Problem: Who owns the bar where the men were killed?  Answer the above question based on the context below:  The film opens with Tom joining Lou and Mitchell at Lou's bar for their weekly poker games when a man enters and asks to be served. Upon being told the bar is closed the man refuses to leave. When Mitchell approaches, the man threatens Mitchell calling him by name. The man then gets up and angrily leaves only to return and violently shoot Lou, Mitchell, and Tom. The next morning Sam wakes up after dreaming about his former days as a bull rider. He starts his morning at the motel by reading about the shootings in the paper and then responding to a disturbance in room 128. Sam politely and shyly asks the tenant to quiet down, only to have the door shut in his face. Later that day, Tom's wife, Bernadette, goes on the porch during a gathering for her deceased husband and asks Sam if she can come by to no avail. Sam has trouble lifting his right arm and walks with a limp due to injuries suffered from bull riding. Bernadette, ignoring Sam's earlier wish, wakes Sam in the middle of the night for sex to which he obliges. They discuss whether Tom is in heaven or hell and Sam seems regretful of his relationship with Bernadette. Upon leaving the next morning, Bernadette picks up the picture Sam laid down. The photo is of a woman and a young girl.

A: Lou
Problem: Given the question: Who is informed that his parents are not his biological parents?  Answer the above question based on the context below:  Doug is a flight instructor and owner of a pilot school. He, his wife Abby and their two daughters, Lindsay and Amanda face serious financial problems, as they are near financial ruin, and need $300,000 to expand the pilot school.  Doug has to work hard and has hardly any time for his family, even arriving at home late on Christmas Eve. During the meal Doug receives a phone call from a lawyer who informs him that his parents are not his biological parents, but that he was adopted by an open adoption by them. The lawyer asks him to come to a meeting, where problems concerning his biological father are to be discussed. The lawyer introduces him to his half sister, Delilah, who was disowned from their father. Her only interest is to have her father judged unfit in order to sell his property. The lawyer asks whether they want to look after the property and their father. If they would, they would also take responsibility of him. Doug decides to do so without asking Abby.
++++++++++++++++++++++++++++++++
The answer is:
Doug
input question: What is the name of the person who was married to Claire Delbos?  Answer the above question based on the context below:  In the autumn of 1927, Messiaen joined Dupré's organ course. Dupré later wrote that Messiaen, having never seen an organ console, sat quietly for an hour while Dupré explained and demonstrated the instrument, and then came back a week later to play Johann Sebastian Bach's Fantasia in C minor to an impressive standard. From 1929, Messiaen regularly deputised at the Église de la Sainte-Trinité, Paris, for the organist Charles Quef, who was ill at the time. The post became vacant in 1931 when Quef died, and Dupré, Charles Tournemire and Widor among others supported Messiaen's candidacy. His formal application included a letter of recommendation from Widor. The appointment was confirmed in 1931, and he remained the organist at the church for more than sixty years. He also assumed a post at the Schola Cantorum de Paris in the early 1930s. In 1932, he composed the Apparition de l'église éternelle for organ. He married the violinist and composer Claire Delbos also in 1932. Their marriage inspired him to both compose works for her to play (Thème et variations for violin and piano in the year they were married) and to write pieces to celebrate their domestic happiness, including the song cycle Poèmes pour Mi in 1936, which he orchestrated in 1937. Mi was Messiaen's affectionate nickname for his wife. In 1937 their son Pascal was born. The marriage turned to tragedy when Delbos lost her memory after an operation towards the end of World War II. She spent the rest of her life in mental institutions.In 1936, along with André Jolivet, Daniel-Lesur and Yves Baudrier, Messiaen formed the group La jeune France ("Young France"). Their manifesto implicitly attacked the frivolity predominant in contemporary Parisian music and rejected Jean Cocteau's 1918 Le coq et l'arlequin in favour of a "living music, having the impetus of sincerity, generosity and artistic conscientiousness". Messiaen's career soon departed from this polemical phase.???
output answer: Messiaen
[Q]: What are the specific titles of the two separate works with identical names that were the first of many musical representations of the Orpheus myth as recounted in Ovid's Metamorphoses?  Answer the above question based on the context below:  Claudio Monteverdi, born in Cremona in 1567, was a musical prodigy who studied under Marc'Antonio Ingegneri, the  maestro di cappella (head of music) at Cremona Cathedral. After training in singing, strings playing and composition, Monteverdi worked as a musician in Verona and Milan until, in 1590 or 1591, he secured a post as suonatore di vivuola (viola player) at Duke Vincenzo Gonzaga's court at Mantua. Through ability and hard work Monteverdi rose to become Gonzaga's maestro della musica (master of music) in 1601.Vincenzo Gonzaga's particular passion for musical theatre and spectacle grew from his family connections with the court of Florence. Towards the end of the 16th century innovative Florentine musicians were developing the intermedio—a long-established form of musical interlude inserted between the acts of spoken dramas—into increasingly elaborate forms. Led by Jacopo Corsi, these successors to the renowned Camerata were responsible for the first work generally recognised as belonging to the genre of opera: Dafne, composed by Corsi and Jacopo Peri and performed in Florence in 1598. This work combined elements of madrigal singing and monody with dancing and instrumental passages to form a dramatic whole. Only fragments of its music still exist, but several other Florentine works of the same period—Rappresentatione di Anima, et di Corpo by Emilio de' Cavalieri, Peri's Euridice and Giulio Caccini's identically titled Euridice—survive complete. These last two works were the first of many musical representations of the Orpheus myth as recounted in Ovid's Metamorphoses, and as such were direct precursors of Monteverdi's L'Orfeo.The Gonzaga court had a long history of promoting dramatic entertainment. A century before Duke Vincenzo's time the court had staged Angelo Poliziano's lyrical drama La favola di Orfeo, at least half of which was sung rather than spoken. More recently, in 1598 Monteverdi had helped the court's musical establishment produce Giovanni Battista Guarini's play Il pastor fido, described...
****
[A]:
Euridice