input question: Given the following context:  The final large reception room on the first floor is the Hondecoeter Room (16), so named because of the three huge oil paintings by Melchior d'Hondecoeter (1636–1695), depicting scenes of birds in courtyards, which are fitted into the neo-Carolean panelling. The panelling was introduced to the room by the 3rd Earl Brownlow in 1876, when it was furnished as the principal dining room of the mansion. The room was initially created as a library in 1808 from the upper part of the earlier kitchen which had originally risen two stories. The West staircase (14) was originally a service stairs, and would have been plainer in decor, but by the late nineteenth century it was in regular use by the family.Either side of the Marble Hall, lie the Great Staircase (2) and the Tapestry Room (11), which contains a collection of early eighteenth century Mortlake tapestries. The Great Staircase to the east of the Marble Hall is unusually placed at Belton, as in a house of this period one would expect to find the staircase in the hall. The stairs rise in three flights around the west, north, and east walls to the former Great Dining Room above the Marble Hall. Thus the staircase served as an important state procession link between the three principal reception rooms of the house. The Great Dining Room, now the Library, has been greatly altered and all traces of Carolean decoration removed, first by James Wyatt in 1778 when it was transformed into a drawing room with a vaulted ceiling, and again in 1876, when its use was again changed, this time to a library. The room contains some 6000 volumes, a superb example of book collecting over 350 years. When Lord Tyrconnel died in 1754 a catalogue of his library identified almost 2,300 books. Almost all of these remain in the Belton library today. Rupert Gunnis attributed the carved marble chimneypiece depicting two Roman goddesses to Sir Richard Westmacott.Leading from the Library is the Queen's Room, the former "Best Bed Chamber". This panelled room was redecorated in 1841 for the visit...  answer the following question:  What is the first name of the man who had a bedroom on the second floor named after him when he became a Duke????
output answer: Edward

input question: Given the following context:  Young Eve Lorraine is an exotic dancer at the Club Cezanne in New York who is arrested for indecency while performing Salome's dance one night, when her manager Dan "Mac" McGrath is trying to make a greater impression and get her some publicity. In court Eve meets a bail-bondsman, Gus Hoffman, who bails her out of jail. They talk to about Eve's background, where she mentions that her parents died when a theater collapsed somewhere twenty-three years ago, which makes Gus suspect that she is the rightful heir of the J.P. Sardam hair tonic empire and estate. There is a $1,000 reward for the one who finds the missing daughter of the Sardam spouses, who died during a Colorado theater collapse, which matches Eve's age and story. Hoffman talks to the lawyer handling the inheritance and reward, Thomas W. Campbell, and he assures him that he indeed has found the missing child. The lawyer tells Hoffman that Eve will inherit millions of dollars. Hoffman brings the great news back to Eve, but her agent Mac warns her to trust Hoffman. Eve is overjoyed by the news, and goes off to the Sardam estate to meet her relatives. She is presented to uncle Horace, his wife Lavinia and their daughter Millicent. When they hear that she has been an exotic dancer and even been arrested especially Aunt Lavinia treat her like something the cat dragged in. But before the upset Eve can leave the mansion, she happens upon her great aunt visiting from Wyoming, Sarah Birch, who turns her mind around. Sarah finds the colorful Eve interesting enough to accept an invitation to the Club Cezanne in New York.  answer the following question:  What is the full name of the character who a bail-bondman suspects is the rightful heir of the J.P. Sardam empire and estate????
output answer: Eve Lorraine

input question: Given the following context:  French General Birabeau has been sent to Morocco to root out and destroy the Riffs, a band of Arab rebels, who threaten the safety of the French outpost in the Moroccan desert.  Their dashing, daredevil leader is the mysterious "Red Shadow".  Margot Bonvalet, a lovely, sassy French girl, is soon to be married at the fort to Birabeau's right-hand man, Captain Fontaine.  Birabeau's son Pierre, in reality the Red Shadow, loves Margot, but pretends to be a milksop to preserve his secret identity.  Margot tells Pierre that she secretly yearns to be swept into the arms of some bold, dashing sheik, perhaps even the Red Shadow himself.  Pierre, as the Red Shadow, kidnaps Margot and declares his love for her. To her surprise, Margot's mysterious abductor treats her with every Western consideration.  When the Red Shadow comes face to face with General Birabeau, the old man challenges the rebel leader to a duel.  Of course Pierre will not kill his own father, so he refuses to fight, losing the respect of the Riffs.  Azuri, the sinuous and secretive native dancing girl, might be persuaded to answer some of these riddles if only she can be persuaded by Captain Fontaine.  Meanwhile, two other characters, Benny (a reporter) and Susan provide comic relief.  Eventually, the Red Shadow's identity is discovered, a deal is struck with the Riffs, and Pierre and Margot live happily ever after.  answer the following question:  What are the full names of the two people were soon to be married at the fort????
output answer: Margot Bonvalet

input question: Given the following context:  At that time, a Parisian ballet audience typically consisted of two diverse groups: the wealthy and fashionable set, who would be expecting to see a traditional performance with beautiful music, and a "Bohemian" group who, the poet-philosopher Jean Cocteau asserted, would "acclaim, right or wrong, anything that is new because of their hatred of the boxes". Monteux believed that the trouble began when the two factions   began attacking each other, but their mutual anger was soon diverted towards the orchestra: "Everything available was tossed in our direction, but we continued to play on". Around forty of the worst offenders were ejected—possibly with the intervention of the police, although this is uncorroborated. Through all the disturbances the performance continued without interruption. The unrest receded significantly during Part II, and by some accounts Maria Piltz's rendering of the final "Sacrificial Dance" was watched in reasonable silence. At the end there were several curtain calls for the dancers, for Monteux and the orchestra, and for Stravinsky and Nijinsky before the evening's programme continued.Among the more hostile press reviews was that of Le Figaro's critic, Henri Quittard, who called the work "a laborious and puerile barbarity" and added "We are sorry to see an artist such as M. Stravinsky involve himself in this disconcerting adventure". On the other hand, Gustav Linor, writing in the leading theatrical magazine Comoedia, thought the performance was superb, especially that of Maria Piltz; the disturbances, while deplorable, were merely "a rowdy debate" between two ill-mannered factions. Emile Raudin, of Les Marges, who had barely heard the music, wrote: "Couldn't we ask M. Astruc ... to set aside one performance for well-intentioned spectators? ... We could at least propose to evict the female element". The composer Alfredo Casella thought that the demonstrations were aimed at Nijinsky's choreography rather than at the music, a view shared by the critic Michel-Dimitri Calvocoressi, who...  answer the following question:  What is the first initial of the person who didn't believe the story that Cocteau gave about the group taking a cab????
output answer:
M.