Input: Tom plays pool in a deserted pool hall , pocketing two balls by lowdown means and then wakes Jerry up by shooting the 10-ball into the pocket where he is sleeping . Jerry awakes just in time to avoid the 10-ball and is carried out to the ball return , where the 10 and the 13 smash the mouse between each other . Jerry is mad and walks up through the pocket , first sees nothing , but after a few steps back to the pocket , he spots Tom perched behind it . Jerry tries to jump into another corner pocket , but Tom aims a cue ball with so much force that it roll's into the pocket , and spins back out of it and it rolls Jerry backwards to Tom , who has made a ramp with his cue stick for the mouse to slide up . Jerry stops at the top of the stick and is then blown down by Tom , who then shoots a stream of balls to make the mouse flat . The whole train rebounds back towards the cat and the balls stack up at Tom's end of the table . Tom shoots all the balls in succession with his cue , and then tries to shoot Jerry , but the mouse hangs onto the cue tip . The cat , as if he were saying '' Have it your way '' , chalks up and shoots the 8-ball using Jerry . The mouse drops off the cue tip and then is upended by the 8-ball rolling in circles , and Tom forces Jerry to jump through the ball rack as if he were a circus performer . Tom then sets it on fire to add an additional level of torment , and when Jerry accomplishes this with poise , Tom discards the flaming rack and shoots the 8-ball across the table and back .
"How did Jerry get to the top of the pool stick?" is "Tom made a ramp with the pool stick"?

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Output: yes
Input: Madame White Snake: East Asian Femme Fatale of Old The Chinese legend of Madame White Snake, the snake demon that takes human form and becomes the wife of a man, has exerted a lasting influence over East Asian folktales and fiction for centuries. Two quintessential novellas, "The Lust of the White Serpant" from Ugetsu Monogatari by the Japanese author Ueda Akinari and "Eternal Prisoner under Thunder Peak Pagoda" a traditional Chinese story, are both relatively complex and demonstrate not only the evolution of the White Snake figure to become a more believable human, but also what aspects may have given her enduring appeal. While both these stories are ostensibly morality tales about the dangerous beauty of this femme fatale, the true source of pleasure from these narratives is the femme fatale's transgressive behavior, not her eventual punishment for it. Early tales of Madame White Snake appeared in China as early as the Song Dynasty, and initially her portrayal was fairly direct, as a villainous demon who drains the life force out of her human husband. But over time, characterizations of her became more complex, and the persona of Madame White Snake became more sympathetic, and perhaps even a model of the ideal Confucian wife, particularly in "Pagoda". Whalen Lai notes, "She was a loving wife, a caring mother, rescuer of her family from the first flood, and, at that point, a general benefactor of man. She took on the virtues of a traditional Chinese female, particularly forbearance". But if she were really an ideal wife, why could she not live happily with her human mate? Her dangerous sexuality is the key. Femme fatale might seem an unusual term to apply to a character from pre-modern Chinese and Japanese literature who may exemplify the virtues of an ideal Confucian wife, since it is primarily associated with film characters, particularly those of the film noir genre. But this term, which is relatively speaking, a neologism (The earliest uses were around the beginning of the 20th century
"Who took on the virtues of a traditional Chinese female over time in Asia?" is "Traditional Chinese female"?

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Output: yes
Input: The hijackers attacked at 9:28. While traveling 35,000 feet above eastern Ohio, United 93 suddenly dropped 700 feet. Eleven seconds into the descent, the FAA's air traffic control center in Cleveland received the first of two radio transmissions from the aircraft. During the first broadcast, the captain or first officer could be heard declaring "Mayday" amid the sounds of a physical struggle in the cockpit. The second radio transmission, 35 seconds later, indicated that the fight was continuing. The captain or first officer could be heard shouting:" Hey get out of here-get out of here-get out of here." On the morning of 9/11, there were only 37 passengers on United 93-33 in addition to the 4 hijackers. This was below the norm for Tuesday mornings during the summer of 2001. But there is no evidence that the hijackers manipulated passenger levels or purchased additional seats to facilitate their operation. The terrorists who hijacked three other commercial flights on 9/11 operated in five-man teams. They initiated their cockpit takeover within 30 minutes of takeoff. On Flight 93, however, the takeover took place 46 minutes after takeoff and there were only four hijackers. The operative likely intended to round out the team for this flight, Mohamed al Kahtani, had been refused entry by a suspicious immigration inspector at Florida's Orlando International Airport in August. Because several passengers on United 93 described three hijackers on the plane, not four, some have wondered whether one of the hijackers had been able to use the cockpit jump seat from the outset of the flight. FAA rules allow use of this seat by documented and approved individuals, usually air carrier or FAA personnel. We have found no evidence indicating that one of the hijackers, or anyone else, sat there on this flight. All the hijackers had assigned seats in first class, and they seem to have used them. We believe it is more likely that Jarrah, the crucial pilot-trained member of their team, remained seated and inconspicuous until after the cockpit was seized; and once inside, he would not have been visible to the passengers.
"Which two factors were different between the three other hijacked planes and United 93?" is "United 93 took longer and had less hijackers"?

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Output:
yes