next three numbers printed from Malone's edition of 1790 but exhibiting conspicuous deviations from his basic text (3) twenty-four plays of the last twelve numbers also printed from Malone's text but made to conform to Steevens's own edition of 1793.
Throughout the edition, modern (i.e. 18th-century) spelling was preferred as were First Folio readings.Boydell sought out the most eminent painters and engravers of the day to contribute paintings for the gallery, engravings for the folio, and illustrations for the edition. Artists included Richard Westall, Thomas Stothard, George Romney, Henry Fuseli, Benjamin West, Angelica Kauffman, Robert Smirke, James Durno, John Opie, Francesco Bartolozzi, Thomas Kirk, Henry Thomson, and Boydell's nephew and business partner, Josiah Boydell.
Output: What is the first name of the person who said nothing to jeopardize the edition's sales?
Passage: The "magnificent and accurate" Shakespeare edition which Boydell began in 1786 was to be the focus of his enterprise—he viewed the print folio and the gallery as offshoots of the main project. In an advertisement prefacing the first volume of the edition, Nicol wrote that "splendor and magnificence, united with correctness of text were the great objects of this Edition".  The volumes themselves were handsome, with gilded pages that, unlike those in previous scholarly editions, were unencumbered by footnotes.  Each play had its own title page followed by a list of "Persons in the Drama".   Boydell spared no expense.  He hired the typography experts William Bulmer and William Martin to develop and cut a new typeface specifically for the edition.  Nicol explains in the preface that they "established a printing-house ... [and] a foundry to cast the types; and even a manufactory to make the ink". Boydell also chose to use high-quality wove Whatman paper. The illustrations were printed independently and could be inserted and removed as the purchaser desired. The first volumes of the Dramatic Works were published in 1791 and the last in 1805.
Boydell was responsible for the "splendor", and George Steevens, the general editor, was responsible for the "correctness of text". Steevens, according to Evelyn Wenner, who has studied the history of the Boydell edition, was "at first an ardent advocate of the plan" but "soon realized that the editor of this text must in the very scheme of things give way to painters, publishers and engravers". He was also ultimately disappointed in the quality of the prints, but he said nothing to jeopardize the edition's sales. Steevens, who had already edited two complete Shakespeare editions, was not asked to edit the text anew; instead, he picked which version of the text to reprint. Wenner describes the resulting hybrid edition:
The thirty-six plays, printed from the texts of Reed and Malone, divide into the following three groups: (1) five plays of the first three numbers printed from Reed's edition of 1785 with many changes adopted from the Malone text of 1790 (2) King Lear and the six plays of the next three numbers printed from Malone's edition of 1790 but exhibiting conspicuous deviations from his basic text (3) twenty-four plays of the last twelve numbers also printed from Malone's text but made to conform to Steevens's own edition of 1793.
Throughout the edition, modern (i.e. 18th-century) spelling was preferred as were First Folio readings.Boydell sought out the most eminent painters and engravers of the day to contribute paintings for the gallery, engravings for the folio, and illustrations for the edition. Artists included Richard Westall, Thomas Stothard, George Romney, Henry Fuseli, Benjamin West, Angelica Kauffman, Robert Smirke, James Durno, John Opie, Francesco Bartolozzi, Thomas Kirk, Henry Thomson, and Boydell's nephew and business partner, Josiah Boydell.
Output: What is the first name of the person who picked which version of the text to reprint?
Passage: In 1988, the U.S. Ohio-class submarine USS Montana has an encounter with an unidentified submerged object and sinks near the Cayman Trough. With Soviet ships moving in to try to salvage the sub and a hurricane moving over the area, the U.S. government sends a SEAL team to Deep Core, a privately owned experimental underwater drilling platform near the Cayman Trough to use as a base of operations. The platform's designer, Dr. Lindsey Brigman, insists on going along with the SEAL team, despite her estranged husband Virgil "Bud" Brigman being the current foreman.
During initial investigation of the Montana, a power outage in the team's submersibles leads to Lindsey seeing a strange light circling the sub, which she later calls a "non-terrestrial intelligence" or "NTI".  Lt. Coffey, the SEAL team leader, is ordered to accelerate their mission and takes one of the mini-subs without Deep Core's permission to recover a Trident missile warhead from the Montana just as the storm hits above, leaving the crew unable to disconnect from their surface support ship in time. The cable crane is torn from the ship and falls into the trench, dragging the Deep Core to the edge before it stops. The rig is partially flooded, killing several crew members and damaging its power systems.
Output: What is the last name of the person who sees a strange light?
Passage: Stanford Memorial Church, throughout its history, has been served by chaplains who have been influential amongst the Stanford University student body and community at large.  R. Heber Newton, "distinguished writer" and former rector at All Souls Church in New York, was handpicked by Jane Stanford to serve as the church's first pastor; he resigned after four months in 1903 "because he disagreed with Mrs. Stanford on some aspects of church management".  According to Stanford biographer Robert W. P. Cutler, "Newton's tenure had been a disappointment to Mrs. Stanford".  David Charles Gardner, who replaced Newton, served the church from 1902 to his retirement in 1936.  Stanford also handpicked Gardner as Newton's assistant because she was impressed with his "parish work" in Palo Alto.  Gardner went on to teach courses in Biblical history and literature at Stanford. Influential English professor and Stanford historian Edith R. Mirrielees called Gardner "a preacher of only indifferent ability", but considered him "a strength to the whole university".  Mirrieless considered Gardner the prime mover behind the creation of the Stanford Home for Convalescent Children, established in 1919, which eventually became the Lucile Packard Children's Hospital.
Output: What is the last name of the person who resigned after four months?
Passage: Stanford Memorial Church, throughout its history, has been served by chaplains who have been influential amongst the Stanford University student body and community at large.  R. Heber Newton, "distinguished writer" and former rector at All Souls Church in New York, was handpicked by Jane Stanford to serve as the church's first pastor; he resigned after four months in 1903 "because he disagreed with Mrs. Stanford on some aspects of church management".  According to Stanford biographer Robert W. P. Cutler, "Newton's tenure had been a disappointment to Mrs. Stanford".  David Charles Gardner, who replaced Newton, served the church from 1902 to his retirement in 1936.  Stanford also handpicked Gardner as Newton's assistant because she was impressed with his "parish work" in Palo Alto.  Gardner went on to teach courses in Biblical history and literature at Stanford. Influential English professor and Stanford historian Edith R. Mirrielees called Gardner "a preacher of only indifferent ability", but considered him "a strength to the whole university".  Mirrieless considered Gardner the prime mover behind the creation of the Stanford Home for Convalescent Children, established in 1919, which eventually became the Lucile Packard Children's Hospital.
Output: What is the last name of the person who resigned in 1903?
Passage: Stanford Memorial Church, throughout its history, has been served by chaplains who have been influential amongst the Stanford University student body and community at large.  R. Heber Newton, "distinguished writer" and former rector at All Souls Church in New York, was handpicked by Jane Stanford to serve as the church's first pastor; he resigned after four months in 1903 "because he disagreed with Mrs. Stanford on some aspects of church management".  According to Stanford biographer Robert W. P. Cutler, "Newton's tenure had been a disappointment to Mrs. Stanford".  David Charles Gardner, who replaced Newton, served the church from 1902 to his retirement in 1936.  Stanford also handpicked Gardner as Newton's assistant because she was impressed with his "parish work" in Palo Alto.  Gardner went on to teach courses in Biblical history and literature at Stanford. Influential English professor and Stanford historian Edith R. Mirrielees called Gardner "a preacher of only indifferent ability", but considered him "a strength to the whole university".  Mirrieless considered Gardner the prime mover behind the creation of the Stanford Home for Convalescent Children, established in 1919, which eventually became the Lucile Packard Children's Hospital.
Output: What is the last name of the person who resigned because they disagreed with Mrs. Stanford on some aspects of church management?
Passage: Stanford Memorial Church, throughout its history, has been served by chaplains who have been influential amongst the Stanford University student body and community at large.  R. Heber Newton, "distinguished writer" and former rector at All Souls Church in New York, was handpicked by Jane Stanford to serve as the church's first pastor; he resigned after four months in 1903 "because he disagreed with Mrs. Stanford on some aspects of church management".  According to Stanford biographer Robert W. P. Cutler, "Newton's tenure had been a disappointment to Mrs. Stanford".  David Charles Gardner, who replaced Newton, served the church from 1902 to his retirement in 1936.  Stanford also handpicked Gardner as Newton's assistant because she was impressed with his "parish work" in Palo Alto.  Gardner went on to teach courses in Biblical history and literature at Stanford. Influential English professor and Stanford historian Edith R. Mirrielees called Gardner "a preacher of only indifferent ability", but considered him "a strength to the whole university".  Mirrieless considered Gardner the prime mover behind the creation of the Stanford Home for Convalescent Children, established in 1919, which eventually became the Lucile Packard Children's Hospital.
Output: What is the last name of the person whose retirement occurred in 1936?
Passage: Elvira Kent and her husband Michael suspect each other of cheating. For their wedding anniversary, Elvira books an ocean cruise to Rio de Janeiro but  her husband claims that unexpected business will prevent him from going. Seeing an opportunity, Elvira pretends to take the trip alone, but in fact sends singer Georgia Garrett, a woman she'd met at the travel agency, in her place and under her name. By secretly staying behind, Elvira hopes to find out if Michael is indeed sneaking around behind her back. Michael, however, is suspicious over Elvira's supposed willingness to go on the trip alone, and so hires private detective Peter Virgil to see if she is sneaking around behind his back.
Peter joins the cruise and, as part of his job, becomes acquainted with Georgia. Georgia, following the instructions of the real Elvira, keeps up the ruse by pretending to be Elvira to everyone, including Peter. Georgia and Peter are attracted to each other and gradually fall in love, which causes conflict for both of them.
During one of the cruise stops, Georgia's friend, Oscar Farrar, comes on board. Oscar is in love with Georgia despite Georgia's lack of interest in him, and when Peter spots them together, he thinks he has discovered the identity of Elvira's lover.
The film's third act is set in a Rio hotel, where all the principal characters converge and ride a merry-go-round of mistaken identities. Sorting out their true identities, resolving the crossed love plots, concludes the picture.
Output: What is the name of the person who claims that unexpected business will prevent him from going on a cruise?
Passage: Elvira Kent and her husband Michael suspect each other of cheating. For their wedding anniversary, Elvira books an ocean cruise to Rio de Janeiro but  her husband claims that unexpected business will prevent him from going. Seeing an opportunity, Elvira pretends to take the trip alone, but in fact sends singer Georgia Garrett, a woman she'd met at the travel agency, in her place and under her name. By secretly staying behind, Elvira hopes to find out if Michael is indeed sneaking around behind her back. Michael, however, is suspicious over Elvira's supposed willingness to go on the trip alone, and so hires private detective Peter Virgil to see if she is sneaking around behind his back.
Peter joins the cruise and, as part of his job, becomes acquainted with Georgia. Georgia, following the instructions of the real Elvira, keeps up the ruse by pretending to be Elvira to everyone, including Peter. Georgia and Peter are attracted to each other and gradually fall in love, which causes conflict for both of them.
During one of the cruise stops, Georgia's friend, Oscar Farrar, comes on board. Oscar is in love with Georgia despite Georgia's lack of interest in him, and when Peter spots them together, he thinks he has discovered the identity of Elvira's lover.
The film's third act is set in a Rio hotel, where all the principal characters converge and ride a merry-go-round of mistaken identities. Sorting out their true identities, resolving the crossed love plots, concludes the picture.
Output: What is the full name of the person who met someone at a travel agency and sends them to take a trip in her stead?
Passage: Elvira Kent and her husband Michael suspect each other of cheating. For their wedding anniversary, Elvira books an ocean cruise to Rio de Janeiro but  her husband claims that unexpected business will prevent him from going. Seeing an opportunity, Elvira pretends to take the trip alone, but in fact sends singer Georgia Garrett, a woman she'd met at the travel agency, in her place and under her name. By secretly staying behind, Elvira hopes to find out if Michael is indeed sneaking around behind her back. Michael, however, is suspicious over Elvira's supposed willingness to go on the trip alone, and so hires private detective Peter Virgil to see if she is sneaking around behind his back.
Peter joins the cruise and, as part of his job, becomes acquainted with Georgia. Georgia, following the instructions of the real Elvira, keeps up the ruse by pretending to be Elvira to everyone, including Peter. Georgia and Peter are attracted to each other and gradually fall in love, which causes conflict for both of them.
During one of the cruise stops, Georgia's friend, Oscar Farrar, comes on board. Oscar is in love with Georgia despite Georgia's lack of interest in him, and when Peter spots them together, he thinks he has discovered the identity of Elvira's lover.
The film's third act is set in a Rio hotel, where all the principal characters converge and ride a merry-go-round of mistaken identities. Sorting out their true identities, resolving the crossed love plots, concludes the picture.
Output: What is the full name of the person who thinks they have discovered the identity of someone's lover?
Passage: Due to an error in Heaven, Adam "Duke" Byron, is born without a soul in 1858. The "Book of Destiny" shows that he was supposed to marry a minister's daughter in 1885, two years prior to the present, and set a fine moral example. Instead, he is a saloon keeper and gambling hall owner in Glacier, Montana. As it was the fault of his department, Michael is sent to set Duke on the life path for which he was destined, but Michael must do so as a human being, without miracles, not even a small one.
Michael encounters Bill Plummer. Plummer and Duke are rival saloon keepers and partners in a mining company, but due to a dispute between them, the mine is closed, leaving many of the townspeople destitute. Plummer has hired the Kansas City Kid, a gunslinger, to kill Duke. When Bill finds out that Duke knows about his plan, he gives Michael a lift into town and as Plummer had hoped, Duke mistakes Michael for the Kid. Duke's henchman, Treason, takes a shot at Michael, narrowly missing a young girl. Furious, parson's daughter and schoolmarm Drusilla Wainwright goes into the "Copper Queen", Duke's saloon, and slaps him.
Drusilla and most of the other residents want to take the law into their own hands to take back their town, but Sheriff Matt Bodine talks them into waiting until Plummer and Duke's men kill each other first. 
Michael accidentally foils the Kid's attempt to shoot Duke. Duke is convinced he has switched sides, but when he learns that the now-dead would-be assassin is actually the Kansas City Kid, he believes that Michael is a smart, ambitious outlaw, so he hires him. Ginger, Duke's girlfriend and showgirl, takes a great liking to Michael, but Treason hates him on sight.
Output: What is the nickname of the person who was supposed to marry a minister's daughter in 1885?
Passage: Due to an error in Heaven, Adam "Duke" Byron, is born without a soul in 1858. The "Book of Destiny" shows that he was supposed to marry a minister's daughter in 1885, two years prior to the present, and set a fine moral example. Instead, he is a saloon keeper and gambling hall owner in Glacier, Montana. As it was the fault of his department, Michael is sent to set Duke on the life path for which he was destined, but Michael must do so as a human being, without miracles, not even a small one.
Michael encounters Bill Plummer. Plummer and Duke are rival saloon keepers and partners in a mining company, but due to a dispute between them, the mine is closed, leaving many of the townspeople destitute. Plummer has hired the Kansas City Kid, a gunslinger, to kill Duke. When Bill finds out that Duke knows about his plan, he gives Michael a lift into town and as Plummer had hoped, Duke mistakes Michael for the Kid. Duke's henchman, Treason, takes a shot at Michael, narrowly missing a young girl. Furious, parson's daughter and schoolmarm Drusilla Wainwright goes into the "Copper Queen", Duke's saloon, and slaps him.
Drusilla and most of the other residents want to take the law into their own hands to take back their town, but Sheriff Matt Bodine talks them into waiting until Plummer and Duke's men kill each other first. 
Michael accidentally foils the Kid's attempt to shoot Duke. Duke is convinced he has switched sides, but when he learns that the now-dead would-be assassin is actually the Kansas City Kid, he believes that Michael is a smart, ambitious outlaw, so he hires him. Ginger, Duke's girlfriend and showgirl, takes a great liking to Michael, but Treason hates him on sight.
Output: What is the full name of the person Michael is sent to set on the life path for which he was destined?
Passage: Due to an error in Heaven, Adam "Duke" Byron, is born without a soul in 1858. The "Book of Destiny" shows that he was supposed to marry a minister's daughter in 1885, two years prior to the present, and set a fine moral example. Instead, he is a saloon keeper and gambling hall owner in Glacier, Montana. As it was the fault of his department, Michael is sent to set Duke on the life path for which he was destined, but Michael must do so as a human being, without miracles, not even a small one.
Michael encounters Bill Plummer. Plummer and Duke are rival saloon keepers and partners in a mining company, but due to a dispute between them, the mine is closed, leaving many of the townspeople destitute. Plummer has hired the Kansas City Kid, a gunslinger, to kill Duke. When Bill finds out that Duke knows about his plan, he gives Michael a lift into town and as Plummer had hoped, Duke mistakes Michael for the Kid. Duke's henchman, Treason, takes a shot at Michael, narrowly missing a young girl. Furious, parson's daughter and schoolmarm Drusilla Wainwright goes into the "Copper Queen", Duke's saloon, and slaps him.
Drusilla and most of the other residents want to take the law into their own hands to take back their town, but Sheriff Matt Bodine talks them into waiting until Plummer and Duke's men kill each other first. 
Michael accidentally foils the Kid's attempt to shoot Duke. Duke is convinced he has switched sides, but when he learns that the now-dead would-be assassin is actually the Kansas City Kid, he believes that Michael is a smart, ambitious outlaw, so he hires him. Ginger, Duke's girlfriend and showgirl, takes a great liking to Michael, but Treason hates him on sight.
Output: What are the last names of the two people who are rival saloon keepers?
Passage: Due to an error in Heaven, Adam "Duke" Byron, is born without a soul in 1858. The "Book of Destiny" shows that he was supposed to marry a minister's daughter in 1885, two years prior to the present, and set a fine moral example. Instead, he is a saloon keeper and gambling hall owner in Glacier, Montana. As it was the fault of his department, Michael is sent to set Duke on the life path for which he was destined, but Michael must do so as a human being, without miracles, not even a small one.
Michael encounters Bill Plummer. Plummer and Duke are rival saloon keepers and partners in a mining company, but due to a dispute between them, the mine is closed, leaving many of the townspeople destitute. Plummer has hired the Kansas City Kid, a gunslinger, to kill Duke. When Bill finds out that Duke knows about his plan, he gives Michael a lift into town and as Plummer had hoped, Duke mistakes Michael for the Kid. Duke's henchman, Treason, takes a shot at Michael, narrowly missing a young girl. Furious, parson's daughter and schoolmarm Drusilla Wainwright goes into the "Copper Queen", Duke's saloon, and slaps him.
Drusilla and most of the other residents want to take the law into their own hands to take back their town, but Sheriff Matt Bodine talks them into waiting until Plummer and Duke's men kill each other first. 
Michael accidentally foils the Kid's attempt to shoot Duke. Duke is convinced he has switched sides, but when he learns that the now-dead would-be assassin is actually the Kansas City Kid, he believes that Michael is a smart, ambitious outlaw, so he hires him. Ginger, Duke's girlfriend and showgirl, takes a great liking to Michael, but Treason hates him on sight.
Output: What is the name of the place where Duke is a saloon keeper?
Passage: Due to an error in Heaven, Adam "Duke" Byron, is born without a soul in 1858. The "Book of Destiny" shows that he was supposed to marry a minister's daughter in 1885, two years prior to the present, and set a fine moral example. Instead, he is a saloon keeper and gambling hall owner in Glacier, Montana. As it was the fault of his department, Michael is sent to set Duke on the life path for which he was destined, but Michael must do so as a human being, without miracles, not even a small one.
Michael encounters Bill Plummer. Plummer and Duke are rival saloon keepers and partners in a mining company, but due to a dispute between them, the mine is closed, leaving many of the townspeople destitute. Plummer has hired the Kansas City Kid, a gunslinger, to kill Duke. When Bill finds out that Duke knows about his plan, he gives Michael a lift into town and as Plummer had hoped, Duke mistakes Michael for the Kid. Duke's henchman, Treason, takes a shot at Michael, narrowly missing a young girl. Furious, parson's daughter and schoolmarm Drusilla Wainwright goes into the "Copper Queen", Duke's saloon, and slaps him.
Drusilla and most of the other residents want to take the law into their own hands to take back their town, but Sheriff Matt Bodine talks them into waiting until Plummer and Duke's men kill each other first. 
Michael accidentally foils the Kid's attempt to shoot Duke. Duke is convinced he has switched sides, but when he learns that the now-dead would-be assassin is actually the Kansas City Kid, he believes that Michael is a smart, ambitious outlaw, so he hires him. Ginger, Duke's girlfriend and showgirl, takes a great liking to Michael, but Treason hates him on sight.
Output: Who hates Michael?
Passage: The Domesday Survey of 1086 does not directly mention Ashton, perhaps because only a partial survey of the area had been taken. However, it is thought that St Michael's Church, mentioned in the Domesday entry for the ancient parish of Manchester, was in Ashton (also spelt Asheton, Asshton and Assheton). The town itself was first mentioned in the 12th century when the manor was part of the barony of Manchester. By the late 12th century, a family who adopted the name Assheton held the manor on behalf of the Gresleys, barons of Manchester. Ashton Old Hall was a manor house, the administrative centre of the manor, and the seat of the de Ashton or de Assheton family. With three wings, the hall was "one of the finest great houses in the North West" of the 14th century. It has been recognised as important for being one of the few great houses in south-east Lancashire and possibly one of the few halls influenced by French design in the country. The town was granted a Royal Charter in 1414, which allowed it to hold a fair twice a year, and a market on every Monday, making the settlement a market town.According to popular tradition, Sir Ralph de Assheton, who was lord of the manor in the mid-14th century and known as the Black Knight, was an unpopular and cruel feudal lord. After his death, his unpopularity led the locals to parade an effigy of him around the town each Easter Monday and collect money. Afterwards the effigy would be hung up, shot, and set on fire, before being torn apart and thrown into the crowd. The first recorded occurrence of the event was in 1795, although the tradition may be older; it continued into the 1830s.The manor remained in the possession of the Assheton family until 1514 when its male line terminated. The lordship of the manor passed to Sir George Booth, great-great grandson of Sir Thomas Ashton, devolving through the Booth family until the Earls of Stamford inherited it through marriage in 1758. The Booth-Greys then held the manor until the 19th century, whose patronage, despite being absentee lords, was probably the stimulus for Ashton's growth of a large-scale domestic-based textile industry in the 17th century. Pre-industrial Ashton was centred on four roads: Town Street, Crickets Lane, Old Street, and Cowhill Lane. In the late-18th and early-19th centuries, the town was re-planned, with a grid pattern of roads. As a result, very little remains of the previous town. In 1730 a workhouse was established which consisted of a house and two cottages; it later came to be used as a hospital. The Ashton Canal was constructed in the 1790s to transport coal from the area to Manchester, with a branch to the coal pits at Fairbottom.
Output: What is the first name of the person whose unpopularity led the locals to parade an effigy of him around the town each Easter Monday and collect money?
Passage: The Domesday Survey of 1086 does not directly mention Ashton, perhaps because only a partial survey of the area had been taken. However, it is thought that St Michael's Church, mentioned in the Domesday entry for the ancient parish of Manchester, was in Ashton (also spelt Asheton, Asshton and Assheton). The town itself was first mentioned in the 12th century when the manor was part of the barony of Manchester. By the late 12th century, a family who adopted the name Assheton held the manor on behalf of the Gresleys, barons of Manchester. Ashton Old Hall was a manor house, the administrative centre of the manor, and the seat of the de Ashton or de Assheton family. With three wings, the hall was "one of the finest great houses in the North West" of the 14th century. It has been recognised as important for being one of the few great houses in south-east Lancashire and possibly one of the few halls influenced by French design in the country. The town was granted a Royal Charter in 1414, which allowed it to hold a fair twice a year, and a market on every Monday, making the settlement a market town.According to popular tradition, Sir Ralph de Assheton, who was lord of the manor in the mid-14th century and known as the Black Knight, was an unpopular and cruel feudal lord. After his death, his unpopularity led the locals to parade an effigy of him around the town each Easter Monday and collect money. Afterwards the effigy would be hung up, shot, and set on fire, before being torn apart and thrown into the crowd. The first recorded occurrence of the event was in 1795, although the tradition may be older; it continued into the 1830s.The manor remained in the possession of the Assheton family until 1514 when its male line terminated. The lordship of the manor passed to Sir George Booth, great-great grandson of Sir Thomas Ashton, devolving through the Booth family until the Earls of Stamford inherited it through marriage in 1758. The Booth-Greys then held the manor until the 19th century, whose patronage, despite being absentee lords, was probably the stimulus for Ashton's growth of a large-scale domestic-based textile industry in the 17th century. Pre-industrial Ashton was centred on four roads: Town Street, Crickets Lane, Old Street, and Cowhill Lane. In the late-18th and early-19th centuries, the town was re-planned, with a grid pattern of roads. As a result, very little remains of the previous town. In 1730 a workhouse was established which consisted of a house and two cottages; it later came to be used as a hospital. The Ashton Canal was constructed in the 1790s to transport coal from the area to Manchester, with a branch to the coal pits at Fairbottom.
Output: What later came to be used as a hospital?
Passage: Geologically, Portland is separated into two areas; the steeply sloping land at its north end called Underhill, and the larger, gently sloping land to the south, called Tophill. Portland stone lies under Tophill; the strata decline at a shallow angle of around 1.5 degrees, from a height of 151 metres (495 ft) near the Verne in the north, to just above sea level at Portland Bill. The geology of Underhill is different to Tophill; Underhill lies on a steep escarpment composed of Portland Sand, lying above a thicker layer of Kimmeridge Clay, which extends to Chesil Beach and Portland Harbour. This Kimmeridge Clay has resulted in a series of landslides, forming West Weares and East Weares.2.4 kilometres (1.5 mi) underneath south Dorset lies a layer of Triassic rock salt, and Portland is one of four locations in the United Kingdom where the salt is thick enough to create stable cavities. Portland Gas applied to excavate 14 caverns to store 1,000,000,000 cubic metres (3.5×1010 cu ft) of natural gas, which is one percent of the UK's total annual demand. It was proposed that the caverns should be connected to the National gas grid at Mappowder via a 37-kilometre (23 mi) pipeline. Plans had it that the surface facilities should be complete to store the first gas in 2011, and the entire cavern space available for storage in winter 2013. As part of the £350 million scheme, the Grade II listed former Old Engine Shed would be converted into a £1.5 million educational centre with a café and an exhibition space about the geology of Portland.
Output: What is the full name of the acronym UK?