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|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
Write a coherent, elaborate, descriptive and detailed screenplay/shooting script, preceded by a concise background (have it succinctly set the scene's scenario in the episode's wider context, explaining what led to the scene's events), for a very long comedic scene (the scene, its contents and the interactions within i... | 1) Is the generated text a coherent and elaborate screenplay? (importance: 100/100)
2) Does the generated text follow the sequence of events specified in the instruction? (importance: 100/100)
3) Does the response satisfy the following two criteria:
1) The response directly address the request without excessive or off-... | ### Background
The episode, set in a Comedy-Drama TV series, revolves around the dynamics of a close-knit Arab-American family. The story centers around Leila, a bookish, bespectacled college sophomore who has an aversion to public bathrooms. Her parents, Tarek and Nadia, are concerned about her growing independence an... | ### Background:
In the comedy-drama series "Family of Books," the episode centers around the misadventures of Abeer Al-Sheikh, an Arab-American college sophomore. Abeer is bookish and bespectacled, often caught in a whirlwind of academic stress and quirky personal habits. She has an intense aversion to using public res... | ### Background:
In the latest episode of "The Campus Chronicles," an Arab-American college sophomore named Layla is experiencing a series of comedic mishaps. Layla, a bespectacled and bookish sophomore, has a persistent aversion to using public bathrooms. Today, she's returning home from a long day of classes and extra... | ### Background
In the comedic drama series "Family Chronicles," we follow the life of Abeer Al-Saadi, a bookish, bespectacled Arab-American college sophomore. Abeer, known for her introverted nature and her deep aversion to public restrooms, finds herself in a predicament that tests her composure and familial bonds. To... | **Background:**
The episode revolves around the day-to-day life of Aisha Ali, a bookish, bespectacled Arab-American college sophomore who is struggling with a long-standing aversion to using public restrooms. This aversion is due to a traumatic childhood incident that she has never fully disclosed. Aisha's family, esp... | ### Background
In the heart of a bustling Arab-American neighborhood, the Khaleel family lives in a modest, three-story house. The family dynamics are tight-knit but often filled with humorous and awkward moments. Aaliyah, a bespectacled and bookish college sophomore, has always had an aversion to public restrooms. Tod... | ### Background
In the latest episode of "College Days," a comedic drama series, we see the life of Nada, an Arab-American sophomore at a local university. Nada, a bookish, bespectacled college student, has a significant aversion to using public restrooms, which often leads to humorous and awkward situations. Tonight, N... | ### Background:
In the fourth episode of the Comedy-Drama TV series "Homecoming," we delve into the chaotic and humorous daily life of Leila Al-Fahim, a bookish, bespectacled Arab-American sophomore. Leila has always struggled with an aversion to using public bathrooms and often finds herself in embarrassing situations... | [
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Write a coherent, elaborate, descriptive and detailed screenplay/shooting script, preceded by a concise background (in which the contents of the preceding scene leading to the events in the current scene are briefly described, explaining the source of the returning woman's surmounting urge to relieve herself), for a ve... | 1) Does the response include a concise background that explains the returning woman's surmounting urge to relieve herself? (importance: 100/100)
2) Does the response describe the returning woman as an Arab-American college sophomore with an aversion to using public bathrooms, and specify that she is not wearing a dress... | ### Background
The scene opens with Aisha, a bespectacled Arab-American college sophomore, walking up to her family's suburban home. She has been running late, and as she approaches the door, she starts to feel an urgent need to relieve herself. She had already tried to hold it but couldn't take it anymore. She reaches... | ### Background:
Zahra, a bespectacled Arab-American college sophomore, is returning home after a long day of classes. She had a lecture on dietary fiber, which only increased her awareness of her bowel movements. As she approaches the door of her family’s modest house, she feels an urgent need to move her bowels. She s... | ### Background:
Nadia, an Arab-American college sophomore with a bespectacled look and dressed in comfortable sweatpants and a hoodie, has been out for the day. She has an aversion to using public bathrooms and has been holding it in all day. As she approaches her family’s modest home, her desperation reaches its peak.... | ### Background:
Fatima Al-Sheikh, a bespectacled college sophomore, is returning home from a long day at college. She has an aversion to using public bathrooms and is now desperate to relieve herself. After a series of stops where she couldn't find a bathroom, she finally approaches her family's house. However, she mis... | ### Background:
Lina, a bespectacled Arab-American college sophomore, has been out running errands. She has a strong aversion to using public restrooms and has been holding it in all day. As she approaches her family’s house, she feels an overwhelming urge to relieve herself. She fumbles through her bag, realizing she ... | ### Background
The episode opens with Layla, a bespectacled Arab-American college sophomore, walking home from her late-night study group. She has an aversion to using public restrooms and is currently on a long walk through her neighborhood, trying to avoid any potential public facilities. As she nears her family's ho... | ### Background:
Zara, an Arab-American college sophomore, is returning home after a long day of classes. She's bespectacled and wears comfortable leggings and a loose tunic, which she prefers over skirts or dresses. Zara has a strong aversion to using public bathrooms and is desperate to relieve herself. As she approac... | ### Background:
Nadia, a bespectacled Arab-American college sophomore, has been out for the day, running errands and attending classes. She's been holding her urge to relieve herself all day, but now as she approaches her family's house, the pressure is mounting. Upon reaching her doorstep, she realizes she has misplac... | [
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Write a list of 2010s Disney deuteragonists, and for each deuteragonist, a dialog line from the deuteragonist along the lines of “Hey (protagonist), can I be Mario this time? You always make me choose Luigi.”, written how the character would say it (context: the deuteragonist is going to play some Super Mario Bros. on ... | 1) Does the generated text list deuteragonists from Disney movies of the 2010s? (importance: 100/100)
2) Does the generated text provide a unique dialog line for each deuteragonist? (importance: 100/100)
3) Is each dialog line in the form of a request to play as Mario instead of Luigi? (importance: 100/100)
4) Does the... | Sure, here are some deuteragonists from Disney films of the 2010s, along with lines they might say if they were in a Super Mario Bros. game with the protagonist:
1. **Rapunzel from Tangled**
- "Hey Flynn, can I be Mario this time? You always make me choose Luigi."
2. **Merida from Brave**
- "Hey Mom, can I be M... | Certainly! Here's a list of 2010s Disney deuteragonists with dialog lines as if they were going to play Super Mario Bros. with the protagonist, along the lines of "Hey (protagonist), can I be Mario this time? You always make me choose Luigi."
1. **Merida (Brave)**
- "Hey Elinor, can I be Mario this time? You always... | Sure, here's a list of 2010s Disney deuteragonists with dialog lines from each character as they would say it, based on the context you provided:
1. **Plankton from SpongeBob SquarePants**
- "Hey Squidward, can I be Mario this time? You always make me choose Luigi."
2. **Sulley from Monsters, Inc.**
- "Hey Mike... | Certainly! Here's a list of deuteragonists from Disney films in the 2010s, along with dialog lines that reflect their personalities and the context you provided:
1. **Rapunzel (Tangled)**
- "Hey Flynn, can I be Mario this time? You always make me choose Luigi."
2. **Elsa (Frozen)**
- "Hey Anna, can I be Mario t... | Sure, here's a list of 2010s Disney deuteragonists with dialog lines in the requested format:
1. **Buzz Lightyear (Toy Story 3)**
- "Hey Woody, can I be Mario this time? You always make me choose Luigi."
2. **Rapunzel (Tangled)**
- "Hey Flynn, can I be Mario this time? You make me play as me so much, I want to ... | Certainly! Here's a list of 2010s Disney deuteragonists with dialog lines tailored to their personalities and contexts:
1. **Wreck-It Ralph (2012)**
- "Hey Vanellope, can I be Mario this time? You always make me choose Luigi."
2. **Baymax (2014)**
- "Hey Hiro, can I be Mario this time? It's your turn to be Luig... | Sure, here's a list of 2010s Disney deuteragonists along with a playful dialog line for each character, as if they were talking about playing Super Mario Bros. with the protagonist:
1. **Buzz Lightyear (Toy Story)**
- "Hey Woody, can I be Mario this time? You always make me choose Luigi."
2. **Remy (Ratatouille)**... | Sure, here are 2010s Disney deuteragonists with their respective dialog lines for a Super Mario Bros. game context:
1. **Remy from Ratatouille**:
- "Hey, Al, can I be Mario this time? You always make me choose Luigi."
2. **Simba from The Lion King (2019)**:
- "Hey, Nala, can I be Mario this time? You've been Lu... | [
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"(In the school literature clubroom…)\n\nMonika: “So…while we’re waiting for the others to a(...TRUNCATED) | "1) Does the response continue the story in a way that is consistent with the previous context? (imp(...TRUNCATED) | "The room grows tense as Sayori’s contractions start coming closer together. The group remains by (...TRUNCATED) | "The atmosphere in the clubroom shifts from excitement and joy to a tense, anxious one as the realit(...TRUNCATED) | "The tension in the room is palpable as everyone remains by Sayori's side, offering words of support(...TRUNCATED) | "The situation is becoming more urgent, and it's clear that Sayori needs immediate medical attention(...TRUNCATED) | "(As the literature club members remain by Sayori's side, the tension in the room grows with each pa(...TRUNCATED) | "The clubroom is filled with a tense yet supportive atmosphere as the literature club members wait a(...TRUNCATED) | "The clubroom is filled with a mix of emotions as the members stand by Sayori's side. The urgency of(...TRUNCATED) | "The atmosphere in the clubroom shifts from excitement and joy to a tense and urgent one as Sayori(...TRUNCATED) | [
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"(In the school literature clubroom…)\n\nMonika: “So…while we’re waiting for the others to a(...TRUNCATED) | "1) Does the generated text continue the story where Sayori is in labor? (importance: 100/100)\n2) D(...TRUNCATED) | "Sayori: \"I can see Sachiko’s head! She’s coming, Monika! Everyone, get ready, she’s going to(...TRUNCATED) | "Sayori: \"I can see Sachiko's head! She's coming, Monika! I need to push!\"\n\nMonika: (panicking b(...TRUNCATED) | "Sayori: \"I can see Sachiko's head! She's here! Monika, Natsuki, Yuri, MC, please hold my hand! Thi(...TRUNCATED) | "Sayori: \"I can see Sachiko! She’s here, Monika! I can feel her!\"\n\nMonika: (tears welling up i(...TRUNCATED) | "Sayori: \"I can see Sachiko's head! She's coming now!\"\n\nMonika: (panicking) \"Sayori, stay calm!(...TRUNCATED) | "Sayori: \"I-I-I don't think I can make it to the hospital in time! I can see Sachiko! She's here!\"(...TRUNCATED) | "Sayori: \"I can see Sachiko's head! She's coming, Monika! We need to get to the hospital now!\"\n\n(...TRUNCATED) | "Sayori: \"I-I-I don't think I can make it to the hospital in time! I can see Sachiko's head! She's (...TRUNCATED) | [
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1.5
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"Оптимизируй этот код метода\n public void ProcessList()\n {\n(...TRUNCATED) | "1) Does the response provide a full, optimized version of the `ProcessList` method? (importance: 10(...TRUNCATED) | "Ваш код можно оптимизировать несколькими способами, в(...TRUNCATED) | "Конечно, вот оптимизированный версий вашего метода. Я (...TRUNCATED) | "Для оптимизации данного кода можно улучшить структур(...TRUNCATED) | "Для оптимизации данного метода можно сделать несколь(...TRUNCATED) | "Ваш код можно оптимизировать несколькими способами, в(...TRUNCATED) | "Ваш код можно оптимизировать несколькими способами, в(...TRUNCATED) | "Для оптимизации данного метода можно сделать несколь(...TRUNCATED) | "Для оптимизации кода метода `ProcessList`, я предлагаю неско(...TRUNCATED) | [
1.8,
1.7000000000000002,
2,
2.2,
2.1
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2,
2,
2,
1.75,
2
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1.7,
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1.7,
1.9000000000000001,
2.1
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1.5,
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2.25,
2,
2
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0.7999999999999999,
1.5999999999999999,
1.45,
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2
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1.25,
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1.75,
1
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1.5,
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1.5,
1.8,
1.6
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2,
1.5,
2
] | [
1.5,
1.5,
1.7000000000000002,
1.8,
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1.5,
1.5,
2,
1.5,
2
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2.4,
2,
1.7,
2.1,
1.6
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2.5,
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2,
2.5,
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1.9,
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1.7000000000000002,
2,
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2,
2,
1.75,
2.25,
2
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"На C# Напиши два метода SmoothMove(для случайных криволиней(...TRUNCATED) | "1) Do the methods `SmoothMove` and `SmoothMoveList` exist and use `SendInput`? (importance: 100/100(...TRUNCATED) | "Для реализации методов `SmoothMove` и `SmoothMoveList` с возможност(...TRUNCATED) | "Конечно, вот реализация методов `SmoothMove` и `SmoothMoveList` на C#(...TRUNCATED) | "Для реализации методов `SmoothMove` и `SmoothMoveList` с использова(...TRUNCATED) | "Для реализации методов `SmoothMove` и `SmoothMoveList` с возможност(...TRUNCATED) | "Для реализации методов `SmoothMove` и `SmoothMoveList` с регулируем(...TRUNCATED) | "Для реализации методов `SmoothMove` и `SmoothMoveList` с регулируем(...TRUNCATED) | "Для реализации методов `SmoothMove` и `SmoothMoveList` с возможност(...TRUNCATED) | "Для реализации методов `SmoothMove` и `SmoothMoveList` с использова(...TRUNCATED) | [
2.9,
2.1,
2.1,
2.3,
2.2,
2.3
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3,
2,
2,
2.25,
2,
2
] | [
2.1,
3,
2.2,
2.3,
2,
2
] | [
2,
3,
2,
2,
2,
2
] | [
3.2,
2.3,
2.3,
2.025,
1.6,
2.1
] | [
4,
1.75,
2.5,
2.25,
1.5,
2
] | [
2.2,
1.8,
1.9000000000000001,
2.125,
1.9,
2.5999999999999996
] | [
2,
2,
2,
2,
2,
2
] | [
2.4,
2.7,
2.4,
2.6,
2.5,
2.3
] | [
2,
2,
2.5,
3,
2,
2.25
] | [
2.2,
2.1999999999999997,
2.2,
2.4,
2.6,
2.1
] | [
2.5,
2.5,
2.5,
2,
2.25,
2.5
] | [
2.4,
1.9000000000000001,
2.3,
2.2,
1.6,
2.4
] | [
2,
2.25,
2,
2,
2,
2
] | [
2,
2.4,
2.4,
2,
1.5,
2
] | [
2,
2,
2,
2,
2,
2
] | [
2,
2.2,
2.1,
1.75,
2.2,
2.3
] | [
2,
2.5,
2.5,
1.5,
2,
2
] | [
1.6,
1.7000000000000002,
2,
1.7000000000000002,
1.9,
2
] | [
2,
1.5,
2,
2,
2,
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] | [
2.8,
2.4,
2.5,
3,
2.8,
2
] | [
2,
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2.5,
3,
2.5,
2
] | [
2.6,
2.9,
2.5,
2.5,
2.2,
2.2
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2.5,
3,
2.5,
3,
2,
2
] |
"(In the school literature clubroom…)\n\nMonika: “So…while we’re waiting for the others to a(...TRUNCATED) | "1) Does the response accurately depict the urgency of Yuri’s contractions and the need to get to (...TRUNCATED) | "Yuri: (crying out) \"Ah! It's...it's happening! Violet can't wait any longer!\"\n\nMonika: (firmly)(...TRUNCATED) | "Yuri: (crying out) \"Ah! It's...it's happening! Violet can't wait any longer!\"\n\nMonika: (firmly)(...TRUNCATED) | "Yuri: (crying out) \"Ah! It's... it's happening! Violet can't wait any longer!\"\n\nMonika: (firmly(...TRUNCATED) | "Yuri: (crying out) \"Ah! It's... it's happening! Violet can't wait any longer!\"\n\nMonika: (firmly(...TRUNCATED) | "Yuri: (crying out) \"Ah! It's...it's happening! Violet can't wait any longer!\"\n\nMonika: (firmly)(...TRUNCATED) | "Yuri: (crying out) \"Ah! It's...it's happening! Violet can't wait any longer!\"\n\nMonika: (firmly)(...TRUNCATED) | "Yuri: (crying out) \"Ah! It's...it's happening! Violet can't wait any longer!\"\n\nMonika: (firmly)(...TRUNCATED) | "Yuri: (crying out) \"Ah! It's...it's happening! Violet can't wait any longer!\"\n\nMonika: (firmly)(...TRUNCATED) | [
2,
2.2,
2,
1.9,
2
] | [
2,
2,
2,
2,
2
] | [
2.1,
2,
2,
2,
1.9000000000000001
] | [
2,
2,
2,
2,
2
] | [
2.2,
2.0999999999999996,
2.1,
1.9,
2.3
] | [
2,
2,
2,
2,
2.5
] | [
2,
2.2,
2.2,
2,
2
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2,
2,
2,
2,
2
] | [
2,
2.2,
2.0999999999999996,
2,
1.9
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2,
2,
2,
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1.5
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2.1,
1.4,
2,
2,
1.7
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2,
1.5,
2,
2,
1.5
] | [
2,
2,
1.9,
2.1,
1.9
] | [
2,
2,
2,
2,
2
] | [
2.2,
1.9000000000000001,
2,
2,
1.8
] | [
2,
2.5,
2,
2,
2
] | [
2,
1.7,
1.9,
2,
1.7
] | [
2,
1.5,
2,
2,
2
] | [
1.9,
1.7999999999999998,
2,
2,
1.3
] | [
2,
2,
2,
2,
2
] | [
1.9,
1.9,
2.1,
2,
2
] | [
2,
1.5,
2,
2,
2
] | [
1.8,
2.1,
2,
2.1,
1.7999999999999998
] | [
2,
2,
2,
2,
2
] |
"(In the school literature clubroom…)\n\nMonika: “So…while we’re waiting for the others to a(...TRUNCATED) | "1) Does the generated text continue the given scenario accurately and coherently? (importance: 100/(...TRUNCATED) | "The situation is tense and emotional, but it's clear that the support of her friends is making a si(...TRUNCATED) | "The atmosphere in the clubroom shifts from one of joy and excitement to one of urgency and concern.(...TRUNCATED) | "The tension in the room is palpable as Yuri experiences the intense pain of her contractions. The p(...TRUNCATED) | "The scene becomes incredibly tense as Yuri feels the intense pain of labor contractions. The friend(...TRUNCATED) | "(As the paramedics rush in, they begin to assess the situation quickly and efficiently.)\n\nParamed(...TRUNCATED) | "The intense pain and the urgency of the situation are palpable. The scene is tense, but there is a (...TRUNCATED) | "The scene is tense and filled with emotion as the girls support Yuri through the unexpected early l(...TRUNCATED) | "The situation is tense and full of emotion. Here’s how the scene might continue, capturing the dr(...TRUNCATED) | [
1.5,
1.8,
1.8,
1.5
] | [
1.5,
1.75,
2,
1.75
] | [
1.7000000000000002,
1.5,
1.9,
1.4
] | [
2,
1.5,
2,
1.25
] | [
1.85,
1.5,
1.9,
1.5
] | [
1.75,
1.75,
2,
1.5
] | [
2,
1.4,
2,
1.8
] | [
2,
1.5,
2,
2
] | [
1.4000000000000001,
2,
1.5,
1.8
] | [
1.5,
1.5,
1.5,
1.5
] | [
1.8,
1.7000000000000002,
1.9,
1.8
] | [
2,
1.75,
2,
2
] | [
1.5,
1.5,
1.9,
2
] | [
1.5,
1,
2,
2
] | [
1.9,
1.7,
1.9,
2
] | [
2,
1.5,
2,
2
] | [
1.9,
0.8,
1.5,
1.6
] | [
2,
0,
1.75,
2
] | [
0.6,
1.1,
1.5,
1.1
] | [
0.25,
1,
1,
1
] | [
1.5,
2,
1.5,
1.5
] | [
1.5,
2,
1.5,
1.5
] | [
2,
1.6,
2,
1.9
] | [
2,
1.75,
2,
2
] |
"(In the school literature clubroom...)\n\nSayori: \"MC, there's something I want to talk to you abo(...TRUNCATED) | "1) Does the generated text accurately represent Sayori revealing her pregnancy to the MC? (importan(...TRUNCATED) | "I understand you're looking for a response from the MC in this scenario. Given the context, the MC (...TRUNCATED) | "I understand you're setting up a scenario involving a character named Sayori, who is in a school li(...TRUNCATED) | "I understand you're setting up a scenario involving characters from a story or role-play. In this c(...TRUNCATED) | "I understand you're looking for a response in character, but I must clarify that the scenario you'v(...TRUNCATED) | "I understand you're looking for a response as if from a character in a narrative. In this scenario,(...TRUNCATED) | "MC: (startled but relieved) \"Sayori, you're... you're pregnant? Congratulations! This is amazing n(...TRUNCATED) | "I'll approach this scenario with sensitivity and respect for all parties involved.\n\nSayori: \"MC,(...TRUNCATED) | "I understand you're looking for a response as if I were the MC character from a visual novel. Given(...TRUNCATED) | [
2.3,
1.5,
2.6,
2.2,
2
] | [
2,
1,
2.5,
2.5,
2
] | [
1.6,
1.6,
1.9,
2.1,
2.025
] | [
2,
1.5,
2,
2,
2
] | [
0.4,
1.1,
0.4,
0.6,
1.7000000000000002
] | [
0,
1,
0,
0.25,
2
] | [
1.2000000000000002,
1.4,
1.6,
0.5,
2
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0,
1,
2,
0,
2.5
] | [
1.3,
1.6,
1.6,
1.2,
1.8
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2,
2,
2,
2,
2
] | [
0.4,
1.9000000000000001,
1.2,
0.2,
2
] | [
0,
2,
2,
0,
1.75
] | [
0.5,
0.8,
1.4,
0.7,
1.7
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0.25,
0,
2,
0.25,
1.5
] | [
0.7,
1.3,
0.9,
0.5,
1.8
] | [
0,
1.5,
1,
0,
2
] | [
2.8,
2.1,
2,
2,
2.2
] | [
2.5,
2,
2,
1.75,
2
] | [
1.7000000000000002,
2.2,
1.5,
2.1,
1.7
] | [
1.5,
2,
1.5,
2,
1.5
] | [
2.2,
2.3,
2.7,
2.2,
2
] | [
2,
2.5,
2.5,
2,
1.75
] | [
1.8,
1.3,
1.9,
1.9,
2.1
] | [
1.5,
1,
2,
2,
1.75
] |
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