In this task, you will be presented with a text, a pronoun from the text, and two candidate names. You should determine what the pronoun refers to and classify the answers into A, B, or Neither. A and B here are referring to option A and option B. Position of the pronoun in the text is showed within two "_"s.

Input: Consider Input: Despenser's ruthless expansion of the de Clare lordship of Glamorgan in Wales led directly to the troubles of Edward II's later reign, including a rebellion in the Welsh Marches, the defeat of the Earl of Lancaster at the Battle of Boroughbridge, and eventually the deposition of the king by Roger Mortimer and Queen Isabella in 1326. Gilbert de Clare was the son of Gilbert de Clare, 7th Earl of Gloucester, -- known as Gilbert 'the Red' -- who in 1290 married Joan of Acre, daughter of Edward I. As a condition for the marriage, the earl had to surrender all _his_ lands to the king, only to have them returned jointly to himself and his wife for the lifetime of either. <sep>, Pronoun: his <sep>, A: Gilbert <sep>, B: Edward I.

Output: A

Input: Consider Input: Hurley refuses, and David ends up taking Sayid to Jack, who is successful in reviving him. At home, Hurley confesses to his mother Carmen that the Oceanic Six have been lying; she believes him, though doesn't understand his disjointed story. Later, Ben unexpectedly shows up at the house and tries to convince Hurley to go with _him_ to meet up with the rest of the Oceanic Six, saying they all want the same thing--to go back to the island. <sep>, Pronoun: him <sep>, A: Ben <sep>, B: Hurley

Output: A

Input: Consider Input: The spurned and vengeful woman of Bresson's Dames au Bois de Boulogne (1946), the young suitor avenging the murder (by her lover) of the woman he has loved from a distance in Lacombe's Martin Roumagnac (1946), youth's revenge on being cheated by the war in Autant-Lara's Le Diable au corps (1946), the harrying of a Jew to _his_ death in Duvivier's Panique (1946) and a number of Simenon and Steeman thriller adaptations rife with violence and revenge--all of these films attest to a need to project the immediate past on to a different set of narratives that are removed from the immediate arena of guilt (although Panique comes uncomfortably close). <sep>, Pronoun: his <sep>, A: Duvivier <sep>, B: Simenon
Output: Neither