Given a paragraph about movies and a set of conversational questions and answers about the paragraph, say whether the passage contains sufficient information to answer the follow-up question. Say Yes if it is answerable; otherwise, say No. The paragraph has the prefix 'CONTEXT:'. Each conversation question has a prefix `Q:` followed by the answer prefix `A:`, and the follow-up question has a prefix `FOLLOWUP_Q:`.

Input: Consider Input: CONTEXT: Peter Ward was accused of murdering his family, but thought to be insane. He was sent to Greenhaven. He was eventually released. As Will Atenton he creates the family and story he needs to exist in his old house, while only seeing it as it used to be... thus making his way back to his home. There, he eventually uncovers who he is and who actually did kill his family. The audience learns why his wife shot him at this time. When was Peter in Greenhaven? After his family was killed. Why was he considered nuts? He insisted that he was innocent despite the evidence and lack of other suspects. The death of his family fractured his personality and drove him temporarily insane, to the point where he created his alter-ego of Will Atenton.  <sep>  Q: When did Peter/Will go to Greenhaven? A: Peter Ward was accused of murdering his family, but thought to be insane. He was sent to Greenhaven  Q: Why was he thought to be insane, other than the murder? Why not just a killer? A: The death of his family fractured his personality and drove him temporarily insane  Q: Did he ever recover from his insanity? A: he eventually uncovers who he is and who actually did kill his family  <sep> FOLLOWUP_Q: Was he innocent all along then?

Output: Yes


Input: Consider Input: CONTEXT: The plot by MI 6 and the CIA is to give Le Chiffre no choice but to turn himself in. They had no legal right to arrest him, lack of evidence and all. Once he lost the money, both organizations hoped the pressure by the real criminal contacts would force Chiffre to turn evidence over, instead of being killed. Both organizations are playing a long game in this. There was no expected immediate payout in the plan. If they arrest him, they would reveal their hand in the events and blow the operation. Additionally, Leiter was playing this by ear. The only reason the CIA could arrange this was because MI-6 decided it got too expensive and Bond was willing to work with them. It was a field decision that wasn't part of the actual CIA plan (Leiter was expected to win).  <sep>  Q: Why didn't Felix Leiter catch Le Chiffre after the game was done? A: Leiter was playing this by ear  Q: What happened at the end of the game? A: e lost the money  Q: Who did the CIA want? A: Le Chiffre  <sep> FOLLOWUP_Q: How did things proceed?

Output: No


Input: Consider Input: CONTEXT: Science fiction appeals because of the mind-expanding quality, bizarre and unexpected scenarios in plausible ways. This often includes disorientation re: space and time, for example, in Planet of the Apes the planet turns out to be Earth, after the title implies some other world. Babylon A.D. also has a stop-short quality: if it doesn't quite make sense, that's the point. "Babylon" usually refers to the distant past or, as you say, the generic sense. "A.D." is both final and futuristic, not what we expect, this is neither the historical Babylon nor a generic reference. (If "C.E." is gradually being adopted, that adds to the effect.) Playfully bewildering titles aren't uncommon in fantastic films. One I've found intriguing is the U.S. title for Quatermass and the Pit (1967): Five Million Years to Earth. A few years later came Dracula A.D. 1972, and The X-Files did "Hollywood A.D." Thus, "Babylon A.D." seems less a plot reference (I haven't seen it) than an appeal to the tastes and cultural memory of s.f. viewers.  <sep>  Q: Why is the movie titled "Babylon A.D."?

Show your work and conclude with the exact phrasing "Therefore, the final answer is [answer]." where [answer] is just the final number or expression that solves the problem.
user
Output: Yes


