Question: Where does the American armaments engineer look for the killer's gun? Answer the above question based on the context below: In an opening scene before the credits, an assassin, Banat, is seen preparing a gun while a gramophone skips as it plays. The story that follows is the narrative of a letter from Howard Graham, an American armaments engineer, to his wife Stephanie. While journeying to the Soviet port of Batumi to return to the United States to complete his business with the Turkish Navy, Graham and his wife stop in Istanbul and are met by Kopeikin, a Turkish employee of Graham's company, who under the pretense of discussing business, takes Graham to a nightclub to introduce him to dancer Josette Maretl and her partner Gogo. Banat tries unsuccessfully to kill Graham during a magic act, shooting the magician instead. Graham is brought to the headquarters of the Turkish secret police for questioning, where Colonel Haki blames the assassination attempt on German agents seeking to delay the re-arming of Turkish ships. The colonel shows Graham a photograph of Banat, who he says was hired by a Nazi agent named Muller. Haki then orders Graham to travel secretly to Batumi aboard a tramp steamer, while Haki personally oversees the safe overland transit of Stephanie. Graham's fellow passengers include Josette and Gogo; Kuvetli, an ingratiating Turkish tobacco salesman; Professor Haller, an apolitical German archeologist; and the henpecked Matthews and his French wife. Josette sees that Graham is frightened, and not knowing that he is married, tries to become close to him. At an interim port call, Graham is made aware of the arrival of a new passenger by the annoying clamor of a gramophone, while Haller warns him that Kuvetli is not who he claims to be. At dinner Graham recognizes Banat and tries to persuade the ship's captain and purser to put him ashore, but they believe that he is crazy. Graham turns to Josette for help and she has Gogo engage Banat in a poker game while Graham unsuccessfully searches Banat's cabin for the assassin's gun.
Answer: Banat's cabin
[Q]: What is the first name of the person that asks Father Goodard about a job? Answer the above question based on the context below: The film centres on schoolboy Benjamin Stanfield and his unpopular, bespectacled friend, Arthur Dyson, who wears a leg brace; their form master, Father Goddard, and a travelling motorcyclist named Blakey. The opening scenes feature Connolly's character, Blakey, arriving at the school on his motorbike. He asks Father Goddard whether there are any odd jobs he can do but Goddard tells him that there are none available and that he should try in the town.
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[A]: Blakey
input: Please answer the following: What was offered to the city of Reykjavik as a gift? Answer the above question based on the context below: The museum's founder Sigurur Hjartarson worked as a teacher and principal for 37 years, teaching history and Spanish at Reykjavik's Hamrahlid College for the last 26 years before his retirement. As a child, he owned a bull's pizzle, which was given to him to use as a cattle whip. He began collecting penises after a friend heard the story of the bull's penis in 1974 and gave him four new ones, three of which Sigurur gave to friends. Acquaintances at whaling stations began bringing him whale penises as well, and the collection grew from there, expanding through donations and acquisitions from various sources around Iceland.The organs of farm animals came from slaughterhouses, while fishermen supplied those of pinnipeds and the smaller whales. The penises of larger whales came from commercial whaling stations, although this source dried up after the International Whaling Commission implemented a global ban on commercial whaling in 1986. Sigurur was able to continue to collect whale penises by harvesting them from the 1216 whales that fall victim to stranding on the Icelandic coast each year. He also obtained the penis of a polar bear shot by fishermen who found the animal drifting on drift ice off the Westfjords.Sigurur was assisted by his family, though not without some occasional embarrassment. His daughter orgerur recalls that she was once sent to a slaughterhouse to collect a specimen but arrived just as the workers were taking a lunch break: "Someone asked, 'What's in the basket?' I had to say, 'I'm collecting a frozen goat penis.' After that I said, 'I will never collect for you again.'" According to Sigurur, "Collecting penises is like collecting anything. You can never stop, you can never catch up, you can always get a new one, a better one." The collection was at first housed in Sigurur's office at the college until he retired from his teaching job. He decided, more as a hobby than a job, to put it on public display in Reykjavik and was awarded a grant from the city council of ISK 200,000 to...
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output: the museum
input: Please answer the following: What is the last name of the person whose earliest work of note was a collaboration with Edith? Answer the above question based on the context below: Sir William Turner Walton, OM (29 March 1902 8 March 1983) was an English composer. During a sixty-year career, he wrote music in several classical genres and styles, from film scores to opera. His best-known works include Facade, the cantata Belshazzar's Feast, the Viola Concerto, the First Symphony, and the British coronation anthems Crown Imperial and Orb and Sceptre. Born in Oldham, Lancashire, the son of a musician, Walton was a chorister and then an undergraduate at Christ Church, Oxford. On leaving the university, he was taken up by the literary Sitwell siblings, who provided him with a home and a cultural education. His earliest work of note was a collaboration with Edith Sitwell, Facade, which at first brought him notoriety as a modernist, but later became a popular ballet score. In middle age, Walton left Britain and set up home with his young wife Susana on the Italian island of Ischia. By this time, he had ceased to be regarded as a modernist, and some of his compositions of the 1950s were criticised as old-fashioned. His only full-length opera, Troilus and Cressida, was among the works to be so labelled and has made little impact in opera houses. In his last years, his works came back into critical fashion; his later compositions, dismissed by critics at the time of their premieres, were revalued and regarded alongside his earlier works. Walton was a slow worker, painstakingly perfectionist, and his complete body of work across his long career is not large. His most popular compositions continue to be frequently performed in the 21st century, and by 2010 almost all his works had been released on CD.
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output:
Walton