niryuu/sni-each-converted huggingface dataset:
Passage: In mid-1917 nine-year-old Frances Griffiths and her mother—both newly arrived in the UK from South Africa—were staying with Frances' aunt, Elsie Wright's mother, in the village of Cottingley in West Yorkshire; Elsie was then 16 years old. The two girls often played together beside the beck (stream) at the bottom of the garden, much to their mothers' annoyance, because they frequently came back with wet feet and clothes. Frances and Elsie said they only went to the beck to see the fairies, and to prove it, Elsie borrowed her father's camera, a Midg quarter-plate. The girls returned about 30 minutes later, "triumphant".Elsie's father, Arthur, was a keen amateur photographer, and had set up his own darkroom. The picture on the photographic plate he developed showed Frances behind a bush in the foreground, on which four fairies appeared to be dancing. Knowing his daughter's artistic ability, and that she had spent some time working in a photographer's studio, he dismissed the figures as cardboard cutouts. Two months later the girls borrowed his camera again, and this time returned with a photograph of Elsie sitting on the lawn holding out her hand to a 1-foot-tall (30 cm) gnome. Exasperated by what he believed to be "nothing but a prank", and convinced that the girls must have tampered with his camera in some way, Arthur Wright refused to lend it to them again. His wife Polly, however, believed the photographs to be authentic.
Towards the end of 1918, Frances sent a letter to Johanna Parvin, a friend in Cape Town, South Africa, where Frances had lived for most of her life, enclosing the photograph of herself with the fairies. On the back she wrote "It is funny, I never used to see them in Africa. It must be too hot for them there."The photographs became public in mid-1919, after Elsie's mother attended a meeting of the Theosophical Society in Bradford. The lecture that evening was on "fairy life", and at the end of the meeting Polly Wright showed the two fairy photographs taken by her daughter and niece to the speaker. As a result, the photographs were displayed at the society's annual conference in Harrogate, held a few months later. There they came to the attention of a leading member of the society, Edward Gardner. One of the central beliefs of theosophy is that humanity is undergoing a cycle of evolution, towards increasing "perfection", and Gardner recognised the potential significance of the photographs for the movement:
the fact that two young girls had not only been able to see fairies, which others had done, but had actually for the first time ever been able to materialise them at a density sufficient for their images to be recorded on a photographic plate, meant that it was possible that the next cycle of evolution was underway. 
Question: What are the full names of the girls who had taken the photographs that Polly Wright showed at the meeting?
Output: Elsie Wright.
Passage: Dodo Doubleday has been inexplicably reduced from first sergeant to staff sergeant and has resumed being orderly to his regimental commander Colonel Barkley.  Sergeant Ames is still a buck sergeant who hates Dodo because he advanced to outrank Ames within Dodo's first 24 hours in the army.  Dodo's former comrade in arms Charlie Cobb is also a buck sergeant.  As both Cobb and Ames are the best marksman in the regiment but constantly boast of their prowess, Colonel Barkley seeks to find an expert who can outshoot them.
Though possessing a photographic memory that enabled him to advance from private to senior non-commissioned officer in less than 24 hours, Dodo has one weakness: though his book knowledge enables him to give lectures on weapons disassembly and ballistics, he is gun shy and an incompetent marksman. After nearly shooting several of his fellow soldiers on the pistol range, with the actual target being the safest place to hide, Dodo is ordered to go into the woods to practice.  There his missed shots impress the picnicking colonel and his daughter Betty when Dodo accidentally shoots a hawk through the eye whilst in flight and after the colonel catches a fish who breaks the line and is in the process of rolling back into the water, an accidental discharge from Dodo's pistol shoots the fish through his eye.  Eager to deflate the boasting Ames and Cobb, the colonel bets a month's pay that Dodo can outshoot Ames and Cobb.
Ames and Cobb's hatred of Dodo increases when in the interests of promoting democracy in the United States Army, Betty invites Dodo to dinner at the colonel's quarters, but Ames and Cobb believe they have been invited as well. 
Question: What is the first name of the man that the buck sergeants hate?
Output: Dodo.
Passage: Libby's original exchange reservoir hypothesis assumed that the 14C/12C ratio in the exchange reservoir is constant all over the world, but it has since been discovered that there are several causes of variation in the ratio across the reservoir.Marine effect
The CO2 in the atmosphere transfers to the ocean by dissolving in the surface water as carbonate and bicarbonate ions; at the same time the carbonate ions in the water are returning to the air as CO2. This exchange process brings14C from the atmosphere into the surface waters of the ocean, but the 14C thus introduced takes a long time to percolate through the entire volume of the ocean. The deepest parts of the ocean mix very slowly with the surface waters, and the mixing is uneven. The main mechanism that brings deep water to the surface is upwelling, which is more common in regions closer to the equator. Upwelling is also influenced by factors such as the topography of the local ocean bottom and coastlines, the climate, and wind patterns. Overall, the mixing of deep and surface waters takes far longer than the mixing of atmospheric CO2 with the surface waters, and as a result water from some deep ocean areas has an apparent radiocarbon age of several thousand years. Upwelling mixes this "old" water with the surface water, giving the surface water an apparent age of about several hundred years (after correcting for fractionation). This effect is not uniform – the average effect is about 400 years, but there are local deviations of several hundred years for areas that are geographically close to each other. These deviations can be accounted for in calibration, and users of software such as CALIB can provide as an input the appropriate correction for the location of their samples.  The effect also applies to marine organisms such as shells, and marine mammals such as whales and seals, which have radiocarbon ages that appear to be hundreds of years old.Hemisphere effect
The northern and southern hemispheres have atmospheric circulation systems that are sufficiently independent of each other that there is a noticeable time lag in mixing between the two. The atmospheric 14C/12C ratio is lower in the southern hemisphere, with an apparent additional age of about 40 years for radiocarbon results from the south as compared to the north. This is because the greater surface area of ocean in the southern hemisphere means that there is more carbon exchanged between the ocean and the atmosphere than in the north. Since the surface ocean is depleted in 14C because of the marine effect, 14C is removed from the southern atmosphere more quickly than in the north.  The effect is strengthened by strong upwelling around Antarctica.Other effects. 
Question: What effect is not uniform?
Output: Upwelling.
Passage: In a collection of Renaissance metalwork Benvenuto Cellini (1500–71) represents the ultimate attribution, as his genuine works as a goldsmith are rarer than paintings by Giorgione.  In his 1902 catalogue Charles Hercules Read mentions that many of the pendants had been attributed to Cellini, but refrains from endorsing the attributions.  A small silver hand-bell (WB.95) had belonged to Horace Walpole, who praised it extravagantly in a letter as "the uniquest thing in the world, a silver bell for an inkstand made by Benvenuto Cellini. It makes one believe all the extravagant encomiums he bestows on himself; indeed so does his Perseus. Well, my bell is in the finest taste, and is swarmed by caterpillars, lizards, grasshoppers, flies, and masques, that you would take it for one of the plagues of Egypt. They are all in altissimo, nay in out-issimo relievo and yet almost invisible but with a glass. Such foliage, such fruitage!"  However Baron Ferdinand had realized that it was more likely to be by Wenzel Jamnitzer, goldsmith to the Emperor Rudolf II, to whom it is still attributed.  Another piece no longer attributed to Cellini is a large bronze door-knocker, with a figure of Neptune, 40 cm high, and weighing over 11 kilos.One category of the bequest that has seen several demotions is the 16 pieces and sets of highly decorated cutlery (WB.201–216).  Read dated none of these later than the 17th century, but on the British Museum database in 2014 several were dated to the 19th century, and were recent fraudulent creations when they entered the collection, some made by Reinhold Vasters.  Doubts have also been raised over a glass cup and cover bearing the date 1518 (WB.59), which might in fact be 19th-century.  Eight pieces of silver plate were redated to the 19th century by Hugh Tait, and some of the jewellery. 
Question: What is the first name of the person who Read refrains from endorsing the attributions to?
Output: Benvenuto.
Passage: After graduating from the Academy in 1930 Solti was appointed to the staff of the Hungarian State Opera. He found that working as a répétiteur, coaching singers in their roles and playing at rehearsals, was a more fruitful preparation than Unger's classes for his intended career as a conductor. In 1932 he went to Karlsruhe in Germany as assistant to Josef Krips, but within a year, Krips, anticipating the imminent rise to power of Hitler and the Nazis, insisted that Solti should go home to Budapest, where at that time Jews were not in danger. Other Jewish and anti-Nazi musicians also left Germany for Budapest. Among other musical exiles with whom Solti worked there were Otto Klemperer, Fritz Busch, and Kleiber. Before Austria fell under Nazi control, Solti was assistant to Arturo Toscanini at the 1937 Salzburg Festival:
Toscanini was the first great musical impression in my life. Before I heard him live in 1936, I had never heard a great opera conductor, not in Budapest, and it was like a lightning flash. I heard his Falstaff in 1936 and the impact was unbelievable. It was the first time I heard an ensemble singing absolutely precisely. It was fantastic. Then I never expected to meet Toscanini. It was a chance in a million. I had a letter of recommendation from the director of the Budapest Opera to the president of the Salzburg Festival. He received me and said: "Do you know Magic Flute, because we have an influenza epidemic and two of our repetiteurs are ill? Could you play this afternoon for the stage rehearsals?". 
Question: What is the first name of the person who insisted that Solti should go home to Budapest?
Output: Josef.
Passage: Bacon's output is characterised by sequences of images. He told Sylvester that his imagination was stimulated by sequences and that "images breed other images in me". His series were not always planned or painted in sequence; sometimes paintings are grouped for convenience but vary in execution and tone. The idea for the head series came after he returned penniless, late in 1948, from a stay in Tangier. In the previous three years he had been unable to find a voice; the last surviving canvas from this period is his Painting (1946). Although he continued to paint, he was a ruthless self-critic, given to slashing canvases with blades, and no works survive from between 1947 and the winter of 1948. Gallerist Erica Brausen offered Bacon the opportunity of a solo show for the opening of her new Hanover Gallery. He agreed, but had nothing in reserve to hang. In following years, Brausen became perhaps the most important of Bacon's early champions; she arranged this showing—his debut solo exhibition—publicised him widely and organised viewings for international buyers.Already 40 years old, Bacon viewed the exhibition as his last chance and applied himself to the task with determination. Because he had destroyed all his output of the last three years, he had little choice but to present new works. He did not have a grand plan when he agreed to the show, but eventually found themes that interested him in his Head I of the previous year, and executed five progressively stronger variants in the final weeks before the November exhibition, completing the series barely in time for the opening. 
Question: What is the name of the person who executed five progressively stronger variants in the final weeks before the November exhibition?
Output: Bacon.
Passage: Makeba married Carmichael in March 1968; this caused her popularity in the US to decline markedly. Conservatives came to regard her as a militant and an extremist, an image which alienated much of her fanbase. Her performances were cancelled and her coverage in the press declined despite her efforts to portray her marriage as apolitical. White American audiences stopped supporting her, and the US government took an interest in her activities. The Central Intelligence Agency began following her, and placed hidden microphones in her apartment; the Federal Bureau of Investigation also placed her under surveillance. While she and her husband were travelling in the Bahamas, she was banned from returning to the US, and was refused a visa. As a result, the couple moved to Guinea, where Carmichael changed his name to Kwame Touré. Makeba did not return to the US until 1987.Guinea remained Makeba's home for the next 15 years, and she and her husband became close to President Ahmed Sékou Touré and his wife, Andrée. Touré wanted to create a new style of African music, and all musicians received a minimum wage if they practised for several hours every day. Makeba later stated that "I've never seen a country that did what Sékou Touré did for artists." After her rejection from the US she began to write music more directly critical of the US government's racial policies, recording and singing songs such as "Lumumba" in 1970, (referring to Patrice Lumumba, the assassinated Prime Minister of the Congo), and "Malcolm X" in 1974. 
Question: What is the name of the person who conservatives came to regard as a militant and an extremist?
Output: Makeba.
Passage: Nirvana frontman Kurt Cobain said that "Smells Like Teen Spirit" was an attempt to write a song in the style of the Pixies, a band he greatly admired:
I was trying to write the ultimate pop song. I was basically trying to rip off the Pixies. I have to admit it. When I heard the Pixies for the first time, I connected with that band so heavily that I should have been in that band—or at least a Pixies cover band. We used their sense of dynamics, being soft and quiet and then loud and hard.
Cobain came up with the song's title when his friend Kathleen Hanna, at the time the lead singer of the riot grrrl band Bikini Kill, wrote "Kurt Smells Like Teen Spirit" on his wall. Hanna meant that Cobain smelled like the deodorant Teen Spirit, which his then-girlfriend Tobi Vail wore. Cobain said he was unaware of the deodorant until months after the single was released, and had interpreted it as a revolutionary slogan, as they had been discussing anarchism and punk rock."Smells Like Teen Spirit" was, along with "Come as You Are", one of several songs written following Nirvana's first recording sessions with producer Butch Vig in 1990. Cobain began writing it a few weeks before recording Nirvana's second album, Nevermind, in 1991. When he presented the song to his bandmates, it comprised just the main guitar riff  and the chorus vocal melody, which bassist Krist Novoselic dismissed as "ridiculous". In response, Cobain made the band play the riff for an hour and a half. Eventually, Novoselic began playing the riff more slowly, inspiring drummer Dave Grohl to create the drum beat. As a result, it is the only song on Nevermind to credit all three band members as writers.Prior to the Nevermind recording sessions, the band sent Vig a cassette demo of song rehearsals including "Teen Spirit". While the sound of the tape was distorted due to the band playing at a loud volume, Vig felt the song had promise. Vig and the band recorded "Smells Like Teen Spirit" at Sound City recording studio in Van Nuys, California in May 1991. Vig suggested changes to the arrangement, including moving a guitar ad lib to the chorus and shortening the chorus. The band recorded the basic track in three takes, and used the second take. Vig corrected some timing errors created by Cobain switching between his guitar effects pedals. Vig was only able to get three vocal takes from Cobain; the producer commented, "I was lucky to ever get Kurt to do four takes.". 
Question: What is the first name of the person who began playing the riff more slowly, inspiring drummer Dave Grohl to create the drum beat?
Output: Krist.
Passage: In 1917, Stan and Ollie are drafted into the American Expeditionary Force to fight in World War I. Their ineptitude during basic training antagonizes the drill sergeant and they are assigned to kitchen duties. They misunderstand the cook's instructions and empty the garbage cans into the general's private dining room. The cook, who is thrown in the stockade with them, curses their "snitching" and threatens them with violence after they are released. They escape his wrath when they are shipped to the trenches in France.
Serving close to the front line, they befriend soldier Eddie Smith, who receives a Dear John letter from his wife. When Eddie is killed in action, the boys determine to rescue Eddie's daughter from her brutal foster father and deliver her to Eddie's parents. They distinguish themselves in combat by losing control of a tank and accidentally forcing a German platoon into the open.
After the Armistice, Stan and Ollie venture to New York City to retrieve the girl and look for Eddie's parents. Using the city telephone directory, the task proves both monumental and problematic as the boys blindly attempt to visit each Smith until they find the grandparents. After taking punches from an annoyed prizefighter and disrupting a society wedding, they resort to telephoning first.
While operating their lunch wagon, the boys are approached by an unpleasant civil servant who demands Eddie's child so that she can be placed in an orphanage. The boys refuse, and the man says he will return with the police to have the boys arrested. 
They try to secure a loan with their lunch wagon to finance their escape to another city, but the banker smirks that he'd have to be unconscious to make such a deal. While laughing, he topples a bust onto his own head and knocks himself out. Taking this as approval, the boys take what they need from the bank vault. 
Question: Who is suppose to be placed in an orphanage?
Output: Eddie's daughter.
Passage: After a tour of the UK performing Dark Side, Pink Floyd returned to the studio in January 1975 and began work on their ninth studio album, Wish You Were Here. Parsons declined an offer to continue working with them, becoming successful in his own right with the Alan Parsons Project, and so the band turned to Brian Humphries. Initially, they found it difficult to compose new material; the success of The Dark Side of the Moon had left Pink Floyd physically and emotionally drained. Wright later described these early sessions as "falling within a difficult period" and Waters found them "tortuous". Gilmour was more interested in improving the band's existing material. Mason's failing marriage left him in a general malaise and with a sense of apathy, both of which interfered with his drumming.Despite the lack of creative direction, Waters began to visualise a new concept after several weeks. During 1974, Pink Floyd had sketched out three original compositions and had performed them at a series of concerts in Europe. These compositions became the starting point for a new album whose opening four-note guitar phrase, composed purely by chance by Gilmour, reminded Waters of Barrett. The songs provided a fitting summary of the rise and fall of their former bandmate. Waters commented: "Because I wanted to get as close as possible to what I felt ... [that] indefinable, inevitable melancholy about the disappearance of Syd."While Pink Floyd were working on the album, Barrett made an impromptu visit to the studio. Thorgerson recalled that he "sat round and talked for a bit, but he wasn't really there". He had changed significantly in appearance, so much so that the band did not initially recognise him. Waters was reportedly deeply upset by the experience. Most of Wish You Were Here premiered on 5 July 1975, at an open-air music festival at Knebworth. Released in September, it reached number one in both the UK and the US. 
Question: What is the first name of the person that Waters was reminded of?
Output: Syd.
Passage: In 1958 Poulenc embarked on a collaboration with his old friend Cocteau, in an operatic version of the latter's 1930 monodrama La Voix humaine. The work was produced in February 1959 at the Opéra-Comique, under Cocteau's direction, with Duval as the tragic deserted woman speaking to her former lover by telephone. In May Poulenc's 60th birthday was marked, a few months late, by his last concert with Bernac before the latter's retirement from public performance.Poulenc visited the US in 1960 and 1961. Among his works given during these trips were the American premiere of La Voix humaine at Carnegie Hall in New York, with Duval, and the world premiere of his Gloria, a large-scale work for soprano, four-part mixed chorus and orchestra, conducted in Boston by Charles Munch. In 1961 Poulenc published a book about Chabrier, a 187-page study of which a reviewer wrote in the 1980s, "he writes with love and insight of a composer whose views he shared on matters like the primacy of melody and the essential seriousness of humour." The works of Poulenc's last twelve months included Sept répons des ténèbres for voices and orchestra, the Clarinet Sonata and the Oboe Sonata.On 30 January 1963, at his flat opposite the Jardin du Luxembourg, Poulenc suffered a fatal heart attack. His funeral was at the nearby church of Saint-Sulpice. In compliance with his wishes, none of his music was performed; Marcel Dupré played works by Bach on the grand organ of the church. Poulenc was buried at Père Lachaise Cemetery, alongside his family. 
Question: What is the last name of the person who died in his flat?
Output: Poulenc.
Passage: Handel joined the Hamburg opera house when it was experiencing a period of considerable artistic success. This blossoming followed the arrival of Reinhard Keiser, who had become musical director at the Gänsemarkt in about 1697, and in 1703 succeeded Johann Kusser as the theatre's manager. Born in 1674, Keiser had studied under Johann Schelle and probably Johann Kuhnau at the Thomasschule zu Leipzig.  In 1694 he was employed as a court composer at Brunswick, where in three years he composed seven operas, at least one of which (Mahumeth) was performed in Hamburg. According to Handel's biographer Donald Burrows, Keiser was a good judge of popular taste, with a flair for writing Italian-style arias.  Between 1697 and 1703, prior to Handel's arrival, about a dozen more Keiser operas had been staged at the Gänsemarkt. Despite his on-stage successes, Keiser was an unreliable general manager, with expensive private tastes and little financial acumen, often at odds with his creditors.It is possible that Keiser, who had connections in the Halle area, had heard of Handel and was directly instrumental in securing the latter's post in the Gänsemarkt orchestra; certainly he was a considerable influence on the younger man in the three years that Handel spent in Hamburg. Another important Gänsemarkt colleague was the house composer and singer Johann Mattheson, who noted Handel's rapid progress in the orchestra from back-desk violinist to harpsichord soloist, a role in which, said Mattheson, "he showed himself a man—a thing which no one had before suspected, save I alone". Mattheson was less complimentary on Handel's early efforts at composition: "He composed very long, long arias, and really interminable cantatas", before, it seems, "the lofty schooling of opera ... trimmed him into other fashions". 
Question: What is the full name of the person who was a considerable influence on Handel in the three years that he spent in Hamburg?
Output: Reinhard Keiser.
Passage: The Acra was not the first Hellenistic stronghold in Jerusalem. Sources indicate that an earlier citadel, the Ptolemaic Baris, had also occupied a location overlooking the Temple's precincts. Although the exact location of the Baris is still debated, it is generally accepted to have stood north of the Temple Mount on the site later occupied by the Antonia Fortress. The Baris fell to Antiochus III at the turn of the 2nd century BCE and is absent from all accounts of the Maccabean Revolt. Despite the narratives which have the Acra constructed within a very short time-span, it was nevertheless formidable enough to weather long periods of siege. These factors, coupled with references in which the Baris was itself called an acra, have led some to suggest that the Baris and the Acra were in fact the same structure. Although both 1 Maccabees and Josephus seem to describe the Acra as a new construction, this may not have been the case. Antiquities of the Jews 12:253 may be translated to give the sense that the "impious or wicked" had "remained" rather than "dwelt" in the citadel, which could be taken to mean that the Acra had been standing before the revolt and that only the Macedonian garrison was new.Koen Decoster proposes that Josephus wrote of "a citadel in the lower part of the city" to an audience that would have been familiar with the Jerusalem of the 1st century CE—a city that did feature two citadels: the Antonia Fortress and the Herodian palace. As Josephus' Roman Jerusalem had already expanded to the higher western hill, "a citadel in the lower city" could have referred to anything located east of the Tyropoeon Valley, including the Antonia which stood north of the Temple and did indeed rise above and dominate it. In his view, this is the place Josephus must have had in mind when he wrote of the Acra.Opponents of a northern location counter that this site is not supported by the historical sources, and that this would place the Acra away from Jerusalem's population center. Unlike its predecessor and successor citadels, it was not meant as a defence against external threat, but rather to oversee the inhabited Jewish parts of the city, a role incompatible with a proposed northern location. 
Question: What city contained the Antonia Fortress?
Output: Jerusalem.
Passage: Sam Lawton is on his way to a company retreat with his colleagues. While their bus crosses the North Bay Bridge, Sam has a premonition that the bridge will collapse, killing everyone except his ex-girlfriend Molly Harper, whom he manages to get across the bridge safely. In a panic, he persuades several people to leave the bridge before it collapses, including Molly, his friends Nathan Sears and Peter Friedkin, Peter's girlfriend Candice Hooper, his boss Dennis Lapman, and his co-workers Olivia Castle and Isaac Palmer. FBI agent Jim Block doesn't believe that Sam is responsible for the bridge collapse, but promises to keep an eye on him. At the memorial service, coroner William Bludworth mysteriously tells the survivors that "Death doesn't like to be cheated," and warns them to be careful. However, they ignore his warning and leave, believing this to be nonsense.
Later, Candice goes to the gym to practice with Peter, but a chain reaction causes her to fly off the uneven bars, and she snaps her spine, leaving Peter devastated. The next day, Isaac is killed at a Chinese spa when his head is crushed by a falling Buddha statue during an acupuncture session. Bludworth, who has been present for both deaths, tells the remaining survivors that if they wish to cheat Death, they must kill someone who was never meant to die on the bridge, and thereby claim their remaining lifespan. On the same day, Olivia goes to an eye surgery clinic to treat her myopic vision. While the doctor is away looking for files, the laser malfunctions, searing her eye and hand. She manages to free herself just as Sam and Molly arrive to save her, but trips and falls out of the window onto a car below. Later, Sam learns that the survivors are dying in the order they were meant to die on the bridge, and realize that Nathan is next. 
Question: What are the first names of the people whose deaths Bludworth witnessed?
Output: Candice.
Passage: Sam Lawton is on his way to a company retreat with his colleagues. While their bus crosses the North Bay Bridge, Sam has a premonition that the bridge will collapse, killing everyone except his ex-girlfriend Molly Harper, whom he manages to get across the bridge safely. In a panic, he persuades several people to leave the bridge before it collapses, including Molly, his friends Nathan Sears and Peter Friedkin, Peter's girlfriend Candice Hooper, his boss Dennis Lapman, and his co-workers Olivia Castle and Isaac Palmer. FBI agent Jim Block doesn't believe that Sam is responsible for the bridge collapse, but promises to keep an eye on him. At the memorial service, coroner William Bludworth mysteriously tells the survivors that "Death doesn't like to be cheated," and warns them to be careful. However, they ignore his warning and leave, believing this to be nonsense.
Later, Candice goes to the gym to practice with Peter, but a chain reaction causes her to fly off the uneven bars, and she snaps her spine, leaving Peter devastated. The next day, Isaac is killed at a Chinese spa when his head is crushed by a falling Buddha statue during an acupuncture session. Bludworth, who has been present for both deaths, tells the remaining survivors that if they wish to cheat Death, they must kill someone who was never meant to die on the bridge, and thereby claim their remaining lifespan. On the same day, Olivia goes to an eye surgery clinic to treat her myopic vision. While the doctor is away looking for files, the laser malfunctions, searing her eye and hand. She manages to free herself just as Sam and Molly arrive to save her, but trips and falls out of the window onto a car below. Later, Sam learns that the survivors are dying in the order they were meant to die on the bridge, and realize that Nathan is next. 
Question: What are the first names of the people whose deaths Bludworth witnessed?
Output: Isaac.
Passage: Through the years, Reznor has invited many prominent musicians on stage with his band to perform material outside the usual range of Nine Inch Nails songs:
During Lollapalooza '91 Jane's Addiction members Dave Navarro and Eric Avery played guitars alongside Gibby Haynes and Ice-T for the last song of the band's set, "Head Like a Hole".
In early 1995, Adam Ant and Marco Pirroni joined Nine Inch Nails on stage to perform "Physical" and other Adam and the Ants songs.
During the Dissonance tour, Nine Inch Nails co-headlined with David Bowie, whose own contemporary tour was called the Outside Tour.  Throughout the tour, Nine Inch Nails would perform first and segue into Bowie's band.  The two bands would play a mixture of Nine Inch Nails and David Bowie songs.  Nine Inch Nails would eventually leave the stage and Bowie and his band would continue with their own set.
Marilyn Manson appeared on stage at during a concert at Madison Square Garden in 2000 to sing "Starfuckers, Inc." and "The Beautiful People".  This performance is featured as an Easter Egg in the And All That Could Have Been DVD.
During the Live: With Teeth amphitheater tour, Nine Inch Nails and Peter Murphy of Bauhaus performed the Pere Ubu song "Final Solution", which was also a solo hit for Murphy. For the last show, they collaborated to cover Joy Division's "Dead Souls", which Nine Inch Nails has regularly played since 1994.  Also during this tour, Reznor, Murphy, and other musicians performed four unique sets of their favorite songs on radio stations around the country.
Ben Weinman and Greg Puciato of The Dillinger Escape Plan joined Nine Inch Nails on stage during the encore of their performance at the Adelaide leg of the 2009 Soundwave Festival to perform Wish and joined again on the Perth leg with the full band. On June 15, 2009 The Dillinger Escape Plan joined Nine Inch Nails on stage at Bonnaroo performing "Wish".
During the Wave Goodbye tour in 2009 Nine Inch Nails invited many special guests to perform with them.  The guest appearances included Gary Numan, Peter Murphy, Atticus Ross, Danny Lohner, Mike Garson, Dave Navarro, Eric Avery, Saul Williams, The Dillinger Escape Plan, and Health. 
Question: On what tour was Dave Navarro invited as a special guest by the Nine Inch Nails in 2009?
Output: Wave Goodbye tour.
Passage: At last, the newly crowned King of Denmark, Edvard, and his wife and Queen, Dr. Paige Morgan, find time to fly to Belavia for their secret honeymoon. They spend their Christmas holidays at a ski resort, but as they take a tour of Belavia's natural beauty, Eddie and Paige discover that the evil Prime Minister Polonius  has given orders to bulldoze the precious forests to drill for oil. Paige and Eddie decide they must do everything they can to save the forest, even if it means putting aside their honeymoon. Then, the couple bump into Paige's ex-boyfriend, Scott, a journalist. Eddie immediately becomes jealous. Even though Edvard suspects Scott cannot be trusted, Eddie and Paige ask him for help with the media to try and stop the minister's evil plans. Scott, however, is being controlled by the evil minister, who tells him to spy on the couple. Scott tries to back out, but fails. Eddie tries to get an audience with the prince of Belavia, but fails, so he and Paige go to the Holiday Ball. Meanwhile, Scott tries to kiss Paige and says he is sorry he let her go. Disgusted, Paige walks away and goes to find Eddie, only to find him drunk. 
Question: What's the name of the person controller the journalist?
Output: Polonius.
Passage: As of the 2001 UK census, Herne Bay area wards had a population of 35,188 and a population density of 11.3 persons per hectare.Of the town's 14,732 households, 48.7% were married couples living together, 8.4% were cohabiting couples and 8.3% were lone parents. 30.2% of all households were made up of individuals and 20.5% had someone living alone at pensionable age. 27.7% of households included children aged under 16 or a person aged 16 to 18 who was in full-time education. The average household size was 2.74.
The ethnicity of the town was 98.5% white, 0.6% mixed race, 0.4% Asian, 0.2% black and 0.3% Chinese or other. The place of birth of residents was 96.3% United Kingdom, 0.6% Republic of Ireland, 0.3% Germany, 0.6% other Western Europe countries, 0.2% Eastern Europe, 0.6% Africa, 0.3% Far East, 0.3% South Asia, 0.2% Middle East, 0.2% North America and 0.2% Oceania. Religion was recorded as 77.3% Christian, 0.3% Muslim, 0.2% Hindu, 0.2% Buddhist, 0.1% Jewish and 0.1% Sikh. 14.2% were recorded as having no religion, 0.3% had an alternative religion and 7.4% did not state their religion.
For every 100 females, there were 89.9 males. The age distribution was 6% aged 0–4 years, 14% aged 5–15 years, 4% aged 16–19 years, 29% aged 20–44 years, 25% aged 45–64 years and 22% aged 65 years and over. The town had a high percentage of residents over 65, compared with the national average of 16%. As a seaside town, Herne Bay is a popular retirement destination; many modern retirement complexes are located near the seafront.
The economic activity of residents aged 16–74 was 36% in full-time employment, 13% in part-time employment, 9% self-employed, 3% unemployed, 2% students with jobs, 3% students without jobs, 18% retired, 7% looking after home or family, 6% permanently sick or disabled and 2% economically inactive for other reasons. This was roughly in line with the national figures, except for the number of people in retirement. This figure nationally was significantly lower at 14%. Of the town's residents aged 16–74, 12% had a higher education qualification or the equivalent, compared with 20% nationwide. According to Office for National Statistics estimates, during the period of April 2001 to March 2002 the average gross weekly income of households in the Herne Bay area was £516 (£26,906 per year). 
Question: What percentage of Herne Bay area residents practice Christianity?
Output: 77.3%.
Passage: Set in 2003, Huck Cheever is a young and talented poker player in Las Vegas haunted by his relationship with his estranged father, L.C. Cheever, a two-time World Series of Poker Champion. Huck is a regular in Vegas poker rooms but needs $10,000 to get a seat in the World Series of Poker Main Event.
After a good night at the Bellagio hotel's poker room, Huck goes to a party and meets aspiring singer Billie Offer, who has just arrived in town. Billie's older sister Suzanne warns her that Huck is "hustle 10, commitment zero." Back at the Bellagio, Huck is doing well at the tables before L.C. returns to town from the South of France. Huck greets his father coldly. The two play heads-up.
Loan shark Roy Durucher tells Huck that he plays poker as well as anybody, except for his reputation as a "blaster" (not patient enough) who always goes for broke. Roy proposes to stake Huck in the $10,000 main-event with a 60% — 40% split of any winnings, but Huck refuses. After failing to borrow money from his friend Jack, Huck goes to Suzanne's place hoping for a loan. Instead he runs into Billie, who gets a call confirming that she has landed a job singing at a club.
Huck proposes a celebration and at Binion's Horseshoe he shows her how to play poker. L.C. arrives and shows Huck a wedding ring of Huck's late mother's that Huck had pawned and that L.C. has redeemed. Huck loses his winnings. Over dinner, he explains to Billie that his father stole from his mother before leaving her. Huck says his father taught him how to play on the kitchen table with "pennies, nickels, and dimes." They make love after dinner. As Billie sleeps, Huck steals money from Billie's purse. 
Question: What is the full name of the person that is greeted coldly?
Output: L.C. Cheever.
Passage: Set in the 1950s, the film begins in medias res near the end of the story, with a confrontation between two men: one of them, Clare Quilty, drunk and incoherent, plays Chopin's Polonaise in A major, Op. 40, No. 1 on the piano before being shot from behind a portrait painting of a young woman. The shooter is Humbert Humbert, a 40-something British professor of French literature.
The film then flashes back to events four years earlier. Humbert arrives in Ramsdale, New Hampshire, intending to spend the summer before his professorship begins at Beardsley College, Ohio. He searches for a room to rent, and Charlotte Haze, a cloying, sexually frustrated widow, invites him to stay at her house. He declines until seeing her daughter, Dolores, affectionately called "Lolita". Lolita is a soda-pop drinking, gum-snapping, overtly flirtatious teenager, with whom Humbert becomes infatuated.
To be close to Lolita, Humbert accepts Charlotte's offer and becomes a lodger in the Haze household. But Charlotte wants all of "Hum's" time for herself and soon announces she will be sending Lolita to an all-girl sleepaway camp for the summer. After the Hazes depart for camp, the maid gives Humbert a letter from Charlotte, confessing her love for him and demanding he vacate at once unless he feels the same way. The letter says that if Humbert is still in the house when she returns, Charlotte will know her love is requited, and he must marry her. Though he roars with laughter while reading the sadly heartfelt yet characteristically overblown letter, Humbert marries Charlotte.
Things turn sour for the couple in the absence of the child: glum Humbert becomes more withdrawn, and brassy Charlotte more whiny. Charlotte discovers Humbert's diary entries detailing his passion for Lolita and characterizing her as "the Haze woman, the cow, the obnoxious mama, the brainless baba". She has a hysterical outburst, runs outside, and is hit by a car, dying on impact. 
Question: What is the first name of the person who roars with laughter?
Output: Humbert.
Passage: The two sides to Poulenc's musical nature caused misunderstanding during his life and have continued to do so. The composer Ned Rorem observed, "He was deeply devout and uncontrollably sensual"; this still leads some critics to underrate his seriousness. His uncompromising adherence to melody, both in his lighter and serious works, has similarly caused some to regard him as unprogressive. Although he was not much influenced by new developments in music, Poulenc was always keenly interested in the works of younger generations of composers. Lennox Berkeley recalled, "Unlike some artists, he was genuinely interested in other people's work, and surprisingly appreciative of music very far removed from his. I remember him playing me the records of Boulez's Le marteau sans maître with which he was already familiar when that work was much less well-known than it is today." Boulez did not take a reciprocal view, remarking in 2010, "There are always people who will take an easy intellectual path. Poulenc coming after Sacre [du Printemps]. It was not progress." Other composers have found more merit in Poulenc's work; Stravinsky wrote to him in 1931: "You are truly good, and that is what I find again and again in your music".In his last years Poulenc observed, "if people are still interested in my music in 50 years' time it will be for my Stabat Mater rather than the Mouvements perpétuels." In a centenary tribute in The Times Gerald Larner commented that Poulenc's prediction was wrong, and that in 1999 the composer was widely celebrated for both sides of his musical character: "both the fervent Catholic and the naughty boy, for both the Gloria and Les Biches, both Les Dialogues des Carmélites and Les Mamelles de Tirésias." At around the same time the writer Jessica Duchen described Poulenc as "a fizzing, bubbling mass of Gallic energy who can move you to both laughter and tears within seconds. His language speaks clearly, directly and humanely to every generation.". 
Question: What is the last name of the person whose seriousness was doubted by some critics?
Output: Poulenc.
Passage: The company, retaining the title "Sadler's Wells Opera", opened at the Coliseum on 21 August 1968, with a new production of Mozart's Don Giovanni, directed by Sir John Gielgud. Though this production was not well received, the company rapidly established itself with a succession of highly praised productions of other works. Arlen died in January 1972, and was succeeded as managing director by Lord Harewood.The success of the 1968 Mastersingers was followed in the 1970s by the company's first Ring cycle, conducted by Goodall, with a new translation by Andrew Porter and designs by Ralph Koltai.  The cast included Norman Bailey, Rita Hunter and Alberto Remedios. In Harewood's view, among the highlights of the first ten years at the Coliseum were the Ring, Prokofiev's War and Peace, and Richard Strauss's Salome and Der Rosenkavalier.
The company's musical director from 1970 to 1977 was Charles Mackerras. Harewood praised his exceptional versatility, with a range "from The House of the Dead to Patience." Among the operas he conducted for the company were Handel's Julius Caesar starring Janet Baker and Valerie Masterson; five Janáček operas; The Marriage of Figaro with pioneering use of 18th century performing style; Massenet's Werther; Donizetti's Mary Stuart with Baker; and Sullivan's Patience. The company took the production of the last to the Vienna Festival in 1975, along with Britten's Gloriana. Sir Charles Groves succeeded Mackerras as musical director from 1978 to 1979, but Groves was unwell and unhappy during his brief tenure. Starting in 1979, Mark Elder succeeded Groves in the post, and described Groves "immensely encouraging and supportive".A long-standing concern of Arlen and then Harewood was the need to change the company's name to reflect the fact that it was no longer based at Sadler's Wells theatre. Byam Shaw commented "The one major setback the Sadler's Wells Opera Company suffered from its transplant was that unheeding taxi drivers kept on taking their patrons up to Rosebery Avenue".Harewood considered it an elementary rule that "you must not carry the name of one theatre if you are playing in another one." Covent Garden, protective of its status, objected to the suggestion that the Sadler's Wells company should be called "The British National Opera" or "The National Opera", although neither Scottish Opera nor the Welsh National Opera opposed such a change. Eventually the British government decided the matter, and the title "English National Opera" was approved. The company's board adopted the new name in November 1974. In 1977, in response to demand for more opera productions in English provincial cities, a second company was established. It was based at Leeds in northern England, and was known as ENO North. Under Harewood's guidance, it flourished, and in 1981 it became an independent company, Opera North. 
Question: What is the last name of the person who had a range "from The House of the Dead to Patience?"?
Output: Mackerras.
Passage: Charles-Camille Saint-Saëns (French: [ʃaʁlkamij sɛ̃sɑ̃s]; 9 October 1835 – 16 December 1921) was a French composer, organist, conductor and pianist of the Romantic era. His best-known works include Introduction and Rondo Capriccioso (1863), the Second Piano Concerto (1868), the First Cello Concerto (1872), Danse macabre (1874), the opera Samson and Delilah (1877), the Third Violin Concerto (1880), the Third ("Organ") Symphony (1886) and The Carnival of the Animals (1886).
Saint-Saëns was a musical prodigy; he made his concert debut at the age of ten. After studying at the Paris Conservatoire he followed a conventional career as a church organist, first at Saint-Merri, Paris and, from 1858, La Madeleine, the official church of the French Empire. After leaving the post twenty years later, he was a successful freelance pianist and composer, in demand in Europe and the Americas.
As a young man, Saint-Saëns was enthusiastic for the most modern music of the day, particularly that of Schumann, Liszt and Wagner, although his own compositions were generally within a conventional classical tradition. He was a scholar of musical history, and remained committed to the structures worked out by earlier French composers. This brought him into conflict in his later years with composers of the impressionist and dodecaphonic schools of music; although there were neoclassical elements in his music, foreshadowing works by Stravinsky and Les Six, he was often regarded as a reactionary in the decades around the time of his death.
Saint-Saëns held only one teaching post, at the École de Musique Classique et Religieuse in Paris, and remained there for less than five years. It was nevertheless important in the development of French music: his students included Gabriel Fauré, among whose own later pupils was Maurice Ravel. Both of them were strongly influenced by Saint-Saëns, whom they revered as a genius. 
Question: What are the full names of the people who were influenced by Saint-Saëns?
Output: Gabriel Fauré.