In this task, you're expected to write answers to questions involving multiple references to the same entity. The answer to the question should be unambiguous and a phrase in the paragraph. Most questions can have only one correct answer.

Ex Input:
Passage: The White House is connected to The Barn (originally The Stables), a red-brick building built in 1926. The archway in the centre of the building was originally an open passageway. It now houses the reception area for the Training and Event Centre. The first floor of the building was used as training rooms for Cub Scout Leaders. The clock on the front of the building was a gift from a former Japanese Chief Scout, Count Sano, who was present at an early training course at Gilwell Park. The weather vane on the roof depicts Dick Turpin, who was rumoured to live on the site.
Close to the estate entrance, The Lodge was built in 1934 as the Camp Chief's (later succeeded by the Director of Programme and Development) home. The building is now used to accommodate Scout Association staff and host internal meetings.
The Gilwell Farm is the oldest building on the site still standing, dating from the 1600s. The building started as two separate cottages. In the grounds of the building is the last remaining well on site, known as Gil Well. The Farm was refurbished from its derelict site, opening in 2015 as the new offices and reception of Scout Adventures Gilwell Park . Close by, The Leopard Gates mark the original entrance to Gilwell Park, and were carved by Gilwlel master craftsman Don Potter in 1928.
The Lid, which originally consisted of a roof but no walls, was a wet weather shelter built in 1967. In 2009, the building was renovated and now consists of a large activity hall, two classrooms, staff space and a large store room added The activity hall houses all the indoor activities on-site, including an archery range and climbing walls. In front of The Lid, is the Tait McKenzie Statue, gifted by the Boy Scouts of America in 1966.
The Barnacle was built in 1950 as a First Aid centre, which quickly became a volunteer-run cottage hospital for visitors and the local community. It houses a 6-bed ward, isolation room, dental surgery, X-ray room and operating theatre. In the late 1980s the building became volunteer accommodation, until it was decommissioned in 2016 with the opening of the International Volunteer Lodge. The building now stands empty, awaiting an uncertain future.
The Pigsty, a small gardeners shed located on The Orchard, has been preserved as the first campsite at Gilwell Park. The first group of Rover Scouts who arrived to prepare the site when it was purchased in 1919 slept here when the weather proved too bad to pitch their tents.
Question: What building now houses the reception area for the Training and Event Centre?

Ex Output:
The Barn.

Ex Input:
Passage: Hotshot ensign Alan Drake, fresh from the flying academy at Pensacola, Florida, gets off to a bad start with the pilots of an elite squadron, nicknamed the "Hellcats", to which he has been posted in San Diego. Making a nearly disastrous landing attempt in heavy fog against orders and disqualifying the squadron during a competitive shooting exercise by colliding with the target drogue does not endear him to his fellow pilots. He also asks out a woman he has met, Lorna, not knowing that she is the squadron commander Billy Gary's (Walter Pidgeon) wife.
However, Drake is earnest and contrite. He mixes with the Hellcats at the Garys' large house, which the sociable couple have opened as an unofficial officers' club. His flying and his social errors are forgiven, and his fellow pilots accept him, nicknaming him "Pensacola".
Drake further proves himself when he helps Lieutenant Jerry Banning solve a problem in a blind-landing apparatus he is developing. Just after Commander Gary is sent out of town on assignment, Banning decides the apparatus is ready to test in fog but it fails and Banning is killed. Working with Banning's assistant, Drake soon identifies the problem, but no further testing is allowed until Commander Gary's return.
Banning had been a childhood friend of Lorna Gary, and is not her first friend to die. She sinks into a deep depression. She also knows that Gary will expect her to hide her feelings and carry on, something that is very much not in her nature. Drake, appreciating the help the Garys gave him when he arrived, visits her at her home, and convinces her she should not suffer alone. They go for walks, drives, and tennis; he amuses her with jokes. Finally, at a restaurant she reaches for his hand and in doing so realizes she is falling for him. She quickly breaks away, and says she cannot see him any more.
Question: What is the last name of the person that Lorna realizes that she can't see anymore?

Ex Output:
Drake.

Ex Input:
Passage: Given the standings of the two men, the painting was received in both social and political terms. A number of writers mentioned Bertin's eventful career, in tones that were, according to art historian Andrew Carrington Shelton, either "bitingly sarcastic [or] fawningly reverential". There were many satirical reproductions and pointed editorials in the following years. Aware of Bertin's support of the July Monarchy, writers at the La Gazette de France viewed the portrait as the epitome of the "opportunism and cynicism" of the new regime. Their anonymous critic excitedly wondered "what bitter irony it expresses, what hardened skepticism, sarcasm and ... pronounced cynicism".Several critics mentioned Bertin's hands. Twentieth-century art historian Albert Boime described them as "powerful, vulturine ... grasping his thighs in a gesture ... projecting ... enormous strength controlled". Some contemporary critics were not so kind. The photographer and critic Felix Tournachon was harshly critical, and disparaged what he saw as a "fantastical bundle of flesh ... under which, instead of bones and muscles, there can only be intestines this flatulent hand, the rumbling of which I can hear!" Bertin's hands made a different impression on the critic F. de Lagenevais, who remarked: "A mediocre artist would have modified them, he would have replaced those swollen joints with the cylindrical fingers of the first handy model; but by this single alteration he would have changed the expression of the whole personality ... the energetic and mighty nature".The work's realism attracted a large amount of commentary when it was first exhibited. Some saw it as an affront to Romanticism, others said that its small details not only showed an acute likeness, but built a psychological profile of the sitter. Art historian Geraldine Pelles sees Bertin as "at once intense, suspicious, and aggressive". She notes that there is a certain amount of projection of the artist's personality and recalls Theophile Silvestre's description of Ingres; "There he was squarely seated in an armchair, motionless as an Egyptian god carved of granite, his hands stretched wide over parallel knees, his torso stiff, his head haughty". Some compared it to Balthasar Denner, a German realist painter influenced by Jan van Eyck. Denner, in the words of Ingres scholar Robert Rosenblum, "specialised in recording every last line on the faces of aged men and women, and even reflections of windows in their eyes." The comparison was made by Ingres' admirers and detractors alike. In 1833, Louis de Maynard of the College-lycee Ampere, writing in the influential L'Europe litteraire, dismissed Denner as a weak painter concerned with hyperrealistic "curiosities", and said that both he and Ingres fell short of the "sublime productions of Ingres' self-proclaimed hero, Raphael."The following year Ingres sought to capitalise on the success of his Bertin portrait. He showed his ambitious history painting The Martyrdom of Saint Symphorian at the 1834 Salon, but it was harshly criticised; even Ingres' admirers offered only faint praise. Offended and frustrated, Ingres declared he would disown the Salon, abandon his residence in Paris for Rome, and relinquish all current positions, ending his role in public life. This petulance was not to last.Bertin bequeathed the portrait to his daughter Louise (18051877) on his death. She passed it to her niece Marie-Louise-Sophie Bertin (18361893) wife of Jules Bapst, a later director of the Journal des debats. They bequeathed it to their niece Cecile Bapst, its last private owner. In 1897 Cecile sold it to the Musee du Louvre for 80,000 francs.
Question: What was the first name of the person who passed a painting to their niece Marie-Louise-Sophie Bertin?

Ex Output:
Louise.