conversations.from: human
conversations.value: Give me a plot for a story about Vasquez, Tommy, Peggy entitled Five Came Back.
conversations.from: assistant
conversations.value: Five Came Back: Nine passengers board a commercial flight from Los Angeles to Panama City: wealthy Judson Ellis (Patric Knowles) and Alice Melhorne (Wendy Barrie), eloping because their parents disapprove; an elderly couple, Professor Henry Spengler (C.\nAubrey Smith) and his wife Martha (Elisabeth Risdon); Tommy Mulvaney (Casey Johnson), the young son of a gangster, and his escort, gunman Pete (Allen Jenkins); Peggy Nolan (Lucille Ball), a woman with a shady past; and Vasquez (Joseph Calleia), an anarchist being extradited and facing a death sentence for killing a high-ranking politician, and his guard, Crimp (John Carradine), who expects a $5,000 ($ today) reward for delivering him.\nPilot Bill (Chester Morris), co-pilot Joe Brooks (Kent Taylor), and steward Larry (Dick Hogan) comprise the crew.\nOn their way to Panama, a fierce nighttime storm buffets their airliner, The Silver Queen.\nA gas cylinder is shaken loose and knocks a door open; steward Larry attempts to close it, but falls to his death.\nAn engine fails and the pilots are forced to crash-land in jungle terrain.\nIn the morning the professor recognizes plants of the Amazon rainforest: the aircraft has been blown far south of where rescuers will search; the nearest civilization is across the mountains.\nBut there is water, and enough fruit and game for everyone to live on.\nWeeks go by while Bill and Joe struggle to repair the damaged airliner, while the others clear a runway and lighten the aircraft by removing all unnecessary weight.\nThe experience changes everyone.\nThe Spenglers rediscover their love for each other.\nBill warms to an appreciative Peggy, although she tells him about her sordid past.\nJudson falls apart, staying drunk much of the time, while Alice toughens up and begins to feel attracted to Joe.\nThe biggest change is to Vasquez.\nSeeing how well most of the group have coped with their situation, he reconsiders his radical beliefs.\nOn the 23rd day, Crimp disappears; Tommy eventually discovers his dead body.\nWhen Peggy and Pete go looking for Tommy, he leads them to Crimp's body, which has a poison dart stuck in it.\nPete orders Peggy to take Tommy to safety while he covers their retreat, but he is quickly killed by unseen natives.\nThe remaining survivors board the now-repaired airliner, but as the engines turn over, an oil leak develops.\nBill and Joe patch it, but realize that their repair will fail some time after takeoff, leaving only one running engine.\nAs a result, the aircraft can only carry four adults and Tommy across the mountains.\nAs everyone tries to decide how to choose who must stay behind, Vasquez suddenly grabs a pistol and announces that, since he is doomed no matter what, he is the only one without bias and will make the decision.\nWhile the leak repairs are being made, he is approached by Professor Spengler, who says that he and his wife have lived their lives and should stay; then Judson tries to bribe Vasquez by offering to pay for a top lawyer.\nWhen the aircraft is ready, Vasquez announces that both pilots and both of the younger women will go along with Tommy.\nJudson attacks, and Vasquez shoots him dead.\nThe airliner takes off, leaving behind Vasquez and the Spenglers.\nAs the natives approach, Professor Spengler quietly informs Vasquez that they must not be taken alive, as they will be tortured.\nVasquez lies to him, telling him that there are three bullets left.\nHe kills the couple with his last two bullets, and then awaits his grisly fate.
conversations.from: human
conversations.value: Give me the first four paragraphs for this story.
conversations.from: assistant
conversations.value: Five Came Back
  Ledes, Richard. "Let There Be Light: John Huston's Film and the Concept of Trauma in the United States After WWII." Paper delivered at the Après-Coup Psychoanalytic Association, November 13, 1998.
  Petri, Bruce Humleker. "A Theory of American Film: The Films and Techniques of George Stevens." PhD diss., Harvard University, 1974, copyright 1987. 
  Capra, Frank, –9, , , –28, –41, –46, , , , –70, –79, , –16, , , –34, , –44, , , , , , , , –92, , , , –34, –63, , –79, , , , , , –31, , , –68, , , , –16, –22, , , –41,
  Ford, John, –4, –9, , –20, , , , –53, , –72, , –10, , , , , , –76, , , , , , –75, , , , , –25, , , , –9, , –43
conversations.from: human
conversations.value: Give me another paragraph.
conversations.from: assistant
conversations.value: Ford, John, –4, –9, , –20, , , , –53, , –72, , –10, , , , , , –76, , , , , , –75, , , , , –25, , , , –9, , –43
conversations.from: human
conversations.value: Give me the last five paragraphs.
conversations.from: assistant
conversations.value: Petri, Bruce Humleker. "A Theory of American Film: The Films and Techniques of George Stevens." PhD diss., Harvard University, 1974, copyright 1987. 
  Capra, Frank, –9, , , –28, –41, –46, , , , –70, –79, , –16, , , –34, , –44, , , , , , , , –92, , , , –34, –63, , –79, , , , , , –31, , , –68, , , , –16, –22, , , –41,
  Ford, John, –4, –9, , –20, , , , –53, , –72, , –10, , , , , , –76, , , , , , –75, , , , , –25, , , , –9, , –43
  Roosevelt, Franklin D., , , , , , , , , , , , , –92, –96, –6, , , , , , , , , , , , , , , , , –78, , ,
  Wyler, William, –5, –12, , –35, –52, , , –73, , , –26, , , –70, –79, , , , –22, –46, , , , –52, , , , , –35, –43
conversations.from: human
conversations.value: Delete the last sentence.
conversations.from: assistant
conversations.value: Petri, Bruce Humleker. "A Theory of American Film: The Films and Techniques of George Stevens." PhD diss., Harvard University, 1974, copyright 1987. 
  Capra, Frank, –9, , , –28, –41, –46, , , , –70, –79, , –16, , , –34, , –44, , , , , , , , –92, , , , –34, –63, , –79, , , , , , –31, , , –68, , , , –16, –22, , , –41,
  Ford, John, –4, –9, , –20, , , , –53, , –72, , –10, , , , , , –76, , , , , , –75, , , , , –25, , , , –9, , –43
  Roosevelt, Franklin D.