[Q]: What's the full name of the person being shot at at the music hall theatre? Answer the above question based on the context below: At a London music hall theatre, Richard Hannay is watching a demonstration of the superlative powers of recall of "Mr. Memory" (Wylie Watson) when shots are fired. In the ensuing panic, Hannay finds himself holding a seemingly frightened Annabella Smith, who talks him into taking her back to his flat. There, she tells him that she is a spy, being chased by assassins, and that she has uncovered a plot to steal vital British military information, masterminded by a man with the top joint missing from one of his fingers. She mentions the "39 Steps", but does not explain its meaning. Later that night Smith, fatally stabbed, bursts into Hannay's bedroom and warns him to flee. He finds a map of the Scottish Highlands clutched in her hand, showing the area around Killin, with a house or farm named "Alt-na-Shellach" circled. He sneaks out of his flat disguised as a milkman to avoid the assassins waiting outside. He then boards the Flying Scotsman express train to Scotland. He learns from a newspaper article (read by a pair of women's undergarment salesmen) that he is the target of a nationwide manhunt for Smith's murder. When he sees the police searching the train, he enters a compartment and kisses the sole occupant, Pamela, in a desperate attempt to hide his face and escape detection. She frees herself from his unwanted embrace and alerts the policemen, who stop the train on the Forth Bridge. Hannay then escapes, hiding behind the bridge's truss.
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[A]: Annabella Smith
input: Please answer the following: What type of change was made to The World Is Not Enough in order to accommodate Shirley Mason? Answer the above question based on the context below: Two songwriters, Frank P. Fogerty and Nathan Crow, sued Eon, MGM, Universal Music and Universal Studios for copyright infringement over "The World Is Not Enough", alleging that it derived from their song "This Game We Play", which was submitted to MGM executives in February 1999 for consideration for the soundtrack of The Thomas Crown Affair. Their claim centered on a four-note sequence in "The World Is Not Enough" which they alleged was identical to part of "This Game We Play". When the songwriters were gathering evidence, one posed as an employee of composer James Horner to contact Don Black and solicit his services for Ocean's Eleven. They recorded their conversation with Black, trying to get him to disclose when he and Arnold composed "The World Is Not Enough", and contacted Shirley Manson in a similar manner.The case was argued in the United States District Court for the Middle District of Tennessee in June 2004. The court rejected the plaintiffs' claim, concluding that Arnold independently composed "The World Is Not Enough" and it did not share a passage with "This Game We Play". The plaintiffs conceded that Arnold did not have access to "This Game We Play" after journal entries, delivery invoices, telephone and computer records, written declarations from Michael G. Wilson and Barbara Broccoli and testimony from David Arnold, Don Black, Shirley Manson and Arnold's personal assistant provided "irrefutable evidence" that "The World Is Not Enough" had already been written and was not changed significantlyother than a lyrical alteration (the removal of one line to accommodate Shirley Manson) and an amendment to the score (the removal of the "three-note motif" to accommodate the MGM executives)from the date that "This Game We Play" was submitted to MGM.
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output: the removal of one line
Problem: What is the last name of the artist that helped bring the man who changed his name to Bob Dylan to prominence by recording her own version of some of his songs? Answer the above question based on the context below: Dylan made two important career moves in August 1962: he legally changed his name to Bob Dylan, and he signed a management contract with Albert Grossman. (In June 1961, Dylan had signed an agreement with Roy Silver. In 1962, Grossman paid Silver $10,000 to become sole manager.) Grossman remained Dylan's manager until 1970, and was notable for his sometimes confrontational personality and for protective loyalty. Dylan said, "He was kind of like a Colonel Tom Parker figure ... you could smell him coming." Tension between Grossman and John Hammond led to Hammond suggesting that Dylan work with the young African-American jazz producer, Tom Wilson, who produced several tracks for the second album without formal credit. Wilson went on to produce the next three albums Dylan recorded.Dylan made his first trip to the United Kingdom from December 1962 to January 1963. He had been invited by TV director Philip Saville to appear in a drama, Madhouse on Castle Street, which Saville was directing for BBC Television. At the end of the play, Dylan performed "Blowin' in the Wind", one of its first public performances. The film recording of Madhouse on Castle Street was destroyed by the BBC in 1968. While in London, Dylan performed at London folk clubs, including the Troubadour, Les Cousins, and Bunjies. He also learned material from UK performers, including Martin Carthy.By the time of Dylan's second album, The Freewheelin' Bob Dylan, in May 1963, he had begun to make his name as a singer-songwriter. Many songs on this album were labeled protest songs, inspired partly by Guthrie and influenced by Pete Seeger's passion for topical songs. "Oxford Town", for example, was an account of James Meredith's ordeal as the first black student to risk enrollment at the University of Mississippi.The first song on the Freewheelin' album, "Blowin' in the Wind", partly derived its melody from the traditional slave song, "No More Auction Block", while its lyrics questioned the social and political status quo. The song was widely recorded by...

A:
Baez