input: Count Dracula is depicted as the "King Vampire", and can control other vampires. To punish Mina and the party for their efforts against him, Dracula bites her on at least three occasions. He also forces her to drink his blood; this act curses her with the effects of vampirism and gives him a telepathic link to her thoughts. However, hypnotism was only able to be done before dawn. Van Helsing refers to the act of drinking blood by both the vampire and the victim "the Vampire's Baptism of Blood".  The effects changes Mina' physically and mentally over time. A few moments after Dracula attacks her, Van Helsing takes a wafer of sacramental bread and places it on her forehead to bless her; when the bread touches her skin, it burns her and leaves a scar on her forehead. Her teeth start growing longer but do not grow sharper. She begins to lose her appetite, feeling repulsed by normal food, begins to sleep more and more during the day; cannot wake unless at sunset and stops writing in her diary. When Van Helsing later crumbles the same bread in a circle around her, she is unable to cross or leave the circle, discovering a new form of protection.  Dracula's death can release the curse on any living victim of eventual transformation into vampire. However, Van Helsing reveals that were he to successfully escape, his continued existence would ensure that even if he did not victimize Mina further, she would transform into a vampire upon her eventual natural death.

Answer this question "Is this happening in a movie?"
output: 

input: Beginning with a century at Headingley in his First Test against England, Taylor amassed 839 runs at 83.90 in the six Tests: the second best aggregate in an Ashes series in England, behind Don Bradman's 974 runs in 1930. He occupied the crease for a total of 38 hours, more than six full days of play. The highlight of his tour was the Fifth Test at Trent Bridge when he and Geoff Marsh became the first pair to bat throughout a day's play of Test cricket in England, amassing 301 runs. Taylor made 219 in a partnership of 329, an Ashes record. He finished with 71 and 48 in the Sixth Test to overtake Neil Harvey for the third-highest series aggregate in Test history and totalled 1,669 first-class runs for the tour. Australia won the series 4-0 to regain the Ashes. However, Taylor was overlooked for selection in the ODIs.  Returning to Australia, Taylor made 1,403 first-class runs at 70.15 during the 1989-90 season, and ended 1989 with 1,219 Test runs, thus becoming the first player to better one thousand Test runs in his debut calendar year, something only matched twice since by England opener Alastair Cook and Australian Adam Voges. In Taylor's first nine Tests, Australia passed 400 in the first innings. He scored centuries in successive Tests against Sri Lanka, and against Pakistan his scores were 52 and 101 at the MCG, 77 and 59 at the Adelaide Oval and an unbeaten 101 at Sydney. Australia won both series 1-0. In just over twelve months, he had amassed 1,618 runs at 70.35. This outstanding start to his career earned Taylor nomination as one of the five Wisden Cricketers of the Year in 1990. At the season's end, he demonstrated his leadership abilities for the first time. Standing in as NSW captain in place of the injured Geoff Lawson for the 1989-90 Sheffield Shield final in Sydney, Taylor scored 127 and 100. NSW won by 345 runs to secure its 40th title.  A year after his Test debut, Taylor was selected to make his ODI debut, which came on Boxing Day of 1989 against Sri Lanka. He made 11 as Australia won by 30 runs. He was selected for nine of Australia's ten ODIs for the season's triangular tournament, scoring 294 runs at 32.66 with two half-centuries. His highest score of 76 came as Australia defeated Pakistan by 69 runs to clinch the finals series in Sydney. The season ended with ODI tournaments in New Zealand and Sharjah. He played six of the eight matches, scoring 222 runs at 37.00 with two half-centuries, but was dropped for the final in New Zealand.

Answer this question "What else has he done in his career?"
output: Taylor was selected to make his ODI debut, which came on Boxing Day of 1989 against Sri Lanka.

input: During the European tour in September-October 1989, Merzbow could only bring simple and portable gear; this led to the harsh noise style Merzbow became known for in the 1990s. Cloud Cock OO Grand (1990) was the first example of this new style, Merzbow's first digital recording (on DAT), and the first recording made for the CD format. It also includes live material recorded during the tour.  But when I started live in late 1980s I didn't like to use tape on stage. I like only live electronics. So, my studio works changed to more live composition style. I'm still using many tapes in studio works, but difference is I treat tapes and instruments. Before, I used tapes as overdubbing concept. But now tapes are crashing together, no static overdub. I found that style on Cloud Cock OO Grand.  Beginning in the mid-1990s, Merzbow began to be influenced by death metal and grindcore. Recordings from this time are mostly recorded at extreme volume, some mastered at levels far beyond standard (Noisembryo, Pulse Demon). In 1994, Akita acquired a vintage EMS synthesizer. From 1996, plans were made to release a "10 (or maybe 12)" CD box set on Extreme Records. In 2000, Extreme Records released the Merzbox, a fifty CD set of Merzbow records, twenty of them not previously released.  Throughout most of the 1990s, Merzbow live was a trio with Reiko A. on electronics and Bara on voice and dance. Masami Akita occasionally played drums for Hijokaidan during the early-mid 1990s.  In the early 1990s, Masami Akita composed the soundtracks to numerous kinbaku videos by Fuji Planning (Bu Er Qi Hua , Fuji Kikaku) and seppuku-themed videos by their sub-label Right Brain. Akita also directed Lost Paradise (Shi Le Yuan  Cheng Ma Fu Nu Fu Qie ri, Shitsurakuen: Jobafuku onna harakiri) for Right Brain. Some of this music was included on Music for Bondage Performance and Music for Bondage Performance 2, co-credited to Right Brain Audile. Director Ian Kerkhof would use a Merzbow track for his 1992 film La sequence des barres paralleles, and Akita composed original music for Kerhof's 1994 film The Dead Man 2: Return of the Dead Man. Kerkhof made the documentary Beyond Ultra Violence: Uneasy Listening by Merzbow in 1998. Akita also created music for Ilppo Pohjola's Asphalto (1998) and Routemaster (2000).

Answer this question "What did they do in the 1999"
output:
In the early 1990s, Masami Akita composed the soundtracks to numerous kinbaku videos by Fuji Planning (