niryuu/sni-each-converted huggingface dataset:
In writing style The Confessions of a Young Man is presented as a novel, with a hero named Dayne, but the reader assumes in essence it is an autobiography, a true "confession". Dayne (i.e. Moore) went to Paris as a teenager, and almost becomes a full Parisian nearly forgetting the English language after 15 years. He sketches, with a frankness now jubilant, now cynical, the luscious "vie de Boheme" that Paris alone could offer the young man of health and wealth who loved art. Amid scenes splendid, squalid, or bizarre, move students, cabotins, painters, poets, pale enthusiasts starving for the sake of an idea, actresses, women of fashion, courtesans, clubmen, and spectators. Artistic endeavour and perfumed vice mingle in fraternity; everything is unusual, irregular, fantastic. Dayne emerges from the ordeal of this environment but little changed. For him the enticements of the flesh are not more powerful than those of art. One week he is beguiling the hours in some salon or alcove, the next he is incandescent with aspiration. So the years pass; and at last, having saturated himself with the French theories of literary and graphic art which are bound up with the names of Flaubert, Goncourts, Zola, Degas, and Manet, he one day learns with tragic certainty that he is not destined to be a painter, and he courageously admits that all this periodic, frenzied effort has been misdirected. Then we have interludes of philosophy and literary criticism; the philosophy perhaps not of much account; the criticism often original, epigrammatic, sometimes of an astounding penetration, and always literary. Later, Dayne is driven by adverse circumstances to London and to a lodging in the Strand, where the book ends. Dayne's ideas about art and his temperament can be seen in characteristic passages like the following: "For art was not for us then as it is now a mere emotion, right or wrong only in proportion to its intensity; we believed then in the grammar of art, perspective, anatomy, and la jambe qui forte."
Output: Where does Dayne lodge in London?
In writing style The Confessions of a Young Man is presented as a novel, with a hero named Dayne, but the reader assumes in essence it is an autobiography, a true "confession". Dayne (i.e. Moore) went to Paris as a teenager, and almost becomes a full Parisian nearly forgetting the English language after 15 years. He sketches, with a frankness now jubilant, now cynical, the luscious "vie de Boheme" that Paris alone could offer the young man of health and wealth who loved art. Amid scenes splendid, squalid, or bizarre, move students, cabotins, painters, poets, pale enthusiasts starving for the sake of an idea, actresses, women of fashion, courtesans, clubmen, and spectators. Artistic endeavour and perfumed vice mingle in fraternity; everything is unusual, irregular, fantastic. Dayne emerges from the ordeal of this environment but little changed. For him the enticements of the flesh are not more powerful than those of art. One week he is beguiling the hours in some salon or alcove, the next he is incandescent with aspiration. So the years pass; and at last, having saturated himself with the French theories of literary and graphic art which are bound up with the names of Flaubert, Goncourts, Zola, Degas, and Manet, he one day learns with tragic certainty that he is not destined to be a painter, and he courageously admits that all this periodic, frenzied effort has been misdirected. Then we have interludes of philosophy and literary criticism; the philosophy perhaps not of much account; the criticism often original, epigrammatic, sometimes of an astounding penetration, and always literary. Later, Dayne is driven by adverse circumstances to London and to a lodging in the Strand, where the book ends. Dayne's ideas about art and his temperament can be seen in characteristic passages like the following: "For art was not for us then as it is now a mere emotion, right or wrong only in proportion to its intensity; we believed then in the grammar of art, perspective, anatomy, and la jambe qui forte."
Output: What did the confessor believe in the grammar of?
In writing style The Confessions of a Young Man is presented as a novel, with a hero named Dayne, but the reader assumes in essence it is an autobiography, a true "confession". Dayne (i.e. Moore) went to Paris as a teenager, and almost becomes a full Parisian nearly forgetting the English language after 15 years. He sketches, with a frankness now jubilant, now cynical, the luscious "vie de Boheme" that Paris alone could offer the young man of health and wealth who loved art. Amid scenes splendid, squalid, or bizarre, move students, cabotins, painters, poets, pale enthusiasts starving for the sake of an idea, actresses, women of fashion, courtesans, clubmen, and spectators. Artistic endeavour and perfumed vice mingle in fraternity; everything is unusual, irregular, fantastic. Dayne emerges from the ordeal of this environment but little changed. For him the enticements of the flesh are not more powerful than those of art. One week he is beguiling the hours in some salon or alcove, the next he is incandescent with aspiration. So the years pass; and at last, having saturated himself with the French theories of literary and graphic art which are bound up with the names of Flaubert, Goncourts, Zola, Degas, and Manet, he one day learns with tragic certainty that he is not destined to be a painter, and he courageously admits that all this periodic, frenzied effort has been misdirected. Then we have interludes of philosophy and literary criticism; the philosophy perhaps not of much account; the criticism often original, epigrammatic, sometimes of an astounding penetration, and always literary. Later, Dayne is driven by adverse circumstances to London and to a lodging in the Strand, where the book ends. Dayne's ideas about art and his temperament can be seen in characteristic passages like the following: "For art was not for us then as it is now a mere emotion, right or wrong only in proportion to its intensity; we believed then in the grammar of art, perspective, anatomy, and la jambe qui forte."
Output: What is the environment that Dayne lives in called?
In writing style The Confessions of a Young Man is presented as a novel, with a hero named Dayne, but the reader assumes in essence it is an autobiography, a true "confession". Dayne (i.e. Moore) went to Paris as a teenager, and almost becomes a full Parisian nearly forgetting the English language after 15 years. He sketches, with a frankness now jubilant, now cynical, the luscious "vie de Boheme" that Paris alone could offer the young man of health and wealth who loved art. Amid scenes splendid, squalid, or bizarre, move students, cabotins, painters, poets, pale enthusiasts starving for the sake of an idea, actresses, women of fashion, courtesans, clubmen, and spectators. Artistic endeavour and perfumed vice mingle in fraternity; everything is unusual, irregular, fantastic. Dayne emerges from the ordeal of this environment but little changed. For him the enticements of the flesh are not more powerful than those of art. One week he is beguiling the hours in some salon or alcove, the next he is incandescent with aspiration. So the years pass; and at last, having saturated himself with the French theories of literary and graphic art which are bound up with the names of Flaubert, Goncourts, Zola, Degas, and Manet, he one day learns with tragic certainty that he is not destined to be a painter, and he courageously admits that all this periodic, frenzied effort has been misdirected. Then we have interludes of philosophy and literary criticism; the philosophy perhaps not of much account; the criticism often original, epigrammatic, sometimes of an astounding penetration, and always literary. Later, Dayne is driven by adverse circumstances to London and to a lodging in the Strand, where the book ends. Dayne's ideas about art and his temperament can be seen in characteristic passages like the following: "For art was not for us then as it is now a mere emotion, right or wrong only in proportion to its intensity; we believed then in the grammar of art, perspective, anatomy, and la jambe qui forte."
Output: What language does Dayne almost forget after 15 years?
In writing style The Confessions of a Young Man is presented as a novel, with a hero named Dayne, but the reader assumes in essence it is an autobiography, a true "confession". Dayne (i.e. Moore) went to Paris as a teenager, and almost becomes a full Parisian nearly forgetting the English language after 15 years. He sketches, with a frankness now jubilant, now cynical, the luscious "vie de Boheme" that Paris alone could offer the young man of health and wealth who loved art. Amid scenes splendid, squalid, or bizarre, move students, cabotins, painters, poets, pale enthusiasts starving for the sake of an idea, actresses, women of fashion, courtesans, clubmen, and spectators. Artistic endeavour and perfumed vice mingle in fraternity; everything is unusual, irregular, fantastic. Dayne emerges from the ordeal of this environment but little changed. For him the enticements of the flesh are not more powerful than those of art. One week he is beguiling the hours in some salon or alcove, the next he is incandescent with aspiration. So the years pass; and at last, having saturated himself with the French theories of literary and graphic art which are bound up with the names of Flaubert, Goncourts, Zola, Degas, and Manet, he one day learns with tragic certainty that he is not destined to be a painter, and he courageously admits that all this periodic, frenzied effort has been misdirected. Then we have interludes of philosophy and literary criticism; the philosophy perhaps not of much account; the criticism often original, epigrammatic, sometimes of an astounding penetration, and always literary. Later, Dayne is driven by adverse circumstances to London and to a lodging in the Strand, where the book ends. Dayne's ideas about art and his temperament can be seen in characteristic passages like the following: "For art was not for us then as it is now a mere emotion, right or wrong only in proportion to its intensity; we believed then in the grammar of art, perspective, anatomy, and la jambe qui forte."
Output: What does the confessor strive to be?
In writing style The Confessions of a Young Man is presented as a novel, with a hero named Dayne, but the reader assumes in essence it is an autobiography, a true "confession". Dayne (i.e. Moore) went to Paris as a teenager, and almost becomes a full Parisian nearly forgetting the English language after 15 years. He sketches, with a frankness now jubilant, now cynical, the luscious "vie de Boheme" that Paris alone could offer the young man of health and wealth who loved art. Amid scenes splendid, squalid, or bizarre, move students, cabotins, painters, poets, pale enthusiasts starving for the sake of an idea, actresses, women of fashion, courtesans, clubmen, and spectators. Artistic endeavour and perfumed vice mingle in fraternity; everything is unusual, irregular, fantastic. Dayne emerges from the ordeal of this environment but little changed. For him the enticements of the flesh are not more powerful than those of art. One week he is beguiling the hours in some salon or alcove, the next he is incandescent with aspiration. So the years pass; and at last, having saturated himself with the French theories of literary and graphic art which are bound up with the names of Flaubert, Goncourts, Zola, Degas, and Manet, he one day learns with tragic certainty that he is not destined to be a painter, and he courageously admits that all this periodic, frenzied effort has been misdirected. Then we have interludes of philosophy and literary criticism; the philosophy perhaps not of much account; the criticism often original, epigrammatic, sometimes of an astounding penetration, and always literary. Later, Dayne is driven by adverse circumstances to London and to a lodging in the Strand, where the book ends. Dayne's ideas about art and his temperament can be seen in characteristic passages like the following: "For art was not for us then as it is now a mere emotion, right or wrong only in proportion to its intensity; we believed then in the grammar of art, perspective, anatomy, and la jambe qui forte."
Output: Where does Dayne relocate to after Paris?
In writing style The Confessions of a Young Man is presented as a novel, with a hero named Dayne, but the reader assumes in essence it is an autobiography, a true "confession". Dayne (i.e. Moore) went to Paris as a teenager, and almost becomes a full Parisian nearly forgetting the English language after 15 years. He sketches, with a frankness now jubilant, now cynical, the luscious "vie de Boheme" that Paris alone could offer the young man of health and wealth who loved art. Amid scenes splendid, squalid, or bizarre, move students, cabotins, painters, poets, pale enthusiasts starving for the sake of an idea, actresses, women of fashion, courtesans, clubmen, and spectators. Artistic endeavour and perfumed vice mingle in fraternity; everything is unusual, irregular, fantastic. Dayne emerges from the ordeal of this environment but little changed. For him the enticements of the flesh are not more powerful than those of art. One week he is beguiling the hours in some salon or alcove, the next he is incandescent with aspiration. So the years pass; and at last, having saturated himself with the French theories of literary and graphic art which are bound up with the names of Flaubert, Goncourts, Zola, Degas, and Manet, he one day learns with tragic certainty that he is not destined to be a painter, and he courageously admits that all this periodic, frenzied effort has been misdirected. Then we have interludes of philosophy and literary criticism; the philosophy perhaps not of much account; the criticism often original, epigrammatic, sometimes of an astounding penetration, and always literary. Later, Dayne is driven by adverse circumstances to London and to a lodging in the Strand, where the book ends. Dayne's ideas about art and his temperament can be seen in characteristic passages like the following: "For art was not for us then as it is now a mere emotion, right or wrong only in proportion to its intensity; we believed then in the grammar of art, perspective, anatomy, and la jambe qui forte."
Output: Where is Dayne's apartment located?
In writing style The Confessions of a Young Man is presented as a novel, with a hero named Dayne, but the reader assumes in essence it is an autobiography, a true "confession". Dayne (i.e. Moore) went to Paris as a teenager, and almost becomes a full Parisian nearly forgetting the English language after 15 years. He sketches, with a frankness now jubilant, now cynical, the luscious "vie de Boheme" that Paris alone could offer the young man of health and wealth who loved art. Amid scenes splendid, squalid, or bizarre, move students, cabotins, painters, poets, pale enthusiasts starving for the sake of an idea, actresses, women of fashion, courtesans, clubmen, and spectators. Artistic endeavour and perfumed vice mingle in fraternity; everything is unusual, irregular, fantastic. Dayne emerges from the ordeal of this environment but little changed. For him the enticements of the flesh are not more powerful than those of art. One week he is beguiling the hours in some salon or alcove, the next he is incandescent with aspiration. So the years pass; and at last, having saturated himself with the French theories of literary and graphic art which are bound up with the names of Flaubert, Goncourts, Zola, Degas, and Manet, he one day learns with tragic certainty that he is not destined to be a painter, and he courageously admits that all this periodic, frenzied effort has been misdirected. Then we have interludes of philosophy and literary criticism; the philosophy perhaps not of much account; the criticism often original, epigrammatic, sometimes of an astounding penetration, and always literary. Later, Dayne is driven by adverse circumstances to London and to a lodging in the Strand, where the book ends. Dayne's ideas about art and his temperament can be seen in characteristic passages like the following: "For art was not for us then as it is now a mere emotion, right or wrong only in proportion to its intensity; we believed then in the grammar of art, perspective, anatomy, and la jambe qui forte."
Output: What language does Dayne forget?
In writing style The Confessions of a Young Man is presented as a novel, with a hero named Dayne, but the reader assumes in essence it is an autobiography, a true "confession". Dayne (i.e. Moore) went to Paris as a teenager, and almost becomes a full Parisian nearly forgetting the English language after 15 years. He sketches, with a frankness now jubilant, now cynical, the luscious "vie de Boheme" that Paris alone could offer the young man of health and wealth who loved art. Amid scenes splendid, squalid, or bizarre, move students, cabotins, painters, poets, pale enthusiasts starving for the sake of an idea, actresses, women of fashion, courtesans, clubmen, and spectators. Artistic endeavour and perfumed vice mingle in fraternity; everything is unusual, irregular, fantastic. Dayne emerges from the ordeal of this environment but little changed. For him the enticements of the flesh are not more powerful than those of art. One week he is beguiling the hours in some salon or alcove, the next he is incandescent with aspiration. So the years pass; and at last, having saturated himself with the French theories of literary and graphic art which are bound up with the names of Flaubert, Goncourts, Zola, Degas, and Manet, he one day learns with tragic certainty that he is not destined to be a painter, and he courageously admits that all this periodic, frenzied effort has been misdirected. Then we have interludes of philosophy and literary criticism; the philosophy perhaps not of much account; the criticism often original, epigrammatic, sometimes of an astounding penetration, and always literary. Later, Dayne is driven by adverse circumstances to London and to a lodging in the Strand, where the book ends. Dayne's ideas about art and his temperament can be seen in characteristic passages like the following: "For art was not for us then as it is now a mere emotion, right or wrong only in proportion to its intensity; we believed then in the grammar of art, perspective, anatomy, and la jambe qui forte."
Output: What does the confessor nearly forget after 15 years?
In writing style The Confessions of a Young Man is presented as a novel, with a hero named Dayne, but the reader assumes in essence it is an autobiography, a true "confession". Dayne (i.e. Moore) went to Paris as a teenager, and almost becomes a full Parisian nearly forgetting the English language after 15 years. He sketches, with a frankness now jubilant, now cynical, the luscious "vie de Boheme" that Paris alone could offer the young man of health and wealth who loved art. Amid scenes splendid, squalid, or bizarre, move students, cabotins, painters, poets, pale enthusiasts starving for the sake of an idea, actresses, women of fashion, courtesans, clubmen, and spectators. Artistic endeavour and perfumed vice mingle in fraternity; everything is unusual, irregular, fantastic. Dayne emerges from the ordeal of this environment but little changed. For him the enticements of the flesh are not more powerful than those of art. One week he is beguiling the hours in some salon or alcove, the next he is incandescent with aspiration. So the years pass; and at last, having saturated himself with the French theories of literary and graphic art which are bound up with the names of Flaubert, Goncourts, Zola, Degas, and Manet, he one day learns with tragic certainty that he is not destined to be a painter, and he courageously admits that all this periodic, frenzied effort has been misdirected. Then we have interludes of philosophy and literary criticism; the philosophy perhaps not of much account; the criticism often original, epigrammatic, sometimes of an astounding penetration, and always literary. Later, Dayne is driven by adverse circumstances to London and to a lodging in the Strand, where the book ends. Dayne's ideas about art and his temperament can be seen in characteristic passages like the following: "For art was not for us then as it is now a mere emotion, right or wrong only in proportion to its intensity; we believed then in the grammar of art, perspective, anatomy, and la jambe qui forte."
Output: Who is the confessor of the story?
In writing style The Confessions of a Young Man is presented as a novel, with a hero named Dayne, but the reader assumes in essence it is an autobiography, a true "confession". Dayne (i.e. Moore) went to Paris as a teenager, and almost becomes a full Parisian nearly forgetting the English language after 15 years. He sketches, with a frankness now jubilant, now cynical, the luscious "vie de Boheme" that Paris alone could offer the young man of health and wealth who loved art. Amid scenes splendid, squalid, or bizarre, move students, cabotins, painters, poets, pale enthusiasts starving for the sake of an idea, actresses, women of fashion, courtesans, clubmen, and spectators. Artistic endeavour and perfumed vice mingle in fraternity; everything is unusual, irregular, fantastic. Dayne emerges from the ordeal of this environment but little changed. For him the enticements of the flesh are not more powerful than those of art. One week he is beguiling the hours in some salon or alcove, the next he is incandescent with aspiration. So the years pass; and at last, having saturated himself with the French theories of literary and graphic art which are bound up with the names of Flaubert, Goncourts, Zola, Degas, and Manet, he one day learns with tragic certainty that he is not destined to be a painter, and he courageously admits that all this periodic, frenzied effort has been misdirected. Then we have interludes of philosophy and literary criticism; the philosophy perhaps not of much account; the criticism often original, epigrammatic, sometimes of an astounding penetration, and always literary. Later, Dayne is driven by adverse circumstances to London and to a lodging in the Strand, where the book ends. Dayne's ideas about art and his temperament can be seen in characteristic passages like the following: "For art was not for us then as it is now a mere emotion, right or wrong only in proportion to its intensity; we believed then in the grammar of art, perspective, anatomy, and la jambe qui forte."
Output: Why does Dayne move from Paris?
In writing style The Confessions of a Young Man is presented as a novel, with a hero named Dayne, but the reader assumes in essence it is an autobiography, a true "confession". Dayne (i.e. Moore) went to Paris as a teenager, and almost becomes a full Parisian nearly forgetting the English language after 15 years. He sketches, with a frankness now jubilant, now cynical, the luscious "vie de Boheme" that Paris alone could offer the young man of health and wealth who loved art. Amid scenes splendid, squalid, or bizarre, move students, cabotins, painters, poets, pale enthusiasts starving for the sake of an idea, actresses, women of fashion, courtesans, clubmen, and spectators. Artistic endeavour and perfumed vice mingle in fraternity; everything is unusual, irregular, fantastic. Dayne emerges from the ordeal of this environment but little changed. For him the enticements of the flesh are not more powerful than those of art. One week he is beguiling the hours in some salon or alcove, the next he is incandescent with aspiration. So the years pass; and at last, having saturated himself with the French theories of literary and graphic art which are bound up with the names of Flaubert, Goncourts, Zola, Degas, and Manet, he one day learns with tragic certainty that he is not destined to be a painter, and he courageously admits that all this periodic, frenzied effort has been misdirected. Then we have interludes of philosophy and literary criticism; the philosophy perhaps not of much account; the criticism often original, epigrammatic, sometimes of an astounding penetration, and always literary. Later, Dayne is driven by adverse circumstances to London and to a lodging in the Strand, where the book ends. Dayne's ideas about art and his temperament can be seen in characteristic passages like the following: "For art was not for us then as it is now a mere emotion, right or wrong only in proportion to its intensity; we believed then in the grammar of art, perspective, anatomy, and la jambe qui forte."
Output: What does the confessor admit courageously to concerning his career towards the end?
In Aroostook County, Maine, Marine fish and Game officer Walt Lawson is attacked and bitten in half by something unseen in Black Lake. Sheriff Hank Keough (Brendan Gleeson), Fish and Game officer Jack Wells (Bill Pullman), American Museum of Natural History paleontologist Kelly Scott (Bridget Fonda), and mythology professor/crocodile enthusiast Hector Cyr (Oliver Platt) go to the lake to investigate.
A series of strange events occurs, including Kelly and Hank's canoe mysteriously flying into the air and flipping, the discovery of a severed toe and a severed moose head, and the decapitation of Burke, one of Hank's deputies.
Later, as Hank and Hector argue, a bear attacks them, but a giant saltwater crocodile then leaps out of the water and drags it into the lake. Later, after finding Burke's severed head, Jack, Kelly, and Hank witness Mrs. Delores Bickerman (Betty White), one of few people living on the lake, feeding a blindfolded cow to the enormous crocodile. Mrs. Bickerman reveals that she has been feeding the crocodile for years after it followed her husband home. It eventually killed him. She is placed under house arrest for initially lying to the police.
Hector decides to take Deputy Sharon Gare (Meredith Salenger) on a trip in his helicopter, and lands it in the cove where the crocodile lives. While he is diving, it targets him, but he and Gare escape. Jack and Hank plan to allow Florida Fish and Game to kill the crocodile when they arrive, but Hector suggests instead that he lure it out of the water and drug it. Jack reluctantly accepts the proposal, and they use one of Mrs. Bickerman's cows, dangled from the helicopter, as bait. After a few hours, the crocodile lunges at the cow. Hector pulls up, loses the cow, and crashes the helicopter into the lake. The crocodile comes on land and attacks Jack and Kelly. Kelly is knocked into the lake, but she makes it to the helicopter just in time.
The crocodile then gets trapped in the helicopter. Despite Hector and Kelly's protests to let the animal live, Jack grabs a gun and shoots it. The gun is revealed to be a tranquilizer rifle. As Hector comes out of the water, a second crocodile attacks him, but Hank blows it up with his grenade launcher. Florida Fish and Game officers arrive seconds later. They load the crocodile on a truck and take it to Portland, Maine to figure out what to do with it. The last scene shows Mrs. Bickerman feeding bread crumbs to many baby crocodiles, implying the two adults were a mating pair. During the end credits, the surviving adult crocodile is seen tied to the back of a flat-bed truck, speeding down a road.
Output: During the end-credits, what is the crocodile tied to?
In Aroostook County, Maine, Marine fish and Game officer Walt Lawson is attacked and bitten in half by something unseen in Black Lake. Sheriff Hank Keough (Brendan Gleeson), Fish and Game officer Jack Wells (Bill Pullman), American Museum of Natural History paleontologist Kelly Scott (Bridget Fonda), and mythology professor/crocodile enthusiast Hector Cyr (Oliver Platt) go to the lake to investigate.
A series of strange events occurs, including Kelly and Hank's canoe mysteriously flying into the air and flipping, the discovery of a severed toe and a severed moose head, and the decapitation of Burke, one of Hank's deputies.
Later, as Hank and Hector argue, a bear attacks them, but a giant saltwater crocodile then leaps out of the water and drags it into the lake. Later, after finding Burke's severed head, Jack, Kelly, and Hank witness Mrs. Delores Bickerman (Betty White), one of few people living on the lake, feeding a blindfolded cow to the enormous crocodile. Mrs. Bickerman reveals that she has been feeding the crocodile for years after it followed her husband home. It eventually killed him. She is placed under house arrest for initially lying to the police.
Hector decides to take Deputy Sharon Gare (Meredith Salenger) on a trip in his helicopter, and lands it in the cove where the crocodile lives. While he is diving, it targets him, but he and Gare escape. Jack and Hank plan to allow Florida Fish and Game to kill the crocodile when they arrive, but Hector suggests instead that he lure it out of the water and drug it. Jack reluctantly accepts the proposal, and they use one of Mrs. Bickerman's cows, dangled from the helicopter, as bait. After a few hours, the crocodile lunges at the cow. Hector pulls up, loses the cow, and crashes the helicopter into the lake. The crocodile comes on land and attacks Jack and Kelly. Kelly is knocked into the lake, but she makes it to the helicopter just in time.
The crocodile then gets trapped in the helicopter. Despite Hector and Kelly's protests to let the animal live, Jack grabs a gun and shoots it. The gun is revealed to be a tranquilizer rifle. As Hector comes out of the water, a second crocodile attacks him, but Hank blows it up with his grenade launcher. Florida Fish and Game officers arrive seconds later. They load the crocodile on a truck and take it to Portland, Maine to figure out what to do with it. The last scene shows Mrs. Bickerman feeding bread crumbs to many baby crocodiles, implying the two adults were a mating pair. During the end credits, the surviving adult crocodile is seen tied to the back of a flat-bed truck, speeding down a road.
Output: What vehicle does Hector take to reach the crocodile's cove?
In Aroostook County, Maine, Marine fish and Game officer Walt Lawson is attacked and bitten in half by something unseen in Black Lake. Sheriff Hank Keough (Brendan Gleeson), Fish and Game officer Jack Wells (Bill Pullman), American Museum of Natural History paleontologist Kelly Scott (Bridget Fonda), and mythology professor/crocodile enthusiast Hector Cyr (Oliver Platt) go to the lake to investigate.
A series of strange events occurs, including Kelly and Hank's canoe mysteriously flying into the air and flipping, the discovery of a severed toe and a severed moose head, and the decapitation of Burke, one of Hank's deputies.
Later, as Hank and Hector argue, a bear attacks them, but a giant saltwater crocodile then leaps out of the water and drags it into the lake. Later, after finding Burke's severed head, Jack, Kelly, and Hank witness Mrs. Delores Bickerman (Betty White), one of few people living on the lake, feeding a blindfolded cow to the enormous crocodile. Mrs. Bickerman reveals that she has been feeding the crocodile for years after it followed her husband home. It eventually killed him. She is placed under house arrest for initially lying to the police.
Hector decides to take Deputy Sharon Gare (Meredith Salenger) on a trip in his helicopter, and lands it in the cove where the crocodile lives. While he is diving, it targets him, but he and Gare escape. Jack and Hank plan to allow Florida Fish and Game to kill the crocodile when they arrive, but Hector suggests instead that he lure it out of the water and drug it. Jack reluctantly accepts the proposal, and they use one of Mrs. Bickerman's cows, dangled from the helicopter, as bait. After a few hours, the crocodile lunges at the cow. Hector pulls up, loses the cow, and crashes the helicopter into the lake. The crocodile comes on land and attacks Jack and Kelly. Kelly is knocked into the lake, but she makes it to the helicopter just in time.
The crocodile then gets trapped in the helicopter. Despite Hector and Kelly's protests to let the animal live, Jack grabs a gun and shoots it. The gun is revealed to be a tranquilizer rifle. As Hector comes out of the water, a second crocodile attacks him, but Hank blows it up with his grenade launcher. Florida Fish and Game officers arrive seconds later. They load the crocodile on a truck and take it to Portland, Maine to figure out what to do with it. The last scene shows Mrs. Bickerman feeding bread crumbs to many baby crocodiles, implying the two adults were a mating pair. During the end credits, the surviving adult crocodile is seen tied to the back of a flat-bed truck, speeding down a road.
Output: What organization's officers show up to take the crocodile away?
In Aroostook County, Maine, Marine fish and Game officer Walt Lawson is attacked and bitten in half by something unseen in Black Lake. Sheriff Hank Keough (Brendan Gleeson), Fish and Game officer Jack Wells (Bill Pullman), American Museum of Natural History paleontologist Kelly Scott (Bridget Fonda), and mythology professor/crocodile enthusiast Hector Cyr (Oliver Platt) go to the lake to investigate.
A series of strange events occurs, including Kelly and Hank's canoe mysteriously flying into the air and flipping, the discovery of a severed toe and a severed moose head, and the decapitation of Burke, one of Hank's deputies.
Later, as Hank and Hector argue, a bear attacks them, but a giant saltwater crocodile then leaps out of the water and drags it into the lake. Later, after finding Burke's severed head, Jack, Kelly, and Hank witness Mrs. Delores Bickerman (Betty White), one of few people living on the lake, feeding a blindfolded cow to the enormous crocodile. Mrs. Bickerman reveals that she has been feeding the crocodile for years after it followed her husband home. It eventually killed him. She is placed under house arrest for initially lying to the police.
Hector decides to take Deputy Sharon Gare (Meredith Salenger) on a trip in his helicopter, and lands it in the cove where the crocodile lives. While he is diving, it targets him, but he and Gare escape. Jack and Hank plan to allow Florida Fish and Game to kill the crocodile when they arrive, but Hector suggests instead that he lure it out of the water and drug it. Jack reluctantly accepts the proposal, and they use one of Mrs. Bickerman's cows, dangled from the helicopter, as bait. After a few hours, the crocodile lunges at the cow. Hector pulls up, loses the cow, and crashes the helicopter into the lake. The crocodile comes on land and attacks Jack and Kelly. Kelly is knocked into the lake, but she makes it to the helicopter just in time.
The crocodile then gets trapped in the helicopter. Despite Hector and Kelly's protests to let the animal live, Jack grabs a gun and shoots it. The gun is revealed to be a tranquilizer rifle. As Hector comes out of the water, a second crocodile attacks him, but Hank blows it up with his grenade launcher. Florida Fish and Game officers arrive seconds later. They load the crocodile on a truck and take it to Portland, Maine to figure out what to do with it. The last scene shows Mrs. Bickerman feeding bread crumbs to many baby crocodiles, implying the two adults were a mating pair. During the end credits, the surviving adult crocodile is seen tied to the back of a flat-bed truck, speeding down a road.
Output: Who does Hector Syr take for a trip in his helicopter?
In Aroostook County, Maine, Marine fish and Game officer Walt Lawson is attacked and bitten in half by something unseen in Black Lake. Sheriff Hank Keough (Brendan Gleeson), Fish and Game officer Jack Wells (Bill Pullman), American Museum of Natural History paleontologist Kelly Scott (Bridget Fonda), and mythology professor/crocodile enthusiast Hector Cyr (Oliver Platt) go to the lake to investigate.
A series of strange events occurs, including Kelly and Hank's canoe mysteriously flying into the air and flipping, the discovery of a severed toe and a severed moose head, and the decapitation of Burke, one of Hank's deputies.
Later, as Hank and Hector argue, a bear attacks them, but a giant saltwater crocodile then leaps out of the water and drags it into the lake. Later, after finding Burke's severed head, Jack, Kelly, and Hank witness Mrs. Delores Bickerman (Betty White), one of few people living on the lake, feeding a blindfolded cow to the enormous crocodile. Mrs. Bickerman reveals that she has been feeding the crocodile for years after it followed her husband home. It eventually killed him. She is placed under house arrest for initially lying to the police.
Hector decides to take Deputy Sharon Gare (Meredith Salenger) on a trip in his helicopter, and lands it in the cove where the crocodile lives. While he is diving, it targets him, but he and Gare escape. Jack and Hank plan to allow Florida Fish and Game to kill the crocodile when they arrive, but Hector suggests instead that he lure it out of the water and drug it. Jack reluctantly accepts the proposal, and they use one of Mrs. Bickerman's cows, dangled from the helicopter, as bait. After a few hours, the crocodile lunges at the cow. Hector pulls up, loses the cow, and crashes the helicopter into the lake. The crocodile comes on land and attacks Jack and Kelly. Kelly is knocked into the lake, but she makes it to the helicopter just in time.
The crocodile then gets trapped in the helicopter. Despite Hector and Kelly's protests to let the animal live, Jack grabs a gun and shoots it. The gun is revealed to be a tranquilizer rifle. As Hector comes out of the water, a second crocodile attacks him, but Hank blows it up with his grenade launcher. Florida Fish and Game officers arrive seconds later. They load the crocodile on a truck and take it to Portland, Maine to figure out what to do with it. The last scene shows Mrs. Bickerman feeding bread crumbs to many baby crocodiles, implying the two adults were a mating pair. During the end credits, the surviving adult crocodile is seen tied to the back of a flat-bed truck, speeding down a road.
Output: As part of a series of strange events that occurred near the beginning of the story, what object mysteriously flew into the air and flipped?
In Aroostook County, Maine, Marine fish and Game officer Walt Lawson is attacked and bitten in half by something unseen in Black Lake. Sheriff Hank Keough (Brendan Gleeson), Fish and Game officer Jack Wells (Bill Pullman), American Museum of Natural History paleontologist Kelly Scott (Bridget Fonda), and mythology professor/crocodile enthusiast Hector Cyr (Oliver Platt) go to the lake to investigate.
A series of strange events occurs, including Kelly and Hank's canoe mysteriously flying into the air and flipping, the discovery of a severed toe and a severed moose head, and the decapitation of Burke, one of Hank's deputies.
Later, as Hank and Hector argue, a bear attacks them, but a giant saltwater crocodile then leaps out of the water and drags it into the lake. Later, after finding Burke's severed head, Jack, Kelly, and Hank witness Mrs. Delores Bickerman (Betty White), one of few people living on the lake, feeding a blindfolded cow to the enormous crocodile. Mrs. Bickerman reveals that she has been feeding the crocodile for years after it followed her husband home. It eventually killed him. She is placed under house arrest for initially lying to the police.
Hector decides to take Deputy Sharon Gare (Meredith Salenger) on a trip in his helicopter, and lands it in the cove where the crocodile lives. While he is diving, it targets him, but he and Gare escape. Jack and Hank plan to allow Florida Fish and Game to kill the crocodile when they arrive, but Hector suggests instead that he lure it out of the water and drug it. Jack reluctantly accepts the proposal, and they use one of Mrs. Bickerman's cows, dangled from the helicopter, as bait. After a few hours, the crocodile lunges at the cow. Hector pulls up, loses the cow, and crashes the helicopter into the lake. The crocodile comes on land and attacks Jack and Kelly. Kelly is knocked into the lake, but she makes it to the helicopter just in time.
The crocodile then gets trapped in the helicopter. Despite Hector and Kelly's protests to let the animal live, Jack grabs a gun and shoots it. The gun is revealed to be a tranquilizer rifle. As Hector comes out of the water, a second crocodile attacks him, but Hank blows it up with his grenade launcher. Florida Fish and Game officers arrive seconds later. They load the crocodile on a truck and take it to Portland, Maine to figure out what to do with it. The last scene shows Mrs. Bickerman feeding bread crumbs to many baby crocodiles, implying the two adults were a mating pair. During the end credits, the surviving adult crocodile is seen tied to the back of a flat-bed truck, speeding down a road.
Output: How did the helicopter end up in the lake?
In Aroostook County, Maine, Marine fish and Game officer Walt Lawson is attacked and bitten in half by something unseen in Black Lake. Sheriff Hank Keough (Brendan Gleeson), Fish and Game officer Jack Wells (Bill Pullman), American Museum of Natural History paleontologist Kelly Scott (Bridget Fonda), and mythology professor/crocodile enthusiast Hector Cyr (Oliver Platt) go to the lake to investigate.
A series of strange events occurs, including Kelly and Hank's canoe mysteriously flying into the air and flipping, the discovery of a severed toe and a severed moose head, and the decapitation of Burke, one of Hank's deputies.
Later, as Hank and Hector argue, a bear attacks them, but a giant saltwater crocodile then leaps out of the water and drags it into the lake. Later, after finding Burke's severed head, Jack, Kelly, and Hank witness Mrs. Delores Bickerman (Betty White), one of few people living on the lake, feeding a blindfolded cow to the enormous crocodile. Mrs. Bickerman reveals that she has been feeding the crocodile for years after it followed her husband home. It eventually killed him. She is placed under house arrest for initially lying to the police.
Hector decides to take Deputy Sharon Gare (Meredith Salenger) on a trip in his helicopter, and lands it in the cove where the crocodile lives. While he is diving, it targets him, but he and Gare escape. Jack and Hank plan to allow Florida Fish and Game to kill the crocodile when they arrive, but Hector suggests instead that he lure it out of the water and drug it. Jack reluctantly accepts the proposal, and they use one of Mrs. Bickerman's cows, dangled from the helicopter, as bait. After a few hours, the crocodile lunges at the cow. Hector pulls up, loses the cow, and crashes the helicopter into the lake. The crocodile comes on land and attacks Jack and Kelly. Kelly is knocked into the lake, but she makes it to the helicopter just in time.
The crocodile then gets trapped in the helicopter. Despite Hector and Kelly's protests to let the animal live, Jack grabs a gun and shoots it. The gun is revealed to be a tranquilizer rifle. As Hector comes out of the water, a second crocodile attacks him, but Hank blows it up with his grenade launcher. Florida Fish and Game officers arrive seconds later. They load the crocodile on a truck and take it to Portland, Maine to figure out what to do with it. The last scene shows Mrs. Bickerman feeding bread crumbs to many baby crocodiles, implying the two adults were a mating pair. During the end credits, the surviving adult crocodile is seen tied to the back of a flat-bed truck, speeding down a road.
Output: Who feeds a blindfolded cow to the crocodile?
In Aroostook County, Maine, Marine fish and Game officer Walt Lawson is attacked and bitten in half by something unseen in Black Lake. Sheriff Hank Keough (Brendan Gleeson), Fish and Game officer Jack Wells (Bill Pullman), American Museum of Natural History paleontologist Kelly Scott (Bridget Fonda), and mythology professor/crocodile enthusiast Hector Cyr (Oliver Platt) go to the lake to investigate.
A series of strange events occurs, including Kelly and Hank's canoe mysteriously flying into the air and flipping, the discovery of a severed toe and a severed moose head, and the decapitation of Burke, one of Hank's deputies.
Later, as Hank and Hector argue, a bear attacks them, but a giant saltwater crocodile then leaps out of the water and drags it into the lake. Later, after finding Burke's severed head, Jack, Kelly, and Hank witness Mrs. Delores Bickerman (Betty White), one of few people living on the lake, feeding a blindfolded cow to the enormous crocodile. Mrs. Bickerman reveals that she has been feeding the crocodile for years after it followed her husband home. It eventually killed him. She is placed under house arrest for initially lying to the police.
Hector decides to take Deputy Sharon Gare (Meredith Salenger) on a trip in his helicopter, and lands it in the cove where the crocodile lives. While he is diving, it targets him, but he and Gare escape. Jack and Hank plan to allow Florida Fish and Game to kill the crocodile when they arrive, but Hector suggests instead that he lure it out of the water and drug it. Jack reluctantly accepts the proposal, and they use one of Mrs. Bickerman's cows, dangled from the helicopter, as bait. After a few hours, the crocodile lunges at the cow. Hector pulls up, loses the cow, and crashes the helicopter into the lake. The crocodile comes on land and attacks Jack and Kelly. Kelly is knocked into the lake, but she makes it to the helicopter just in time.
The crocodile then gets trapped in the helicopter. Despite Hector and Kelly's protests to let the animal live, Jack grabs a gun and shoots it. The gun is revealed to be a tranquilizer rifle. As Hector comes out of the water, a second crocodile attacks him, but Hank blows it up with his grenade launcher. Florida Fish and Game officers arrive seconds later. They load the crocodile on a truck and take it to Portland, Maine to figure out what to do with it. The last scene shows Mrs. Bickerman feeding bread crumbs to many baby crocodiles, implying the two adults were a mating pair. During the end credits, the surviving adult crocodile is seen tied to the back of a flat-bed truck, speeding down a road.
Output: How did the surviving crocodile get caught?