niryuu/sni-each-converted huggingface dataset:
Marty Piletti (Ernest Borgnine) is an Italian American butcher who lives in The Bronx with his mother (Esther Minciotti). Unmarried at 34, the good-natured but socially awkward Marty faces constant badgering from family and friends to settle down, pointing out that all his brothers and sisters are already married with children. Not averse to marriage but disheartened by his lack of prospects, Marty has reluctantly resigned himself to bachelorhood.
After being harassed by his mother into going to the Stardust Ballroom one Saturday night, Marty connects with Clara (Betsy Blair), a plain schoolteacher who is quietly weeping on the roof after being callously abandoned at the ballroom by her blind date. They spend the evening together dancing, walking the busy streets, and talking in a diner. Marty eagerly spills out his life story and ambitions, and they encourage each other. He brings Clara to his house, and they awkwardly express their mutual attraction, shortly before his mother returns. Marty takes her home by bus, promising to call her at 2:30 the next afternoon, after Mass. Overjoyed, he punches the bus stop sign and weaves between the cars, looking for a cab.
Meanwhile, his cranky, busybody widowed Aunt Catherine (Augusta Ciolli) moves in to live with Marty and his mother. She warns his mother that Marty will soon marry and cast her aside. Fearing that Marty's romance could spell her abandonment, his mother belittles Clara. Marty's friends, with an undercurrent of envy, deride Clara for her plainness and try to convince him to forget her and to remain with them, unmarried, in their fading youth. Harangued into submission by the pull of his friends, Marty doesn't call Clara.
That night, back in the same lonely rut, Marty realizes that he is giving up a woman whom he not only likes, but who makes him happy. Over the objections of his friends, he dashes to a phone booth to call Clara, who is disconsolately watching television with her parents. When his friend asks what he's doing, Marty bursts out saying:
You don't like her, my mother don't like her, she's a dog and I'm a fat, ugly man! Well, all I know is I had a good time last night! I'm gonna have a good time tonight! If we have enough good times together, I'm gonna get down on my knees and I'm gonna beg that girl to marry me! If we make a party on New Year's, I got a date for that party. You don't like her? That's too bad!
Marty closes the phone booth's door when Clara answers the phone. In the last line of the film, he tentatively says "Hello... Hello, Clara?".
Output: At what time does Marty promise to call Clara the next day?
Marty Piletti (Ernest Borgnine) is an Italian American butcher who lives in The Bronx with his mother (Esther Minciotti). Unmarried at 34, the good-natured but socially awkward Marty faces constant badgering from family and friends to settle down, pointing out that all his brothers and sisters are already married with children. Not averse to marriage but disheartened by his lack of prospects, Marty has reluctantly resigned himself to bachelorhood.
After being harassed by his mother into going to the Stardust Ballroom one Saturday night, Marty connects with Clara (Betsy Blair), a plain schoolteacher who is quietly weeping on the roof after being callously abandoned at the ballroom by her blind date. They spend the evening together dancing, walking the busy streets, and talking in a diner. Marty eagerly spills out his life story and ambitions, and they encourage each other. He brings Clara to his house, and they awkwardly express their mutual attraction, shortly before his mother returns. Marty takes her home by bus, promising to call her at 2:30 the next afternoon, after Mass. Overjoyed, he punches the bus stop sign and weaves between the cars, looking for a cab.
Meanwhile, his cranky, busybody widowed Aunt Catherine (Augusta Ciolli) moves in to live with Marty and his mother. She warns his mother that Marty will soon marry and cast her aside. Fearing that Marty's romance could spell her abandonment, his mother belittles Clara. Marty's friends, with an undercurrent of envy, deride Clara for her plainness and try to convince him to forget her and to remain with them, unmarried, in their fading youth. Harangued into submission by the pull of his friends, Marty doesn't call Clara.
That night, back in the same lonely rut, Marty realizes that he is giving up a woman whom he not only likes, but who makes him happy. Over the objections of his friends, he dashes to a phone booth to call Clara, who is disconsolately watching television with her parents. When his friend asks what he's doing, Marty bursts out saying:
You don't like her, my mother don't like her, she's a dog and I'm a fat, ugly man! Well, all I know is I had a good time last night! I'm gonna have a good time tonight! If we have enough good times together, I'm gonna get down on my knees and I'm gonna beg that girl to marry me! If we make a party on New Year's, I got a date for that party. You don't like her? That's too bad!
Marty closes the phone booth's door when Clara answers the phone. In the last line of the film, he tentatively says "Hello... Hello, Clara?".
Output: After meeting Clara, what do Marty's friends try to convince him to do?
Marty Piletti (Ernest Borgnine) is an Italian American butcher who lives in The Bronx with his mother (Esther Minciotti). Unmarried at 34, the good-natured but socially awkward Marty faces constant badgering from family and friends to settle down, pointing out that all his brothers and sisters are already married with children. Not averse to marriage but disheartened by his lack of prospects, Marty has reluctantly resigned himself to bachelorhood.
After being harassed by his mother into going to the Stardust Ballroom one Saturday night, Marty connects with Clara (Betsy Blair), a plain schoolteacher who is quietly weeping on the roof after being callously abandoned at the ballroom by her blind date. They spend the evening together dancing, walking the busy streets, and talking in a diner. Marty eagerly spills out his life story and ambitions, and they encourage each other. He brings Clara to his house, and they awkwardly express their mutual attraction, shortly before his mother returns. Marty takes her home by bus, promising to call her at 2:30 the next afternoon, after Mass. Overjoyed, he punches the bus stop sign and weaves between the cars, looking for a cab.
Meanwhile, his cranky, busybody widowed Aunt Catherine (Augusta Ciolli) moves in to live with Marty and his mother. She warns his mother that Marty will soon marry and cast her aside. Fearing that Marty's romance could spell her abandonment, his mother belittles Clara. Marty's friends, with an undercurrent of envy, deride Clara for her plainness and try to convince him to forget her and to remain with them, unmarried, in their fading youth. Harangued into submission by the pull of his friends, Marty doesn't call Clara.
That night, back in the same lonely rut, Marty realizes that he is giving up a woman whom he not only likes, but who makes him happy. Over the objections of his friends, he dashes to a phone booth to call Clara, who is disconsolately watching television with her parents. When his friend asks what he's doing, Marty bursts out saying:
You don't like her, my mother don't like her, she's a dog and I'm a fat, ugly man! Well, all I know is I had a good time last night! I'm gonna have a good time tonight! If we have enough good times together, I'm gonna get down on my knees and I'm gonna beg that girl to marry me! If we make a party on New Year's, I got a date for that party. You don't like her? That's too bad!
Marty closes the phone booth's door when Clara answers the phone. In the last line of the film, he tentatively says "Hello... Hello, Clara?".
Output: Where does Marty live in?
Marty Piletti (Ernest Borgnine) is an Italian American butcher who lives in The Bronx with his mother (Esther Minciotti). Unmarried at 34, the good-natured but socially awkward Marty faces constant badgering from family and friends to settle down, pointing out that all his brothers and sisters are already married with children. Not averse to marriage but disheartened by his lack of prospects, Marty has reluctantly resigned himself to bachelorhood.
After being harassed by his mother into going to the Stardust Ballroom one Saturday night, Marty connects with Clara (Betsy Blair), a plain schoolteacher who is quietly weeping on the roof after being callously abandoned at the ballroom by her blind date. They spend the evening together dancing, walking the busy streets, and talking in a diner. Marty eagerly spills out his life story and ambitions, and they encourage each other. He brings Clara to his house, and they awkwardly express their mutual attraction, shortly before his mother returns. Marty takes her home by bus, promising to call her at 2:30 the next afternoon, after Mass. Overjoyed, he punches the bus stop sign and weaves between the cars, looking for a cab.
Meanwhile, his cranky, busybody widowed Aunt Catherine (Augusta Ciolli) moves in to live with Marty and his mother. She warns his mother that Marty will soon marry and cast her aside. Fearing that Marty's romance could spell her abandonment, his mother belittles Clara. Marty's friends, with an undercurrent of envy, deride Clara for her plainness and try to convince him to forget her and to remain with them, unmarried, in their fading youth. Harangued into submission by the pull of his friends, Marty doesn't call Clara.
That night, back in the same lonely rut, Marty realizes that he is giving up a woman whom he not only likes, but who makes him happy. Over the objections of his friends, he dashes to a phone booth to call Clara, who is disconsolately watching television with her parents. When his friend asks what he's doing, Marty bursts out saying:
You don't like her, my mother don't like her, she's a dog and I'm a fat, ugly man! Well, all I know is I had a good time last night! I'm gonna have a good time tonight! If we have enough good times together, I'm gonna get down on my knees and I'm gonna beg that girl to marry me! If we make a party on New Year's, I got a date for that party. You don't like her? That's too bad!
Marty closes the phone booth's door when Clara answers the phone. In the last line of the film, he tentatively says "Hello... Hello, Clara?".
Output: Wat will Marty do if he has enough good times with Clara?
Marty Piletti (Ernest Borgnine) is an Italian American butcher who lives in The Bronx with his mother (Esther Minciotti). Unmarried at 34, the good-natured but socially awkward Marty faces constant badgering from family and friends to settle down, pointing out that all his brothers and sisters are already married with children. Not averse to marriage but disheartened by his lack of prospects, Marty has reluctantly resigned himself to bachelorhood.
After being harassed by his mother into going to the Stardust Ballroom one Saturday night, Marty connects with Clara (Betsy Blair), a plain schoolteacher who is quietly weeping on the roof after being callously abandoned at the ballroom by her blind date. They spend the evening together dancing, walking the busy streets, and talking in a diner. Marty eagerly spills out his life story and ambitions, and they encourage each other. He brings Clara to his house, and they awkwardly express their mutual attraction, shortly before his mother returns. Marty takes her home by bus, promising to call her at 2:30 the next afternoon, after Mass. Overjoyed, he punches the bus stop sign and weaves between the cars, looking for a cab.
Meanwhile, his cranky, busybody widowed Aunt Catherine (Augusta Ciolli) moves in to live with Marty and his mother. She warns his mother that Marty will soon marry and cast her aside. Fearing that Marty's romance could spell her abandonment, his mother belittles Clara. Marty's friends, with an undercurrent of envy, deride Clara for her plainness and try to convince him to forget her and to remain with them, unmarried, in their fading youth. Harangued into submission by the pull of his friends, Marty doesn't call Clara.
That night, back in the same lonely rut, Marty realizes that he is giving up a woman whom he not only likes, but who makes him happy. Over the objections of his friends, he dashes to a phone booth to call Clara, who is disconsolately watching television with her parents. When his friend asks what he's doing, Marty bursts out saying:
You don't like her, my mother don't like her, she's a dog and I'm a fat, ugly man! Well, all I know is I had a good time last night! I'm gonna have a good time tonight! If we have enough good times together, I'm gonna get down on my knees and I'm gonna beg that girl to marry me! If we make a party on New Year's, I got a date for that party. You don't like her? That's too bad!
Marty closes the phone booth's door when Clara answers the phone. In the last line of the film, he tentatively says "Hello... Hello, Clara?".
Output: Where does Marty meet Clara?
Marty Piletti (Ernest Borgnine) is an Italian American butcher who lives in The Bronx with his mother (Esther Minciotti). Unmarried at 34, the good-natured but socially awkward Marty faces constant badgering from family and friends to settle down, pointing out that all his brothers and sisters are already married with children. Not averse to marriage but disheartened by his lack of prospects, Marty has reluctantly resigned himself to bachelorhood.
After being harassed by his mother into going to the Stardust Ballroom one Saturday night, Marty connects with Clara (Betsy Blair), a plain schoolteacher who is quietly weeping on the roof after being callously abandoned at the ballroom by her blind date. They spend the evening together dancing, walking the busy streets, and talking in a diner. Marty eagerly spills out his life story and ambitions, and they encourage each other. He brings Clara to his house, and they awkwardly express their mutual attraction, shortly before his mother returns. Marty takes her home by bus, promising to call her at 2:30 the next afternoon, after Mass. Overjoyed, he punches the bus stop sign and weaves between the cars, looking for a cab.
Meanwhile, his cranky, busybody widowed Aunt Catherine (Augusta Ciolli) moves in to live with Marty and his mother. She warns his mother that Marty will soon marry and cast her aside. Fearing that Marty's romance could spell her abandonment, his mother belittles Clara. Marty's friends, with an undercurrent of envy, deride Clara for her plainness and try to convince him to forget her and to remain with them, unmarried, in their fading youth. Harangued into submission by the pull of his friends, Marty doesn't call Clara.
That night, back in the same lonely rut, Marty realizes that he is giving up a woman whom he not only likes, but who makes him happy. Over the objections of his friends, he dashes to a phone booth to call Clara, who is disconsolately watching television with her parents. When his friend asks what he's doing, Marty bursts out saying:
You don't like her, my mother don't like her, she's a dog and I'm a fat, ugly man! Well, all I know is I had a good time last night! I'm gonna have a good time tonight! If we have enough good times together, I'm gonna get down on my knees and I'm gonna beg that girl to marry me! If we make a party on New Year's, I got a date for that party. You don't like her? That's too bad!
Marty closes the phone booth's door when Clara answers the phone. In the last line of the film, he tentatively says "Hello... Hello, Clara?".
Output: FROM WHERE DOES MARTY MAKE HIS PHONE CALL TO CLARA?
Marty Piletti (Ernest Borgnine) is an Italian American butcher who lives in The Bronx with his mother (Esther Minciotti). Unmarried at 34, the good-natured but socially awkward Marty faces constant badgering from family and friends to settle down, pointing out that all his brothers and sisters are already married with children. Not averse to marriage but disheartened by his lack of prospects, Marty has reluctantly resigned himself to bachelorhood.
After being harassed by his mother into going to the Stardust Ballroom one Saturday night, Marty connects with Clara (Betsy Blair), a plain schoolteacher who is quietly weeping on the roof after being callously abandoned at the ballroom by her blind date. They spend the evening together dancing, walking the busy streets, and talking in a diner. Marty eagerly spills out his life story and ambitions, and they encourage each other. He brings Clara to his house, and they awkwardly express their mutual attraction, shortly before his mother returns. Marty takes her home by bus, promising to call her at 2:30 the next afternoon, after Mass. Overjoyed, he punches the bus stop sign and weaves between the cars, looking for a cab.
Meanwhile, his cranky, busybody widowed Aunt Catherine (Augusta Ciolli) moves in to live with Marty and his mother. She warns his mother that Marty will soon marry and cast her aside. Fearing that Marty's romance could spell her abandonment, his mother belittles Clara. Marty's friends, with an undercurrent of envy, deride Clara for her plainness and try to convince him to forget her and to remain with them, unmarried, in their fading youth. Harangued into submission by the pull of his friends, Marty doesn't call Clara.
That night, back in the same lonely rut, Marty realizes that he is giving up a woman whom he not only likes, but who makes him happy. Over the objections of his friends, he dashes to a phone booth to call Clara, who is disconsolately watching television with her parents. When his friend asks what he's doing, Marty bursts out saying:
You don't like her, my mother don't like her, she's a dog and I'm a fat, ugly man! Well, all I know is I had a good time last night! I'm gonna have a good time tonight! If we have enough good times together, I'm gonna get down on my knees and I'm gonna beg that girl to marry me! If we make a party on New Year's, I got a date for that party. You don't like her? That's too bad!
Marty closes the phone booth's door when Clara answers the phone. In the last line of the film, he tentatively says "Hello... Hello, Clara?".
Output: What is Clara doing when Marty calls her?
Marty Piletti (Ernest Borgnine) is an Italian American butcher who lives in The Bronx with his mother (Esther Minciotti). Unmarried at 34, the good-natured but socially awkward Marty faces constant badgering from family and friends to settle down, pointing out that all his brothers and sisters are already married with children. Not averse to marriage but disheartened by his lack of prospects, Marty has reluctantly resigned himself to bachelorhood.
After being harassed by his mother into going to the Stardust Ballroom one Saturday night, Marty connects with Clara (Betsy Blair), a plain schoolteacher who is quietly weeping on the roof after being callously abandoned at the ballroom by her blind date. They spend the evening together dancing, walking the busy streets, and talking in a diner. Marty eagerly spills out his life story and ambitions, and they encourage each other. He brings Clara to his house, and they awkwardly express their mutual attraction, shortly before his mother returns. Marty takes her home by bus, promising to call her at 2:30 the next afternoon, after Mass. Overjoyed, he punches the bus stop sign and weaves between the cars, looking for a cab.
Meanwhile, his cranky, busybody widowed Aunt Catherine (Augusta Ciolli) moves in to live with Marty and his mother. She warns his mother that Marty will soon marry and cast her aside. Fearing that Marty's romance could spell her abandonment, his mother belittles Clara. Marty's friends, with an undercurrent of envy, deride Clara for her plainness and try to convince him to forget her and to remain with them, unmarried, in their fading youth. Harangued into submission by the pull of his friends, Marty doesn't call Clara.
That night, back in the same lonely rut, Marty realizes that he is giving up a woman whom he not only likes, but who makes him happy. Over the objections of his friends, he dashes to a phone booth to call Clara, who is disconsolately watching television with her parents. When his friend asks what he's doing, Marty bursts out saying:
You don't like her, my mother don't like her, she's a dog and I'm a fat, ugly man! Well, all I know is I had a good time last night! I'm gonna have a good time tonight! If we have enough good times together, I'm gonna get down on my knees and I'm gonna beg that girl to marry me! If we make a party on New Year's, I got a date for that party. You don't like her? That's too bad!
Marty closes the phone booth's door when Clara answers the phone. In the last line of the film, he tentatively says "Hello... Hello, Clara?".
Output: IN WHAT CITY DID MARTY LIVE?
Marty Piletti (Ernest Borgnine) is an Italian American butcher who lives in The Bronx with his mother (Esther Minciotti). Unmarried at 34, the good-natured but socially awkward Marty faces constant badgering from family and friends to settle down, pointing out that all his brothers and sisters are already married with children. Not averse to marriage but disheartened by his lack of prospects, Marty has reluctantly resigned himself to bachelorhood.
After being harassed by his mother into going to the Stardust Ballroom one Saturday night, Marty connects with Clara (Betsy Blair), a plain schoolteacher who is quietly weeping on the roof after being callously abandoned at the ballroom by her blind date. They spend the evening together dancing, walking the busy streets, and talking in a diner. Marty eagerly spills out his life story and ambitions, and they encourage each other. He brings Clara to his house, and they awkwardly express their mutual attraction, shortly before his mother returns. Marty takes her home by bus, promising to call her at 2:30 the next afternoon, after Mass. Overjoyed, he punches the bus stop sign and weaves between the cars, looking for a cab.
Meanwhile, his cranky, busybody widowed Aunt Catherine (Augusta Ciolli) moves in to live with Marty and his mother. She warns his mother that Marty will soon marry and cast her aside. Fearing that Marty's romance could spell her abandonment, his mother belittles Clara. Marty's friends, with an undercurrent of envy, deride Clara for her plainness and try to convince him to forget her and to remain with them, unmarried, in their fading youth. Harangued into submission by the pull of his friends, Marty doesn't call Clara.
That night, back in the same lonely rut, Marty realizes that he is giving up a woman whom he not only likes, but who makes him happy. Over the objections of his friends, he dashes to a phone booth to call Clara, who is disconsolately watching television with her parents. When his friend asks what he's doing, Marty bursts out saying:
You don't like her, my mother don't like her, she's a dog and I'm a fat, ugly man! Well, all I know is I had a good time last night! I'm gonna have a good time tonight! If we have enough good times together, I'm gonna get down on my knees and I'm gonna beg that girl to marry me! If we make a party on New Year's, I got a date for that party. You don't like her? That's too bad!
Marty closes the phone booth's door when Clara answers the phone. In the last line of the film, he tentatively says "Hello... Hello, Clara?".
Output: How does Marty feel about the time he spent with Clara?
Marty Piletti (Ernest Borgnine) is an Italian American butcher who lives in The Bronx with his mother (Esther Minciotti). Unmarried at 34, the good-natured but socially awkward Marty faces constant badgering from family and friends to settle down, pointing out that all his brothers and sisters are already married with children. Not averse to marriage but disheartened by his lack of prospects, Marty has reluctantly resigned himself to bachelorhood.
After being harassed by his mother into going to the Stardust Ballroom one Saturday night, Marty connects with Clara (Betsy Blair), a plain schoolteacher who is quietly weeping on the roof after being callously abandoned at the ballroom by her blind date. They spend the evening together dancing, walking the busy streets, and talking in a diner. Marty eagerly spills out his life story and ambitions, and they encourage each other. He brings Clara to his house, and they awkwardly express their mutual attraction, shortly before his mother returns. Marty takes her home by bus, promising to call her at 2:30 the next afternoon, after Mass. Overjoyed, he punches the bus stop sign and weaves between the cars, looking for a cab.
Meanwhile, his cranky, busybody widowed Aunt Catherine (Augusta Ciolli) moves in to live with Marty and his mother. She warns his mother that Marty will soon marry and cast her aside. Fearing that Marty's romance could spell her abandonment, his mother belittles Clara. Marty's friends, with an undercurrent of envy, deride Clara for her plainness and try to convince him to forget her and to remain with them, unmarried, in their fading youth. Harangued into submission by the pull of his friends, Marty doesn't call Clara.
That night, back in the same lonely rut, Marty realizes that he is giving up a woman whom he not only likes, but who makes him happy. Over the objections of his friends, he dashes to a phone booth to call Clara, who is disconsolately watching television with her parents. When his friend asks what he's doing, Marty bursts out saying:
You don't like her, my mother don't like her, she's a dog and I'm a fat, ugly man! Well, all I know is I had a good time last night! I'm gonna have a good time tonight! If we have enough good times together, I'm gonna get down on my knees and I'm gonna beg that girl to marry me! If we make a party on New Year's, I got a date for that party. You don't like her? That's too bad!
Marty closes the phone booth's door when Clara answers the phone. In the last line of the film, he tentatively says "Hello... Hello, Clara?".
Output: How old is Marty?
Marty Piletti (Ernest Borgnine) is an Italian American butcher who lives in The Bronx with his mother (Esther Minciotti). Unmarried at 34, the good-natured but socially awkward Marty faces constant badgering from family and friends to settle down, pointing out that all his brothers and sisters are already married with children. Not averse to marriage but disheartened by his lack of prospects, Marty has reluctantly resigned himself to bachelorhood.
After being harassed by his mother into going to the Stardust Ballroom one Saturday night, Marty connects with Clara (Betsy Blair), a plain schoolteacher who is quietly weeping on the roof after being callously abandoned at the ballroom by her blind date. They spend the evening together dancing, walking the busy streets, and talking in a diner. Marty eagerly spills out his life story and ambitions, and they encourage each other. He brings Clara to his house, and they awkwardly express their mutual attraction, shortly before his mother returns. Marty takes her home by bus, promising to call her at 2:30 the next afternoon, after Mass. Overjoyed, he punches the bus stop sign and weaves between the cars, looking for a cab.
Meanwhile, his cranky, busybody widowed Aunt Catherine (Augusta Ciolli) moves in to live with Marty and his mother. She warns his mother that Marty will soon marry and cast her aside. Fearing that Marty's romance could spell her abandonment, his mother belittles Clara. Marty's friends, with an undercurrent of envy, deride Clara for her plainness and try to convince him to forget her and to remain with them, unmarried, in their fading youth. Harangued into submission by the pull of his friends, Marty doesn't call Clara.
That night, back in the same lonely rut, Marty realizes that he is giving up a woman whom he not only likes, but who makes him happy. Over the objections of his friends, he dashes to a phone booth to call Clara, who is disconsolately watching television with her parents. When his friend asks what he's doing, Marty bursts out saying:
You don't like her, my mother don't like her, she's a dog and I'm a fat, ugly man! Well, all I know is I had a good time last night! I'm gonna have a good time tonight! If we have enough good times together, I'm gonna get down on my knees and I'm gonna beg that girl to marry me! If we make a party on New Year's, I got a date for that party. You don't like her? That's too bad!
Marty closes the phone booth's door when Clara answers the phone. In the last line of the film, he tentatively says "Hello... Hello, Clara?".
Output: Who moves into Marty's home?
Marty Piletti (Ernest Borgnine) is an Italian American butcher who lives in The Bronx with his mother (Esther Minciotti). Unmarried at 34, the good-natured but socially awkward Marty faces constant badgering from family and friends to settle down, pointing out that all his brothers and sisters are already married with children. Not averse to marriage but disheartened by his lack of prospects, Marty has reluctantly resigned himself to bachelorhood.
After being harassed by his mother into going to the Stardust Ballroom one Saturday night, Marty connects with Clara (Betsy Blair), a plain schoolteacher who is quietly weeping on the roof after being callously abandoned at the ballroom by her blind date. They spend the evening together dancing, walking the busy streets, and talking in a diner. Marty eagerly spills out his life story and ambitions, and they encourage each other. He brings Clara to his house, and they awkwardly express their mutual attraction, shortly before his mother returns. Marty takes her home by bus, promising to call her at 2:30 the next afternoon, after Mass. Overjoyed, he punches the bus stop sign and weaves between the cars, looking for a cab.
Meanwhile, his cranky, busybody widowed Aunt Catherine (Augusta Ciolli) moves in to live with Marty and his mother. She warns his mother that Marty will soon marry and cast her aside. Fearing that Marty's romance could spell her abandonment, his mother belittles Clara. Marty's friends, with an undercurrent of envy, deride Clara for her plainness and try to convince him to forget her and to remain with them, unmarried, in their fading youth. Harangued into submission by the pull of his friends, Marty doesn't call Clara.
That night, back in the same lonely rut, Marty realizes that he is giving up a woman whom he not only likes, but who makes him happy. Over the objections of his friends, he dashes to a phone booth to call Clara, who is disconsolately watching television with her parents. When his friend asks what he's doing, Marty bursts out saying:
You don't like her, my mother don't like her, she's a dog and I'm a fat, ugly man! Well, all I know is I had a good time last night! I'm gonna have a good time tonight! If we have enough good times together, I'm gonna get down on my knees and I'm gonna beg that girl to marry me! If we make a party on New Year's, I got a date for that party. You don't like her? That's too bad!
Marty closes the phone booth's door when Clara answers the phone. In the last line of the film, he tentatively says "Hello... Hello, Clara?".
Output: AT WHAT BALLROOM DO MARTY AND CLARA MEET?
Marty Piletti (Ernest Borgnine) is an Italian American butcher who lives in The Bronx with his mother (Esther Minciotti). Unmarried at 34, the good-natured but socially awkward Marty faces constant badgering from family and friends to settle down, pointing out that all his brothers and sisters are already married with children. Not averse to marriage but disheartened by his lack of prospects, Marty has reluctantly resigned himself to bachelorhood.
After being harassed by his mother into going to the Stardust Ballroom one Saturday night, Marty connects with Clara (Betsy Blair), a plain schoolteacher who is quietly weeping on the roof after being callously abandoned at the ballroom by her blind date. They spend the evening together dancing, walking the busy streets, and talking in a diner. Marty eagerly spills out his life story and ambitions, and they encourage each other. He brings Clara to his house, and they awkwardly express their mutual attraction, shortly before his mother returns. Marty takes her home by bus, promising to call her at 2:30 the next afternoon, after Mass. Overjoyed, he punches the bus stop sign and weaves between the cars, looking for a cab.
Meanwhile, his cranky, busybody widowed Aunt Catherine (Augusta Ciolli) moves in to live with Marty and his mother. She warns his mother that Marty will soon marry and cast her aside. Fearing that Marty's romance could spell her abandonment, his mother belittles Clara. Marty's friends, with an undercurrent of envy, deride Clara for her plainness and try to convince him to forget her and to remain with them, unmarried, in their fading youth. Harangued into submission by the pull of his friends, Marty doesn't call Clara.
That night, back in the same lonely rut, Marty realizes that he is giving up a woman whom he not only likes, but who makes him happy. Over the objections of his friends, he dashes to a phone booth to call Clara, who is disconsolately watching television with her parents. When his friend asks what he's doing, Marty bursts out saying:
You don't like her, my mother don't like her, she's a dog and I'm a fat, ugly man! Well, all I know is I had a good time last night! I'm gonna have a good time tonight! If we have enough good times together, I'm gonna get down on my knees and I'm gonna beg that girl to marry me! If we make a party on New Year's, I got a date for that party. You don't like her? That's too bad!
Marty closes the phone booth's door when Clara answers the phone. In the last line of the film, he tentatively says "Hello... Hello, Clara?".
Output: What does Aunt Catherine warns Marty's mother of?
In this essay, Kant proposed a peace program to be implemented by governments. The "Preliminary Articles" described these steps that should be taken immediately, or with all deliberate speed:
"No secret treaty of peace shall be held valid in which there is tacitly reserved matter for a future war"
"No independent states, large or small, shall come under the dominion of another state by inheritance, exchange, purchase, or donation"
"Standing armies shall in time be totally abolished"
"National debts shall not be contracted with a view to the external friction of states"
"No state shall by force interfere with the constitution or government of another state"
"No state shall, during war, permit such acts of hostility which would make mutual confidence in the subsequent peace impossible: such are the employment of assassins (percussores), poisoners (venefici), breach of capitulation, and incitement to treason (perduellio) in the opposing state"
Three Definitive Articles would provide not merely a cessation of hostilities, but a foundation on which to build a peace.
"The civil constitution of all states to be republican"
"The law of nations shall be founded on a federation of free states"
"The law of world citizenship shall be limited to conditions of universal hospitality"
Kant's essay in some ways resembles modern democratic peace theory. He speaks of republican, Republikanisch, (not democratic), states, which he defines to have representative governments, in which the legislature is separated from the executive. He does not discuss universal suffrage, which is vital to modern democracy and quite important to some modern theorists; later commentators dispute whether it is implied by his language. The essay does not treat republican governments as sufficient by themselves to produce peace: freedom of emigration (hospitality) and a league of nations are necessary to consciously enact his six-point program.
Kant claims that republics will be at peace not only with each other, but are more pacific than other forms of government in general.
Output: The law of nations should be founded on what?
In this essay, Kant proposed a peace program to be implemented by governments. The "Preliminary Articles" described these steps that should be taken immediately, or with all deliberate speed:
"No secret treaty of peace shall be held valid in which there is tacitly reserved matter for a future war"
"No independent states, large or small, shall come under the dominion of another state by inheritance, exchange, purchase, or donation"
"Standing armies shall in time be totally abolished"
"National debts shall not be contracted with a view to the external friction of states"
"No state shall by force interfere with the constitution or government of another state"
"No state shall, during war, permit such acts of hostility which would make mutual confidence in the subsequent peace impossible: such are the employment of assassins (percussores), poisoners (venefici), breach of capitulation, and incitement to treason (perduellio) in the opposing state"
Three Definitive Articles would provide not merely a cessation of hostilities, but a foundation on which to build a peace.
"The civil constitution of all states to be republican"
"The law of nations shall be founded on a federation of free states"
"The law of world citizenship shall be limited to conditions of universal hospitality"
Kant's essay in some ways resembles modern democratic peace theory. He speaks of republican, Republikanisch, (not democratic), states, which he defines to have representative governments, in which the legislature is separated from the executive. He does not discuss universal suffrage, which is vital to modern democracy and quite important to some modern theorists; later commentators dispute whether it is implied by his language. The essay does not treat republican governments as sufficient by themselves to produce peace: freedom of emigration (hospitality) and a league of nations are necessary to consciously enact his six-point program.
Kant claims that republics will be at peace not only with each other, but are more pacific than other forms of government in general.
Output: What is necessary for Kant's Peace Plan?
In this essay, Kant proposed a peace program to be implemented by governments. The "Preliminary Articles" described these steps that should be taken immediately, or with all deliberate speed:
"No secret treaty of peace shall be held valid in which there is tacitly reserved matter for a future war"
"No independent states, large or small, shall come under the dominion of another state by inheritance, exchange, purchase, or donation"
"Standing armies shall in time be totally abolished"
"National debts shall not be contracted with a view to the external friction of states"
"No state shall by force interfere with the constitution or government of another state"
"No state shall, during war, permit such acts of hostility which would make mutual confidence in the subsequent peace impossible: such are the employment of assassins (percussores), poisoners (venefici), breach of capitulation, and incitement to treason (perduellio) in the opposing state"
Three Definitive Articles would provide not merely a cessation of hostilities, but a foundation on which to build a peace.
"The civil constitution of all states to be republican"
"The law of nations shall be founded on a federation of free states"
"The law of world citizenship shall be limited to conditions of universal hospitality"
Kant's essay in some ways resembles modern democratic peace theory. He speaks of republican, Republikanisch, (not democratic), states, which he defines to have representative governments, in which the legislature is separated from the executive. He does not discuss universal suffrage, which is vital to modern democracy and quite important to some modern theorists; later commentators dispute whether it is implied by his language. The essay does not treat republican governments as sufficient by themselves to produce peace: freedom of emigration (hospitality) and a league of nations are necessary to consciously enact his six-point program.
Kant claims that republics will be at peace not only with each other, but are more pacific than other forms of government in general.
Output: What shall the law of world citizenship be limited to?
In this essay, Kant proposed a peace program to be implemented by governments. The "Preliminary Articles" described these steps that should be taken immediately, or with all deliberate speed:
"No secret treaty of peace shall be held valid in which there is tacitly reserved matter for a future war"
"No independent states, large or small, shall come under the dominion of another state by inheritance, exchange, purchase, or donation"
"Standing armies shall in time be totally abolished"
"National debts shall not be contracted with a view to the external friction of states"
"No state shall by force interfere with the constitution or government of another state"
"No state shall, during war, permit such acts of hostility which would make mutual confidence in the subsequent peace impossible: such are the employment of assassins (percussores), poisoners (venefici), breach of capitulation, and incitement to treason (perduellio) in the opposing state"
Three Definitive Articles would provide not merely a cessation of hostilities, but a foundation on which to build a peace.
"The civil constitution of all states to be republican"
"The law of nations shall be founded on a federation of free states"
"The law of world citizenship shall be limited to conditions of universal hospitality"
Kant's essay in some ways resembles modern democratic peace theory. He speaks of republican, Republikanisch, (not democratic), states, which he defines to have representative governments, in which the legislature is separated from the executive. He does not discuss universal suffrage, which is vital to modern democracy and quite important to some modern theorists; later commentators dispute whether it is implied by his language. The essay does not treat republican governments as sufficient by themselves to produce peace: freedom of emigration (hospitality) and a league of nations are necessary to consciously enact his six-point program.
Kant claims that republics will be at peace not only with each other, but are more pacific than other forms of government in general.
Output: What does Kant promise will happen with his proposal?
In this essay, Kant proposed a peace program to be implemented by governments. The "Preliminary Articles" described these steps that should be taken immediately, or with all deliberate speed:
"No secret treaty of peace shall be held valid in which there is tacitly reserved matter for a future war"
"No independent states, large or small, shall come under the dominion of another state by inheritance, exchange, purchase, or donation"
"Standing armies shall in time be totally abolished"
"National debts shall not be contracted with a view to the external friction of states"
"No state shall by force interfere with the constitution or government of another state"
"No state shall, during war, permit such acts of hostility which would make mutual confidence in the subsequent peace impossible: such are the employment of assassins (percussores), poisoners (venefici), breach of capitulation, and incitement to treason (perduellio) in the opposing state"
Three Definitive Articles would provide not merely a cessation of hostilities, but a foundation on which to build a peace.
"The civil constitution of all states to be republican"
"The law of nations shall be founded on a federation of free states"
"The law of world citizenship shall be limited to conditions of universal hospitality"
Kant's essay in some ways resembles modern democratic peace theory. He speaks of republican, Republikanisch, (not democratic), states, which he defines to have representative governments, in which the legislature is separated from the executive. He does not discuss universal suffrage, which is vital to modern democracy and quite important to some modern theorists; later commentators dispute whether it is implied by his language. The essay does not treat republican governments as sufficient by themselves to produce peace: freedom of emigration (hospitality) and a league of nations are necessary to consciously enact his six-point program.
Kant claims that republics will be at peace not only with each other, but are more pacific than other forms of government in general.
Output: What does Kant propose to government?
In this essay, Kant proposed a peace program to be implemented by governments. The "Preliminary Articles" described these steps that should be taken immediately, or with all deliberate speed:
"No secret treaty of peace shall be held valid in which there is tacitly reserved matter for a future war"
"No independent states, large or small, shall come under the dominion of another state by inheritance, exchange, purchase, or donation"
"Standing armies shall in time be totally abolished"
"National debts shall not be contracted with a view to the external friction of states"
"No state shall by force interfere with the constitution or government of another state"
"No state shall, during war, permit such acts of hostility which would make mutual confidence in the subsequent peace impossible: such are the employment of assassins (percussores), poisoners (venefici), breach of capitulation, and incitement to treason (perduellio) in the opposing state"
Three Definitive Articles would provide not merely a cessation of hostilities, but a foundation on which to build a peace.
"The civil constitution of all states to be republican"
"The law of nations shall be founded on a federation of free states"
"The law of world citizenship shall be limited to conditions of universal hospitality"
Kant's essay in some ways resembles modern democratic peace theory. He speaks of republican, Republikanisch, (not democratic), states, which he defines to have representative governments, in which the legislature is separated from the executive. He does not discuss universal suffrage, which is vital to modern democracy and quite important to some modern theorists; later commentators dispute whether it is implied by his language. The essay does not treat republican governments as sufficient by themselves to produce peace: freedom of emigration (hospitality) and a league of nations are necessary to consciously enact his six-point program.
Kant claims that republics will be at peace not only with each other, but are more pacific than other forms of government in general.
Output: How many main points does Kant have in his Preliminary Articles?
In this essay, Kant proposed a peace program to be implemented by governments. The "Preliminary Articles" described these steps that should be taken immediately, or with all deliberate speed:
"No secret treaty of peace shall be held valid in which there is tacitly reserved matter for a future war"
"No independent states, large or small, shall come under the dominion of another state by inheritance, exchange, purchase, or donation"
"Standing armies shall in time be totally abolished"
"National debts shall not be contracted with a view to the external friction of states"
"No state shall by force interfere with the constitution or government of another state"
"No state shall, during war, permit such acts of hostility which would make mutual confidence in the subsequent peace impossible: such are the employment of assassins (percussores), poisoners (venefici), breach of capitulation, and incitement to treason (perduellio) in the opposing state"
Three Definitive Articles would provide not merely a cessation of hostilities, but a foundation on which to build a peace.
"The civil constitution of all states to be republican"
"The law of nations shall be founded on a federation of free states"
"The law of world citizenship shall be limited to conditions of universal hospitality"
Kant's essay in some ways resembles modern democratic peace theory. He speaks of republican, Republikanisch, (not democratic), states, which he defines to have representative governments, in which the legislature is separated from the executive. He does not discuss universal suffrage, which is vital to modern democracy and quite important to some modern theorists; later commentators dispute whether it is implied by his language. The essay does not treat republican governments as sufficient by themselves to produce peace: freedom of emigration (hospitality) and a league of nations are necessary to consciously enact his six-point program.
Kant claims that republics will be at peace not only with each other, but are more pacific than other forms of government in general.
Output: In the definitive articles, what does it say the civil constitution of all states should be?