Problem: Read the following paragraph and extract the answer for the question: What is the full name of the person Adell helped off the horse? In 1878 a hardened American gunfighter arrives in a small town in the foothills of the Canadian Rockies, a place that doesn't understand or appreciate the brutal code of the American Wild West. Gunslinger Sean Lafferty, known as the Montana Kid, has a bounty on his head for killing eleven people across the western United States. He arrives in town on his horse, riding backwards, bound, with a noose around his neck, and dragging the broken tree branch over which a group had tried to hang him on the American side of the border. After being helped off his horse by a young Chinese girl named Adell, he begins to explore the town, starting with the town general store. After leaving the store, he finds his horse gone and accuses Jack, the blacksmith, of stealing it, even though Jack was simply replacing the horse's damaged shoes. After unsuccessfully trying to intimidate the blacksmith, the Montana Kid decides to call him out. Since the blacksmith has no gun, though, Sean can't shoot him because the Kid lives by a code of ethics that prevents him from killing unarmed men. When she witnesses this, Jane Taylor, one of the townsfolk, says the Kid can have her broken gun (to fix and give to Jack) if he builds her a windmill. Sean proceeds to go with her and stays in a sod house at her farm, alternately working on the windmill and repairing the gun. After a few days, however, the Kid begins to develop feelings toward Jane while also becoming friends with the townsfolk. In the meantime, a roaming band of American bounty hunters crosses into Canada and heads for the town to claim the price on Sean's head. They terrorize a camp of Chinese railroad workers to find out his whereabouts.

A: Sean Lafferty
Problem: Given the question: Read the following paragraph and extract the answer for the question: What people usually have a library and museum as their largest commemorative memorials? Funerary art tends to be conservative in style, and many grave markers in various cultures follow rather traditional patterns, while others reflect modernism or other recent styles. Public monuments representing collective memorials to particular groups of dead people continue to be erected, especially war memorials, and in the Western world have now replaced individual or family memorials as the dominant types of very large memorials; Western political leaders now usually receive simple graves. Some large memorials are fairly traditional, while those reflecting more contemporary styles include the Vietnam Veterans Memorial, and several Holocaust memorials, such as Yad Vashem in Jerusalem, the Vel d'Hiv Memorial in Paris (1994), the Memorial to the Murdered Jews of Europe in Berlin (2004), and the Judenplatz Holocaust Memorial in Vienna (2000). These are in notable contrast to the style of most war memorials to the military of World War II; earlier modernist memorials to the dead of World War I were sometimes removed after a time as inappropriate. Some war memorials, especially in countries like Germany, have had a turbulent political history, for example the much-rededicated Neue Wache in Berlin and the Yasukuni Shrine in Tokyo, which is internationally controversial.Several critics detect a crisis in public memorial style from 1945, when the traditional figurative symbolic language, and evocation of nationalist values, came to seem inadequate, especially in relation to genocide, at least on the Western side of the Iron Curtain. In the Communist East the established style of Socialist Realism was still considered appropriate, at least by the authorities. The generation of abstracted and conceptual war and Holocaust memorials erected in the West from the 1990s onwards seems finally to have found a resolution for these issues.Many large mausoleums have been constructed for political leaders, including Lenin's Mausoleum and those for Ataturk, Jinnah, Kim Il-Sung, Che Guevara and several Presidential...
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The answer is:
presidents
input question: Read the following paragraph and extract the answer for the question: Who finds an urn in Paul's apartment? Larry Lipton and his wife Carol meet their older neighbors Paul and Lillian House in the elevator in a pleasant encounter. But the next night, Lillian is found to have died of a heart attack. The Liptons are surprised by the death because Lillian seemed so healthy. The Liptons are also surprised by Paul's cheerfulness so soon after his wife's death. Carol becomes suspicious and starts to investigate, even inventing an excuse to visit him. An urn she finds in Paul's apartment contradicts Paul's story that Lillian had been buried. Larry becomes frustrated with Carol, telling her she's "inventing a mystery". Carol sneaks into Paul's apartment while he's away and finds more telling signs. Lillian's urn is missing, there are two tickets to Paris and hotel reservations with a woman named Helen Moss. Carol calls Ted, a close friend who agrees with Carol's suspicions and urges her to keep snooping. When Paul returns unexpectedly, Carol hides under the bed and overhears Paul's conversation with a woman whom she suspects is Helen Moss. Later, Ted tracks down where Helen Moss lives, and with Carol and Larry, they follow her to a theater owned by Paul. They discover that Helen is a young actress. The three eavesdrop on Paul and Helen talking about money. A few days later, Carol spots a woman who's a dead ringer for the supposedly dead Lillian House on a passing bus. Upon Larry's suggestion that Lillian has a twin, Ted investigates but finds Lillian has none. Larry and Carol trace this mystery "Lillian" to a hotel and, under the pretense of delivering a personal gift, they enter her hotel room, but find her lying dead on the bedroom floor. They call the police, who subsequently find no trace of the dead body.???
output answer: Carol
[Q]: Read the following paragraph and extract the answer for the question: What is the last name of the person who abandoned the Crucifixion theme? As an artist, Francis Bacon was a late starter. He painted sporadically and without commitment during the late 1920s and early 1930s, when he worked as an interior decorator and designer of furniture and rugs. He later admitted that his career was delayed because he had spent so long looking for a subject that would sustain his interest. He began to paint images based on the Crucifixion in 1933, when his then-patron Eric Hall commissioned a series of three paintings based on the subject. These abstract figurations contain formal elements typical of their time, including diaphanous forms, flat backgrounds, and surrealist props such as flowers and umbrellas. The art critic Wieland Schmied noted that while the early works are "aesthetically pleasing", they lack "a sense of urgency or inner necessity; they are beautiful, but lifeless". The sentiment is echoed by Hugh Davies, who wrote that Bacon's 1933 paintings "suggest an artist concentrating more on formal than on expressive concerns". Bacon admitted that his early works were not successful; they were merely decorative and lacking in substance. He was often harshly self-critical during this period, and would abandon or destroy canvasses before they were completed. He abandoned the Crucifixion theme, then largely withdrew from painting in frustration, instead immersing himself in love affairs, drinking and gambling.When he returned to the topic of the Crucifixion eleven years later, he retained some of the stylistic elements he had developed earlier, such as the elongated and dislocated organic forms that he now based on Oresteia. He continued to incorporate the spatial device he was to use many times throughout his careerthree lines radiating from this central figure, which was first seen in Crucifixion, 1933. Three Studies was painted over the course of two weeks in 1944, when, Bacon recalled, "I was in a bad mood of drinking, and I did it under tremendous hangovers and drink; I sometimes hardly knew what I was doing. I think perhaps the drink helped me to...
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[A]:
Bacon