Please answer this: What is the first name of the person whose death would allow for a unanimous board decision?  Answer the above question based on the context below:  Sam Roffe, President of Roffe & Sons Pharmaceuticals, dies in what appears to be a climbing accident, leaving his daughter Elizabeth a billion-dollar empire. Roffe's board members see an opportunity to settle old scores, jockey for higher position, and reap lucrative profits. However, an investigation into Sam's death discloses that it was a murder and that a power struggle is going on within the company. Lead investigator Max Hornung informs Elizabeth of his list of suspects, which includes her closest advisers and financially strapped family members. During this time, she marries CEO Rhys Williams, but he, too, is identified by Hornung as a suspect. As president, Elizabeth follows her father's wishes and refuses to let shares of Roffe & Sons sell on the world market. Her choice prevents the board members from selling their shares as the company's by-laws prohibit it until all board members agree; on the other hand, her death would allow for a unanimous decision. After several attempts on her life, an international chase across Europe ensues. Hornung is able to connect these murder attempts to a series of homicides of prostitutes, which have been recorded on snuff films using Roffe film stock with a witness in a black Gucci leather coat (several suspects are linked to this coat). Elizabeth returns to her father's villa in Sardinia during a scirocco for protection from the unseen murderer, who sets her house on fire after she begins destroying objects and shouting, "Now try to make it look like an accident!" Williams and one of the shareholders, Sir Alec Nichols, both show up to save her, but Hornung figures out that Nichols is the killer and shoots him before he can murder Elizabeth in a symbolic snuff film.
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Answer: Elizabeth


Please answer this: What is the full name of the person that had their hand out to a 1-foot-tall gnome?  Answer the above question based on the context below:  In mid-1917 nine-year-old Frances Griffiths and her mother—both newly arrived in the UK from South Africa—were staying with Frances' aunt, Elsie Wright's mother, in the village of Cottingley in West Yorkshire; Elsie was then 16 years old. The two girls often played together beside the beck (stream) at the bottom of the garden, much to their mothers' annoyance, because they frequently came back with wet feet and clothes. Frances and Elsie said they only went to the beck to see the fairies, and to prove it, Elsie borrowed her father's camera, a Midg quarter-plate. The girls returned about 30 minutes later, "triumphant".Elsie's father, Arthur, was a keen amateur photographer, and had set up his own darkroom. The picture on the photographic plate he developed showed Frances behind a bush in the foreground, on which four fairies appeared to be dancing. Knowing his daughter's artistic ability, and that she had spent some time working in a photographer's studio, he dismissed the figures as cardboard cutouts. Two months later the girls borrowed his camera again, and this time returned with a photograph of Elsie sitting on the lawn holding out her hand to a 1-foot-tall (30 cm) gnome. Exasperated by what he believed to be "nothing but a prank", and convinced that the girls must have tampered with his camera in some way, Arthur Wright refused to lend it to them again. His wife Polly, however, believed the photographs to be authentic. Towards the end of 1918, Frances sent a letter to Johanna Parvin, a friend in Cape Town, South Africa, where Frances had lived for most of her life, enclosing the photograph of herself with the fairies. On the back she wrote "It is funny, I never used to see them in Africa. It must be too hot for them there."The photographs became public in mid-1919, after Elsie's mother attended a meeting of the Theosophical Society in Bradford. The lecture that evening was on "fairy life", and at the end of the meeting Polly Wright showed the two fairy photographs taken by her daughter and niece to the...
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Answer: Elsie Wright


Please answer this: What is the name of the person that had their contents auctioned on 6 May 1850?  Answer the above question based on the context below:  Etty had planned for a burial in York Minster, but neglected to cover the necessary costs in his will. With Yorkshire local government in political and financial chaos in the wake of the bankruptcy of George Hudson, there was no political will to organise a public subscription or to waive the fees, and as a consequence Etty was buried in the churchyard of St Olave's Church, his local parish church. On 6 May 1850 the contents of his studio were auctioned, in a total of 1034 lots including around 900 paintings; some of these paintings were incomplete studies later completed by other artists to increase their value. In the years following his death Etty's work became highly collectable, his works fetching huge sums on resale. He continued to be regarded as a pornographer by some, with Charles Robert Leslie observing in 1850 "It cannot be doubted that the voluptuous treatment of his subjects, in very many instances, recommended them more powerfully than their admirable art; while we may fully believe that he himself, thinking and meaning no evil, was not aware of the manner in which his works were regarded by grosser minds".Six months after William's death, Betsy Etty married chemist Stephen Binnington, a distant relation of the Etty family. She moved into his house in Haymarket, and some time after his death moved to 40 Edwardes Square, where she died in 1888 at the age of 87. While Etty did have admirers, the patchy quality of his later work meant that he never acquired the circle of imitators and students that could have led to him being seen as the founder of the English realist movement, now considered to have begun in 1848 with the formation of the Pre-Raphaelite Brotherhood. William Holman Hunt and John Everett Millais, two of the three founders of the Pre-Raphaelites, were heavily influenced by Etty's early works but recoiled from his later style. Holman Hunt recollected that "in my youth [Etty] had lost the robustness he once had [...] the paintings of his advanced age cloyed the taste by their...
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Answer:
Etty