[Q]: What is the nickname of the person Annie tells her nurse is dead? Answer the above question based on the context below: While travelling by train with his sidekick and assistant, "Goldie" Locke, for a vacation in San Francisco, Tom Lawrence, a.k.a. The Falcon, meets Annie Marshall, a lonely little girl. Annie tells them that she is being held prisoner by her nurse, Miss Carla Keyes, and butler Loomis. Annie's story is cut short when Miss Keyes comes for her. Shortly after, the little girl rushes back to Tom to tell him her nurse is dead. Tom and Goldie take charge of Annie but police are notified that the little girl was kidnapped. When the train arrives in San Francisco, the police are waiting for the Falcon. Released on $10,000 bail, posted by Doreen Temple, who promises Tom she will disclose the motive behind her generosity. At dinner that evening, Doreen brings along her bodyguard Rickey, posing as a police officer. When they leave, Rickey knocks Tom out and takes him to Doreen's apartment where she interrogates him about the murder, and to stay away from gangster Peter Vantine and the cargo ship, the S.S. Citadel. After Tom returns to his hotel to collect Goldie, they decide to pay a visit to Annie's house, where they meet her older sister Joan who denies that she knows Doreen or Vantine. Annie claims she made up the story about being held captive, but when Tom sneaks back to the house to talk to her, she says Loomis is holding her prisoner. She takes them to Carla's room where they find a photograph of a ship's officer, signed to his wife, Carla. Loomis hears someone rummaging around in the nurse's room, but is shot dead by an unknown assailant. Returning to their hotel, Tom is confronted by Vantine, who is brandishing a gun. When Tom disarms him, he learns Doreen was the romantic interest of an ex-bootlegger, Duke Monette, involved with a shipment aboard the S.S. Citadel.
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[A]: The Falcon

[Q]: What is the full name of the person Thomson possibly visited in Huntsville? Answer the above question based on the context below: In October, MacDonald introduced Thomson to Dr. James MacCallum. A frequent visitor to the Ontario Society of Artists' (OSA) exhibitions, MacCallum was admitted to the Arts and Letters Club in January 1912. There, he met artists such as John William Beatty, Arthur Heming, MacDonald and Harris. MacCallum eventually persuaded Thomson to leave Rous and Mann and start a painting career. In October 1913, MacCallum introduced Thomson to A. Y. Jackson, later a founder of the Group of Seven. MacCallum recognized Thomson's and Jackson's talents and offered to cover their expenses for one year if they committed themselves to painting full time. MacCallum and Jackson both encouraged Thomson to "take up painting seriously, [but] he showed no enthusiasm. The chances of earning a livelihood by it did not appear to him promising. He was sensitive and independent, and feared he might become an object of patronage." MacCallum wrote that when he first saw Thomson's sketches, he recognized their "truthfulness, their feeling and their sympathy with the grim fascinating northland ... they made me feel that the North had gripped Thomson as it had gripped me since I was eleven when I first sailed and paddled through its silent places." He described Thomson's paintings as "dark, muddy in colour, tight and not wanting in technical defects". After Thomson's death, MacCallum helped preserve and advocate for his work.Thomson accepted MacCallum's offer under the same terms offered to Jackson. He travelled around Ontario with his colleagues, especially to the wilderness of Ontario, which was to become a major source of inspiration. Regarding Algonquin Park, he wrote in a letter to MacCallum: "The best I can do does not do the place much justice in the way of beauty." He ventured to rural areas near Toronto and tried to capture the surrounding nature. He may have worked as a fire ranger on the Mattagami reserve. Addison and Little suggest that he guided fishing tours, although Hill finds this unlikely since Thomson had only spent a few...
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[A]: Winfred Trainor

[Q]: Where did the Beatles book open-ended sessions? Answer the above question based on the context below: Martin recalled that Sgt. Pepper "grew naturally out of Revolver", marking "an era of almost continuous technological experimentation". According to Geoff Emerick, the Beatles' recording engineer, the "major difference" between the two albums was that, with Sgt. Pepper, there was no absolute deadline for completion. Sessions began on 24 November 1966 in Studio Two at EMI Studios (subsequently Abbey Road Studios), marking the first time that the Beatles had come together since September. Afforded the luxury of a nearly limitless recording budget, the band booked open-ended sessions that started at 7 pm and allowed them to work as late as they wanted. They began with "Strawberry Fields Forever", followed by two other songs that were thematically linked to their childhoods: "When I'm Sixty-Four", the first session for which took place on 6 December, and "Penny Lane". "Strawberry Fields Forever" made prominent use of Mellotron, a keyboard instrument on which the keys triggered tape-recordings of a variety of instruments, enabling its user to play keyboard parts using those voices."Strawberry Fields Forever" and "Penny Lane" were subsequently released as a double A-side in February 1967 after EMI and Epstein pressured Martin for a single. When it failed to reach number one in the UK, British press agencies speculated that the group's run of success might have ended, with headlines such as "Beatles Fail to Reach the Top", "First Time in Four Years" and "Has the Bubble Burst?" In keeping with the band's approach to their previously issued singles, the songs were then excluded from Sgt. Pepper. Martin later described the decision to drop these two songs as "the biggest mistake of my professional life". In his judgment, "Strawberry Fields Forever", which he and the band spent an unprecedented 55 hours of studio time recording, "set the agenda for the whole album". He explained: "It was going to be a record ... [with songs that] couldn't be performed live: they were designed to be studio productions and that was the...
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[A]:
Studio Two at EMI Studios