Input: Sam Farragut is a sociopathic business executive in Southern California who forces a team of advertising agency employees to embark on a dangerous dirtbike trip to the Baja California desert in order to compete for his business . The men are Warren Summerfield , a suicidal middle-aged ad executive who has been fired from the agency ; the straightlaced Paul McIlvain who is inattentive to his wife , and brash art designer Maxon who feels suddenly trapped after his girlfriend announces she is pregnant . There are numerous long sequences of motorcycle riding on desert backroads . Summerfield has been having an affair with McIlvian's wife . He has not told his wife that he was fired and is simply serving out his tenure at the agency while looking for a new position . His wife is actually aware of the affair . Farragut convinces the ad men to make the motorcycle journey on the pretext of looking for a location to shoot a commercial . In reality , Farragut is reckless and looking to involve the men in spontaneous edgy adventure of his own manipulation . After they leave , McIlvain's wife suspects that Summerfield is planning to kill himself for the insurance money , but she can not convince Summerfield's wife to instigate a search . The four men travel deeper into Mexico on isolated dirt roads . At one point Summerfield contemplates plunging off a cliff . After being humiliated by a young American couple in a Baja bar , Farragut tracks them down on the beach while accompanied by Maxon .

Does the response "The young American couple" correctly answer the question "Whose wife is having an affair with Summerfield?"?
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Output: no

Input: A married couple and their three young adult children , a son and two daughters , live in a large compound with a garden and a swimming pool . A tall fence surrounds the property and the children have never been on the other side of it , for their parents have kept them unaware of the outside world , even of the existence of the telephone . They are taught different meanings for everyday words . For example , they are told that a '' zombie '' is '' a small yellow flower , '' and that '' sea '' is a chair . The parents promise that each child will be ready to venture outside the compound once she or he has lost a dogtooth . Although the children are told they have a brother just on the other side of the barrier , he never appears . The only non-family member to come into the house is Christina , a young woman who works as a security guard at the father's factory . She is driven by the father to the compound traveling both ways blindfolded where she performs sexual favors for the son . Dissatisfied with his preference for intercourse , Christina seeks oral sex from the elder daughter in exchange for a headband. The elder daughter obliges but does not recognize the significance of performing cunnilingus . Later , she gives the headband to her younger sister , in exchange for being licked on the shoulder , Which is marked by an unexplained scar . The parents have tricked the children into believing that overhead planes are merely toys . They allow the children to search for toy planes that they have planted on the grounds , and the child that finds the toy owns it .

Does the response "The elder daughter" correctly answer the question "Who owns the headband at the end of the story?"?
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Output: no

Input: "Femme" is an apt description of the depiction of Madame White Snake and all her incarnations. It refers to a woman who is dangerously attractive, and lures men to their downfall with her sexual attractiveness. In both incarnations of Madame White snake, the authors depict her as bewitchingly beautiful. Toyoo, her human lover in "Lust of the White Serpant" cannot shake the image of her beauty from his mind and dreams of her, and finds himself "disturbed and agitated" by her "ethereal beauty". In "Eternal Prisoner," Madame White Snake's bewitching beauty follows her lover Hsu into his dreams, and the next morning "he was so distracted that he could not concentrate on doing business." Both of these stories align negative connotations with her beauty, suggesting that her sexuality is the cause of their distraction. In addition to distracting sexuality, the irregular characterization of Madame White Snake might be another trait her character has in common with the archetypical noir femme fatale. In her essay analyzing the noir film from a feminist perspective, Christine Gledhill writes "Not only is the hero frequently not sure whether the woman is honest or a deceiver, but the heroine's characterisation is itself fractured so that it is not evident to the audience whether she fills the [femme fatale] stereotype or not".

Does the response "Imprisoned, excited, scared" correctly answer the question "Name three effect Madame white snack beauty has on her lovers?"?
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Output: no

Input: I had drunk too much, I confess, though we all had. Somehow, Tasha and I began to argue the worth of Solevgrad jazz, as inconsequential a topic as I can imagine. She had studied it in school, so she thought herself as an expert. I once had a neighbor who played it constantly, loudly, and badly, so I thought I knew it better. Malaquez tried to mediate, but I saw him as siding with Tasha. So, I think, did she. The subject shifted from music to Tasha's obsession with fame, undoubtedly by a leap that I made. She had no choice but to follow. (I do not remember any of this well, just now, nor do I care to. Those who are truly curious may look at the last act of "Captured Moments.") I remember suggesting, with characteristic tact, that she add Emil to her small list of major accomplishments. Malaquez glanced away, embarrassed. Tasha looked at me as if to say, "I will." She said, "I feel sorry for you, Nardo. I'll see Emil home." "Yes," I said, "Do that," and did not care what she did, or why. Emil asked, "You're all right?" I muttered something he must have interpreted as assent. They both walked up to Emil's home while I watched the scarlet moonlight ripple on distant waves. Disgusted with Tasha but more disgusted with myself, I finally realized she would not return that night and went into The Sleeping Flamingo to drink myself to sleep. She had not come home when I woke in mid-morning.

Does the response "Malaquez" correctly answer the question "According to Nardo, who did Tasha feel took her side of the argument?"?
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Output:
yes