Rolfe put down the little dog he had been holding, and went out into the hall. The dog accompanied him, frisking about him in friendly fashion. Rolfe first examined the bedroom that he had seen Inspector Chippenfield enter. It was a small room, containing a double bed. It was prettily furnished in white, with white curtains, and toilet-table articles in ivory to match. A glance round the room convinced Rolfe that it was impossible for a man to secrete himself in it. The door of the wardrobe had been flung open by the inspector, and the dresses and other articles of feminine apparel it contained flung out on the floor. There was no other hiding-place possible, except beneath the bed, and the ruthless hand of the inspector had torn off the white muslin bed hangings, revealing emptiness underneath. Rolfe went out into the hall again, and entered the room next the bedroom. This apartment was apparently used as a dining-room, for it contained a large table, a few chairs, a small sideboard, a spirit-stand, a case of books and ornaments, and two small oak presses. Plainly, there was no place in it where a man could hide himself. The next room was the bathroom, which was also empty. Opposite the bathroom was a small bedroom, very barely furnished, offering no possibility of concealment. Then the passage opened into a large roomy kitchen, the full width of the rooms on both sides of the hall, and the kitchen completed the flat.

Question: "What type of room did Rolfe examine?"

Answer: "Dining room"

Response: yes

We do not know exactly how the hijackers gained access to the cockpit; FAA rules required that the doors remain closed and locked during flight. Ong speculated that they had "jammed their way" in. Perhaps the terrorists stabbed the flight attendants to get a cockpit key, to force one of them to open the cockpit door, or to lure the captain or first officer out of the cockpit. Or the flight attendants may just have been in their way. At the same time or shortly thereafter, Atta-the only terrorist on board trained to fly a jet-would have moved to the cockpit from his business-class seat, possibly accompanied by Omari. As this was happening, passenger Daniel Lewin, who was seated in the row just behind Atta and Omari, was stabbed by one of the hijackers-probably Satam al Suqami, who was seated directly behind Lewin. Lewin had served four years as an officer in the Israeli military. He may have made an attempt to stop the hijackers in front of him, not realizing that another was sitting behind him. The hijackers quickly gained control and sprayed Mace, pepper spray, or some other irritant in the first-class cabin, in order to force the passengers and flight attendants toward the rear of the plane. They claimed they had a bomb. About five minutes after the hijacking began, Betty Ong contacted the American Airlines Southeastern Reservations Office in Cary, North Carolina, via an AT&T airphone to report an emergency aboard the flight. This was the first of several occasions on 9/11 when flight attendants took action outside the scope of their training, which emphasized that in a hijacking, they were to communicate with the cockpit crew. The emergency call lasted approximately 25 minutes, as Ong calmly and professionally relayed information about events taking place aboard the airplane to authorities on the ground. At 8:19, Ong reported:"The cockpit is not answering, somebody's stabbed in business class-and I think there's Mace-that we can't breathe-I don't know, I think we're getting hijacked." She then told of the stabbings of the two flight attendants. At 8:21, one of the American employees receiving Ong's call in North Carolina, Nydia Gonzalez, alerted the American Airlines operations center in Fort Worth, Texas, reaching Craig Marquis, the manager on duty. Marquis soon realized this was an emergency and instructed the airline's dispatcher responsible for the flight to contact the cockpit. At 8:23, the dispatcher tried unsuccessfully to contact the aircraft.

Question: "Why might Lewin have been stabbed?"

Answer: "He tried to call 911"

Response: no

In India to purchase some horses , British aristocrat , Lord Esketh and his wife , Edwina , come to the town of Ranchipur at the invitation of the elderly Maharani . Their marriage is an unhappy one and Lord Esketh announces his intention to return to England and begin divorce proceedings . The spoiled , insensitive Edwina scoffs at this . She renews in Ranchipur an acquaintance with a former lover , Tom Ransome , now a dissolute alcoholic . She also meets and attempts to seduce a distinguished Hindu physician , Dr. Rama Safti , a decent man who is the elderly Maharani's personal choice to succeed her someday . Safti at first resists , but ultimately succumbs to Edwina's charms and falls hopelessly in love with her . Lord Esketh becomes aware of this , but Safti saves him from a man-eating tiger during a safari . Safti admits his love for Edwina to Lord Esketh , who is now sympathetic toward this good man's plight . Ransome feels the same way , warning Edwina to stay away from Safti , a friend he admires . Edwina similarly falls into disfavor with the Maharani , who explains that Safti has been raised to lead a pure life and that Edwina is unworthy of him . Ranchipur suddenly is ravaged by a natural disaster , an earthquake and flood . Dr. Safti is so busy saving lives that he can not personally care for Edwina , who has fallen ill . Ransome looks after her as well as for young Fern Simon , who has declared her love for him . When a dam is exploded by dynamite and as a result the flood waters recede , it is Dr. Safti who reveals that Ransome is the one who risked his personal safety to save the people of Ranchipur .

Question: "What does Lord Esketh's wife scoff at?"

Answer: "Tom Ransome being an alcoholic"

Response: no

Albrecht Durer (/'dU@r@r, 'djU@r@r/; German: ['albRect 'dy:Ra]; 21 May 1471 - 6 April 1528) was a painter, printmaker and theorist of the German Renaissance. Born in Nuremberg, Durer established his reputation and influence across Europe when he was still in his twenties, due to his high-quality woodcut prints. He was in communication with the major Italian artists of his time, including Raphael, Giovanni Bellini and Leonardo da Vinci, and from 1512 he was patronized by emperor Maximilian I. His vast body of work includes engravings, his preferred technique in his later prints, altarpieces, portraits and self-portraits, watercolours and books. The woodcuts, such as the Apocalypse series (1498), retain a more Gothic flavour than the rest of his work. His well-known engravings include the Knight, Death, and the Devil (1513), Saint Jerome in his Study (1514) and Melencolia I (1514), which has been the subject of extensive analysis and interpretation. His watercolours also mark him as one of the first European landscape artists, while his ambitious woodcuts revolutionized the potential of that medium. Durer's introduction of classical motifs into Northern art, through his knowledge of Italian artists and German humanists, has secured his reputation as one of the most important figures of the Northern Renaissance. This is reinforced by his theoretical treatises, which involve principles of mathematics, perspective and ideal proportions.

Question: "Durer secured his reputation in Northern Europe by the knowledge of what specific artists?"

Answer: "Leonardo da Vinci"

Response:
yes