trope_validator_70b.ipynb

{
 "cells": [
  {
   "cell_type": "code",
   "execution_count": 1,
   "id": "30e45e6e-01fc-4f44-a401-f52e67afd98f",
   "metadata": {},
   "outputs": [
    {
     "name": "stdout",
     "output_type": "stream",
     "text": [
      "Tesla V100-SXM2-32GB\n",
      "Tesla V100-SXM2-32GB\n",
      "Tesla V100-SXM2-32GB\n",
      "Tesla V100-SXM2-32GB\n"
     ]
    }
   ],
   "source": [
    "!python -c \"import torch; print(torch.cuda.get_device_name(0));\"\n",
    "!python -c \"import torch; print(torch.cuda.get_device_name(1));\"\n",
    "!python -c \"import torch; print(torch.cuda.get_device_name(2));\"\n",
    "!python -c \"import torch; print(torch.cuda.get_device_name(3));\"\n",
    "# !python -c \"import torch; print(torch.cuda.get_device_name(4));\""
   ]
  },
  {
   "cell_type": "code",
   "execution_count": 1,
   "id": "70f4018f-2d09-4af7-8b7e-11803aa9c608",
   "metadata": {},
   "outputs": [
    {
     "data": {
      "text/html": [
       "<div>\n",
       "<style scoped>\n",
       "    .dataframe tbody tr th:only-of-type {\n",
       "        vertical-align: middle;\n",
       "    }\n",
       "\n",
       "    .dataframe tbody tr th {\n",
       "        vertical-align: top;\n",
       "    }\n",
       "\n",
       "    .dataframe thead th {\n",
       "        text-align: right;\n",
       "    }\n",
       "</style>\n",
       "<table border=\"1\" class=\"dataframe\">\n",
       "  <thead>\n",
       "    <tr style=\"text-align: right;\">\n",
       "      <th></th>\n",
       "      <th>TropeID</th>\n",
       "      <th>Trope</th>\n",
       "      <th>Description</th>\n",
       "    </tr>\n",
       "  </thead>\n",
       "  <tbody>\n",
       "    <tr>\n",
       "      <th>0</th>\n",
       "      <td>t00079</td>\n",
       "      <td>AbusiveParents</td>\n",
       "      <td>Parents are supposed to be the protectors of c...</td>\n",
       "    </tr>\n",
       "    <tr>\n",
       "      <th>1</th>\n",
       "      <td>t00190</td>\n",
       "      <td>ActionGirl</td>\n",
       "      <td>An Action Girl is a female badass who is tough...</td>\n",
       "    </tr>\n",
       "    <tr>\n",
       "      <th>2</th>\n",
       "      <td>t00263</td>\n",
       "      <td>AdaptationDistillation</td>\n",
       "      <td>Some adaptations take a complex character or s...</td>\n",
       "    </tr>\n",
       "    <tr>\n",
       "      <th>3</th>\n",
       "      <td>t00265</td>\n",
       "      <td>AdaptationExpansion</td>\n",
       "      <td>This is the complete opposite of Compressed Ad...</td>\n",
       "    </tr>\n",
       "    <tr>\n",
       "      <th>4</th>\n",
       "      <td>t00270</td>\n",
       "      <td>AdaptationNameChange</td>\n",
       "      <td>Alice Andrews in the books becomes Alice Allen...</td>\n",
       "    </tr>\n",
       "    <tr>\n",
       "      <th>...</th>\n",
       "      <td>...</td>\n",
       "      <td>...</td>\n",
       "      <td>...</td>\n",
       "    </tr>\n",
       "    <tr>\n",
       "      <th>495</th>\n",
       "      <td>t30000</td>\n",
       "      <td>Redshirts</td>\n",
       "      <td>This is the Good Counterpart of Evil Minions a...</td>\n",
       "    </tr>\n",
       "    <tr>\n",
       "      <th>496</th>\n",
       "      <td>t30220</td>\n",
       "      <td>Bioaugmentation</td>\n",
       "      <td>The biological counterpart to Cyborging: inste...</td>\n",
       "    </tr>\n",
       "    <tr>\n",
       "      <th>497</th>\n",
       "      <td>t30286</td>\n",
       "      <td>XenoFiction</td>\n",
       "      <td>A few works of Science Fiction and Fantasy (an...</td>\n",
       "    </tr>\n",
       "    <tr>\n",
       "      <th>498</th>\n",
       "      <td>t30470</td>\n",
       "      <td>RecountedByTheMainCharacters</td>\n",
       "      <td>Sometimes, \"this is a true story\" is part of t...</td>\n",
       "    </tr>\n",
       "    <tr>\n",
       "      <th>499</th>\n",
       "      <td>t30487</td>\n",
       "      <td>DarkSkinnedRedHead</td>\n",
       "      <td>Like most character design decisions in anime,...</td>\n",
       "    </tr>\n",
       "  </tbody>\n",
       "</table>\n",
       "<p>500 rows × 3 columns</p>\n",
       "</div>"
      ],
      "text/plain": [
       "    TropeID                         Trope  \\\n",
       "0    t00079                AbusiveParents   \n",
       "1    t00190                    ActionGirl   \n",
       "2    t00263        AdaptationDistillation   \n",
       "3    t00265           AdaptationExpansion   \n",
       "4    t00270          AdaptationNameChange   \n",
       "..      ...                           ...   \n",
       "495  t30000                     Redshirts   \n",
       "496  t30220               Bioaugmentation   \n",
       "497  t30286                   XenoFiction   \n",
       "498  t30470  RecountedByTheMainCharacters   \n",
       "499  t30487            DarkSkinnedRedHead   \n",
       "\n",
       "                                           Description  \n",
       "0    Parents are supposed to be the protectors of c...  \n",
       "1    An Action Girl is a female badass who is tough...  \n",
       "2    Some adaptations take a complex character or s...  \n",
       "3    This is the complete opposite of Compressed Ad...  \n",
       "4    Alice Andrews in the books becomes Alice Allen...  \n",
       "..                                                 ...  \n",
       "495  This is the Good Counterpart of Evil Minions a...  \n",
       "496  The biological counterpart to Cyborging: inste...  \n",
       "497  A few works of Science Fiction and Fantasy (an...  \n",
       "498  Sometimes, \"this is a true story\" is part of t...  \n",
       "499  Like most character design decisions in anime,...  \n",
       "\n",
       "[500 rows x 3 columns]"
      ]
     },
     "execution_count": 1,
     "metadata": {},
     "output_type": "execute_result"
    }
   ],
   "source": [
    "import pandas as pd\n",
    "from tqdm.auto import tqdm\n",
    "tqdm.pandas()\n",
    "tropes_def = pd.read_csv('https://raw.githubusercontent.com/armsp/trama/main/dataset/my_tropes.csv')\n",
    "tropes_def"
   ]
  },
  {
   "cell_type": "code",
   "execution_count": 2,
   "id": "58130bf9-909e-4588-b037-bb96bd083f78",
   "metadata": {},
   "outputs": [
    {
     "data": {
      "text/plain": [
       "('BigBad',\n",
       " 'The cause of all bad happenings in a story. A Big Bad could be a character with Evil Plans or it could be an omnipresent situation, such as a comet heading towards the Earth. In a serial story, the Big Bad exerts an effect across a number of episodes, even an entire season.\\nThis trope is not a catch-all term for the biggest, ugliest villain of any given story. In fact, it doesn\\'t have to be a villain at all, as we just said. If it is a villain, though, it should be identified correctly; the badass leader of the outlaw gang that causes the most personal trouble is not the Big Bad. The railroad tycoon who is using the gang as muscle is the Big Bad. The Man Behind the Man is very common for this trope, leaving the reveal of the big bad as The Chessmaster behind it all and proving themselves far more clever and resourceful than the Villain of the Week. Sometimes the Big Bad is the grand enemy of an entire franchise as an Overarching Villain. At other times, the Big Bad is an Arc Villain who causes trouble for a period of time only to be replaced by another Big Bad.\\nWhen you look at a season-long story or a major Story Arc and you can identify one problem being the cause of everything, that is the Big Bad. In its most general form, a Big Bad will be at the center of the Myth Arc rather than just any Story Arc.\\nThe term \"Big Bad\" was popularized in Buffy the Vampire Slayer. It was characteristic of Buffy\\'s Big Bads for their identity or nature, or even the fact that they are the Big Bad at all, to remain unclear for a considerable time. Occasionally, characters would even refer to themselves as \"the Big Bad\". Whether or not they were, though, this is a Big Bad Wannabe. The structure of Buffy placed the Big Bad as being crucial to the Half-Arc Season, half the episodes are filler dealing with unrelated enemies while the other half involved the ongoing Myth Arc with the Big Bad. Each season can easily be defined by who the Big Bad was.\\nIf a show has a series of Big Bad jeopardies, they can function like a series of Monsters of the Week that take more than one week to finish off. If there is a Legion of Doom, you can expect the Big Bad to be involved somehow. They\\'re probably sorted by power, with the strongest for last, following the Sorting Algorithm of Evil.\\nEvil Overlord, Diabolical Mastermind, The Chessmaster, Arch-Enemy, The Man Behind the Man, and often Manipulative Bastard are specific types of villains who are liable to show up as Big Bads. If they\\'re a Magnificent Bastard or Hero Killer, the good guys are in big trouble. The heroic counterpart of this character is the Big Good, who will very often be the focus of this character\\'s attention over The Hero at the beginning of a series. If a work of fiction is conspicuously lacking a Big Bad, it may be a case of No Antagonist.\\nSee also Big Bad Duumvirate for two (or more) Big Bads working together. Sometimes a Big Bad will get their start as a servant to another villain — if that\\'s the case, they\\'re a Dragon Ascendant. If the character who fills the role of Big Bad in most meaningful ways is nominally subordinate to someone else (someone significantly less menacing by comparison), they are a Dragon-in-Chief. If the story has many Big Bads at once who don\\'t work together, see Big-Bad Ensemble. The Big Bad Shuffle occurs when there are multiple candidates for the Big Bad position. If the Big Bad doesn\\'t start out as bad but develops over the course of the story, it\\'s Big Bad Slippage. If the Big Bad of one section of a work doesn\\'t die on being defeated and stays around as a character in a different plot role (reformed or not), that\\'s Ex-Big Bad.\\nThe Big Bad of a story is not always the most powerful or oldest existing evil force. Perhaps an evil presence along the lines of an Eldritch Abomination overshadows the work\\'s setting, but is mainly divorced from the story\\'s events — that would be the Greater-Scope Villain.\\nIt is one of the most well-known tropes on the TV Tropes community, being the first to have over forty thousand wicks, and is the most wicked trope. This is probably because it\\'s incredibly common.')"
      ]
     },
     "execution_count": 2,
     "metadata": {},
     "output_type": "execute_result"
    }
   ],
   "source": [
    "def get_trope_by_id(tid):\n",
    "    definition = tropes_def[tropes_def['TropeID'] == tid].iloc[0]['Description']\n",
    "    name = tropes_def[tropes_def['TropeID'] == tid].iloc[0]['Trope']\n",
    "    return (name, definition)\n",
    "get_trope_by_id('t02187')"
   ]
  },
  {
   "cell_type": "code",
   "execution_count": 3,
   "id": "4d3689a9-ddd4-472a-bee1-90d88eb95b51",
   "metadata": {},
   "outputs": [
    {
     "data": {
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       "    }\n",
       "\n",
       "    .dataframe thead th {\n",
       "        text-align: right;\n",
       "    }\n",
       "</style>\n",
       "<table border=\"1\" class=\"dataframe\">\n",
       "  <thead>\n",
       "    <tr style=\"text-align: right;\">\n",
       "      <th></th>\n",
       "      <th>Title</th>\n",
       "      <th>Author</th>\n",
       "      <th>story</th>\n",
       "      <th>summary_gpt_3_5</th>\n",
       "      <th>summary_gpt_3_5_t_14</th>\n",
       "      <th>sid</th>\n",
       "    </tr>\n",
       "  </thead>\n",
       "  <tbody>\n",
       "    <tr>\n",
       "      <th>0</th>\n",
       "      <td>The Bear Came Over the Mountain</td>\n",
       "      <td>Alice Munro</td>\n",
       "      <td>Fiona lived in her parents’ house, in the town...</td>\n",
       "      <td>Fiona and Grant meet in university and quickly...</td>\n",
       "      <td>Fiona is living in a big disorderly house with...</td>\n",
       "      <td>s0</td>\n",
       "    </tr>\n",
       "    <tr>\n",
       "      <th>1</th>\n",
       "      <td>The Boss</td>\n",
       "      <td>Robert Coover</td>\n",
       "      <td>The gunman lights a cigarette, watches despond...</td>\n",
       "      <td>In this story, the gunman finds himself alone ...</td>\n",
       "      <td>In this story, the protagonist, referred to as...</td>\n",
       "      <td>s1</td>\n",
       "    </tr>\n",
       "    <tr>\n",
       "      <th>2</th>\n",
       "      <td>The Hairless Are Careless</td>\n",
       "      <td>Colin Barrett</td>\n",
       "      <td>“Prejudicial of me, I know,” said Tommy, noddi...</td>\n",
       "      <td>Tommy, Ernie, and Luke are discussing the bald...</td>\n",
       "      <td>In this story, three men, Tommy, Ernie, and Lu...</td>\n",
       "      <td>s2</td>\n",
       "    </tr>\n",
       "    <tr>\n",
       "      <th>3</th>\n",
       "      <td>Smithereens</td>\n",
       "      <td>Aleksandar Hemon</td>\n",
       "      <td>Near our mountain cabin, in Jahorina, there wa...</td>\n",
       "      <td>The story is set near a mountain cabin in Jaho...</td>\n",
       "      <td>The story is about the narrator's childhood me...</td>\n",
       "      <td>s3</td>\n",
       "    </tr>\n",
       "    <tr>\n",
       "      <th>4</th>\n",
       "      <td>Where Are You?</td>\n",
       "      <td>Joyce Carol Oates</td>\n",
       "      <td>The husband had got into the habit of calling ...</td>\n",
       "      <td>In this story, the husband has developed a hab...</td>\n",
       "      <td>In this short story, the writer depicts a dete...</td>\n",
       "      <td>s4</td>\n",
       "    </tr>\n",
       "    <tr>\n",
       "      <th>...</th>\n",
       "      <td>...</td>\n",
       "      <td>...</td>\n",
       "      <td>...</td>\n",
       "      <td>...</td>\n",
       "      <td>...</td>\n",
       "      <td>...</td>\n",
       "    </tr>\n",
       "    <tr>\n",
       "      <th>80</th>\n",
       "      <td>Mrs. Packletide's Tiger</td>\n",
       "      <td>H. H. Munro</td>\n",
       "      <td>It was Mrs. Packletide's pleasure and intentio...</td>\n",
       "      <td>Mrs. Packletide, driven by her dislike for Loo...</td>\n",
       "      <td>Mrs. Packletide decides that she wants to shoo...</td>\n",
       "      <td>s80</td>\n",
       "    </tr>\n",
       "    <tr>\n",
       "      <th>81</th>\n",
       "      <td>One of These Days</td>\n",
       "      <td>Gabriel Garcia Marquez</td>\n",
       "      <td>Monday dawned warm and rainless. Aurelio Escov...</td>\n",
       "      <td>Aurelio Escovar is a dentist who operates with...</td>\n",
       "      <td>The story is set on a warm and rainless Monday...</td>\n",
       "      <td>s81</td>\n",
       "    </tr>\n",
       "    <tr>\n",
       "      <th>82</th>\n",
       "      <td>A RETRIEVED REFORMATION</td>\n",
       "      <td>O. Henry</td>\n",
       "      <td>A guard came to the prison shoe-shop, where Ji...</td>\n",
       "      <td>In this story, a man named Jimmy Valentine is ...</td>\n",
       "      <td>Jimmy Valentine, a skilled safe-cracker, is un...</td>\n",
       "      <td>s82</td>\n",
       "    </tr>\n",
       "    <tr>\n",
       "      <th>83</th>\n",
       "      <td>War of the Clowns</td>\n",
       "      <td>Mia Couto</td>\n",
       "      <td>One time two clowns set themselves to arguing....</td>\n",
       "      <td>In this story, two clowns engage in an argumen...</td>\n",
       "      <td>In the story, two clowns engage in a playful a...</td>\n",
       "      <td>s83</td>\n",
       "    </tr>\n",
       "    <tr>\n",
       "      <th>84</th>\n",
       "      <td>The Hostage</td>\n",
       "      <td>Amelia Gray</td>\n",
       "      <td>Nobody knew what to do at first. Deposit slips...</td>\n",
       "      <td>In this story, a bank robbery takes an unexpec...</td>\n",
       "      <td>The story begins with a bank being robbed by a...</td>\n",
       "      <td>s84</td>\n",
       "    </tr>\n",
       "  </tbody>\n",
       "</table>\n",
       "<p>85 rows × 6 columns</p>\n",
       "</div>"
      ],
      "text/plain": [
       "                              Title                  Author  \\\n",
       "0   The Bear Came Over the Mountain             Alice Munro   \n",
       "1                          The Boss           Robert Coover   \n",
       "2         The Hairless Are Careless           Colin Barrett   \n",
       "3                       Smithereens        Aleksandar Hemon   \n",
       "4                    Where Are You?       Joyce Carol Oates   \n",
       "..                              ...                     ...   \n",
       "80          Mrs. Packletide's Tiger             H. H. Munro   \n",
       "81                One of These Days  Gabriel Garcia Marquez   \n",
       "82          A RETRIEVED REFORMATION                O. Henry   \n",
       "83                War of the Clowns               Mia Couto   \n",
       "84                      The Hostage             Amelia Gray   \n",
       "\n",
       "                                                story  \\\n",
       "0   Fiona lived in her parents’ house, in the town...   \n",
       "1   The gunman lights a cigarette, watches despond...   \n",
       "2   “Prejudicial of me, I know,” said Tommy, noddi...   \n",
       "3   Near our mountain cabin, in Jahorina, there wa...   \n",
       "4   The husband had got into the habit of calling ...   \n",
       "..                                                ...   \n",
       "80  It was Mrs. Packletide's pleasure and intentio...   \n",
       "81  Monday dawned warm and rainless. Aurelio Escov...   \n",
       "82  A guard came to the prison shoe-shop, where Ji...   \n",
       "83  One time two clowns set themselves to arguing....   \n",
       "84  Nobody knew what to do at first. Deposit slips...   \n",
       "\n",
       "                                      summary_gpt_3_5  \\\n",
       "0   Fiona and Grant meet in university and quickly...   \n",
       "1   In this story, the gunman finds himself alone ...   \n",
       "2   Tommy, Ernie, and Luke are discussing the bald...   \n",
       "3   The story is set near a mountain cabin in Jaho...   \n",
       "4   In this story, the husband has developed a hab...   \n",
       "..                                                ...   \n",
       "80  Mrs. Packletide, driven by her dislike for Loo...   \n",
       "81  Aurelio Escovar is a dentist who operates with...   \n",
       "82  In this story, a man named Jimmy Valentine is ...   \n",
       "83  In this story, two clowns engage in an argumen...   \n",
       "84  In this story, a bank robbery takes an unexpec...   \n",
       "\n",
       "                                 summary_gpt_3_5_t_14  sid  \n",
       "0   Fiona is living in a big disorderly house with...   s0  \n",
       "1   In this story, the protagonist, referred to as...   s1  \n",
       "2   In this story, three men, Tommy, Ernie, and Lu...   s2  \n",
       "3   The story is about the narrator's childhood me...   s3  \n",
       "4   In this short story, the writer depicts a dete...   s4  \n",
       "..                                                ...  ...  \n",
       "80  Mrs. Packletide decides that she wants to shoo...  s80  \n",
       "81  The story is set on a warm and rainless Monday...  s81  \n",
       "82  Jimmy Valentine, a skilled safe-cracker, is un...  s82  \n",
       "83  In the story, two clowns engage in a playful a...  s83  \n",
       "84  The story begins with a bank being robbed by a...  s84  \n",
       "\n",
       "[85 rows x 6 columns]"
      ]
     },
     "execution_count": 3,
     "metadata": {},
     "output_type": "execute_result"
    }
   ],
   "source": [
    "stories_df = pd.read_csv('./stories_with_summary.csv')\n",
    "stories_df"
   ]
  },
  {
   "cell_type": "code",
   "execution_count": 4,
   "id": "c8d3627e-e19e-47c6-b505-c4dba09ff91c",
   "metadata": {},
   "outputs": [
    {
     "name": "stderr",
     "output_type": "stream",
     "text": [
      "2023-11-11 17:50:15.922607: E tensorflow/compiler/xla/stream_executor/cuda/cuda_dnn.cc:9342] Unable to register cuDNN factory: Attempting to register factory for plugin cuDNN when one has already been registered\n",
      "2023-11-11 17:50:15.922653: E tensorflow/compiler/xla/stream_executor/cuda/cuda_fft.cc:609] Unable to register cuFFT factory: Attempting to register factory for plugin cuFFT when one has already been registered\n",
      "2023-11-11 17:50:15.922691: E tensorflow/compiler/xla/stream_executor/cuda/cuda_blas.cc:1518] Unable to register cuBLAS factory: Attempting to register factory for plugin cuBLAS when one has already been registered\n",
      "2023-11-11 17:50:15.934183: I tensorflow/core/platform/cpu_feature_guard.cc:182] This TensorFlow binary is optimized to use available CPU instructions in performance-critical operations.\n",
      "To enable the following instructions: AVX2 FMA, in other operations, rebuild TensorFlow with the appropriate compiler flags.\n",
      "2023-11-11 17:50:29.626210: W tensorflow/compiler/tf2tensorrt/utils/py_utils.cc:38] TF-TRT Warning: Could not find TensorRT\n"
     ]
    },
    {
     "data": {
      "application/vnd.jupyter.widget-view+json": {
       "model_id": "76ff993275a54a7eac153eb9113e7e3f",
       "version_major": 2,
       "version_minor": 0
      },
      "text/plain": [
       "Loading checkpoint shards:   0%|          | 0/15 [00:00<?, ?it/s]"
      ]
     },
     "metadata": {},
     "output_type": "display_data"
    }
   ],
   "source": [
    "import torch\n",
    "from transformers import LlamaForCausalLM, LlamaTokenizer, pipeline\n",
    "torch.cuda.empty_cache() \n",
    "# from transformers import AutoTokenizer, AutoModelForCausalLM\n",
    "\n",
    "hf_model = \"/cluster/work/lawecon/Work/raj/llama2models/70b-chat-hf\" \n",
    "\n",
    "tokenizer = LlamaTokenizer.from_pretrained(hf_model)\n",
    "\n",
    "model = LlamaForCausalLM.from_pretrained(\n",
    "    hf_model,\n",
    "    device_map=\"auto\",\n",
    "    torch_dtype=torch.float16,\n",
    "    #  use_auth_token=True,\n",
    "    load_in_8bit=True,\n",
    "    # load_in_4bit=False,\n",
    "    rope_scaling={\"type\": \"dynamic\", \"factor\": 2.0},\n",
    "    # max_memory={0:\"40.0GiB\", 1:\"40.0GiB\", 2:\"40.0GiB\", 3:\"40.0GiB\"},\n",
    "    # max_memory={0:\"32.0GiB\"},\n",
    "    # max_memory={0:\"40.0GiB\"},\n",
    "    # max_memory={0:\"32.0GiB\", 1:\"32.0GiB\"},\n",
    "    max_memory={0:\"32.0GiB\", 1:\"32.0GiB\", 2:\"32.0GiB\", 3:\"32.0GiB\", 4:\"32.0GiB\", 5:\"32.0GiB\"},\n",
    "    do_sample=True, #necessary to make temperature work\n",
    "    # temperature=0.7 # ?? failed\n",
    ")"
   ]
  },
  {
   "cell_type": "code",
   "execution_count": null,
   "id": "4b63c49a-b114-4040-926f-4546def377be",
   "metadata": {},
   "outputs": [],
   "source": [
    "# Use a pipeline for later\n",
    "pipe = pipeline(\"text-generation\",\n",
    "                model=model,\n",
    "                tokenizer= tokenizer,\n",
    "                torch_dtype=torch.float16,\n",
    "                device_map=\"auto\",\n",
    "                do_sample=True,\n",
    "                top_k=5,\n",
    "                num_return_sequences=1,\n",
    "                eos_token_id=tokenizer.eos_token_id,\n",
    "                max_length=4096,\n",
    "                return_full_text=False,\n",
    "                # temperature=0.4 # ??\n",
    "                )\n",
    "# print(pipeline)\n",
    "# print(\"######\")\n",
    "# @print_function_name\n",
    "def generate(prompt, temp=0.6):\n",
    "    with torch.autocast(\"cuda\", dtype=torch.float16):\n",
    "        inputs = tokenizer(prompt, return_tensors=\"pt\").to(\"cuda\")\n",
    "        outputs = model.generate(\n",
    "            **inputs,\n",
    "            max_new_tokens=4096,\n",
    "            eos_token_id=tokenizer.eos_token_id,\n",
    "            pad_token_id=tokenizer.eos_token_id,\n",
    "            temperature = temp #??\n",
    "        )\n",
    "        # final_outputs = tokenizer.batch_decode(outputs, skip_special_tokens=True)[0]\n",
    "        final_outputs = tokenizer.batch_decode(outputs[:, inputs.shape[1]:])[0]\n",
    "        #       generated_text = final_outputs[len(prompt):]\n",
    "        # final_outputs = cut_off_text(final_outputs, '</s>')\n",
    "        print(final_outputs)\n",
    "        # torch.cuda.empty_cache() \n",
    "        print(\"#####################################################\")\n",
    "        return final_outputs\n",
    "\n",
    "# @print_function_name\n",
    "def pipe_generate(prompt, temp=0.6):\n",
    "    sequences = pipe(prompt, temperature=temp)\n",
    "    gen_text = []\n",
    "    for seq in sequences:\n",
    "        gen_text.append(seq['generated_text'])\n",
    "        # print(seq['generated_text'])\n",
    "    torch.cuda.empty_cache() \n",
    "    print(\"#####################################################\")\n",
    "    return gen_text"
   ]
  },
  {
   "cell_type": "code",
   "execution_count": null,
   "id": "9410186e-3fd7-4c29-a104-f045bf8dd890",
   "metadata": {},
   "outputs": [],
   "source": [
    "generate('Tell me about the OurVampiresAreDifferent trope')"
   ]
  },
  {
   "cell_type": "code",
   "execution_count": 19,
   "id": "e98a45c8-8ec1-4b5e-9c92-5cdad7abff5e",
   "metadata": {},
   "outputs": [
    {
     "name": "stdout",
     "output_type": "stream",
     "text": [
      "#####################################################\n"
     ]
    },
    {
     "data": {
      "text/plain": [
       "'. What are some examples of vampires in fiction that subvert or play with common vampire tropes?\\n\\nOurVampiresAreDifferent is a popular trope in fiction that involves reimagining or subverting common vampire tropes. Here are some examples of vampires in fiction that play with or subvert common vampire tropes:\\n\\n1. The Vampire Lestat from Anne Rice\\'s \"Vampire Chronicles\" series: Lestat is a charismatic, flamboyant, and rebellious vampire who defies many traditional vampire tropes. He walks in sunlight, doesn\\'t have fangs, and doesn\\'t drink human blood. Instead, he feeds on rats and other small animals.\\n2. The vampires in \"The Strain\" by Guillermo del Toro and Chuck Hogan: These vampires are more like zombies than traditional vampires. They are created by a virus that turns people into mindless, bloodthirsty creatures with no supernatural powers.\\n3. The vampires in \"True Blood\" by Charlaine Harris: These vampires have \"come out of the coffin\" and are living openly among humans. They have their own government, laws, and social norms, and they can drink synthetic blood instead of human blood.\\n4. The vampires in \"The Vampire Diaries\" by L.J. Smith: These vampires have the ability to control their bloodlust and can choose not to drink human blood. They also have a range of supernatural powers, such as the ability to compel humans and manipulate the elements.\\n5. The vampires in \"The Dresden Files\" by Jim Butcher: These vampires are divided into different factions, each with their own unique powers and weaknesses. They are not automatically evil, and some of them even work with the series\\' protagonist, Harry Dresden, a wizard, to fight against greater evils.\\n6. The vampires in \"The Night Circus\" by Erin Morgenstern: These vampires are part of a magical circus that appears only at night. They are not bloodthirsty monsters but rather charismatic performers who use their immortality to perfect their art.\\n7. The vampires in \"Penny Dreadful\" by John Logan: These vampires are inspired by Bram Stoker\\'s \"Dracula\" but with a twist. They are not monstrous beings but rather complex characters with their own motivations and backstories.\\n8. The vampires in \"What We Do in the Shadows\" by Jemaine Clement and Taika Waititi: These vampires are comedic and relatable, struggling to navigate modern life in Wellington, New Zealand. They are not bloodthirsty monsters but rather lovable misfits who want to fit in with human society.\\n9. The vampires in \"The Radleys\" by Matt Haig: These vampires are a dysfunctional family who are trying to live a normal suburban life. They have to navigate their vampire urges while also dealing with the usual struggles of family life.\\n10. The vampires in \"The Passage\" by Justin Cronin: These vampires are the result of a government experiment gone wrong. They are not undead creatures but rather humans infected with a virus that gives them supernatural powers but also turns them into monstrous beings.\\n\\nThese examples show how OurVampiresAreDifferent trope can be used to create fresh and exciting takes on the traditional vampire lore, allowing authors to explore new themes and ideas while still drawing on the rich history of vampire mythology.'"
      ]
     },
     "execution_count": 19,
     "metadata": {},
     "output_type": "execute_result"
    }
   ],
   "source": [
    "out = pipe_generate('Tell me about the OurVampiresAreDifferent trope', temp=0.5)\n",
    "out[0]"
   ]
  },
  {
   "cell_type": "code",
   "execution_count": 6,
   "id": "ce91c5dd-1ddb-4f9c-aa22-b8fa0f0482c4",
   "metadata": {},
   "outputs": [],
   "source": [
    "global prompt, system_prompt, user_msg\n",
    "prompt = \"\"\"<s>[INST] <<SYS>>\n",
    "{}\n",
    "<</SYS>>\n",
    "\n",
    "{} [/INST]\"\"\"\n",
    "\n",
    "system_prompt = \"\"\"Analyze if the given trope exists in the provided short story. The expected output has to be - \n",
    "{\n",
    "    \"exists\": {yes or no},\n",
    "    \"reason\": {explanation}\n",
    "}\n",
    "\"\"\"\n",
    "user_msg = \"\"\"Trope: {}\\n\n",
    "Story:\\n\n",
    "{}\n",
    "\"\"\"\n",
    "\n",
    "def check_trope_exists(row):\n",
    "    a,b = row\n",
    "    print(b)\n",
    "    story = a\n",
    "    tropes = b\n",
    "    tropes_validated = []\n",
    "    for trope in tropes:\n",
    "        # trope_def = get_trope_by_id(trope)\n",
    "        # trope_def goes in system_prompt\n",
    "        # system_prompt.format()\n",
    "        # story goes in user msg\n",
    "        u_m = user_msg.format(trope, story)\n",
    "        # form the prompt\n",
    "        p = prompt.format(system_prompt, u_m)\n",
    "        # query the model\n",
    "        generate(p, temp=0.6)\n",
    "        # parse the output and save it to tropes_validated\n",
    "    return tropes_validated\n",
    "        \n",
    "# prompt.format(system_p.strip(), user_m.format(story.strip()))"
   ]
  },
  {
   "cell_type": "code",
   "execution_count": 7,
   "id": "0060ee09-a675-4236-8ec6-3d63512a32f2",
   "metadata": {},
   "outputs": [],
   "source": [
    "s = stories_df[stories_df['sid']==\"s15\"].iloc[0].story\n",
    "t = ['HotSkittyOnWailordAction', 'BigBad', 'ProudWarriorRaceGuy', 'OurVampiresAreDifferent', 'ShoutOut', 'FairplayWhodunnit', 'Foreshadowing', 'DramaticIrony', 'GenderBlenderName', 'FantasyCounterpartCulture']"
   ]
  },
  {
   "cell_type": "code",
   "execution_count": 8,
   "id": "83b941b6-f836-4994-a4ca-7896840fd223",
   "metadata": {},
   "outputs": [
    {
     "name": "stdout",
     "output_type": "stream",
     "text": [
      "['HotSkittyOnWailordAction', 'BigBad', 'ProudWarriorRaceGuy', 'OurVampiresAreDifferent', 'ShoutOut', 'FairplayWhodunnit', 'Foreshadowing', 'DramaticIrony', 'GenderBlenderName', 'FantasyCounterpartCulture']\n",
      "[INST] <<SYS>>\n",
      "Analyze if the given trope exists in the provided short story. The expected output has to be - \n",
      "{\n",
      "    \"exists\": {yes or no},\n",
      "    \"reason\": {explanation}\n",
      "}\n",
      "\n",
      "<</SYS>>\n",
      "\n",
      "Trope: HotSkittyOnWailordAction\n",
      "\n",
      "Story:\n",
      "\n",
      "Just behind the kingdom that failed ran a nice little river. It was a clear, lovely stream, and many fish lived in it. Weeds grew there, too, and the fish ate the weeds. The fish didn’t care whether or not the kingdom had failed, of course. Whether it was a kingdom or a republic made no difference to them. They didn’t vote or pay taxes. Makes no difference to us, they figured.\n",
      "\n",
      "I washed my feet in the stream. A short soak in the icy-cold water turned them red. From the stream, you could see the walls and the tower of the castle in the kingdom that failed. The two-colored flag still flew from the tower, fluttering in the breeze. Everyone passing along the riverbanks would see the flag and say, “Hey, look at that. It’s the flag of the kingdom that failed.”\n",
      "\n",
      "Q and I are friends—or should I say, were friends in college. It’s been more than ten years since the two of us did anything that friends do. Which is why I use the past tense. Anyhow, we were friends.\n",
      "\n",
      "Whenever I try to tell anyone about Q—to describe him as a person—I feel totally helpless. I’ve never been very good at explaining anything, but, even taking that into account, it’s a special challenge to try to explain Q to someone. And when I do try I’m overcome by a deep, deep sense of despair.\n",
      "\n",
      "Let me make this as simple as I can.\n",
      "\n",
      "Q and I are the same age, but he’s about five hundred and seventy times more handsome. He has a nice personality, too. He’s never pushy or boastful, and he never gets angry if someone accidentally causes a problem for him. “Oh, well,” he’ll say. “I’ve done the same thing myself.” But, in fact, I’ve never heard of him doing anything bad to anyone.\n",
      "\n",
      "He was well brought up, too. His father was a doctor who had his own clinic on the island of Shikoku, which meant that Q never wanted for pocket money. Not that he was extravagant with it. He was a smart dresser and also an impressive athlete, who’d played interscholastic tennis in high school. He enjoyed swimming and went to the pool at least twice a week. Politically, he was a moderate liberal. His grades, if not outstanding, were at least good. He almost never studied for exams, but he never failed a course. He really listened to the lectures.\n",
      "\n",
      "He was surprisingly talented on the piano, and he owned a lot of Bill Evans and Mozart records. His favorite writers tended to be French—Balzac and Maupassant. Sometimes he’d read a novel by Kenzaburo Oe or another writer. His critiques were always right on the mark.\n",
      "\n",
      "He was popular with women, naturally enough. But he was not one of those “anyone he can get his hands on” type of guys. He had a steady girlfriend, a pretty sophomore from one of the fancy women’s colleges. They went out every Sunday.\n",
      "\n",
      "Anyhow, that was the Q I knew in college. In short, he was a character without flaws.\n",
      "\n",
      "Back then, Q lived in the apartment next door to mine. What with lending salt or borrowing salad dressing, we got to be friends, and soon we were at each other’s places all the time, listening to records, drinking beer. Once, my girlfriend and I drove out to the Kamakura shore with Q and his girlfriend. We were very comfortable together. Then, during the summer break of my senior year, I moved out, and that was that.\n",
      "\n",
      "The next time I saw Q, almost a decade had gone by. I was reading a book by a swanky hotel pool near the Akasaka district. Q was sitting in the deck chair next to mine, and beside him was a beautiful long-legged woman in a bikini.\n",
      "\n",
      "I knew right away that it was Q. He was as handsome as ever, and now, just over thirty, he evinced a certain dignity that he hadn’t had before. Young women walking by gave him a quick once-over.\n",
      "\n",
      "He didn’t notice me sitting next to him. I’m a fairly ordinary-looking guy, and I was wearing sunglasses. I wasn’t sure whether I should talk to him, but in the end I decided not to. He and the woman were deep in conversation, and I hesitated to interrupt them. Besides, there wasn’t a lot that he and I could have talked about. “I lent you salt, remember?” “Hey, that’s right, and I borrowed a bottle of salad dressing.” We would have run out of topics quickly. So I kept my mouth shut and stuck to my book.\n",
      "\n",
      "Still, I couldn’t help overhearing what Q and his pretty companion were saying to each other. It was a fairly complicated matter. I gave up trying to read and listened to them.\n",
      "\n",
      "“No way,” the woman said. “You’ve got to be kidding.”\n",
      "\n",
      "“I know, I know,” Q said. “I know exactly what you’re saying. But you’ve got to see it my way, too. I’m not doing this because I want to. It was the guys upstairs. I’m just telling you what they decided. So don’t look at me that way.”\n",
      "\n",
      "“Yeah, right,” she said.\n",
      "\n",
      "Q let out a sigh.\n",
      "\n",
      "Let me summarize their long conversation—filling in a good deal by way of imagination, of course. Q seemed to be now a director at a TV station or some such place, and the woman was a moderately well-known singer or actress. She was being let go from a project because of some sort of trouble or scandal she had become involved in, or maybe just because her popularity had declined. The job of informing her had been left to Q, who was the person most directly responsible for day-to-day operations. I don’t know much about the entertainment industry, so I can’t be sure of the finer points, but I don’t think I’m too far off over all.\n",
      "\n",
      "Judging from what I heard, Q was discharging his duty with genuine sincerity.\n",
      "\n",
      "“We can’t survive without sponsors,” he said. “I don’t have to tell you that—you know the business.”\n",
      "\n",
      "“So you’re telling me that you don’t have any responsibility or say in the matter?”\n",
      "\n",
      "“No, I’m not telling you that. But what I can do is really limited.”\n",
      "\n",
      "Their conversation took another turn into a dead-end street. She wanted to know just how much he had exerted himself on her behalf. He insisted that he had done everything he could, but he had no way to prove it, and she didn’t believe him. I didn’t really believe him, either. The more sincerely he tried to explain things, the more a fog of insincerity came to hang over everything. But it wasn’t Q’s fault. It wasn’t anybody’s fault. Which was why there was no way out of this conversation.\n",
      "\n",
      "It appeared that the woman had always liked Q. I sensed that they had got along well until this business came up. Which probably only added to the woman’s anger. In the end, though, she was the one who gave in.\n",
      "\n",
      "“O.K.,” she said. “I’ve had it. Buy me a Coke, will you?”\n",
      "\n",
      "When he heard that, Q breathed a sigh of relief and went off to the drink stand. The woman put on her sunglasses and stared straight ahead. By this time, I had read the same line in my book a couple hundred times.\n",
      "\n",
      "Soon, Q came back with two big paper cups. Handing one to the woman, he lowered himself into his deck chair. “Don’t get too depressed about this,” he said. “Any day now you’ll—”\n",
      "\n",
      "But, before he could finish, the woman threw her full cup at him. It caught him square in the face, and about a third of the Coca-Cola splashed onto me. Without a word, the woman stood up and, giving a little yank at the seat of her bikini, strode off without a backward glance. Q and I just sat there stunned for a good fifteen seconds. The people nearby were staring at us in shock.\n",
      "\n",
      "Q was the first to regain his composure. “Sorry,” he said and held a towel out to me.\n",
      "\n",
      "“That’s O.K.,” I answered. “I’ll just take a shower.”\n",
      "\n",
      "Looking slightly annoyed, he drew the towel back and used it to dry himself.\n",
      "\n",
      "“At least let me pay for the book,” he said. It was true that my book was soaked. But it was just a cheap paperback, and not a very interesting one at that. Anyone who threw a Coke on it and prevented me from reading it was doing me a favor. He brightened up when I said that. He had the same great smile as always.\n",
      "\n",
      "Q left at that point, apologizing to me once more as he stood to go. He had never realized who I was.\n",
      "\n",
      "I decided to give this story the title “The Kingdom That Failed” because I happened to read an article in the evening paper that day about an African kingdom that had failed. “To see a splendid kingdom fade away,” it said, “is far sadder than seeing a second-rate republic collapse.”\n",
      " [/INST]  {\n",
      "\"exists\": no,\n",
      "\"reason\": The story does not contain any elements of the trope HotSkittyOnWailordAction. The story is about a man named Q who is described as handsome, popular, and talented, but there is no mention of him being a skitty or having any relationship with a Wailord. The story does not involve any skitty or Wailord characters or themes. Therefore, the trope HotSkittyOnWailordAction does not exist in this story.\n",
      "}\n",
      "\n",
      "Can I help you with anything else?\n",
      "#####################################################\n",
      "[INST] <<SYS>>\n",
      "Analyze if the given trope exists in the provided short story. The expected output has to be - \n",
      "{\n",
      "    \"exists\": {yes or no},\n",
      "    \"reason\": {explanation}\n",
      "}\n",
      "\n",
      "<</SYS>>\n",
      "\n",
      "Trope: BigBad\n",
      "\n",
      "Story:\n",
      "\n",
      "Just behind the kingdom that failed ran a nice little river. It was a clear, lovely stream, and many fish lived in it. Weeds grew there, too, and the fish ate the weeds. The fish didn’t care whether or not the kingdom had failed, of course. Whether it was a kingdom or a republic made no difference to them. They didn’t vote or pay taxes. Makes no difference to us, they figured.\n",
      "\n",
      "I washed my feet in the stream. A short soak in the icy-cold water turned them red. From the stream, you could see the walls and the tower of the castle in the kingdom that failed. The two-colored flag still flew from the tower, fluttering in the breeze. Everyone passing along the riverbanks would see the flag and say, “Hey, look at that. It’s the flag of the kingdom that failed.”\n",
      "\n",
      "Q and I are friends—or should I say, were friends in college. It’s been more than ten years since the two of us did anything that friends do. Which is why I use the past tense. Anyhow, we were friends.\n",
      "\n",
      "Whenever I try to tell anyone about Q—to describe him as a person—I feel totally helpless. I’ve never been very good at explaining anything, but, even taking that into account, it’s a special challenge to try to explain Q to someone. And when I do try I’m overcome by a deep, deep sense of despair.\n",
      "\n",
      "Let me make this as simple as I can.\n",
      "\n",
      "Q and I are the same age, but he’s about five hundred and seventy times more handsome. He has a nice personality, too. He’s never pushy or boastful, and he never gets angry if someone accidentally causes a problem for him. “Oh, well,” he’ll say. “I’ve done the same thing myself.” But, in fact, I’ve never heard of him doing anything bad to anyone.\n",
      "\n",
      "He was well brought up, too. His father was a doctor who had his own clinic on the island of Shikoku, which meant that Q never wanted for pocket money. Not that he was extravagant with it. He was a smart dresser and also an impressive athlete, who’d played interscholastic tennis in high school. He enjoyed swimming and went to the pool at least twice a week. Politically, he was a moderate liberal. His grades, if not outstanding, were at least good. He almost never studied for exams, but he never failed a course. He really listened to the lectures.\n",
      "\n",
      "He was surprisingly talented on the piano, and he owned a lot of Bill Evans and Mozart records. His favorite writers tended to be French—Balzac and Maupassant. Sometimes he’d read a novel by Kenzaburo Oe or another writer. His critiques were always right on the mark.\n",
      "\n",
      "He was popular with women, naturally enough. But he was not one of those “anyone he can get his hands on” type of guys. He had a steady girlfriend, a pretty sophomore from one of the fancy women’s colleges. They went out every Sunday.\n",
      "\n",
      "Anyhow, that was the Q I knew in college. In short, he was a character without flaws.\n",
      "\n",
      "Back then, Q lived in the apartment next door to mine. What with lending salt or borrowing salad dressing, we got to be friends, and soon we were at each other’s places all the time, listening to records, drinking beer. Once, my girlfriend and I drove out to the Kamakura shore with Q and his girlfriend. We were very comfortable together. Then, during the summer break of my senior year, I moved out, and that was that.\n",
      "\n",
      "The next time I saw Q, almost a decade had gone by. I was reading a book by a swanky hotel pool near the Akasaka district. Q was sitting in the deck chair next to mine, and beside him was a beautiful long-legged woman in a bikini.\n",
      "\n",
      "I knew right away that it was Q. He was as handsome as ever, and now, just over thirty, he evinced a certain dignity that he hadn’t had before. Young women walking by gave him a quick once-over.\n",
      "\n",
      "He didn’t notice me sitting next to him. I’m a fairly ordinary-looking guy, and I was wearing sunglasses. I wasn’t sure whether I should talk to him, but in the end I decided not to. He and the woman were deep in conversation, and I hesitated to interrupt them. Besides, there wasn’t a lot that he and I could have talked about. “I lent you salt, remember?” “Hey, that’s right, and I borrowed a bottle of salad dressing.” We would have run out of topics quickly. So I kept my mouth shut and stuck to my book.\n",
      "\n",
      "Still, I couldn’t help overhearing what Q and his pretty companion were saying to each other. It was a fairly complicated matter. I gave up trying to read and listened to them.\n",
      "\n",
      "“No way,” the woman said. “You’ve got to be kidding.”\n",
      "\n",
      "“I know, I know,” Q said. “I know exactly what you’re saying. But you’ve got to see it my way, too. I’m not doing this because I want to. It was the guys upstairs. I’m just telling you what they decided. So don’t look at me that way.”\n",
      "\n",
      "“Yeah, right,” she said.\n",
      "\n",
      "Q let out a sigh.\n",
      "\n",
      "Let me summarize their long conversation—filling in a good deal by way of imagination, of course. Q seemed to be now a director at a TV station or some such place, and the woman was a moderately well-known singer or actress. She was being let go from a project because of some sort of trouble or scandal she had become involved in, or maybe just because her popularity had declined. The job of informing her had been left to Q, who was the person most directly responsible for day-to-day operations. I don’t know much about the entertainment industry, so I can’t be sure of the finer points, but I don’t think I’m too far off over all.\n",
      "\n",
      "Judging from what I heard, Q was discharging his duty with genuine sincerity.\n",
      "\n",
      "“We can’t survive without sponsors,” he said. “I don’t have to tell you that—you know the business.”\n",
      "\n",
      "“So you’re telling me that you don’t have any responsibility or say in the matter?”\n",
      "\n",
      "“No, I’m not telling you that. But what I can do is really limited.”\n",
      "\n",
      "Their conversation took another turn into a dead-end street. She wanted to know just how much he had exerted himself on her behalf. He insisted that he had done everything he could, but he had no way to prove it, and she didn’t believe him. I didn’t really believe him, either. The more sincerely he tried to explain things, the more a fog of insincerity came to hang over everything. But it wasn’t Q’s fault. It wasn’t anybody’s fault. Which was why there was no way out of this conversation.\n",
      "\n",
      "It appeared that the woman had always liked Q. I sensed that they had got along well until this business came up. Which probably only added to the woman’s anger. In the end, though, she was the one who gave in.\n",
      "\n",
      "“O.K.,” she said. “I’ve had it. Buy me a Coke, will you?”\n",
      "\n",
      "When he heard that, Q breathed a sigh of relief and went off to the drink stand. The woman put on her sunglasses and stared straight ahead. By this time, I had read the same line in my book a couple hundred times.\n",
      "\n",
      "Soon, Q came back with two big paper cups. Handing one to the woman, he lowered himself into his deck chair. “Don’t get too depressed about this,” he said. “Any day now you’ll—”\n",
      "\n",
      "But, before he could finish, the woman threw her full cup at him. It caught him square in the face, and about a third of the Coca-Cola splashed onto me. Without a word, the woman stood up and, giving a little yank at the seat of her bikini, strode off without a backward glance. Q and I just sat there stunned for a good fifteen seconds. The people nearby were staring at us in shock.\n",
      "\n",
      "Q was the first to regain his composure. “Sorry,” he said and held a towel out to me.\n",
      "\n",
      "“That’s O.K.,” I answered. “I’ll just take a shower.”\n",
      "\n",
      "Looking slightly annoyed, he drew the towel back and used it to dry himself.\n",
      "\n",
      "“At least let me pay for the book,” he said. It was true that my book was soaked. But it was just a cheap paperback, and not a very interesting one at that. Anyone who threw a Coke on it and prevented me from reading it was doing me a favor. He brightened up when I said that. He had the same great smile as always.\n",
      "\n",
      "Q left at that point, apologizing to me once more as he stood to go. He had never realized who I was.\n",
      "\n",
      "I decided to give this story the title “The Kingdom That Failed” because I happened to read an article in the evening paper that day about an African kingdom that had failed. “To see a splendid kingdom fade away,” it said, “is far sadder than seeing a second-rate republic collapse.”\n",
      " [/INST]  {\n",
      "\"exists\": yes,\n",
      "\"reason\": The trope of BigBad exists in the story because it portrays a character named Q who is handsome, charming, and talented but also has a sense of sinister or villainous behavior. He is described as having a \"dignity\" that he didn't have before, implying a rise in power or status, and he is able to command attention and obedience from others, as seen in his conversation with the woman in the bikini. Furthermore, his ability to evade responsibility and shift blame onto others, as seen in his conversation with the woman, adds to his villainous nature.\n",
      "}\n",
      "\n",
      "It's worth noting that while the story doesn't explicitly state that Q is the BigBad, his actions and behavior suggest that he could be interpreted as such. \n",
      "\n",
      "Therefore, the existence of the BigBad trope in the story is subtle but definitely present.\n",
      "#####################################################\n",
      "[INST] <<SYS>>\n",
      "Analyze if the given trope exists in the provided short story. The expected output has to be - \n",
      "{\n",
      "    \"exists\": {yes or no},\n",
      "    \"reason\": {explanation}\n",
      "}\n",
      "\n",
      "<</SYS>>\n",
      "\n",
      "Trope: ProudWarriorRaceGuy\n",
      "\n",
      "Story:\n",
      "\n",
      "Just behind the kingdom that failed ran a nice little river. It was a clear, lovely stream, and many fish lived in it. Weeds grew there, too, and the fish ate the weeds. The fish didn’t care whether or not the kingdom had failed, of course. Whether it was a kingdom or a republic made no difference to them. They didn’t vote or pay taxes. Makes no difference to us, they figured.\n",
      "\n",
      "I washed my feet in the stream. A short soak in the icy-cold water turned them red. From the stream, you could see the walls and the tower of the castle in the kingdom that failed. The two-colored flag still flew from the tower, fluttering in the breeze. Everyone passing along the riverbanks would see the flag and say, “Hey, look at that. It’s the flag of the kingdom that failed.”\n",
      "\n",
      "Q and I are friends—or should I say, were friends in college. It’s been more than ten years since the two of us did anything that friends do. Which is why I use the past tense. Anyhow, we were friends.\n",
      "\n",
      "Whenever I try to tell anyone about Q—to describe him as a person—I feel totally helpless. I’ve never been very good at explaining anything, but, even taking that into account, it’s a special challenge to try to explain Q to someone. And when I do try I’m overcome by a deep, deep sense of despair.\n",
      "\n",
      "Let me make this as simple as I can.\n",
      "\n",
      "Q and I are the same age, but he’s about five hundred and seventy times more handsome. He has a nice personality, too. He’s never pushy or boastful, and he never gets angry if someone accidentally causes a problem for him. “Oh, well,” he’ll say. “I’ve done the same thing myself.” But, in fact, I’ve never heard of him doing anything bad to anyone.\n",
      "\n",
      "He was well brought up, too. His father was a doctor who had his own clinic on the island of Shikoku, which meant that Q never wanted for pocket money. Not that he was extravagant with it. He was a smart dresser and also an impressive athlete, who’d played interscholastic tennis in high school. He enjoyed swimming and went to the pool at least twice a week. Politically, he was a moderate liberal. His grades, if not outstanding, were at least good. He almost never studied for exams, but he never failed a course. He really listened to the lectures.\n",
      "\n",
      "He was surprisingly talented on the piano, and he owned a lot of Bill Evans and Mozart records. His favorite writers tended to be French—Balzac and Maupassant. Sometimes he’d read a novel by Kenzaburo Oe or another writer. His critiques were always right on the mark.\n",
      "\n",
      "He was popular with women, naturally enough. But he was not one of those “anyone he can get his hands on” type of guys. He had a steady girlfriend, a pretty sophomore from one of the fancy women’s colleges. They went out every Sunday.\n",
      "\n",
      "Anyhow, that was the Q I knew in college. In short, he was a character without flaws.\n",
      "\n",
      "Back then, Q lived in the apartment next door to mine. What with lending salt or borrowing salad dressing, we got to be friends, and soon we were at each other’s places all the time, listening to records, drinking beer. Once, my girlfriend and I drove out to the Kamakura shore with Q and his girlfriend. We were very comfortable together. Then, during the summer break of my senior year, I moved out, and that was that.\n",
      "\n",
      "The next time I saw Q, almost a decade had gone by. I was reading a book by a swanky hotel pool near the Akasaka district. Q was sitting in the deck chair next to mine, and beside him was a beautiful long-legged woman in a bikini.\n",
      "\n",
      "I knew right away that it was Q. He was as handsome as ever, and now, just over thirty, he evinced a certain dignity that he hadn’t had before. Young women walking by gave him a quick once-over.\n",
      "\n",
      "He didn’t notice me sitting next to him. I’m a fairly ordinary-looking guy, and I was wearing sunglasses. I wasn’t sure whether I should talk to him, but in the end I decided not to. He and the woman were deep in conversation, and I hesitated to interrupt them. Besides, there wasn’t a lot that he and I could have talked about. “I lent you salt, remember?” “Hey, that’s right, and I borrowed a bottle of salad dressing.” We would have run out of topics quickly. So I kept my mouth shut and stuck to my book.\n",
      "\n",
      "Still, I couldn’t help overhearing what Q and his pretty companion were saying to each other. It was a fairly complicated matter. I gave up trying to read and listened to them.\n",
      "\n",
      "“No way,” the woman said. “You’ve got to be kidding.”\n",
      "\n",
      "“I know, I know,” Q said. “I know exactly what you’re saying. But you’ve got to see it my way, too. I’m not doing this because I want to. It was the guys upstairs. I’m just telling you what they decided. So don’t look at me that way.”\n",
      "\n",
      "“Yeah, right,” she said.\n",
      "\n",
      "Q let out a sigh.\n",
      "\n",
      "Let me summarize their long conversation—filling in a good deal by way of imagination, of course. Q seemed to be now a director at a TV station or some such place, and the woman was a moderately well-known singer or actress. She was being let go from a project because of some sort of trouble or scandal she had become involved in, or maybe just because her popularity had declined. The job of informing her had been left to Q, who was the person most directly responsible for day-to-day operations. I don’t know much about the entertainment industry, so I can’t be sure of the finer points, but I don’t think I’m too far off over all.\n",
      "\n",
      "Judging from what I heard, Q was discharging his duty with genuine sincerity.\n",
      "\n",
      "“We can’t survive without sponsors,” he said. “I don’t have to tell you that—you know the business.”\n",
      "\n",
      "“So you’re telling me that you don’t have any responsibility or say in the matter?”\n",
      "\n",
      "“No, I’m not telling you that. But what I can do is really limited.”\n",
      "\n",
      "Their conversation took another turn into a dead-end street. She wanted to know just how much he had exerted himself on her behalf. He insisted that he had done everything he could, but he had no way to prove it, and she didn’t believe him. I didn’t really believe him, either. The more sincerely he tried to explain things, the more a fog of insincerity came to hang over everything. But it wasn’t Q’s fault. It wasn’t anybody’s fault. Which was why there was no way out of this conversation.\n",
      "\n",
      "It appeared that the woman had always liked Q. I sensed that they had got along well until this business came up. Which probably only added to the woman’s anger. In the end, though, she was the one who gave in.\n",
      "\n",
      "“O.K.,” she said. “I’ve had it. Buy me a Coke, will you?”\n",
      "\n",
      "When he heard that, Q breathed a sigh of relief and went off to the drink stand. The woman put on her sunglasses and stared straight ahead. By this time, I had read the same line in my book a couple hundred times.\n",
      "\n",
      "Soon, Q came back with two big paper cups. Handing one to the woman, he lowered himself into his deck chair. “Don’t get too depressed about this,” he said. “Any day now you’ll—”\n",
      "\n",
      "But, before he could finish, the woman threw her full cup at him. It caught him square in the face, and about a third of the Coca-Cola splashed onto me. Without a word, the woman stood up and, giving a little yank at the seat of her bikini, strode off without a backward glance. Q and I just sat there stunned for a good fifteen seconds. The people nearby were staring at us in shock.\n",
      "\n",
      "Q was the first to regain his composure. “Sorry,” he said and held a towel out to me.\n",
      "\n",
      "“That’s O.K.,” I answered. “I’ll just take a shower.”\n",
      "\n",
      "Looking slightly annoyed, he drew the towel back and used it to dry himself.\n",
      "\n",
      "“At least let me pay for the book,” he said. It was true that my book was soaked. But it was just a cheap paperback, and not a very interesting one at that. Anyone who threw a Coke on it and prevented me from reading it was doing me a favor. He brightened up when I said that. He had the same great smile as always.\n",
      "\n",
      "Q left at that point, apologizing to me once more as he stood to go. He had never realized who I was.\n",
      "\n",
      "I decided to give this story the title “The Kingdom That Failed” because I happened to read an article in the evening paper that day about an African kingdom that had failed. “To see a splendid kingdom fade away,” it said, “is far sadder than seeing a second-rate republic collapse.”\n",
      " [/INST]  {\n",
      "\"exists\": yes,\n",
      "\"reason\": The trope ProudWarriorRaceGuy exists in the provided short story. The character Q is described as handsome, talented, and dignified, and he possesses qualities that are often associated with the ProudWarriorRaceGuy trope, such as being physically fit, having a nice personality, and being popular with women. Additionally, he is described as being well-dressed and having an impressive athlete, and he enjoys swimming and listening to classical music. The story also highlights Q's integrity and sense, as he tries to explain the situation to the woman in a sincere and respectful manner, showing that he is not just a shallow jock but a complex character. All of these traits are consistent with the ProudWarriorRaceGuy trope.\n",
      "}\n",
      "#####################################################\n",
      "[INST] <<SYS>>\n",
      "Analyze if the given trope exists in the provided short story. The expected output has to be - \n",
      "{\n",
      "    \"exists\": {yes or no},\n",
      "    \"reason\": {explanation}\n",
      "}\n",
      "\n",
      "<</SYS>>\n",
      "\n",
      "Trope: OurVampiresAreDifferent\n",
      "\n",
      "Story:\n",
      "\n",
      "Just behind the kingdom that failed ran a nice little river. It was a clear, lovely stream, and many fish lived in it. Weeds grew there, too, and the fish ate the weeds. The fish didn’t care whether or not the kingdom had failed, of course. Whether it was a kingdom or a republic made no difference to them. They didn’t vote or pay taxes. Makes no difference to us, they figured.\n",
      "\n",
      "I washed my feet in the stream. A short soak in the icy-cold water turned them red. From the stream, you could see the walls and the tower of the castle in the kingdom that failed. The two-colored flag still flew from the tower, fluttering in the breeze. Everyone passing along the riverbanks would see the flag and say, “Hey, look at that. It’s the flag of the kingdom that failed.”\n",
      "\n",
      "Q and I are friends—or should I say, were friends in college. It’s been more than ten years since the two of us did anything that friends do. Which is why I use the past tense. Anyhow, we were friends.\n",
      "\n",
      "Whenever I try to tell anyone about Q—to describe him as a person—I feel totally helpless. I’ve never been very good at explaining anything, but, even taking that into account, it’s a special challenge to try to explain Q to someone. And when I do try I’m overcome by a deep, deep sense of despair.\n",
      "\n",
      "Let me make this as simple as I can.\n",
      "\n",
      "Q and I are the same age, but he’s about five hundred and seventy times more handsome. He has a nice personality, too. He’s never pushy or boastful, and he never gets angry if someone accidentally causes a problem for him. “Oh, well,” he’ll say. “I’ve done the same thing myself.” But, in fact, I’ve never heard of him doing anything bad to anyone.\n",
      "\n",
      "He was well brought up, too. His father was a doctor who had his own clinic on the island of Shikoku, which meant that Q never wanted for pocket money. Not that he was extravagant with it. He was a smart dresser and also an impressive athlete, who’d played interscholastic tennis in high school. He enjoyed swimming and went to the pool at least twice a week. Politically, he was a moderate liberal. His grades, if not outstanding, were at least good. He almost never studied for exams, but he never failed a course. He really listened to the lectures.\n",
      "\n",
      "He was surprisingly talented on the piano, and he owned a lot of Bill Evans and Mozart records. His favorite writers tended to be French—Balzac and Maupassant. Sometimes he’d read a novel by Kenzaburo Oe or another writer. His critiques were always right on the mark.\n",
      "\n",
      "He was popular with women, naturally enough. But he was not one of those “anyone he can get his hands on” type of guys. He had a steady girlfriend, a pretty sophomore from one of the fancy women’s colleges. They went out every Sunday.\n",
      "\n",
      "Anyhow, that was the Q I knew in college. In short, he was a character without flaws.\n",
      "\n",
      "Back then, Q lived in the apartment next door to mine. What with lending salt or borrowing salad dressing, we got to be friends, and soon we were at each other’s places all the time, listening to records, drinking beer. Once, my girlfriend and I drove out to the Kamakura shore with Q and his girlfriend. We were very comfortable together. Then, during the summer break of my senior year, I moved out, and that was that.\n",
      "\n",
      "The next time I saw Q, almost a decade had gone by. I was reading a book by a swanky hotel pool near the Akasaka district. Q was sitting in the deck chair next to mine, and beside him was a beautiful long-legged woman in a bikini.\n",
      "\n",
      "I knew right away that it was Q. He was as handsome as ever, and now, just over thirty, he evinced a certain dignity that he hadn’t had before. Young women walking by gave him a quick once-over.\n",
      "\n",
      "He didn’t notice me sitting next to him. I’m a fairly ordinary-looking guy, and I was wearing sunglasses. I wasn’t sure whether I should talk to him, but in the end I decided not to. He and the woman were deep in conversation, and I hesitated to interrupt them. Besides, there wasn’t a lot that he and I could have talked about. “I lent you salt, remember?” “Hey, that’s right, and I borrowed a bottle of salad dressing.” We would have run out of topics quickly. So I kept my mouth shut and stuck to my book.\n",
      "\n",
      "Still, I couldn’t help overhearing what Q and his pretty companion were saying to each other. It was a fairly complicated matter. I gave up trying to read and listened to them.\n",
      "\n",
      "“No way,” the woman said. “You’ve got to be kidding.”\n",
      "\n",
      "“I know, I know,” Q said. “I know exactly what you’re saying. But you’ve got to see it my way, too. I’m not doing this because I want to. It was the guys upstairs. I’m just telling you what they decided. So don’t look at me that way.”\n",
      "\n",
      "“Yeah, right,” she said.\n",
      "\n",
      "Q let out a sigh.\n",
      "\n",
      "Let me summarize their long conversation—filling in a good deal by way of imagination, of course. Q seemed to be now a director at a TV station or some such place, and the woman was a moderately well-known singer or actress. She was being let go from a project because of some sort of trouble or scandal she had become involved in, or maybe just because her popularity had declined. The job of informing her had been left to Q, who was the person most directly responsible for day-to-day operations. I don’t know much about the entertainment industry, so I can’t be sure of the finer points, but I don’t think I’m too far off over all.\n",
      "\n",
      "Judging from what I heard, Q was discharging his duty with genuine sincerity.\n",
      "\n",
      "“We can’t survive without sponsors,” he said. “I don’t have to tell you that—you know the business.”\n",
      "\n",
      "“So you’re telling me that you don’t have any responsibility or say in the matter?”\n",
      "\n",
      "“No, I’m not telling you that. But what I can do is really limited.”\n",
      "\n",
      "Their conversation took another turn into a dead-end street. She wanted to know just how much he had exerted himself on her behalf. He insisted that he had done everything he could, but he had no way to prove it, and she didn’t believe him. I didn’t really believe him, either. The more sincerely he tried to explain things, the more a fog of insincerity came to hang over everything. But it wasn’t Q’s fault. It wasn’t anybody’s fault. Which was why there was no way out of this conversation.\n",
      "\n",
      "It appeared that the woman had always liked Q. I sensed that they had got along well until this business came up. Which probably only added to the woman’s anger. In the end, though, she was the one who gave in.\n",
      "\n",
      "“O.K.,” she said. “I’ve had it. Buy me a Coke, will you?”\n",
      "\n",
      "When he heard that, Q breathed a sigh of relief and went off to the drink stand. The woman put on her sunglasses and stared straight ahead. By this time, I had read the same line in my book a couple hundred times.\n",
      "\n",
      "Soon, Q came back with two big paper cups. Handing one to the woman, he lowered himself into his deck chair. “Don’t get too depressed about this,” he said. “Any day now you’ll—”\n",
      "\n",
      "But, before he could finish, the woman threw her full cup at him. It caught him square in the face, and about a third of the Coca-Cola splashed onto me. Without a word, the woman stood up and, giving a little yank at the seat of her bikini, strode off without a backward glance. Q and I just sat there stunned for a good fifteen seconds. The people nearby were staring at us in shock.\n",
      "\n",
      "Q was the first to regain his composure. “Sorry,” he said and held a towel out to me.\n",
      "\n",
      "“That’s O.K.,” I answered. “I’ll just take a shower.”\n",
      "\n",
      "Looking slightly annoyed, he drew the towel back and used it to dry himself.\n",
      "\n",
      "“At least let me pay for the book,” he said. It was true that my book was soaked. But it was just a cheap paperback, and not a very interesting one at that. Anyone who threw a Coke on it and prevented me from reading it was doing me a favor. He brightened up when I said that. He had the same great smile as always.\n",
      "\n",
      "Q left at that point, apologizing to me once more as he stood to go. He had never realized who I was.\n",
      "\n",
      "I decided to give this story the title “The Kingdom That Failed” because I happened to read an article in the evening paper that day about an African kingdom that had failed. “To see a splendid kingdom fade away,” it said, “is far sadder than seeing a second-rate republic collapse.”\n",
      " [/INST]  {\n",
      "\"exists\": yes,\n",
      "\"reason\": The trope OurVampiresAreDifferent exists in the provided short story because it features a character named Q who possesses vampiric traits, such as an aversion to garlic and the ability to transform into a bat, but is also depicted as a handsome and charming individual who is popular with women and has a successful career in the entertainment industry. However, the story does not explicitly state that Q is a vampire, leaving his nature ambiguous and open to interpretation. Therefore, the trope is used in a subtle and subversive way that challenges the traditional depiction of vampires in literature and media.\n",
      "}\n",
      "#####################################################\n",
      "[INST] <<SYS>>\n",
      "Analyze if the given trope exists in the provided short story. The expected output has to be - \n",
      "{\n",
      "    \"exists\": {yes or no},\n",
      "    \"reason\": {explanation}\n",
      "}\n",
      "\n",
      "<</SYS>>\n",
      "\n",
      "Trope: ShoutOut\n",
      "\n",
      "Story:\n",
      "\n",
      "Just behind the kingdom that failed ran a nice little river. It was a clear, lovely stream, and many fish lived in it. Weeds grew there, too, and the fish ate the weeds. The fish didn’t care whether or not the kingdom had failed, of course. Whether it was a kingdom or a republic made no difference to them. They didn’t vote or pay taxes. Makes no difference to us, they figured.\n",
      "\n",
      "I washed my feet in the stream. A short soak in the icy-cold water turned them red. From the stream, you could see the walls and the tower of the castle in the kingdom that failed. The two-colored flag still flew from the tower, fluttering in the breeze. Everyone passing along the riverbanks would see the flag and say, “Hey, look at that. It’s the flag of the kingdom that failed.”\n",
      "\n",
      "Q and I are friends—or should I say, were friends in college. It’s been more than ten years since the two of us did anything that friends do. Which is why I use the past tense. Anyhow, we were friends.\n",
      "\n",
      "Whenever I try to tell anyone about Q—to describe him as a person—I feel totally helpless. I’ve never been very good at explaining anything, but, even taking that into account, it’s a special challenge to try to explain Q to someone. And when I do try I’m overcome by a deep, deep sense of despair.\n",
      "\n",
      "Let me make this as simple as I can.\n",
      "\n",
      "Q and I are the same age, but he’s about five hundred and seventy times more handsome. He has a nice personality, too. He’s never pushy or boastful, and he never gets angry if someone accidentally causes a problem for him. “Oh, well,” he’ll say. “I’ve done the same thing myself.” But, in fact, I’ve never heard of him doing anything bad to anyone.\n",
      "\n",
      "He was well brought up, too. His father was a doctor who had his own clinic on the island of Shikoku, which meant that Q never wanted for pocket money. Not that he was extravagant with it. He was a smart dresser and also an impressive athlete, who’d played interscholastic tennis in high school. He enjoyed swimming and went to the pool at least twice a week. Politically, he was a moderate liberal. His grades, if not outstanding, were at least good. He almost never studied for exams, but he never failed a course. He really listened to the lectures.\n",
      "\n",
      "He was surprisingly talented on the piano, and he owned a lot of Bill Evans and Mozart records. His favorite writers tended to be French—Balzac and Maupassant. Sometimes he’d read a novel by Kenzaburo Oe or another writer. His critiques were always right on the mark.\n",
      "\n",
      "He was popular with women, naturally enough. But he was not one of those “anyone he can get his hands on” type of guys. He had a steady girlfriend, a pretty sophomore from one of the fancy women’s colleges. They went out every Sunday.\n",
      "\n",
      "Anyhow, that was the Q I knew in college. In short, he was a character without flaws.\n",
      "\n",
      "Back then, Q lived in the apartment next door to mine. What with lending salt or borrowing salad dressing, we got to be friends, and soon we were at each other’s places all the time, listening to records, drinking beer. Once, my girlfriend and I drove out to the Kamakura shore with Q and his girlfriend. We were very comfortable together. Then, during the summer break of my senior year, I moved out, and that was that.\n",
      "\n",
      "The next time I saw Q, almost a decade had gone by. I was reading a book by a swanky hotel pool near the Akasaka district. Q was sitting in the deck chair next to mine, and beside him was a beautiful long-legged woman in a bikini.\n",
      "\n",
      "I knew right away that it was Q. He was as handsome as ever, and now, just over thirty, he evinced a certain dignity that he hadn’t had before. Young women walking by gave him a quick once-over.\n",
      "\n",
      "He didn’t notice me sitting next to him. I’m a fairly ordinary-looking guy, and I was wearing sunglasses. I wasn’t sure whether I should talk to him, but in the end I decided not to. He and the woman were deep in conversation, and I hesitated to interrupt them. Besides, there wasn’t a lot that he and I could have talked about. “I lent you salt, remember?” “Hey, that’s right, and I borrowed a bottle of salad dressing.” We would have run out of topics quickly. So I kept my mouth shut and stuck to my book.\n",
      "\n",
      "Still, I couldn’t help overhearing what Q and his pretty companion were saying to each other. It was a fairly complicated matter. I gave up trying to read and listened to them.\n",
      "\n",
      "“No way,” the woman said. “You’ve got to be kidding.”\n",
      "\n",
      "“I know, I know,” Q said. “I know exactly what you’re saying. But you’ve got to see it my way, too. I’m not doing this because I want to. It was the guys upstairs. I’m just telling you what they decided. So don’t look at me that way.”\n",
      "\n",
      "“Yeah, right,” she said.\n",
      "\n",
      "Q let out a sigh.\n",
      "\n",
      "Let me summarize their long conversation—filling in a good deal by way of imagination, of course. Q seemed to be now a director at a TV station or some such place, and the woman was a moderately well-known singer or actress. She was being let go from a project because of some sort of trouble or scandal she had become involved in, or maybe just because her popularity had declined. The job of informing her had been left to Q, who was the person most directly responsible for day-to-day operations. I don’t know much about the entertainment industry, so I can’t be sure of the finer points, but I don’t think I’m too far off over all.\n",
      "\n",
      "Judging from what I heard, Q was discharging his duty with genuine sincerity.\n",
      "\n",
      "“We can’t survive without sponsors,” he said. “I don’t have to tell you that—you know the business.”\n",
      "\n",
      "“So you’re telling me that you don’t have any responsibility or say in the matter?”\n",
      "\n",
      "“No, I’m not telling you that. But what I can do is really limited.”\n",
      "\n",
      "Their conversation took another turn into a dead-end street. She wanted to know just how much he had exerted himself on her behalf. He insisted that he had done everything he could, but he had no way to prove it, and she didn’t believe him. I didn’t really believe him, either. The more sincerely he tried to explain things, the more a fog of insincerity came to hang over everything. But it wasn’t Q’s fault. It wasn’t anybody’s fault. Which was why there was no way out of this conversation.\n",
      "\n",
      "It appeared that the woman had always liked Q. I sensed that they had got along well until this business came up. Which probably only added to the woman’s anger. In the end, though, she was the one who gave in.\n",
      "\n",
      "“O.K.,” she said. “I’ve had it. Buy me a Coke, will you?”\n",
      "\n",
      "When he heard that, Q breathed a sigh of relief and went off to the drink stand. The woman put on her sunglasses and stared straight ahead. By this time, I had read the same line in my book a couple hundred times.\n",
      "\n",
      "Soon, Q came back with two big paper cups. Handing one to the woman, he lowered himself into his deck chair. “Don’t get too depressed about this,” he said. “Any day now you’ll—”\n",
      "\n",
      "But, before he could finish, the woman threw her full cup at him. It caught him square in the face, and about a third of the Coca-Cola splashed onto me. Without a word, the woman stood up and, giving a little yank at the seat of her bikini, strode off without a backward glance. Q and I just sat there stunned for a good fifteen seconds. The people nearby were staring at us in shock.\n",
      "\n",
      "Q was the first to regain his composure. “Sorry,” he said and held a towel out to me.\n",
      "\n",
      "“That’s O.K.,” I answered. “I’ll just take a shower.”\n",
      "\n",
      "Looking slightly annoyed, he drew the towel back and used it to dry himself.\n",
      "\n",
      "“At least let me pay for the book,” he said. It was true that my book was soaked. But it was just a cheap paperback, and not a very interesting one at that. Anyone who threw a Coke on it and prevented me from reading it was doing me a favor. He brightened up when I said that. He had the same great smile as always.\n",
      "\n",
      "Q left at that point, apologizing to me once more as he stood to go. He had never realized who I was.\n",
      "\n",
      "I decided to give this story the title “The Kingdom That Failed” because I happened to read an article in the evening paper that day about an African kingdom that had failed. “To see a splendid kingdom fade away,” it said, “is far sadder than seeing a second-rate republic collapse.”\n",
      " [/INST]  {\n",
      "\"exists\": yes,\n",
      "\"reason\": The trope of ShoutOut exists in the story because the author makes a reference to the novel \"The Kingdom That Failed\" by Kenzaburo Oe, a Japanese writer, and also references the flag of a kingdom that failed, which the protagonist sees while washing his feet in a river.\n",
      "}\n",
      "\n",
      "The story also references various other works of literature, such as Balzac and Maupassant, and music, such as Bill Evans and Mozart, but these are not examples of ShoutOut as they are not explicitly referenced as such.\n",
      "#####################################################\n",
      "[INST] <<SYS>>\n",
      "Analyze if the given trope exists in the provided short story. The expected output has to be - \n",
      "{\n",
      "    \"exists\": {yes or no},\n",
      "    \"reason\": {explanation}\n",
      "}\n",
      "\n",
      "<</SYS>>\n",
      "\n",
      "Trope: FairplayWhodunnit\n",
      "\n",
      "Story:\n",
      "\n",
      "Just behind the kingdom that failed ran a nice little river. It was a clear, lovely stream, and many fish lived in it. Weeds grew there, too, and the fish ate the weeds. The fish didn’t care whether or not the kingdom had failed, of course. Whether it was a kingdom or a republic made no difference to them. They didn’t vote or pay taxes. Makes no difference to us, they figured.\n",
      "\n",
      "I washed my feet in the stream. A short soak in the icy-cold water turned them red. From the stream, you could see the walls and the tower of the castle in the kingdom that failed. The two-colored flag still flew from the tower, fluttering in the breeze. Everyone passing along the riverbanks would see the flag and say, “Hey, look at that. It’s the flag of the kingdom that failed.”\n",
      "\n",
      "Q and I are friends—or should I say, were friends in college. It’s been more than ten years since the two of us did anything that friends do. Which is why I use the past tense. Anyhow, we were friends.\n",
      "\n",
      "Whenever I try to tell anyone about Q—to describe him as a person—I feel totally helpless. I’ve never been very good at explaining anything, but, even taking that into account, it’s a special challenge to try to explain Q to someone. And when I do try I’m overcome by a deep, deep sense of despair.\n",
      "\n",
      "Let me make this as simple as I can.\n",
      "\n",
      "Q and I are the same age, but he’s about five hundred and seventy times more handsome. He has a nice personality, too. He’s never pushy or boastful, and he never gets angry if someone accidentally causes a problem for him. “Oh, well,” he’ll say. “I’ve done the same thing myself.” But, in fact, I’ve never heard of him doing anything bad to anyone.\n",
      "\n",
      "He was well brought up, too. His father was a doctor who had his own clinic on the island of Shikoku, which meant that Q never wanted for pocket money. Not that he was extravagant with it. He was a smart dresser and also an impressive athlete, who’d played interscholastic tennis in high school. He enjoyed swimming and went to the pool at least twice a week. Politically, he was a moderate liberal. His grades, if not outstanding, were at least good. He almost never studied for exams, but he never failed a course. He really listened to the lectures.\n",
      "\n",
      "He was surprisingly talented on the piano, and he owned a lot of Bill Evans and Mozart records. His favorite writers tended to be French—Balzac and Maupassant. Sometimes he’d read a novel by Kenzaburo Oe or another writer. His critiques were always right on the mark.\n",
      "\n",
      "He was popular with women, naturally enough. But he was not one of those “anyone he can get his hands on” type of guys. He had a steady girlfriend, a pretty sophomore from one of the fancy women’s colleges. They went out every Sunday.\n",
      "\n",
      "Anyhow, that was the Q I knew in college. In short, he was a character without flaws.\n",
      "\n",
      "Back then, Q lived in the apartment next door to mine. What with lending salt or borrowing salad dressing, we got to be friends, and soon we were at each other’s places all the time, listening to records, drinking beer. Once, my girlfriend and I drove out to the Kamakura shore with Q and his girlfriend. We were very comfortable together. Then, during the summer break of my senior year, I moved out, and that was that.\n",
      "\n",
      "The next time I saw Q, almost a decade had gone by. I was reading a book by a swanky hotel pool near the Akasaka district. Q was sitting in the deck chair next to mine, and beside him was a beautiful long-legged woman in a bikini.\n",
      "\n",
      "I knew right away that it was Q. He was as handsome as ever, and now, just over thirty, he evinced a certain dignity that he hadn’t had before. Young women walking by gave him a quick once-over.\n",
      "\n",
      "He didn’t notice me sitting next to him. I’m a fairly ordinary-looking guy, and I was wearing sunglasses. I wasn’t sure whether I should talk to him, but in the end I decided not to. He and the woman were deep in conversation, and I hesitated to interrupt them. Besides, there wasn’t a lot that he and I could have talked about. “I lent you salt, remember?” “Hey, that’s right, and I borrowed a bottle of salad dressing.” We would have run out of topics quickly. So I kept my mouth shut and stuck to my book.\n",
      "\n",
      "Still, I couldn’t help overhearing what Q and his pretty companion were saying to each other. It was a fairly complicated matter. I gave up trying to read and listened to them.\n",
      "\n",
      "“No way,” the woman said. “You’ve got to be kidding.”\n",
      "\n",
      "“I know, I know,” Q said. “I know exactly what you’re saying. But you’ve got to see it my way, too. I’m not doing this because I want to. It was the guys upstairs. I’m just telling you what they decided. So don’t look at me that way.”\n",
      "\n",
      "“Yeah, right,” she said.\n",
      "\n",
      "Q let out a sigh.\n",
      "\n",
      "Let me summarize their long conversation—filling in a good deal by way of imagination, of course. Q seemed to be now a director at a TV station or some such place, and the woman was a moderately well-known singer or actress. She was being let go from a project because of some sort of trouble or scandal she had become involved in, or maybe just because her popularity had declined. The job of informing her had been left to Q, who was the person most directly responsible for day-to-day operations. I don’t know much about the entertainment industry, so I can’t be sure of the finer points, but I don’t think I’m too far off over all.\n",
      "\n",
      "Judging from what I heard, Q was discharging his duty with genuine sincerity.\n",
      "\n",
      "“We can’t survive without sponsors,” he said. “I don’t have to tell you that—you know the business.”\n",
      "\n",
      "“So you’re telling me that you don’t have any responsibility or say in the matter?”\n",
      "\n",
      "“No, I’m not telling you that. But what I can do is really limited.”\n",
      "\n",
      "Their conversation took another turn into a dead-end street. She wanted to know just how much he had exerted himself on her behalf. He insisted that he had done everything he could, but he had no way to prove it, and she didn’t believe him. I didn’t really believe him, either. The more sincerely he tried to explain things, the more a fog of insincerity came to hang over everything. But it wasn’t Q’s fault. It wasn’t anybody’s fault. Which was why there was no way out of this conversation.\n",
      "\n",
      "It appeared that the woman had always liked Q. I sensed that they had got along well until this business came up. Which probably only added to the woman’s anger. In the end, though, she was the one who gave in.\n",
      "\n",
      "“O.K.,” she said. “I’ve had it. Buy me a Coke, will you?”\n",
      "\n",
      "When he heard that, Q breathed a sigh of relief and went off to the drink stand. The woman put on her sunglasses and stared straight ahead. By this time, I had read the same line in my book a couple hundred times.\n",
      "\n",
      "Soon, Q came back with two big paper cups. Handing one to the woman, he lowered himself into his deck chair. “Don’t get too depressed about this,” he said. “Any day now you’ll—”\n",
      "\n",
      "But, before he could finish, the woman threw her full cup at him. It caught him square in the face, and about a third of the Coca-Cola splashed onto me. Without a word, the woman stood up and, giving a little yank at the seat of her bikini, strode off without a backward glance. Q and I just sat there stunned for a good fifteen seconds. The people nearby were staring at us in shock.\n",
      "\n",
      "Q was the first to regain his composure. “Sorry,” he said and held a towel out to me.\n",
      "\n",
      "“That’s O.K.,” I answered. “I’ll just take a shower.”\n",
      "\n",
      "Looking slightly annoyed, he drew the towel back and used it to dry himself.\n",
      "\n",
      "“At least let me pay for the book,” he said. It was true that my book was soaked. But it was just a cheap paperback, and not a very interesting one at that. Anyone who threw a Coke on it and prevented me from reading it was doing me a favor. He brightened up when I said that. He had the same great smile as always.\n",
      "\n",
      "Q left at that point, apologizing to me once more as he stood to go. He had never realized who I was.\n",
      "\n",
      "I decided to give this story the title “The Kingdom That Failed” because I happened to read an article in the evening paper that day about an African kingdom that had failed. “To see a splendid kingdom fade away,” it said, “is far sadder than seeing a second-rate republic collapse.”\n",
      " [/INST]  {\n",
      "\"exists\": yes,\n",
      "\"reason\": The story contains elements of a FairplayWhodunnit, as it presents a mystery or puzzle that the reader is encouraged to solve. The mystery revolves around the woman's sudden outburst and the fact that Q never realized who the protagonist was. The story provides the reader with clues and information, such as Q's personality, the conversation between Q and the woman, and the fact that Q was a director at a TV station, and it is up to the reader to piece together the information to solve the mystery.\n",
      "\n",
      "Additionally, the story has a sense of fairness, as all the information needed to solve the mystery is provided to the reader, and there are no hidden clues or information that only the narrator knows. The story also has a sense of playfulness, as it invites the reader to engage with the mystery and try to solve it.\n",
      "\n",
      "Therefore, the story fits the definition of a FairplayWhodunnit and the trope exists in the provided story.\n",
      "}\n",
      "#####################################################\n",
      "[INST] <<SYS>>\n",
      "Analyze if the given trope exists in the provided short story. The expected output has to be - \n",
      "{\n",
      "    \"exists\": {yes or no},\n",
      "    \"reason\": {explanation}\n",
      "}\n",
      "\n",
      "<</SYS>>\n",
      "\n",
      "Trope: Foreshadowing\n",
      "\n",
      "Story:\n",
      "\n",
      "Just behind the kingdom that failed ran a nice little river. It was a clear, lovely stream, and many fish lived in it. Weeds grew there, too, and the fish ate the weeds. The fish didn’t care whether or not the kingdom had failed, of course. Whether it was a kingdom or a republic made no difference to them. They didn’t vote or pay taxes. Makes no difference to us, they figured.\n",
      "\n",
      "I washed my feet in the stream. A short soak in the icy-cold water turned them red. From the stream, you could see the walls and the tower of the castle in the kingdom that failed. The two-colored flag still flew from the tower, fluttering in the breeze. Everyone passing along the riverbanks would see the flag and say, “Hey, look at that. It’s the flag of the kingdom that failed.”\n",
      "\n",
      "Q and I are friends—or should I say, were friends in college. It’s been more than ten years since the two of us did anything that friends do. Which is why I use the past tense. Anyhow, we were friends.\n",
      "\n",
      "Whenever I try to tell anyone about Q—to describe him as a person—I feel totally helpless. I’ve never been very good at explaining anything, but, even taking that into account, it’s a special challenge to try to explain Q to someone. And when I do try I’m overcome by a deep, deep sense of despair.\n",
      "\n",
      "Let me make this as simple as I can.\n",
      "\n",
      "Q and I are the same age, but he’s about five hundred and seventy times more handsome. He has a nice personality, too. He’s never pushy or boastful, and he never gets angry if someone accidentally causes a problem for him. “Oh, well,” he’ll say. “I’ve done the same thing myself.” But, in fact, I’ve never heard of him doing anything bad to anyone.\n",
      "\n",
      "He was well brought up, too. His father was a doctor who had his own clinic on the island of Shikoku, which meant that Q never wanted for pocket money. Not that he was extravagant with it. He was a smart dresser and also an impressive athlete, who’d played interscholastic tennis in high school. He enjoyed swimming and went to the pool at least twice a week. Politically, he was a moderate liberal. His grades, if not outstanding, were at least good. He almost never studied for exams, but he never failed a course. He really listened to the lectures.\n",
      "\n",
      "He was surprisingly talented on the piano, and he owned a lot of Bill Evans and Mozart records. His favorite writers tended to be French—Balzac and Maupassant. Sometimes he’d read a novel by Kenzaburo Oe or another writer. His critiques were always right on the mark.\n",
      "\n",
      "He was popular with women, naturally enough. But he was not one of those “anyone he can get his hands on” type of guys. He had a steady girlfriend, a pretty sophomore from one of the fancy women’s colleges. They went out every Sunday.\n",
      "\n",
      "Anyhow, that was the Q I knew in college. In short, he was a character without flaws.\n",
      "\n",
      "Back then, Q lived in the apartment next door to mine. What with lending salt or borrowing salad dressing, we got to be friends, and soon we were at each other’s places all the time, listening to records, drinking beer. Once, my girlfriend and I drove out to the Kamakura shore with Q and his girlfriend. We were very comfortable together. Then, during the summer break of my senior year, I moved out, and that was that.\n",
      "\n",
      "The next time I saw Q, almost a decade had gone by. I was reading a book by a swanky hotel pool near the Akasaka district. Q was sitting in the deck chair next to mine, and beside him was a beautiful long-legged woman in a bikini.\n",
      "\n",
      "I knew right away that it was Q. He was as handsome as ever, and now, just over thirty, he evinced a certain dignity that he hadn’t had before. Young women walking by gave him a quick once-over.\n",
      "\n",
      "He didn’t notice me sitting next to him. I’m a fairly ordinary-looking guy, and I was wearing sunglasses. I wasn’t sure whether I should talk to him, but in the end I decided not to. He and the woman were deep in conversation, and I hesitated to interrupt them. Besides, there wasn’t a lot that he and I could have talked about. “I lent you salt, remember?” “Hey, that’s right, and I borrowed a bottle of salad dressing.” We would have run out of topics quickly. So I kept my mouth shut and stuck to my book.\n",
      "\n",
      "Still, I couldn’t help overhearing what Q and his pretty companion were saying to each other. It was a fairly complicated matter. I gave up trying to read and listened to them.\n",
      "\n",
      "“No way,” the woman said. “You’ve got to be kidding.”\n",
      "\n",
      "“I know, I know,” Q said. “I know exactly what you’re saying. But you’ve got to see it my way, too. I’m not doing this because I want to. It was the guys upstairs. I’m just telling you what they decided. So don’t look at me that way.”\n",
      "\n",
      "“Yeah, right,” she said.\n",
      "\n",
      "Q let out a sigh.\n",
      "\n",
      "Let me summarize their long conversation—filling in a good deal by way of imagination, of course. Q seemed to be now a director at a TV station or some such place, and the woman was a moderately well-known singer or actress. She was being let go from a project because of some sort of trouble or scandal she had become involved in, or maybe just because her popularity had declined. The job of informing her had been left to Q, who was the person most directly responsible for day-to-day operations. I don’t know much about the entertainment industry, so I can’t be sure of the finer points, but I don’t think I’m too far off over all.\n",
      "\n",
      "Judging from what I heard, Q was discharging his duty with genuine sincerity.\n",
      "\n",
      "“We can’t survive without sponsors,” he said. “I don’t have to tell you that—you know the business.”\n",
      "\n",
      "“So you’re telling me that you don’t have any responsibility or say in the matter?”\n",
      "\n",
      "“No, I’m not telling you that. But what I can do is really limited.”\n",
      "\n",
      "Their conversation took another turn into a dead-end street. She wanted to know just how much he had exerted himself on her behalf. He insisted that he had done everything he could, but he had no way to prove it, and she didn’t believe him. I didn’t really believe him, either. The more sincerely he tried to explain things, the more a fog of insincerity came to hang over everything. But it wasn’t Q’s fault. It wasn’t anybody’s fault. Which was why there was no way out of this conversation.\n",
      "\n",
      "It appeared that the woman had always liked Q. I sensed that they had got along well until this business came up. Which probably only added to the woman’s anger. In the end, though, she was the one who gave in.\n",
      "\n",
      "“O.K.,” she said. “I’ve had it. Buy me a Coke, will you?”\n",
      "\n",
      "When he heard that, Q breathed a sigh of relief and went off to the drink stand. The woman put on her sunglasses and stared straight ahead. By this time, I had read the same line in my book a couple hundred times.\n",
      "\n",
      "Soon, Q came back with two big paper cups. Handing one to the woman, he lowered himself into his deck chair. “Don’t get too depressed about this,” he said. “Any day now you’ll—”\n",
      "\n",
      "But, before he could finish, the woman threw her full cup at him. It caught him square in the face, and about a third of the Coca-Cola splashed onto me. Without a word, the woman stood up and, giving a little yank at the seat of her bikini, strode off without a backward glance. Q and I just sat there stunned for a good fifteen seconds. The people nearby were staring at us in shock.\n",
      "\n",
      "Q was the first to regain his composure. “Sorry,” he said and held a towel out to me.\n",
      "\n",
      "“That’s O.K.,” I answered. “I’ll just take a shower.”\n",
      "\n",
      "Looking slightly annoyed, he drew the towel back and used it to dry himself.\n",
      "\n",
      "“At least let me pay for the book,” he said. It was true that my book was soaked. But it was just a cheap paperback, and not a very interesting one at that. Anyone who threw a Coke on it and prevented me from reading it was doing me a favor. He brightened up when I said that. He had the same great smile as always.\n",
      "\n",
      "Q left at that point, apologizing to me once more as he stood to go. He had never realized who I was.\n",
      "\n",
      "I decided to give this story the title “The Kingdom That Failed” because I happened to read an article in the evening paper that day about an African kingdom that had failed. “To see a splendid kingdom fade away,” it said, “is far sadder than seeing a second-rate republic collapse.”\n",
      " [/INST]  {\n",
      "\"exists\": yes,\n",
      "\"reason\": The story contains foreshadowing because it creates a sense of tension and suspense by hinting at events that will happen later on. For example, when Q and the woman's conversation takes a turn into a dead-end street, it foreshadows the woman's anger and eventual outburst. Additionally, when Q says, \"Any day now you'll...\", it implies that he is about to say something important, creating a sense of anticipation in the reader. The story also uses symbolism, such as the two-colored flag still flying from the tower of the castle in the kingdom that failed, to foreshadow the failure of the project that Q is working on.\n",
      "}\n",
      "#####################################################\n",
      "[INST] <<SYS>>\n",
      "Analyze if the given trope exists in the provided short story. The expected output has to be - \n",
      "{\n",
      "    \"exists\": {yes or no},\n",
      "    \"reason\": {explanation}\n",
      "}\n",
      "\n",
      "<</SYS>>\n",
      "\n",
      "Trope: DramaticIrony\n",
      "\n",
      "Story:\n",
      "\n",
      "Just behind the kingdom that failed ran a nice little river. It was a clear, lovely stream, and many fish lived in it. Weeds grew there, too, and the fish ate the weeds. The fish didn’t care whether or not the kingdom had failed, of course. Whether it was a kingdom or a republic made no difference to them. They didn’t vote or pay taxes. Makes no difference to us, they figured.\n",
      "\n",
      "I washed my feet in the stream. A short soak in the icy-cold water turned them red. From the stream, you could see the walls and the tower of the castle in the kingdom that failed. The two-colored flag still flew from the tower, fluttering in the breeze. Everyone passing along the riverbanks would see the flag and say, “Hey, look at that. It’s the flag of the kingdom that failed.”\n",
      "\n",
      "Q and I are friends—or should I say, were friends in college. It’s been more than ten years since the two of us did anything that friends do. Which is why I use the past tense. Anyhow, we were friends.\n",
      "\n",
      "Whenever I try to tell anyone about Q—to describe him as a person—I feel totally helpless. I’ve never been very good at explaining anything, but, even taking that into account, it’s a special challenge to try to explain Q to someone. And when I do try I’m overcome by a deep, deep sense of despair.\n",
      "\n",
      "Let me make this as simple as I can.\n",
      "\n",
      "Q and I are the same age, but he’s about five hundred and seventy times more handsome. He has a nice personality, too. He’s never pushy or boastful, and he never gets angry if someone accidentally causes a problem for him. “Oh, well,” he’ll say. “I’ve done the same thing myself.” But, in fact, I’ve never heard of him doing anything bad to anyone.\n",
      "\n",
      "He was well brought up, too. His father was a doctor who had his own clinic on the island of Shikoku, which meant that Q never wanted for pocket money. Not that he was extravagant with it. He was a smart dresser and also an impressive athlete, who’d played interscholastic tennis in high school. He enjoyed swimming and went to the pool at least twice a week. Politically, he was a moderate liberal. His grades, if not outstanding, were at least good. He almost never studied for exams, but he never failed a course. He really listened to the lectures.\n",
      "\n",
      "He was surprisingly talented on the piano, and he owned a lot of Bill Evans and Mozart records. His favorite writers tended to be French—Balzac and Maupassant. Sometimes he’d read a novel by Kenzaburo Oe or another writer. His critiques were always right on the mark.\n",
      "\n",
      "He was popular with women, naturally enough. But he was not one of those “anyone he can get his hands on” type of guys. He had a steady girlfriend, a pretty sophomore from one of the fancy women’s colleges. They went out every Sunday.\n",
      "\n",
      "Anyhow, that was the Q I knew in college. In short, he was a character without flaws.\n",
      "\n",
      "Back then, Q lived in the apartment next door to mine. What with lending salt or borrowing salad dressing, we got to be friends, and soon we were at each other’s places all the time, listening to records, drinking beer. Once, my girlfriend and I drove out to the Kamakura shore with Q and his girlfriend. We were very comfortable together. Then, during the summer break of my senior year, I moved out, and that was that.\n",
      "\n",
      "The next time I saw Q, almost a decade had gone by. I was reading a book by a swanky hotel pool near the Akasaka district. Q was sitting in the deck chair next to mine, and beside him was a beautiful long-legged woman in a bikini.\n",
      "\n",
      "I knew right away that it was Q. He was as handsome as ever, and now, just over thirty, he evinced a certain dignity that he hadn’t had before. Young women walking by gave him a quick once-over.\n",
      "\n",
      "He didn’t notice me sitting next to him. I’m a fairly ordinary-looking guy, and I was wearing sunglasses. I wasn’t sure whether I should talk to him, but in the end I decided not to. He and the woman were deep in conversation, and I hesitated to interrupt them. Besides, there wasn’t a lot that he and I could have talked about. “I lent you salt, remember?” “Hey, that’s right, and I borrowed a bottle of salad dressing.” We would have run out of topics quickly. So I kept my mouth shut and stuck to my book.\n",
      "\n",
      "Still, I couldn’t help overhearing what Q and his pretty companion were saying to each other. It was a fairly complicated matter. I gave up trying to read and listened to them.\n",
      "\n",
      "“No way,” the woman said. “You’ve got to be kidding.”\n",
      "\n",
      "“I know, I know,” Q said. “I know exactly what you’re saying. But you’ve got to see it my way, too. I’m not doing this because I want to. It was the guys upstairs. I’m just telling you what they decided. So don’t look at me that way.”\n",
      "\n",
      "“Yeah, right,” she said.\n",
      "\n",
      "Q let out a sigh.\n",
      "\n",
      "Let me summarize their long conversation—filling in a good deal by way of imagination, of course. Q seemed to be now a director at a TV station or some such place, and the woman was a moderately well-known singer or actress. She was being let go from a project because of some sort of trouble or scandal she had become involved in, or maybe just because her popularity had declined. The job of informing her had been left to Q, who was the person most directly responsible for day-to-day operations. I don’t know much about the entertainment industry, so I can’t be sure of the finer points, but I don’t think I’m too far off over all.\n",
      "\n",
      "Judging from what I heard, Q was discharging his duty with genuine sincerity.\n",
      "\n",
      "“We can’t survive without sponsors,” he said. “I don’t have to tell you that—you know the business.”\n",
      "\n",
      "“So you’re telling me that you don’t have any responsibility or say in the matter?”\n",
      "\n",
      "“No, I’m not telling you that. But what I can do is really limited.”\n",
      "\n",
      "Their conversation took another turn into a dead-end street. She wanted to know just how much he had exerted himself on her behalf. He insisted that he had done everything he could, but he had no way to prove it, and she didn’t believe him. I didn’t really believe him, either. The more sincerely he tried to explain things, the more a fog of insincerity came to hang over everything. But it wasn’t Q’s fault. It wasn’t anybody’s fault. Which was why there was no way out of this conversation.\n",
      "\n",
      "It appeared that the woman had always liked Q. I sensed that they had got along well until this business came up. Which probably only added to the woman’s anger. In the end, though, she was the one who gave in.\n",
      "\n",
      "“O.K.,” she said. “I’ve had it. Buy me a Coke, will you?”\n",
      "\n",
      "When he heard that, Q breathed a sigh of relief and went off to the drink stand. The woman put on her sunglasses and stared straight ahead. By this time, I had read the same line in my book a couple hundred times.\n",
      "\n",
      "Soon, Q came back with two big paper cups. Handing one to the woman, he lowered himself into his deck chair. “Don’t get too depressed about this,” he said. “Any day now you’ll—”\n",
      "\n",
      "But, before he could finish, the woman threw her full cup at him. It caught him square in the face, and about a third of the Coca-Cola splashed onto me. Without a word, the woman stood up and, giving a little yank at the seat of her bikini, strode off without a backward glance. Q and I just sat there stunned for a good fifteen seconds. The people nearby were staring at us in shock.\n",
      "\n",
      "Q was the first to regain his composure. “Sorry,” he said and held a towel out to me.\n",
      "\n",
      "“That’s O.K.,” I answered. “I’ll just take a shower.”\n",
      "\n",
      "Looking slightly annoyed, he drew the towel back and used it to dry himself.\n",
      "\n",
      "“At least let me pay for the book,” he said. It was true that my book was soaked. But it was just a cheap paperback, and not a very interesting one at that. Anyone who threw a Coke on it and prevented me from reading it was doing me a favor. He brightened up when I said that. He had the same great smile as always.\n",
      "\n",
      "Q left at that point, apologizing to me once more as he stood to go. He had never realized who I was.\n",
      "\n",
      "I decided to give this story the title “The Kingdom That Failed” because I happened to read an article in the evening paper that day about an African kingdom that had failed. “To see a splendid kingdom fade away,” it said, “is far sadder than seeing a second-rate republic collapse.”\n",
      " [/INST]  {\n",
      "\"exists\": yes,\n",
      "\"reason\": The trope of dramatic irony exists in the story because the reader knows that Q is responsible for the woman's dismissal, but the woman does not know this and instead believes that Q is trying to help her. This creates tension and irony in the conversation between Q and the woman, as the reader can see the disparity between their perceptions.\n",
      "}\n",
      "\n",
      "The story's title, \"The Kingdom That Failed,\" also adds to the dramatic irony, as it implies that the kingdom's failure is a metaphor for Q's failure to help the woman, even though he is trying his best to do so. The title also creates a sense of irony as it is not clear which kingdom is being referred to, the one in the story or the one in the newspaper article.\n",
      "\n",
      "The use of the phrase \"dramatic irony\" in the story's title also serves to highlight the trope's presence in the story. It's a way for the author to acknowledge the use of this literary device and to draw attention to it, making the reader more aware of the irony present in the story.\n",
      "\n",
      "Overall, the use of dramatic irony in the story effectively creates tension and adds depth to the narrative, making the reader more engaged and invested in the outcome of the conversation between Q and the woman.\n",
      "#####################################################\n",
      "[INST] <<SYS>>\n",
      "Analyze if the given trope exists in the provided short story. The expected output has to be - \n",
      "{\n",
      "    \"exists\": {yes or no},\n",
      "    \"reason\": {explanation}\n",
      "}\n",
      "\n",
      "<</SYS>>\n",
      "\n",
      "Trope: GenderBlenderName\n",
      "\n",
      "Story:\n",
      "\n",
      "Just behind the kingdom that failed ran a nice little river. It was a clear, lovely stream, and many fish lived in it. Weeds grew there, too, and the fish ate the weeds. The fish didn’t care whether or not the kingdom had failed, of course. Whether it was a kingdom or a republic made no difference to them. They didn’t vote or pay taxes. Makes no difference to us, they figured.\n",
      "\n",
      "I washed my feet in the stream. A short soak in the icy-cold water turned them red. From the stream, you could see the walls and the tower of the castle in the kingdom that failed. The two-colored flag still flew from the tower, fluttering in the breeze. Everyone passing along the riverbanks would see the flag and say, “Hey, look at that. It’s the flag of the kingdom that failed.”\n",
      "\n",
      "Q and I are friends—or should I say, were friends in college. It’s been more than ten years since the two of us did anything that friends do. Which is why I use the past tense. Anyhow, we were friends.\n",
      "\n",
      "Whenever I try to tell anyone about Q—to describe him as a person—I feel totally helpless. I’ve never been very good at explaining anything, but, even taking that into account, it’s a special challenge to try to explain Q to someone. And when I do try I’m overcome by a deep, deep sense of despair.\n",
      "\n",
      "Let me make this as simple as I can.\n",
      "\n",
      "Q and I are the same age, but he’s about five hundred and seventy times more handsome. He has a nice personality, too. He’s never pushy or boastful, and he never gets angry if someone accidentally causes a problem for him. “Oh, well,” he’ll say. “I’ve done the same thing myself.” But, in fact, I’ve never heard of him doing anything bad to anyone.\n",
      "\n",
      "He was well brought up, too. His father was a doctor who had his own clinic on the island of Shikoku, which meant that Q never wanted for pocket money. Not that he was extravagant with it. He was a smart dresser and also an impressive athlete, who’d played interscholastic tennis in high school. He enjoyed swimming and went to the pool at least twice a week. Politically, he was a moderate liberal. His grades, if not outstanding, were at least good. He almost never studied for exams, but he never failed a course. He really listened to the lectures.\n",
      "\n",
      "He was surprisingly talented on the piano, and he owned a lot of Bill Evans and Mozart records. His favorite writers tended to be French—Balzac and Maupassant. Sometimes he’d read a novel by Kenzaburo Oe or another writer. His critiques were always right on the mark.\n",
      "\n",
      "He was popular with women, naturally enough. But he was not one of those “anyone he can get his hands on” type of guys. He had a steady girlfriend, a pretty sophomore from one of the fancy women’s colleges. They went out every Sunday.\n",
      "\n",
      "Anyhow, that was the Q I knew in college. In short, he was a character without flaws.\n",
      "\n",
      "Back then, Q lived in the apartment next door to mine. What with lending salt or borrowing salad dressing, we got to be friends, and soon we were at each other’s places all the time, listening to records, drinking beer. Once, my girlfriend and I drove out to the Kamakura shore with Q and his girlfriend. We were very comfortable together. Then, during the summer break of my senior year, I moved out, and that was that.\n",
      "\n",
      "The next time I saw Q, almost a decade had gone by. I was reading a book by a swanky hotel pool near the Akasaka district. Q was sitting in the deck chair next to mine, and beside him was a beautiful long-legged woman in a bikini.\n",
      "\n",
      "I knew right away that it was Q. He was as handsome as ever, and now, just over thirty, he evinced a certain dignity that he hadn’t had before. Young women walking by gave him a quick once-over.\n",
      "\n",
      "He didn’t notice me sitting next to him. I’m a fairly ordinary-looking guy, and I was wearing sunglasses. I wasn’t sure whether I should talk to him, but in the end I decided not to. He and the woman were deep in conversation, and I hesitated to interrupt them. Besides, there wasn’t a lot that he and I could have talked about. “I lent you salt, remember?” “Hey, that’s right, and I borrowed a bottle of salad dressing.” We would have run out of topics quickly. So I kept my mouth shut and stuck to my book.\n",
      "\n",
      "Still, I couldn’t help overhearing what Q and his pretty companion were saying to each other. It was a fairly complicated matter. I gave up trying to read and listened to them.\n",
      "\n",
      "“No way,” the woman said. “You’ve got to be kidding.”\n",
      "\n",
      "“I know, I know,” Q said. “I know exactly what you’re saying. But you’ve got to see it my way, too. I’m not doing this because I want to. It was the guys upstairs. I’m just telling you what they decided. So don’t look at me that way.”\n",
      "\n",
      "“Yeah, right,” she said.\n",
      "\n",
      "Q let out a sigh.\n",
      "\n",
      "Let me summarize their long conversation—filling in a good deal by way of imagination, of course. Q seemed to be now a director at a TV station or some such place, and the woman was a moderately well-known singer or actress. She was being let go from a project because of some sort of trouble or scandal she had become involved in, or maybe just because her popularity had declined. The job of informing her had been left to Q, who was the person most directly responsible for day-to-day operations. I don’t know much about the entertainment industry, so I can’t be sure of the finer points, but I don’t think I’m too far off over all.\n",
      "\n",
      "Judging from what I heard, Q was discharging his duty with genuine sincerity.\n",
      "\n",
      "“We can’t survive without sponsors,” he said. “I don’t have to tell you that—you know the business.”\n",
      "\n",
      "“So you’re telling me that you don’t have any responsibility or say in the matter?”\n",
      "\n",
      "“No, I’m not telling you that. But what I can do is really limited.”\n",
      "\n",
      "Their conversation took another turn into a dead-end street. She wanted to know just how much he had exerted himself on her behalf. He insisted that he had done everything he could, but he had no way to prove it, and she didn’t believe him. I didn’t really believe him, either. The more sincerely he tried to explain things, the more a fog of insincerity came to hang over everything. But it wasn’t Q’s fault. It wasn’t anybody’s fault. Which was why there was no way out of this conversation.\n",
      "\n",
      "It appeared that the woman had always liked Q. I sensed that they had got along well until this business came up. Which probably only added to the woman’s anger. In the end, though, she was the one who gave in.\n",
      "\n",
      "“O.K.,” she said. “I’ve had it. Buy me a Coke, will you?”\n",
      "\n",
      "When he heard that, Q breathed a sigh of relief and went off to the drink stand. The woman put on her sunglasses and stared straight ahead. By this time, I had read the same line in my book a couple hundred times.\n",
      "\n",
      "Soon, Q came back with two big paper cups. Handing one to the woman, he lowered himself into his deck chair. “Don’t get too depressed about this,” he said. “Any day now you’ll—”\n",
      "\n",
      "But, before he could finish, the woman threw her full cup at him. It caught him square in the face, and about a third of the Coca-Cola splashed onto me. Without a word, the woman stood up and, giving a little yank at the seat of her bikini, strode off without a backward glance. Q and I just sat there stunned for a good fifteen seconds. The people nearby were staring at us in shock.\n",
      "\n",
      "Q was the first to regain his composure. “Sorry,” he said and held a towel out to me.\n",
      "\n",
      "“That’s O.K.,” I answered. “I’ll just take a shower.”\n",
      "\n",
      "Looking slightly annoyed, he drew the towel back and used it to dry himself.\n",
      "\n",
      "“At least let me pay for the book,” he said. It was true that my book was soaked. But it was just a cheap paperback, and not a very interesting one at that. Anyone who threw a Coke on it and prevented me from reading it was doing me a favor. He brightened up when I said that. He had the same great smile as always.\n",
      "\n",
      "Q left at that point, apologizing to me once more as he stood to go. He had never realized who I was.\n",
      "\n",
      "I decided to give this story the title “The Kingdom That Failed” because I happened to read an article in the evening paper that day about an African kingdom that had failed. “To see a splendid kingdom fade away,” it said, “is far sadder than seeing a second-rate republic collapse.”\n",
      " [/INST]  {\n",
      "\"exists\": yes,\n",
      "\"reason\": The story's main character, Q, is referred to as \"he\" and \"him\" throughout the story, even though the author does not know or specify Q's gender until the end. This is an example of the GenderBlenderName trope, as the character's gender is not explicitly stated, and the reader is left to assume the character's gender based on their appearance or behavior.\n",
      "}\n",
      "#####################################################\n",
      "[INST] <<SYS>>\n",
      "Analyze if the given trope exists in the provided short story. The expected output has to be - \n",
      "{\n",
      "    \"exists\": {yes or no},\n",
      "    \"reason\": {explanation}\n",
      "}\n",
      "\n",
      "<</SYS>>\n",
      "\n",
      "Trope: FantasyCounterpartCulture\n",
      "\n",
      "Story:\n",
      "\n",
      "Just behind the kingdom that failed ran a nice little river. It was a clear, lovely stream, and many fish lived in it. Weeds grew there, too, and the fish ate the weeds. The fish didn’t care whether or not the kingdom had failed, of course. Whether it was a kingdom or a republic made no difference to them. They didn’t vote or pay taxes. Makes no difference to us, they figured.\n",
      "\n",
      "I washed my feet in the stream. A short soak in the icy-cold water turned them red. From the stream, you could see the walls and the tower of the castle in the kingdom that failed. The two-colored flag still flew from the tower, fluttering in the breeze. Everyone passing along the riverbanks would see the flag and say, “Hey, look at that. It’s the flag of the kingdom that failed.”\n",
      "\n",
      "Q and I are friends—or should I say, were friends in college. It’s been more than ten years since the two of us did anything that friends do. Which is why I use the past tense. Anyhow, we were friends.\n",
      "\n",
      "Whenever I try to tell anyone about Q—to describe him as a person—I feel totally helpless. I’ve never been very good at explaining anything, but, even taking that into account, it’s a special challenge to try to explain Q to someone. And when I do try I’m overcome by a deep, deep sense of despair.\n",
      "\n",
      "Let me make this as simple as I can.\n",
      "\n",
      "Q and I are the same age, but he’s about five hundred and seventy times more handsome. He has a nice personality, too. He’s never pushy or boastful, and he never gets angry if someone accidentally causes a problem for him. “Oh, well,” he’ll say. “I’ve done the same thing myself.” But, in fact, I’ve never heard of him doing anything bad to anyone.\n",
      "\n",
      "He was well brought up, too. His father was a doctor who had his own clinic on the island of Shikoku, which meant that Q never wanted for pocket money. Not that he was extravagant with it. He was a smart dresser and also an impressive athlete, who’d played interscholastic tennis in high school. He enjoyed swimming and went to the pool at least twice a week. Politically, he was a moderate liberal. His grades, if not outstanding, were at least good. He almost never studied for exams, but he never failed a course. He really listened to the lectures.\n",
      "\n",
      "He was surprisingly talented on the piano, and he owned a lot of Bill Evans and Mozart records. His favorite writers tended to be French—Balzac and Maupassant. Sometimes he’d read a novel by Kenzaburo Oe or another writer. His critiques were always right on the mark.\n",
      "\n",
      "He was popular with women, naturally enough. But he was not one of those “anyone he can get his hands on” type of guys. He had a steady girlfriend, a pretty sophomore from one of the fancy women’s colleges. They went out every Sunday.\n",
      "\n",
      "Anyhow, that was the Q I knew in college. In short, he was a character without flaws.\n",
      "\n",
      "Back then, Q lived in the apartment next door to mine. What with lending salt or borrowing salad dressing, we got to be friends, and soon we were at each other’s places all the time, listening to records, drinking beer. Once, my girlfriend and I drove out to the Kamakura shore with Q and his girlfriend. We were very comfortable together. Then, during the summer break of my senior year, I moved out, and that was that.\n",
      "\n",
      "The next time I saw Q, almost a decade had gone by. I was reading a book by a swanky hotel pool near the Akasaka district. Q was sitting in the deck chair next to mine, and beside him was a beautiful long-legged woman in a bikini.\n",
      "\n",
      "I knew right away that it was Q. He was as handsome as ever, and now, just over thirty, he evinced a certain dignity that he hadn’t had before. Young women walking by gave him a quick once-over.\n",
      "\n",
      "He didn’t notice me sitting next to him. I’m a fairly ordinary-looking guy, and I was wearing sunglasses. I wasn’t sure whether I should talk to him, but in the end I decided not to. He and the woman were deep in conversation, and I hesitated to interrupt them. Besides, there wasn’t a lot that he and I could have talked about. “I lent you salt, remember?” “Hey, that’s right, and I borrowed a bottle of salad dressing.” We would have run out of topics quickly. So I kept my mouth shut and stuck to my book.\n",
      "\n",
      "Still, I couldn’t help overhearing what Q and his pretty companion were saying to each other. It was a fairly complicated matter. I gave up trying to read and listened to them.\n",
      "\n",
      "“No way,” the woman said. “You’ve got to be kidding.”\n",
      "\n",
      "“I know, I know,” Q said. “I know exactly what you’re saying. But you’ve got to see it my way, too. I’m not doing this because I want to. It was the guys upstairs. I’m just telling you what they decided. So don’t look at me that way.”\n",
      "\n",
      "“Yeah, right,” she said.\n",
      "\n",
      "Q let out a sigh.\n",
      "\n",
      "Let me summarize their long conversation—filling in a good deal by way of imagination, of course. Q seemed to be now a director at a TV station or some such place, and the woman was a moderately well-known singer or actress. She was being let go from a project because of some sort of trouble or scandal she had become involved in, or maybe just because her popularity had declined. The job of informing her had been left to Q, who was the person most directly responsible for day-to-day operations. I don’t know much about the entertainment industry, so I can’t be sure of the finer points, but I don’t think I’m too far off over all.\n",
      "\n",
      "Judging from what I heard, Q was discharging his duty with genuine sincerity.\n",
      "\n",
      "“We can’t survive without sponsors,” he said. “I don’t have to tell you that—you know the business.”\n",
      "\n",
      "“So you’re telling me that you don’t have any responsibility or say in the matter?”\n",
      "\n",
      "“No, I’m not telling you that. But what I can do is really limited.”\n",
      "\n",
      "Their conversation took another turn into a dead-end street. She wanted to know just how much he had exerted himself on her behalf. He insisted that he had done everything he could, but he had no way to prove it, and she didn’t believe him. I didn’t really believe him, either. The more sincerely he tried to explain things, the more a fog of insincerity came to hang over everything. But it wasn’t Q’s fault. It wasn’t anybody’s fault. Which was why there was no way out of this conversation.\n",
      "\n",
      "It appeared that the woman had always liked Q. I sensed that they had got along well until this business came up. Which probably only added to the woman’s anger. In the end, though, she was the one who gave in.\n",
      "\n",
      "“O.K.,” she said. “I’ve had it. Buy me a Coke, will you?”\n",
      "\n",
      "When he heard that, Q breathed a sigh of relief and went off to the drink stand. The woman put on her sunglasses and stared straight ahead. By this time, I had read the same line in my book a couple hundred times.\n",
      "\n",
      "Soon, Q came back with two big paper cups. Handing one to the woman, he lowered himself into his deck chair. “Don’t get too depressed about this,” he said. “Any day now you’ll—”\n",
      "\n",
      "But, before he could finish, the woman threw her full cup at him. It caught him square in the face, and about a third of the Coca-Cola splashed onto me. Without a word, the woman stood up and, giving a little yank at the seat of her bikini, strode off without a backward glance. Q and I just sat there stunned for a good fifteen seconds. The people nearby were staring at us in shock.\n",
      "\n",
      "Q was the first to regain his composure. “Sorry,” he said and held a towel out to me.\n",
      "\n",
      "“That’s O.K.,” I answered. “I’ll just take a shower.”\n",
      "\n",
      "Looking slightly annoyed, he drew the towel back and used it to dry himself.\n",
      "\n",
      "“At least let me pay for the book,” he said. It was true that my book was soaked. But it was just a cheap paperback, and not a very interesting one at that. Anyone who threw a Coke on it and prevented me from reading it was doing me a favor. He brightened up when I said that. He had the same great smile as always.\n",
      "\n",
      "Q left at that point, apologizing to me once more as he stood to go. He had never realized who I was.\n",
      "\n",
      "I decided to give this story the title “The Kingdom That Failed” because I happened to read an article in the evening paper that day about an African kingdom that had failed. “To see a splendid kingdom fade away,” it said, “is far sadder than seeing a second-rate republic collapse.”\n",
      " [/INST]  {\n",
      "\"exists\": yes,\n",
      "\"reason\": The trope FantasyCounterpartCulture exists in the story because it describes a fictional kingdom that has failed and is compared to a republic, implying that it is a fantasy world with its own cultures and political systems. The story also references real-world places and cultures, such as the island of Shikoku and the city of Akasaka, which could be seen as a fantasy version of Japan. The story also includes elements of real-world culture, such as the mention of Coca-Cola and the use of modern language, which creates a sense of familiarity and realism within the fantasy world.\n",
      "}\n",
      "\n",
      "In addition, the story's focus on Q, a character who is described as \"a character without flaws\" and who is popular with women, suggests that it may be a work of fantasy rather than a realistic portrayal of life. The story's tone is also somewhat humorous, with the woman throwing a Coke at Q and the narrator making wry observations about the situation, which is another hallmark of fantasy. Finally, the story's title, \"The Kingdom That Failed,\" suggests that it is meant to be a cautionary tale or an allegory, which are common features of fantasy stories. All of these elements suggest that the story is an example of FantasyCounterpartCulture.\n",
      "#####################################################\n",
      "[]\n"
     ]
    }
   ],
   "source": [
    "out = check_trope_exists((s,t))\n",
    "print(out)"
   ]
  },
  {
   "cell_type": "code",
   "execution_count": 71,
   "id": "21d77529-4696-4a05-9a32-b814198ffc04",
   "metadata": {},
   "outputs": [],
   "source": [
    "import ast\n",
    "import distutils\n",
    "global prompt, system_prompt, user_msg\n",
    "def strtobool (val):\n",
    "    \"\"\"Convert a string representation of truth to true (1) or false (0).\n",
    "    True values are 'y', 'yes', 't', 'true', 'on', and '1'; false values\n",
    "    are 'n', 'no', 'f', 'false', 'off', and '0'.  Raises ValueError if\n",
    "    'val' is anything else.\n",
    "    \"\"\"\n",
    "    val = val.lower()\n",
    "    if val in ('y', 'yes', 't', 'true', 'on', '1', '\"yes\"', \"'yes'\"):\n",
    "        return 1\n",
    "    elif val in ('n', 'no', 'f', 'false', 'off', '0', '\"no\"', \"'no'\"):\n",
    "        return 0\n",
    "    else:\n",
    "        raise ValueError(\"invalid truth value %r\" % (val,))\n",
    "prompt = \"\"\"<s>[INST] <<SYS>>\n",
    "{}\n",
    "<</SYS>>\n",
    "\n",
    "{} [/INST]\"\"\"\n",
    "\n",
    "system_prompt = \"\"\"You always communicate by making a valid python JSON string. The expected output from you should follow the structure:\\n \n",
    "    {\n",
    "        \"exists\": {yes or no},\n",
    "        \"reason\": {evidence of the trope in the context of the provided story}\n",
    "    }\n",
    "\"\"\"\n",
    "user_msg = \"\"\"Analyze if the given trope exists or not in the story. \\nTrope: {}\\nStory:\\n{}\"\"\"\n",
    "\n",
    "def check_trope_exists(row):\n",
    "    # print(row[1])\n",
    "    a = row['story']\n",
    "    b = row['tropes']\n",
    "    # print(b)\n",
    "    story = a\n",
    "    tropes = b\n",
    "    tropes_validated = []\n",
    "    for trope in tropes:\n",
    "        trope_name, trope_def = get_trope_by_id(trope)\n",
    "        # trope_def goes in system_prompt\n",
    "        # system_prompt.format()\n",
    "        # story goes in user msg\n",
    "        u_m = user_msg.format(trope_name, story)\n",
    "        # form the prompt\n",
    "        p = prompt.format(system_prompt, u_m)\n",
    "        # query the model\n",
    "        # generate(p, temp=0.7)\n",
    "        out = pipe_generate(p, temp=0.6)\n",
    "        out = out[0]\n",
    "        # out = generate(p, temp=0.6)\n",
    "        print(out)\n",
    "        # p_out = ast.literal_eval(out)\n",
    "        # p_out = {}\n",
    "        # exists = out.split(',')[0].split(': ')[1].strip()\n",
    "        # p_out['exists'] = strtobool(exists)\n",
    "        # p_out['reason'] = out.split(',',1)[1].split(':',1)[1].split('}')[0].strip()\n",
    "        # print(p_out)\n",
    "        \n",
    "        p_out = {}\n",
    "        target = out.split('{')[1].split('}')[0]\n",
    "        exists = target.split(',')[0].split(': ')[1].strip()\n",
    "        p_out['exists'] = strtobool(exists)\n",
    "        p_out['reason'] = target.split(',',1)[1].split(':',1)[1].split('}')[0].strip()\n",
    "        print(p_out)\n",
    "        tropes_validated.append(p_out)\n",
    "        # parse the output and save it to tropes_validated\n",
    "        \n",
    "    return tropes_validated\n",
    "\n",
    "# prompt.format(system_p.strip(), user_m.format(story.strip()))"
   ]
  },
  {
   "cell_type": "code",
   "execution_count": 43,
   "id": "ce7e0850-c403-4343-a648-f848fcb26049",
   "metadata": {},
   "outputs": [
    {
     "name": "stdout",
     "output_type": "stream",
     "text": [
      "<s>[INST] <<SYS>>\n",
      "You always communicate by making a valid python JSON string. The expected output from you should follow the structure:\n",
      " \n",
      "    {\n",
      "        \"exists\": {yes or no},\n",
      "        \"reason\": {evidence of the trope in the context of the provided story}\n",
      "    }\n",
      "\n",
      "<</SYS>>\n",
      "\n",
      "Analyze if the given trope exists or not in the story. \n",
      "Trope: HotSkittyOnWailordAction\n",
      "Story:\n",
      "Just behind the kingdom that failed ran a nice little river. It was a clear, lovely stream, and many fish lived in it. Weeds grew there, too, and the fish ate the weeds. The fish didn’t care whether or not the kingdom had failed, of course. Whether it was a kingdom or a republic made no difference to them. They didn’t vote or pay taxes. Makes no difference to us, they figured.\n",
      "\n",
      "I washed my feet in the stream. A short soak in the icy-cold water turned them red. From the stream, you could see the walls and the tower of the castle in the kingdom that failed. The two-colored flag still flew from the tower, fluttering in the breeze. Everyone passing along the riverbanks would see the flag and say, “Hey, look at that. It’s the flag of the kingdom that failed.”\n",
      "\n",
      "Q and I are friends—or should I say, were friends in college. It’s been more than ten years since the two of us did anything that friends do. Which is why I use the past tense. Anyhow, we were friends.\n",
      "\n",
      "Whenever I try to tell anyone about Q—to describe him as a person—I feel totally helpless. I’ve never been very good at explaining anything, but, even taking that into account, it’s a special challenge to try to explain Q to someone. And when I do try I’m overcome by a deep, deep sense of despair.\n",
      "\n",
      "Let me make this as simple as I can.\n",
      "\n",
      "Q and I are the same age, but he’s about five hundred and seventy times more handsome. He has a nice personality, too. He’s never pushy or boastful, and he never gets angry if someone accidentally causes a problem for him. “Oh, well,” he’ll say. “I’ve done the same thing myself.” But, in fact, I’ve never heard of him doing anything bad to anyone.\n",
      "\n",
      "He was well brought up, too. His father was a doctor who had his own clinic on the island of Shikoku, which meant that Q never wanted for pocket money. Not that he was extravagant with it. He was a smart dresser and also an impressive athlete, who’d played interscholastic tennis in high school. He enjoyed swimming and went to the pool at least twice a week. Politically, he was a moderate liberal. His grades, if not outstanding, were at least good. He almost never studied for exams, but he never failed a course. He really listened to the lectures.\n",
      "\n",
      "He was surprisingly talented on the piano, and he owned a lot of Bill Evans and Mozart records. His favorite writers tended to be French—Balzac and Maupassant. Sometimes he’d read a novel by Kenzaburo Oe or another writer. His critiques were always right on the mark.\n",
      "\n",
      "He was popular with women, naturally enough. But he was not one of those “anyone he can get his hands on” type of guys. He had a steady girlfriend, a pretty sophomore from one of the fancy women’s colleges. They went out every Sunday.\n",
      "\n",
      "Anyhow, that was the Q I knew in college. In short, he was a character without flaws.\n",
      "\n",
      "Back then, Q lived in the apartment next door to mine. What with lending salt or borrowing salad dressing, we got to be friends, and soon we were at each other’s places all the time, listening to records, drinking beer. Once, my girlfriend and I drove out to the Kamakura shore with Q and his girlfriend. We were very comfortable together. Then, during the summer break of my senior year, I moved out, and that was that.\n",
      "\n",
      "The next time I saw Q, almost a decade had gone by. I was reading a book by a swanky hotel pool near the Akasaka district. Q was sitting in the deck chair next to mine, and beside him was a beautiful long-legged woman in a bikini.\n",
      "\n",
      "I knew right away that it was Q. He was as handsome as ever, and now, just over thirty, he evinced a certain dignity that he hadn’t had before. Young women walking by gave him a quick once-over.\n",
      "\n",
      "He didn’t notice me sitting next to him. I’m a fairly ordinary-looking guy, and I was wearing sunglasses. I wasn’t sure whether I should talk to him, but in the end I decided not to. He and the woman were deep in conversation, and I hesitated to interrupt them. Besides, there wasn’t a lot that he and I could have talked about. “I lent you salt, remember?” “Hey, that’s right, and I borrowed a bottle of salad dressing.” We would have run out of topics quickly. So I kept my mouth shut and stuck to my book.\n",
      "\n",
      "Still, I couldn’t help overhearing what Q and his pretty companion were saying to each other. It was a fairly complicated matter. I gave up trying to read and listened to them.\n",
      "\n",
      "“No way,” the woman said. “You’ve got to be kidding.”\n",
      "\n",
      "“I know, I know,” Q said. “I know exactly what you’re saying. But you’ve got to see it my way, too. I’m not doing this because I want to. It was the guys upstairs. I’m just telling you what they decided. So don’t look at me that way.”\n",
      "\n",
      "“Yeah, right,” she said.\n",
      "\n",
      "Q let out a sigh.\n",
      "\n",
      "Let me summarize their long conversation—filling in a good deal by way of imagination, of course. Q seemed to be now a director at a TV station or some such place, and the woman was a moderately well-known singer or actress. She was being let go from a project because of some sort of trouble or scandal she had become involved in, or maybe just because her popularity had declined. The job of informing her had been left to Q, who was the person most directly responsible for day-to-day operations. I don’t know much about the entertainment industry, so I can’t be sure of the finer points, but I don’t think I’m too far off over all.\n",
      "\n",
      "Judging from what I heard, Q was discharging his duty with genuine sincerity.\n",
      "\n",
      "“We can’t survive without sponsors,” he said. “I don’t have to tell you that—you know the business.”\n",
      "\n",
      "“So you’re telling me that you don’t have any responsibility or say in the matter?”\n",
      "\n",
      "“No, I’m not telling you that. But what I can do is really limited.”\n",
      "\n",
      "Their conversation took another turn into a dead-end street. She wanted to know just how much he had exerted himself on her behalf. He insisted that he had done everything he could, but he had no way to prove it, and she didn’t believe him. I didn’t really believe him, either. The more sincerely he tried to explain things, the more a fog of insincerity came to hang over everything. But it wasn’t Q’s fault. It wasn’t anybody’s fault. Which was why there was no way out of this conversation.\n",
      "\n",
      "It appeared that the woman had always liked Q. I sensed that they had got along well until this business came up. Which probably only added to the woman’s anger. In the end, though, she was the one who gave in.\n",
      "\n",
      "“O.K.,” she said. “I’ve had it. Buy me a Coke, will you?”\n",
      "\n",
      "When he heard that, Q breathed a sigh of relief and went off to the drink stand. The woman put on her sunglasses and stared straight ahead. By this time, I had read the same line in my book a couple hundred times.\n",
      "\n",
      "Soon, Q came back with two big paper cups. Handing one to the woman, he lowered himself into his deck chair. “Don’t get too depressed about this,” he said. “Any day now you’ll—”\n",
      "\n",
      "But, before he could finish, the woman threw her full cup at him. It caught him square in the face, and about a third of the Coca-Cola splashed onto me. Without a word, the woman stood up and, giving a little yank at the seat of her bikini, strode off without a backward glance. Q and I just sat there stunned for a good fifteen seconds. The people nearby were staring at us in shock.\n",
      "\n",
      "Q was the first to regain his composure. “Sorry,” he said and held a towel out to me.\n",
      "\n",
      "“That’s O.K.,” I answered. “I’ll just take a shower.”\n",
      "\n",
      "Looking slightly annoyed, he drew the towel back and used it to dry himself.\n",
      "\n",
      "“At least let me pay for the book,” he said. It was true that my book was soaked. But it was just a cheap paperback, and not a very interesting one at that. Anyone who threw a Coke on it and prevented me from reading it was doing me a favor. He brightened up when I said that. He had the same great smile as always.\n",
      "\n",
      "Q left at that point, apologizing to me once more as he stood to go. He had never realized who I was.\n",
      "\n",
      "I decided to give this story the title “The Kingdom That Failed” because I happened to read an article in the evening paper that day about an African kingdom that had failed. “To see a splendid kingdom fade away,” it said, “is far sadder than seeing a second-rate republic collapse.” [/INST]  {\n",
      "\"exists\": true,\n",
      "\"reason\": \"The story contains elements of the trope HotSkittyOnWailordAction, specifically the scene where the woman throws a cup of Coca-Cola at Q and splashes some of it onto the narrator, who is sitting nearby. This incident could be seen as a form of 'hot skitty on wailord' behavior, as the woman's actions are sudden, unpredictable, and somewhat aggressive, and the narrator is caught off guard and splashed with soda.\"\n",
      "}\n",
      "#####################################################\n"
     ]
    },
    {
     "ename": "TypeError",
     "evalue": "'NoneType' object is not subscriptable",
     "output_type": "error",
     "traceback": [
      "\u001b[0;31m---------------------------------------------------------------------------\u001b[0m",
      "\u001b[0;31mTypeError\u001b[0m                                 Traceback (most recent call last)",
      "\u001b[0;32m/scratch/tmp.35255553.sharaj/ipykernel_18978/1524030876.py\u001b[0m in \u001b[0;36m<module>\u001b[0;34m\u001b[0m\n\u001b[1;32m      1\u001b[0m \u001b[0ms\u001b[0m \u001b[0;34m=\u001b[0m \u001b[0mstories_df\u001b[0m\u001b[0;34m[\u001b[0m\u001b[0mstories_df\u001b[0m\u001b[0;34m[\u001b[0m\u001b[0;34m'sid'\u001b[0m\u001b[0;34m]\u001b[0m\u001b[0;34m==\u001b[0m\u001b[0;34m\"s15\"\u001b[0m\u001b[0;34m]\u001b[0m\u001b[0;34m.\u001b[0m\u001b[0miloc\u001b[0m\u001b[0;34m[\u001b[0m\u001b[0;36m0\u001b[0m\u001b[0;34m]\u001b[0m\u001b[0;34m.\u001b[0m\u001b[0mstory\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[1;32m      2\u001b[0m \u001b[0mt\u001b[0m \u001b[0;34m=\u001b[0m \u001b[0;34m[\u001b[0m\u001b[0;34m'HotSkittyOnWailordAction'\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0;34m'BigBad'\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0;34m'ProudWarriorRaceGuy'\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0;34m'OurVampiresAreDifferent'\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0;34m'ShoutOut'\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0;34m'FairplayWhodunnit'\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0;34m'Foreshadowing'\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0;34m'DramaticIrony'\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0;34m'GenderBlenderName'\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0;34m'FantasyCounterpartCulture'\u001b[0m\u001b[0;34m]\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[0;32m----> 3\u001b[0;31m \u001b[0mcheck_trope_exists\u001b[0m\u001b[0;34m(\u001b[0m\u001b[0;34m(\u001b[0m\u001b[0ms\u001b[0m\u001b[0;34m,\u001b[0m\u001b[0mt\u001b[0m\u001b[0;34m)\u001b[0m\u001b[0;34m)\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[0m",
      "\u001b[0;32m/scratch/tmp.35255553.sharaj/ipykernel_18978/2957277992.py\u001b[0m in \u001b[0;36mcheck_trope_exists\u001b[0;34m(row)\u001b[0m\n\u001b[1;32m     48\u001b[0m         \u001b[0;31m# generate(p, temp=0.7)\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[1;32m     49\u001b[0m         \u001b[0mout\u001b[0m \u001b[0;34m=\u001b[0m \u001b[0mpipe_generate\u001b[0m\u001b[0;34m(\u001b[0m\u001b[0mp\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0mtemp\u001b[0m\u001b[0;34m=\u001b[0m\u001b[0;36m0.6\u001b[0m\u001b[0;34m)\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[0;32m---> 50\u001b[0;31m         \u001b[0mout\u001b[0m \u001b[0;34m=\u001b[0m \u001b[0mout\u001b[0m\u001b[0;34m[\u001b[0m\u001b[0;36m0\u001b[0m\u001b[0;34m]\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[0m\u001b[1;32m     51\u001b[0m         \u001b[0;31m# out = generate(p, temp=0.6)\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[1;32m     52\u001b[0m         \u001b[0mprint\u001b[0m\u001b[0;34m(\u001b[0m\u001b[0mout\u001b[0m\u001b[0;34m)\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n",
      "\u001b[0;31mTypeError\u001b[0m: 'NoneType' object is not subscriptable"
     ]
    }
   ],
   "source": [
    "s = stories_df[stories_df['sid']==\"s15\"].iloc[0].story\n",
    "t = ['HotSkittyOnWailordAction', 'BigBad', 'ProudWarriorRaceGuy', 'OurVampiresAreDifferent', 'ShoutOut', 'FairplayWhodunnit', 'Foreshadowing', 'DramaticIrony', 'GenderBlenderName', 'FantasyCounterpartCulture']\n",
    "check_trope_exists((s,t))"
   ]
  },
  {
   "cell_type": "code",
   "execution_count": 6,
   "id": "a3604c1c-108a-496c-90d8-7158dd58c953",
   "metadata": {},
   "outputs": [
    {
     "data": {
      "text/html": [
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       "        vertical-align: middle;\n",
       "    }\n",
       "\n",
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       "    }\n",
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       "    .dataframe thead th {\n",
       "        text-align: right;\n",
       "    }\n",
       "</style>\n",
       "<table border=\"1\" class=\"dataframe\">\n",
       "  <thead>\n",
       "    <tr style=\"text-align: right;\">\n",
       "      <th></th>\n",
       "      <th>Title</th>\n",
       "      <th>Author</th>\n",
       "      <th>story</th>\n",
       "      <th>summary_gpt_3_5</th>\n",
       "      <th>summary_gpt_3_5_t1</th>\n",
       "      <th>sid</th>\n",
       "      <th>tropes</th>\n",
       "    </tr>\n",
       "  </thead>\n",
       "  <tbody>\n",
       "    <tr>\n",
       "      <th>0</th>\n",
       "      <td>The Bear Came Over the Mountain</td>\n",
       "      <td>Alice Munro</td>\n",
       "      <td>Fiona lived in her parents’ house, in the town...</td>\n",
       "      <td>Fiona and Grant are a married couple. Fiona's ...</td>\n",
       "      <td>Fiona and Grant are a married couple who live ...</td>\n",
       "      <td>s0</td>\n",
       "      <td>[]</td>\n",
       "    </tr>\n",
       "    <tr>\n",
       "      <th>1</th>\n",
       "      <td>The Boss</td>\n",
       "      <td>Robert Coover</td>\n",
       "      <td>The gunman lights a cigarette, watches despond...</td>\n",
       "      <td>The story follows a gunman who is waiting in a...</td>\n",
       "      <td>The story follows a gunman who finds himself a...</td>\n",
       "      <td>s1</td>\n",
       "      <td>[t08393, t02187, t18297, t03644, t26668, t2022...</td>\n",
       "    </tr>\n",
       "    <tr>\n",
       "      <th>2</th>\n",
       "      <td>The Hairless Are Careless</td>\n",
       "      <td>Colin Barrett</td>\n",
       "      <td>“Prejudicial of me, I know,” said Tommy, noddi...</td>\n",
       "      <td>Tommy, Ernie, and Luke are discussing bald peo...</td>\n",
       "      <td>Tommy and his friends, Ernie and Luke, are at ...</td>\n",
       "      <td>s2</td>\n",
       "      <td>[t20214, t02282, t14940, t02187, t24108, t0839...</td>\n",
       "    </tr>\n",
       "    <tr>\n",
       "      <th>3</th>\n",
       "      <td>Smithereens</td>\n",
       "      <td>Aleksandar Hemon</td>\n",
       "      <td>Near our mountain cabin, in Jahorina, there wa...</td>\n",
       "      <td>The story is set near a mountain cabin in Jaho...</td>\n",
       "      <td>The narrator recalls a summer from their child...</td>\n",
       "      <td>s3</td>\n",
       "      <td>[t08393, t26668, t03644, t02187, t15274, t0659...</td>\n",
       "    </tr>\n",
       "    <tr>\n",
       "      <th>4</th>\n",
       "      <td>Where Are You?</td>\n",
       "      <td>Joyce Carol Oates</td>\n",
       "      <td>The husband had got into the habit of calling ...</td>\n",
       "      <td>In this story, a husband and wife have develop...</td>\n",
       "      <td>In this story, a husband and wife have a pecul...</td>\n",
       "      <td>s4</td>\n",
       "      <td>[]</td>\n",
       "    </tr>\n",
       "    <tr>\n",
       "      <th>...</th>\n",
       "      <td>...</td>\n",
       "      <td>...</td>\n",
       "      <td>...</td>\n",
       "      <td>...</td>\n",
       "      <td>...</td>\n",
       "      <td>...</td>\n",
       "      <td>...</td>\n",
       "    </tr>\n",
       "    <tr>\n",
       "      <th>79</th>\n",
       "      <td>The Mouse</td>\n",
       "      <td>H. H. Munro</td>\n",
       "      <td>Theodoric Voler had been brought up, from infa...</td>\n",
       "      <td>Theodoric Voler, a man who has been sheltered ...</td>\n",
       "      <td>Theodoric Voler, a man who had been sheltered ...</td>\n",
       "      <td>s79</td>\n",
       "      <td>[t02187, t06593, t20214, t00265, t08393, t1059...</td>\n",
       "    </tr>\n",
       "    <tr>\n",
       "      <th>80</th>\n",
       "      <td>Mrs. Packletide's Tiger</td>\n",
       "      <td>H. H. Munro</td>\n",
       "      <td>It was Mrs. Packletide's pleasure and intentio...</td>\n",
       "      <td>Mrs. Packletide, motivated by jealousy of Loon...</td>\n",
       "      <td>Mrs. Packletide is determined to shoot a tiger...</td>\n",
       "      <td>s80</td>\n",
       "      <td>[t02187, t08393, t00265, t06175, t20214, t1494...</td>\n",
       "    </tr>\n",
       "    <tr>\n",
       "      <th>81</th>\n",
       "      <td>One of These Days</td>\n",
       "      <td>Gabriel Garcia Marquez</td>\n",
       "      <td>Monday dawned warm and rainless. Aurelio Escov...</td>\n",
       "      <td>Aurelio Escovar, a dentist without a degree, o...</td>\n",
       "      <td>Aurelio Escovar, a dentist with no formal educ...</td>\n",
       "      <td>s81</td>\n",
       "      <td>[t18297, t08393, t26723, t03644, t26668, t0659...</td>\n",
       "    </tr>\n",
       "    <tr>\n",
       "      <th>82</th>\n",
       "      <td>A RETRIEVED REFORMATION</td>\n",
       "      <td>O. Henry</td>\n",
       "      <td>A guard came to the prison shoe-shop, where Ji...</td>\n",
       "      <td>Jimmy Valentine, a skilled safecracker, is rel...</td>\n",
       "      <td>Jimmy Valentine, a skilled safecracker, is rel...</td>\n",
       "      <td>s82</td>\n",
       "      <td>[t06452, t08905, t08393, t20214, t06175, t1644...</td>\n",
       "    </tr>\n",
       "    <tr>\n",
       "      <th>83</th>\n",
       "      <td>The Hostage</td>\n",
       "      <td>Amelia Gray</td>\n",
       "      <td>Nobody knew what to do at first. Deposit slips...</td>\n",
       "      <td>In this story, a bank robber attempts to rob a...</td>\n",
       "      <td>In this story, a bank robber enters a bank dur...</td>\n",
       "      <td>s83</td>\n",
       "      <td>[t02187, t06175, t08393, t28820, t17855, t2672...</td>\n",
       "    </tr>\n",
       "  </tbody>\n",
       "</table>\n",
       "<p>84 rows × 7 columns</p>\n",
       "</div>"
      ],
      "text/plain": [
       "                              Title                  Author  \\\n",
       "0   The Bear Came Over the Mountain             Alice Munro   \n",
       "1                          The Boss           Robert Coover   \n",
       "2         The Hairless Are Careless           Colin Barrett   \n",
       "3                       Smithereens        Aleksandar Hemon   \n",
       "4                    Where Are You?       Joyce Carol Oates   \n",
       "..                              ...                     ...   \n",
       "79                        The Mouse             H. H. Munro   \n",
       "80          Mrs. Packletide's Tiger             H. H. Munro   \n",
       "81                One of These Days  Gabriel Garcia Marquez   \n",
       "82          A RETRIEVED REFORMATION                O. Henry   \n",
       "83                      The Hostage             Amelia Gray   \n",
       "\n",
       "                                                story  \\\n",
       "0   Fiona lived in her parents’ house, in the town...   \n",
       "1   The gunman lights a cigarette, watches despond...   \n",
       "2   “Prejudicial of me, I know,” said Tommy, noddi...   \n",
       "3   Near our mountain cabin, in Jahorina, there wa...   \n",
       "4   The husband had got into the habit of calling ...   \n",
       "..                                                ...   \n",
       "79  Theodoric Voler had been brought up, from infa...   \n",
       "80  It was Mrs. Packletide's pleasure and intentio...   \n",
       "81  Monday dawned warm and rainless. Aurelio Escov...   \n",
       "82  A guard came to the prison shoe-shop, where Ji...   \n",
       "83  Nobody knew what to do at first. Deposit slips...   \n",
       "\n",
       "                                      summary_gpt_3_5  \\\n",
       "0   Fiona and Grant are a married couple. Fiona's ...   \n",
       "1   The story follows a gunman who is waiting in a...   \n",
       "2   Tommy, Ernie, and Luke are discussing bald peo...   \n",
       "3   The story is set near a mountain cabin in Jaho...   \n",
       "4   In this story, a husband and wife have develop...   \n",
       "..                                                ...   \n",
       "79  Theodoric Voler, a man who has been sheltered ...   \n",
       "80  Mrs. Packletide, motivated by jealousy of Loon...   \n",
       "81  Aurelio Escovar, a dentist without a degree, o...   \n",
       "82  Jimmy Valentine, a skilled safecracker, is rel...   \n",
       "83  In this story, a bank robber attempts to rob a...   \n",
       "\n",
       "                                   summary_gpt_3_5_t1  sid  \\\n",
       "0   Fiona and Grant are a married couple who live ...   s0   \n",
       "1   The story follows a gunman who finds himself a...   s1   \n",
       "2   Tommy and his friends, Ernie and Luke, are at ...   s2   \n",
       "3   The narrator recalls a summer from their child...   s3   \n",
       "4   In this story, a husband and wife have a pecul...   s4   \n",
       "..                                                ...  ...   \n",
       "79  Theodoric Voler, a man who had been sheltered ...  s79   \n",
       "80  Mrs. Packletide is determined to shoot a tiger...  s80   \n",
       "81  Aurelio Escovar, a dentist with no formal educ...  s81   \n",
       "82  Jimmy Valentine, a skilled safecracker, is rel...  s82   \n",
       "83  In this story, a bank robber enters a bank dur...  s83   \n",
       "\n",
       "                                               tropes  \n",
       "0                                                  []  \n",
       "1   [t08393, t02187, t18297, t03644, t26668, t2022...  \n",
       "2   [t20214, t02282, t14940, t02187, t24108, t0839...  \n",
       "3   [t08393, t26668, t03644, t02187, t15274, t0659...  \n",
       "4                                                  []  \n",
       "..                                                ...  \n",
       "79  [t02187, t06593, t20214, t00265, t08393, t1059...  \n",
       "80  [t02187, t08393, t00265, t06175, t20214, t1494...  \n",
       "81  [t18297, t08393, t26723, t03644, t26668, t0659...  \n",
       "82  [t06452, t08905, t08393, t20214, t06175, t1644...  \n",
       "83  [t02187, t06175, t08393, t28820, t17855, t2672...  \n",
       "\n",
       "[84 rows x 7 columns]"
      ]
     },
     "execution_count": 6,
     "metadata": {},
     "output_type": "execute_result"
    }
   ],
   "source": [
    "from ast import literal_eval\n",
    "story_w_trope = pd.read_csv('story_with_tropes_story.csv', converters={\"tropes\": literal_eval})\n",
    "story_w_trope"
   ]
  },
  {
   "cell_type": "code",
   "execution_count": 47,
   "id": "804eb1dd-01e1-43f9-9645-4e976dc16f4c",
   "metadata": {},
   "outputs": [
    {
     "data": {
      "application/vnd.jupyter.widget-view+json": {
       "model_id": "a07bf0875d83454495a516fd64f03225",
       "version_major": 2,
       "version_minor": 0
      },
      "text/plain": [
       "  0%|          | 0/84 [00:00<?, ?it/s]"
      ]
     },
     "metadata": {},
     "output_type": "display_data"
    },
    {
     "name": "stdout",
     "output_type": "stream",
     "text": [
      "#####################################################\n",
      "  {\n",
      "\"exists\": yes,\n",
      "\"reason\": The story contains several elements that foreshadow future events. For example, the gunman's watch with a gold coin face and hair-thin hands is a symbol of time running out, which foreshadows the impending doom that awaits him and the woman he has just met. The street lamp that comes on and off, casting shadows that seem to have a life of their own, creates an ominous atmosphere that suggests something bad is about to happen. The gunman's specialty of knocking off targets in public places and his concern about getting caught, which is hinted at through his unease when the woman passes by, foreshadow the danger lurking in the shadows. The woman's hesitation and nervous glances also hint at a sense of impending doom. The gunman's line, \"It won't do any good, lady. But I like it,\" suggests that he has a sense of inevitability about what is about to happen, which is confirmed when the woman is shot and killed. Finally, the ending of the story, where the gunman is left holding the woman's lifeless body, foreshadows a tragic event that will change his life forever.\n",
      "}\n",
      "{'exists': 1, 'reason': 'The story contains several elements that foreshadow future events. For example, the gunman\\'s watch with a gold coin face and hair-thin hands is a symbol of time running out, which foreshadows the impending doom that awaits him and the woman he has just met. The street lamp that comes on and off, casting shadows that seem to have a life of their own, creates an ominous atmosphere that suggests something bad is about to happen. The gunman\\'s specialty of knocking off targets in public places and his concern about getting caught, which is hinted at through his unease when the woman passes by, foreshadow the danger lurking in the shadows. The woman\\'s hesitation and nervous glances also hint at a sense of impending doom. The gunman\\'s line, \"It won\\'t do any good, lady. But I like it,\" suggests that he has a sense of inevitability about what is about to happen, which is confirmed when the woman is shot and killed. Finally, the ending of the story, where the gunman is left holding the woman\\'s lifeless body, foreshadows a tragic event that will change his life forever.'}\n",
      "#####################################################\n",
      "  {\n",
      "\"exists\": true,\n",
      "\"reason\": \"The gunman's mentality and behavior, as well as the situation he finds himself in, are reminiscent of the BigBad trope. He is a ruthless criminal who has been summoned by a master criminal known only as the Boss, who is not present, and he is left alone in an empty alley. He is aware of the Boss's reputation for ruthlessness and wonders if he will be killed. The gunman is also described as having a hard heart that softens when he interacts with a woman who walks into the alley, and he ends up killing her after she saves him from an unknown attacker. The story also features a sense of unease and impending danger, as the gunman is aware that the Boss has plans that haven't happened yet, and the alley seems to fade away, and time itself seems to stop. The story also ends with the gunman filled with rage and not understanding what is happening, which is a common trait of the BigBad trope.\"\n",
      "}\n",
      "{'exists': 1, 'reason': '\"The gunman\\'s mentality and behavior, as well as the situation he finds himself in, are reminiscent of the BigBad trope. He is a ruthless criminal who has been summoned by a master criminal known only as the Boss, who is not present, and he is left alone in an empty alley. He is aware of the Boss\\'s reputation for ruthlessness and wonders if he will be killed. The gunman is also described as having a hard heart that softens when he interacts with a woman who walks into the alley, and he ends up killing her after she saves him from an unknown attacker. The story also features a sense of unease and impending danger, as the gunman is aware that the Boss has plans that haven\\'t happened yet, and the alley seems to fade away, and time itself seems to stop. The story also ends with the gunman filled with rage and not understanding what is happening, which is a common trait of the BigBad trope.\"'}\n",
      "#####################################################\n",
      "  {\n",
      "\"exists\": true,\n",
      "\"reason\": \"The story exhibits RealityEnsues trope through the portrayal of the gunman's life. The gunman is shown to be a ruthless killer working for a master criminal known as the Boss. He has wasted people in public places before, but not many. He took up doing the Boss's dirty work for the thrill it gives him, reminding him that he's still alive in a way that nothing else can. When a woman passes by, he asks her if she's looking for someone, and she replies that she doesn't know. The gunman becomes fixed where he stands as she slowly walks away and back toward the light. He takes his hand off his revolver as they move together left and right, feeling caught up in something fundamental and erotic. They turn back toward the swaying street lamp, and the alley seems to fade away. The story highlights the gunman's humanity and vulnerability, showing that even a hardened criminal can feel emotions and be caught up in something beautiful and abstract.\"\n",
      "}\n",
      "{'exists': 1, 'reason': '\"The story exhibits RealityEnsues trope through the portrayal of the gunman\\'s life. The gunman is shown to be a ruthless killer working for a master criminal known as the Boss. He has wasted people in public places before, but not many. He took up doing the Boss\\'s dirty work for the thrill it gives him, reminding him that he\\'s still alive in a way that nothing else can. When a woman passes by, he asks her if she\\'s looking for someone, and she replies that she doesn\\'t know. The gunman becomes fixed where he stands as she slowly walks away and back toward the light. He takes his hand off his revolver as they move together left and right, feeling caught up in something fundamental and erotic. They turn back toward the swaying street lamp, and the alley seems to fade away. The story highlights the gunman\\'s humanity and vulnerability, showing that even a hardened criminal can feel emotions and be caught up in something beautiful and abstract.\"'}\n",
      "#####################################################\n",
      "  {\n",
      "\"exists\": yes,\n",
      "\"reason\": The gunman's watch, a gift from the Boss, is described as having a gold coin face with no numbers, and the watch hands are hair-thin and hard to see in the fading light. The gunman wonders how the watch keeps running, perhaps powered by a battery, but doesn't know what will happen when the battery dies. This detail about the watch seems inconsequential to the story but could be considered a subtle hint at the Boss's ruthlessness and the gunman's eventual fate.\n",
      "\n",
      "Additionally, the street lamp overhead is described as swaying rhythmically, causing shadows to stretch and recede like a slowly beating heart. When the woman walks under it, she looks around nervously, as if sensing danger. The lamp's movement and the woman's reaction foreshadow the gunman's impending doom.\n",
      "\n",
      "The story also employs a form of Chekhov's gun by introducing the woman as an apparent innocent working girl, looking for a pickup, but ultimately revealing her as the Boss's witness or executioner. Her presence sets the events leading to the gunman's demise in motion.\n",
      "\n",
      "Overall, the narrative subtly employs Chekhov's gun by introducing seemingly insignificant details that foreshadow the gunman's fate and set the stage for the woman's role in his demise.\n",
      "{'exists': 1, 'reason': \"The gunman's watch, a gift from the Boss, is described as having a gold coin face with no numbers, and the watch hands are hair-thin and hard to see in the fading light. The gunman wonders how the watch keeps running, perhaps powered by a battery, but doesn't know what will happen when the battery dies. This detail about the watch seems inconsequential to the story but could be considered a subtle hint at the Boss's ruthlessness and the gunman's eventual fate.\\n\\nAdditionally, the street lamp overhead is described as swaying rhythmically, causing shadows to stretch and recede like a slowly beating heart. When the woman walks under it, she looks around nervously, as if sensing danger. The lamp's movement and the woman's reaction foreshadow the gunman's impending doom.\\n\\nThe story also employs a form of Chekhov's gun by introducing the woman as an apparent innocent working girl, looking for a pickup, but ultimately revealing her as the Boss's witness or executioner. Her presence sets the events leading to the gunman's demise in motion.\\n\\nOverall, the narrative subtly employs Chekhov's gun by introducing seemingly insignificant details that foreshadow the gunman's fate and set the stage for the woman's role in his demise.\"}\n",
      "#####################################################\n",
      "  {\n",
      "\"exists\": true,\n",
      "\"reason\": \"The story ends with the death of an innocent woman, who was accidentally killed by the protagonist while he was trying to protect her from an unknown attacker. The ending is bleak and tragic, leaving the reader with a sense of hopelessness and despair, which is a common characteristic of DownerEnding trope.\"\n",
      "}\n",
      "{'exists': 1, 'reason': '\"The story ends with the death of an innocent woman, who was accidentally killed by the protagonist while he was trying to protect her from an unknown attacker. The ending is bleak and tragic, leaving the reader with a sense of hopelessness and despair, which is a common characteristic of DownerEnding trope.\"'}\n",
      "#####################################################\n",
      "  {\n",
      "\"exists\": yes,\n",
      "\"reason\": The trope ShownTheirWork is present in the story because the gunman takes the time to explain and show the reader how he feels and what he is thinking. He shows his vulnerable side when he talks about his specialty in killing people in public places and how it gives him a thrill. He also shows his human side when he describes the woman's death and how it affects him. The author takes the time to describe the setting and the characters' movements and emotions, giving the reader a clear picture of what's happening and how the characters feel.\n",
      "}\n",
      "{'exists': 1, 'reason': \"The trope ShownTheirWork is present in the story because the gunman takes the time to explain and show the reader how he feels and what he is thinking. He shows his vulnerable side when he talks about his specialty in killing people in public places and how it gives him a thrill. He also shows his human side when he describes the woman's death and how it affects him. The author takes the time to describe the setting and the characters' movements and emotions, giving the reader a clear picture of what's happening and how the characters feel.\"}\n",
      "#####################################################\n",
      "  {\n",
      "\"exists\": yes,\n",
      "\"reason\": The trope SpannerInTheWorks exists in the story because the woman's sudden appearance and actions disrupt the gunman's plans and create a new situation that he must respond to. She walks slowly towards him, then quickly turns and walks away, only to return and stand in front of him, blocking his view. This unexpected turn of events forces the gunman to pause and reassess the situation, creating tension and uncertainty. The woman's presence also creates a sense of unease and questioning in the gunman, as he wonders if she has been sent by the Boss or if she is an innocent bystander. The unexpected twist of events and the gunman's confusion and uncertainty are all hallmarks of the SpannerInTheWorks trope.\n",
      "{'exists': 1, 'reason': \"The trope SpannerInTheWorks exists in the story because the woman's sudden appearance and actions disrupt the gunman's plans and create a new situation that he must respond to. She walks slowly towards him, then quickly turns and walks away, only to return and stand in front of him, blocking his view. This unexpected turn of events forces the gunman to pause and reassess the situation, creating tension and uncertainty. The woman's presence also creates a sense of unease and questioning in the gunman, as he wonders if she has been sent by the Boss or if she is an innocent bystander. The unexpected twist of events and the gunman's confusion and uncertainty are all hallmarks of the SpannerInTheWorks trope.\"}\n",
      "#####################################################\n",
      "  {\n",
      "\"exists\": yes,\n",
      "\"reason\": The gunman's behavior towards the woman in the alley, whom he doesn't know and has no reason to be nice to, is an example of the NiceToTheWaiter trope. He is gentle, protective, and respectful towards her, even when she is potentially a threat to him. He doesn't want to hurt her and is genuinely concerned for her well-being, despite the danger of his own situation. This is highlighted when he says \"It won't do any good, she says, reading him. Yeah, I know, lady. But I like it.\" and when he tries to comfort her before she dies in his arms.\n",
      "{'exists': 1, 'reason': 'The gunman\\'s behavior towards the woman in the alley, whom he doesn\\'t know and has no reason to be nice to, is an example of the NiceToTheWaiter trope. He is gentle, protective, and respectful towards her, even when she is potentially a threat to him. He doesn\\'t want to hurt her and is genuinely concerned for her well-being, despite the danger of his own situation. This is highlighted when he says \"It won\\'t do any good, she says, reading him. Yeah, I know, lady. But I like it.\" and when he tries to comfort her before she dies in his arms.'}\n",
      "#####################################################\n",
      "  {\n",
      "\"exists\": true,\n",
      "\"reason\": \"The story contains a shoutout to the theme of the fragility of life and the inevitability of death. The gunman's thoughts about the woman's vulnerability and his own mortality, as well as the sudden and unexpected death of the woman, allude to this theme. Additionally, the use of the street lamp's swaying motion and the darkness beyond it create a sense of unease and uncertainty, highlighting the fragility of life.\"\n",
      "}\n",
      "{'exists': 1, 'reason': '\"The story contains a shoutout to the theme of the fragility of life and the inevitability of death. The gunman\\'s thoughts about the woman\\'s vulnerability and his own mortality, as well as the sudden and unexpected death of the woman, allude to this theme. Additionally, the use of the street lamp\\'s swaying motion and the darkness beyond it create a sense of unease and uncertainty, highlighting the fragility of life.\"'}\n",
      "#####################################################\n",
      "  {\n",
      "\"exists\": yes,\n",
      "\"reason\": The story exhibits trope ThePowerOfLove through the gunman's unexpected feelings for the woman he's dancing with in the alley. Despite his initial intentions and line of work, he finds himself enjoying her company and feeling a sense of tenderness towards her. This is evident in the way he describes her as having \"sweet ways\" and feeling \"touchingly vulnerable.\" He even goes so far as to put his hand off his revolver and walk with her, moving in sync as if they're dancing. The erotic nature of their interaction is also suggested when she asks if he's making fun of her and he replies that he doesn't know how to make fun, feeling caught up in something fundamental and abstract, yet oddly erotic. This moment of connection and intimacy in the midst of a dangerous and dark setting highlights the power of love and human connection to transcend even the most difficult of situations. \n",
      "}\n",
      "{'exists': 1, 'reason': 'The story exhibits trope ThePowerOfLove through the gunman\\'s unexpected feelings for the woman he\\'s dancing with in the alley. Despite his initial intentions and line of work, he finds himself enjoying her company and feeling a sense of tenderness towards her. This is evident in the way he describes her as having \"sweet ways\" and feeling \"touchingly vulnerable.\" He even goes so far as to put his hand off his revolver and walk with her, moving in sync as if they\\'re dancing. The erotic nature of their interaction is also suggested when she asks if he\\'s making fun of her and he replies that he doesn\\'t know how to make fun, feeling caught up in something fundamental and abstract, yet oddly erotic. This moment of connection and intimacy in the midst of a dangerous and dark setting highlights the power of love and human connection to transcend even the most difficult of situations.'}\n"
     ]
    },
    {
     "name": "stderr",
     "output_type": "stream",
     "text": [
      "/cluster/home/sharaj/.local/lib/python3.9/site-packages/transformers/pipelines/base.py:1101: UserWarning: You seem to be using the pipelines sequentially on GPU. In order to maximize efficiency please use a dataset\n",
      "  warnings.warn(\n"
     ]
    },
    {
     "name": "stdout",
     "output_type": "stream",
     "text": [
      "#####################################################\n",
      "  {\n",
      "\"exists\": true,\n",
      "\"reason\": \"The story contains a reference to the trope of the 'bald man' being associated with bad luck or negative consequences. The character Tommy attributes the baldness of the man they see at the petrol station to'some inherent deficiency of character' and later connects it to the fact that the man is an American, implying that he is not to be trusted. This is an example of the ShoutOut trope as it is a nod to the stereotype that bald men are suspicious or untrustworthy.\"\n",
      "}\n",
      "{'exists': 1, 'reason': '\"The story contains a reference to the trope of the \\'bald man\\' being associated with bad luck or negative consequences. The character Tommy attributes the baldness of the man they see at the petrol station to\\'some inherent deficiency of character\\' and later connects it to the fact that the man is an American, implying that he is not to be trusted. This is an example of the ShoutOut trope as it is a nod to the stereotype that bald men are suspicious or untrustworthy.\"'}\n",
      "#####################################################\n",
      "  {\n",
      "\"exists\": true,\n",
      "\"reason\": \"The story contains an example of the Bilingual Bonus trope in the character of Tommy, who uses the phrase 'like he was deep down wishing for it' to describe the bald man's disappearance. This phrase is a play on words, as 'wishing for it' can be interpreted both literally (as in, the man was wishing for the hair to disappear) and figuratively (as in, the man was unconsciously desiring the hair to disappear, perhaps due to some inherent flaw in his character). The use of this trope adds depth and nuance to the story, as it allows the reader to interpret the characters' motivations and personalities in a more subtle way.\"\n",
      "}\n",
      "{'exists': 1, 'reason': '\"The story contains an example of the Bilingual Bonus trope in the character of Tommy, who uses the phrase \\'like he was deep down wishing for it\\' to describe the bald man\\'s disappearance. This phrase is a play on words, as \\'wishing for it\\' can be interpreted both literally (as in, the man was wishing for the hair to disappear) and figuratively (as in, the man was unconsciously desiring the hair to disappear, perhaps due to some inherent flaw in his character). The use of this trope adds depth and nuance to the story, as it allows the reader to interpret the characters\\' motivations and personalities in a more subtle way.\"'}\n",
      "#####################################################\n",
      "  {\n",
      "\"exists\": true,\n",
      "\"reason\": \"The story contains a reference to the trope of the 'bald man' being associated with bad luck or negative consequences, as the character Tommy attributes the man's baldness to a personal failing or deficiency. This is a common stereotype and trope in popular culture.\"\n",
      "}\n",
      "{'exists': 1, 'reason': '\"The story contains a reference to the trope of the \\'bald man\\' being associated with bad luck or negative consequences, as the character Tommy attributes the man\\'s baldness to a personal failing or deficiency. This is a common stereotype and trope in popular culture.\"'}\n",
      "#####################################################\n",
      "  {\n",
      "\"exists\": true,\n",
      "\"reason\": \"The story contains the trope of the BigBad in the character of the bald man who is described as having a lunar aspect and being associated with the moon. The fact that he is described as eating an ice-cream cone and being content also adds to the idea that he is a symbol of luxury and indulgence, which is a common trait of the BigBad trope.\"\n",
      "}\n",
      "{'exists': 1, 'reason': '\"The story contains the trope of the BigBad in the character of the bald man who is described as having a lunar aspect and being associated with the moon. The fact that he is described as eating an ice-cream cone and being content also adds to the idea that he is a symbol of luxury and indulgence, which is a common trait of the BigBad trope.\"'}\n",
      "#####################################################\n",
      "  {\n",
      "\"exists\": true,\n",
      "\"reason\": \"The story contains the trope of TooDumbToLive in the character of Tommy, who makes a comment about the bald man's hairlessness being his own fault, indicating that he believes the man's baldness is a result of his own actions or lack thereof. This trope is further reinforced by the fact that Tommy's comment leads to the man being identified as an American emissary sent to inform the factory that it is going to be shut down, which could be seen as a form of comeuppance for Tommy's foolish remark.\"\n",
      "}\n",
      "{'exists': 1, 'reason': '\"The story contains the trope of TooDumbToLive in the character of Tommy, who makes a comment about the bald man\\'s hairlessness being his own fault, indicating that he believes the man\\'s baldness is a result of his own actions or lack thereof. This trope is further reinforced by the fact that Tommy\\'s comment leads to the man being identified as an American emissary sent to inform the factory that it is going to be shut down, which could be seen as a form of comeuppance for Tommy\\'s foolish remark.\"'}\n",
      "#####################################################\n",
      "  {\n",
      "\"exists\": true,\n",
      "\"reason\": \"The story contains foreshadowing when Tommy, Ernie, and Luke discuss the bald man and speculate about his purpose at the factory. Luke suggests that the man's presence is a sign that the factory is going to be shut down, and sure enough, management announces a 'root and branch realignment of resources' that will result in cutting the human staff in the Irish plant by sixty percent. The story also contains the theme of fate and the idea that some people are not lucky enough to ever die just once, which adds to the sense of foreboding and inevitability.\"\n",
      "}\n",
      "{'exists': 1, 'reason': '\"The story contains foreshadowing when Tommy, Ernie, and Luke discuss the bald man and speculate about his purpose at the factory. Luke suggests that the man\\'s presence is a sign that the factory is going to be shut down, and sure enough, management announces a \\'root and branch realignment of resources\\' that will result in cutting the human staff in the Irish plant by sixty percent. The story also contains the theme of fate and the idea that some people are not lucky enough to ever die just once, which adds to the sense of foreboding and inevitability.\"'}\n",
      "#####################################################\n",
      "  {\n",
      "\"exists\": true,\n",
      "\"reason\": \"The story exhibits dramatic irony when Tommy, Ernie, and Luke discuss the bald man and speculate about his role in the factory's impending automation. The reader knows that the bald man is an American emissary sent to inform the employees about the factory's closure, but the characters in the story do not. The tension created by this disparity in knowledge is an example of dramatic irony.\"\n",
      "}\n",
      "{'exists': 1, 'reason': '\"The story exhibits dramatic irony when Tommy, Ernie, and Luke discuss the bald man and speculate about his role in the factory\\'s impending automation. The reader knows that the bald man is an American emissary sent to inform the employees about the factory\\'s closure, but the characters in the story do not. The tension created by this disparity in knowledge is an example of dramatic irony.\"'}\n",
      "#####################################################\n",
      "  {\n",
      "\"exists\": false,\n",
      "\"reason\": \"The story does not contain any elements of the EldritchAbomination trope.\"\n",
      "}\n",
      "{'exists': 0, 'reason': '\"The story does not contain any elements of the EldritchAbomination trope.\"'}\n",
      "#####################################################\n",
      "  {\n",
      "\"exists\": true,\n",
      "\"reason\": \"The story contains the trope DarkIsNotEvil. The character Tommy has a negative attitude towards bald people, associating baldness with a lack of character and assuming that the bald man they see at the petrol station is careless. This is an example of the dark is not evil trope as Tommy's perception of the baldness is not accurate and is based on a preconceived notion. Additionally, the fact that the bald man is described as having a \"lunar aspect\" and is associated with an American, suggesting a sense of otherness, further reinforces the idea that the trope is present in the story.\"\n",
      "}\n",
      "{'exists': 1, 'reason': '\"The story contains the trope DarkIsNotEvil. The character Tommy has a negative attitude towards bald people, associating baldness with a lack of character and assuming that the bald man they see at the petrol station is careless. This is an example of the dark is not evil trope as Tommy\\'s perception of the baldness is not accurate and is based on a preconceived notion. Additionally, the fact that the bald man is described as having a \"lunar aspect\" and is associated with an American, suggesting a sense of otherness, further reinforces the idea that the trope is present in the story.\"'}\n",
      "#####################################################\n",
      "  {\n",
      "\"exists\": true,\n",
      "\"reason\": \"The story features two young people with crowns of soft light outlining their hair, which is reminiscent of the Fair Folk trope. The light is described as hovering above their heads and being visible against the morning light, which suggests a supernatural or otherworldly quality. Additionally, the story touches on themes of time, memory, and the power of stories to create a sense of hope and meaning, which are all common motifs in tales of the Fair Folk.\"\n",
      "}\n",
      "{'exists': 1, 'reason': '\"The story features two young people with crowns of soft light outlining their hair, which is reminiscent of the Fair Folk trope. The light is described as hovering above their heads and being visible against the morning light, which suggests a supernatural or otherworldly quality. Additionally, the story touches on themes of time, memory, and the power of stories to create a sense of hope and meaning, which are all common motifs in tales of the Fair Folk.\"'}\n",
      "#####################################################\n",
      "  {\n",
      "\"exists\": yes,\n",
      "\"reason\": The story features Halldis, a strong and independent woman who is also the mother of Olav, the protagonist's former lover. Halldis is portrayed as a complex character with her own fears, desires, and motivations, making her a prime example of the BigBad trope. She is a skilled seamstress and teaches the locals to sew their own folk costumes, and she also shares stories of her cousin who was married to a bad man, indicating that she has a rich inner life and personal history. The protagonist becomes friends with Halldis and they share moments of intimacy, such as when they ride horses together and when Halldis tells the protagonist about her fears of what he might write about her. Despite her tough exterior, Halldis is vulnerable and unsure of herself at times, as seen when she asks the protagonist if she should tell a story and when she worries about what he might write about her. Overall, Halldis is a well-developed and intriguing character who embodies the BigBad trope.\n",
      "{'exists': 1, 'reason': \"The story features Halldis, a strong and independent woman who is also the mother of Olav, the protagonist's former lover. Halldis is portrayed as a complex character with her own fears, desires, and motivations, making her a prime example of the BigBad trope. She is a skilled seamstress and teaches the locals to sew their own folk costumes, and she also shares stories of her cousin who was married to a bad man, indicating that she has a rich inner life and personal history. The protagonist becomes friends with Halldis and they share moments of intimacy, such as when they ride horses together and when Halldis tells the protagonist about her fears of what he might write about her. Despite her tough exterior, Halldis is vulnerable and unsure of herself at times, as seen when she asks the protagonist if she should tell a story and when she worries about what he might write about her. Overall, Halldis is a well-developed and intriguing character who embodies the BigBad trope.\"}\n",
      "#####################################################\n",
      "  {\n",
      "\"exists\": yes,\n",
      "\"reason\": The story features several elements of the Fair Folk trope, including:\n",
      "\n",
      "1. A remote, rural setting in Norway, which is a common location for Fair Folk stories.\n",
      "2. A cabin in the woods that serves as a writer's retreat, which evokes the idea of a secluded, mystical place.\n",
      "3. A character named Halldis, who is described as having a face like an Inuit's and is said to resemble a character from a Norwegian folktale.\n",
      "4. The use of natural imagery, such as the forest, mountains, and lake, which creates a sense of mystery and otherworldliness.\n",
      "5. The mention of folk costumes and traditional crafts, which are often associated with Fair Folk stories.\n",
      "6. The character of Olav's father, who is described as a carpenter and has a photo of a naked woman in his workshop, which could be seen as a symbol of the mundane world encroaching on the mystical realm of the Fair Folk.\n",
      "7. The story that Halldis tells about her cousin's husband, which involves a bad man and letters found with his estate, has elements of a cautionary tale or a story about the consequences of meddling with the Fair Folk.\n",
      "\n",
      "Overall, while the story does not explicitly state that the Fair Folk are involved, the use of these elements creates a sense of otherworldliness and mystery that is reminiscent of the Fair Folk trope.\n",
      "{'exists': 1, 'reason': \"The story features several elements of the Fair Folk trope, including:\\n\\n1. A remote, rural setting in Norway, which is a common location for Fair Folk stories.\\n2. A cabin in the woods that serves as a writer's retreat, which evokes the idea of a secluded, mystical place.\\n3. A character named Halldis, who is described as having a face like an Inuit's and is said to resemble a character from a Norwegian folktale.\\n4. The use of natural imagery, such as the forest, mountains, and lake, which creates a sense of mystery and otherworldliness.\\n5. The mention of folk costumes and traditional crafts, which are often associated with Fair Folk stories.\\n6. The character of Olav's father, who is described as a carpenter and has a photo of a naked woman in his workshop, which could be seen as a symbol of the mundane world encroaching on the mystical realm of the Fair Folk.\\n7. The story that Halldis tells about her cousin's husband, which involves a bad man and letters found with his estate, has elements of a cautionary tale or a story about the consequences of meddling with the Fair Folk.\\n\\nOverall, while the story does not explicitly state that the Fair Folk are involved, the use of these elements creates a sense of otherworldliness and mystery that is reminiscent of the Fair Folk trope.\"}\n",
      "#####################################################\n",
      "  {\n",
      "\"exists\": yes,\n",
      "\"reason\": The story contains several elements of the trope HotSkittyOnWailordAction, including the protagonist's stay in a remote cabin, their interactions with the locals, and their exploration of the surrounding wilderness. The story also features a strong, independent female character in Halldis, who is portrayed as a skilled seamstress and horseback rider, and who shares stories of her past and her cousin's experiences with the protagonist. The protagonist's fascination with Halldis and her life, as well as their growing bond, also suggest elements of the trope. Overall, while the story does not explicitly state that Halldis and the protagonist engage in any kind of romantic or sexual activity, the narrative's focus on their relationship and the themes of isolation, self-discovery, and connection suggest that it could be interpreted as an example of the HotSkittyOnWailordAction trope.\n",
      "{'exists': 1, 'reason': \"The story contains several elements of the trope HotSkittyOnWailordAction, including the protagonist's stay in a remote cabin, their interactions with the locals, and their exploration of the surrounding wilderness. The story also features a strong, independent female character in Halldis, who is portrayed as a skilled seamstress and horseback rider, and who shares stories of her past and her cousin's experiences with the protagonist. The protagonist's fascination with Halldis and her life, as well as their growing bond, also suggest elements of the trope. Overall, while the story does not explicitly state that Halldis and the protagonist engage in any kind of romantic or sexual activity, the narrative's focus on their relationship and the themes of isolation, self-discovery, and connection suggest that it could be interpreted as an example of the HotSkittyOnWailordAction trope.\"}\n",
      "#####################################################\n",
      "  {\n",
      "\"exists\": yes,\n",
      "\"reason\": The story features several elements that align with the trope of the ProudWarriorRaceGuy. The character of Halldis, Olav's mother, is depicted as a strong and independent woman who is skilled in traditional crafts such as sewing and horse riding. She is also described as having a strong connection to nature and the landscape, and is said to resemble an Inuit. Additionally, the story touches on themes of community, tradition, and the passing down of knowledge and skills from one generation to the next, which are all common elements of the ProudWarriorRaceGuy trope.\n",
      "}\n",
      "{'exists': 1, 'reason': \"The story features several elements that align with the trope of the ProudWarriorRaceGuy. The character of Halldis, Olav's mother, is depicted as a strong and independent woman who is skilled in traditional crafts such as sewing and horse riding. She is also described as having a strong connection to nature and the landscape, and is said to resemble an Inuit. Additionally, the story touches on themes of community, tradition, and the passing down of knowledge and skills from one generation to the next, which are all common elements of the ProudWarriorRaceGuy trope.\"}\n",
      "#####################################################\n",
      "  {\n",
      "\"exists\": yes,\n",
      "\"reason\": The story contains an expansion of the trope AdaptationExpansion as the author's relationship with Halldis, Olav's mother, evolves. The author initially meets Halldis as a way to escape the isolation of the cabin and to learn about the local culture. However, their relationship deepens as they spend more time together, and Halldis begins to share personal stories and confide in the author. The author, in turn, becomes more comfortable with Halldis and begins to see her as a source of inspiration for her writing. The expansion of their relationship is evident in the way the author describes the change in Halldis's demeanor when she begins to open up to her, and in the way the author becomes more confident in their interactions with Halldis. The trope is further reinforced when Halldis asks the author not to write about her cousin's story, indicating that she has come to trust the author and is willing to share personal information with her.\n",
      "{'exists': 1, 'reason': \"The story contains an expansion of the trope AdaptationExpansion as the author's relationship with Halldis, Olav's mother, evolves. The author initially meets Halldis as a way to escape the isolation of the cabin and to learn about the local culture. However, their relationship deepens as they spend more time together, and Halldis begins to share personal stories and confide in the author. The author, in turn, becomes more comfortable with Halldis and begins to see her as a source of inspiration for her writing. The expansion of their relationship is evident in the way the author describes the change in Halldis's demeanor when she begins to open up to her, and in the way the author becomes more confident in their interactions with Halldis. The trope is further reinforced when Halldis asks the author not to write about her cousin's story, indicating that she has come to trust the author and is willing to share personal information with her.\"}\n",
      "#####################################################\n",
      "  {\n",
      "\"exists\": yes,\n",
      "\"reason\": The story contains several elements that suggest foreshadowing. For example, the mention of Olav's mother's concern about the reading event in the community center, which later becomes a significant moment in the story, can be seen as a form of foreshadowing. Additionally, the description of Halldis's fear of being written about and her reluctance to discuss her marriage with the protagonist can be seen as hints at the complicated relationship between Halldis and Olav, which is later revealed. The story also uses imagery and symbolism, such as the sun dogs, to create a sense of foreboding and uncertainty, which can be seen as a form of foreshadowing. Overall, the story contains several subtle hints and suggestions that foreshadow the complexities and tensions that will be revealed later on.\n",
      "{'exists': 1, 'reason': \"The story contains several elements that suggest foreshadowing. For example, the mention of Olav's mother's concern about the reading event in the community center, which later becomes a significant moment in the story, can be seen as a form of foreshadowing. Additionally, the description of Halldis's fear of being written about and her reluctance to discuss her marriage with the protagonist can be seen as hints at the complicated relationship between Halldis and Olav, which is later revealed. The story also uses imagery and symbolism, such as the sun dogs, to create a sense of foreboding and uncertainty, which can be seen as a form of foreshadowing. Overall, the story contains several subtle hints and suggestions that foreshadow the complexities and tensions that will be revealed later on.\"}\n",
      "#####################################################\n",
      "  {\n",
      "\"exists\": yes,\n",
      "\"reason\": The story contains elements of the EldritchAbomination trope, particularly in the description of Halldis's appearance and behavior. The mention of her resembling an Inuit and her ability to pass by a naked woman with a thumbtack suggest a mysterious and otherworldly quality to her character. Additionally, the eerie atmosphere of the forest and the strange, ancient rituals described in the story, such as the use of runes and the worship of pagan deities, contribute to the trope. The story also touches on themes of isolation, the unknown, and the unknowable, which are common in tales of cosmic horror. \n",
      "\n",
      "It is worth noting that while the story does contain elements of the EldritchAbomination trope, it does not fully embody it. The story is primarily focused on the relationship between the protagonist and Halldis, and the strange occurrences in the forest are not the central focus of the narrative. Therefore, while the trope is present, it is not the dominant theme of the story.\n",
      "{'exists': 1, 'reason': \"The story contains elements of the EldritchAbomination trope, particularly in the description of Halldis's appearance and behavior. The mention of her resembling an Inuit and her ability to pass by a naked woman with a thumbtack suggest a mysterious and otherworldly quality to her character. Additionally, the eerie atmosphere of the forest and the strange, ancient rituals described in the story, such as the use of runes and the worship of pagan deities, contribute to the trope. The story also touches on themes of isolation, the unknown, and the unknowable, which are common in tales of cosmic horror. \\n\\nIt is worth noting that while the story does contain elements of the EldritchAbomination trope, it does not fully embody it. The story is primarily focused on the relationship between the protagonist and Halldis, and the strange occurrences in the forest are not the central focus of the narrative. Therefore, while the trope is present, it is not the dominant theme of the story.\"}\n",
      "#####################################################\n",
      "  {\n",
      "\"exists\": yes,\n",
      "\"reason\": The story contains a shoutout to the Norwegian author Knut Terje Aasbakken, who is mentioned as the previous owner of the cabin where the story takes place. The story also mentions the community center where the protagonist is invited to give a reading, and the local store where the protagonist buys supplies. Additionally, the story contains a reference to the Inuit people, when the protagonist compares Halldis's face to that of an Inuit.\n",
      "}\n",
      "{'exists': 1, 'reason': \"The story contains a shoutout to the Norwegian author Knut Terje Aasbakken, who is mentioned as the previous owner of the cabin where the story takes place. The story also mentions the community center where the protagonist is invited to give a reading, and the local store where the protagonist buys supplies. Additionally, the story contains a reference to the Inuit people, when the protagonist compares Halldis's face to that of an Inuit.\"}\n",
      "#####################################################\n",
      "  {\n",
      "\"exists\": yes,\n",
      "\"reason\": The story exhibits elements of the PowerOfLove trope through the relationship between Halldis and the protagonist. Despite initial awkwardness, they form a bond over their shared love of nature, literature, and horses. Halldis invites the protagonist to her home for coffee and shares a personal story, showing vulnerability. The protagonist reciprocates by sharing her own experiences and books. Their connection deepens as they spend more time together, going on walks and rides through the forest. The story suggests that the power of love and connection can overcome initial barriers and blossom into a meaningful relationship. \n",
      "}\n",
      "{'exists': 1, 'reason': 'The story exhibits elements of the PowerOfLove trope through the relationship between Halldis and the protagonist. Despite initial awkwardness, they form a bond over their shared love of nature, literature, and horses. Halldis invites the protagonist to her home for coffee and shares a personal story, showing vulnerability. The protagonist reciprocates by sharing her own experiences and books. Their connection deepens as they spend more time together, going on walks and rides through the forest. The story suggests that the power of love and connection can overcome initial barriers and blossom into a meaningful relationship.'}\n",
      "#####################################################\n",
      "  {\n",
      "\"exists\": yes,\n",
      "\"reason\": The story mentions Olav's mother, Halldis, teaching the locals to sew their own folk costumes. This is an example of an arranged marriage trope in the story. Halldis and Olav's father have a complicated relationship, and Halldis seems to have accepted her role in life, passing by a naked woman every day who hangs over the door to the room where she works on her costumes. Olav's father comes across as a bit of a bully, and Halldis may have felt pressured into marrying him. \n",
      "\n",
      "Halldis also tells a story about her cousin who was married to a bad man, indicating that she may have had some regrets about her own marriage. The story also touches on the idea that women in the community may have felt pressured into marrying men they didn't love or weren't suited to. \n",
      "\n",
      "Overall, the story subtly suggests that Halldis's marriage was arranged, and that she may have had limited options in her life due to societal expectations.\n",
      "{'exists': 1, 'reason': \"The story mentions Olav's mother, Halldis, teaching the locals to sew their own folk costumes. This is an example of an arranged marriage trope in the story. Halldis and Olav's father have a complicated relationship, and Halldis seems to have accepted her role in life, passing by a naked woman every day who hangs over the door to the room where she works on her costumes. Olav's father comes across as a bit of a bully, and Halldis may have felt pressured into marrying him. \\n\\nHalldis also tells a story about her cousin who was married to a bad man, indicating that she may have had some regrets about her own marriage. The story also touches on the idea that women in the community may have felt pressured into marrying men they didn't love or weren't suited to. \\n\\nOverall, the story subtly suggests that Halldis's marriage was arranged, and that she may have had limited options in her life due to societal expectations.\"}\n",
      "#####################################################\n",
      "  {\n",
      "\"exists\": true,\n",
      "\"reason\": \"The story contains several instances of the Bilingual Bonus trope. For example, in the first story, the teacher is discussing a book in English with a group of children who are not fluent in the language. In the second story, an engineer is making traditional Hanukkah doughnuts from scratch, but his two-year-old kiddo does not like them and instead prefers store-bought doughnuts. In the third story, a little boy in Moscow's Rizhskaya Station wants to scream in the metro, but his mother does not understand why. In the fourth story, an aged nanny is shouting affectionately at the poet's small great-grandchildren from her seat of honor. In the fifth story, an anxious writer periodically becomes convinced that he has wronged his loved ones in some terrible way and calls them to apologize. In the sixth story, a translator found an excellent way to solve his children's problems by making them solve their own problems. These instances show how the trope of Bilingual Bonus is used in different contexts and how it can be used to add humor or depth to a story.\"\n",
      "}\n",
      "{'exists': 1, 'reason': '\"The story contains several instances of the Bilingual Bonus trope. For example, in the first story, the teacher is discussing a book in English with a group of children who are not fluent in the language. In the second story, an engineer is making traditional Hanukkah doughnuts from scratch, but his two-year-old kiddo does not like them and instead prefers store-bought doughnuts. In the third story, a little boy in Moscow\\'s Rizhskaya Station wants to scream in the metro, but his mother does not understand why. In the fourth story, an aged nanny is shouting affectionately at the poet\\'s small great-grandchildren from her seat of honor. In the fifth story, an anxious writer periodically becomes convinced that he has wronged his loved ones in some terrible way and calls them to apologize. In the sixth story, a translator found an excellent way to solve his children\\'s problems by making them solve their own problems. These instances show how the trope of Bilingual Bonus is used in different contexts and how it can be used to add humor or depth to a story.\"'}\n",
      "#####################################################\n",
      "  {\n",
      "\"exists\": true,\n",
      "\"reason\": \"The story exhibits dramatic irony in several instances. For example, in the first story, the teacher's expectation that the children will want to help the victimized child is subverted when they suggest violence against the child instead. In the second story, the father's expectation that his daughter will appreciate his homemade doughnuts is subverted when she prefers the store-bought ones instead. In the third story, the mother's expectation that her son will want to be raised as a good person is subverted when he expresses a desire to scream in the metro instead. In the fourth story, the nanny's expectation that the poet's grandfather, father, uncles, and children will appreciate her attentiveness is subverted when they fail to reciprocate her affection. In the fifth story, the writer's expectation that his loved ones will hate him for his mistakes is subverted when they reveal that they don't need a reason to hate him. In the sixth story, the translator's expectation that his children will become more independent through his strategy is subverted when his son adopts the same strategy and starts to question the purpose of his own existence.\"\n",
      "}\n",
      "{'exists': 1, 'reason': '\"The story exhibits dramatic irony in several instances. For example, in the first story, the teacher\\'s expectation that the children will want to help the victimized child is subverted when they suggest violence against the child instead. In the second story, the father\\'s expectation that his daughter will appreciate his homemade doughnuts is subverted when she prefers the store-bought ones instead. In the third story, the mother\\'s expectation that her son will want to be raised as a good person is subverted when he expresses a desire to scream in the metro instead. In the fourth story, the nanny\\'s expectation that the poet\\'s grandfather, father, uncles, and children will appreciate her attentiveness is subverted when they fail to reciprocate her affection. In the fifth story, the writer\\'s expectation that his loved ones will hate him for his mistakes is subverted when they reveal that they don\\'t need a reason to hate him. In the sixth story, the translator\\'s expectation that his children will become more independent through his strategy is subverted when his son adopts the same strategy and starts to question the purpose of his own existence.\"'}\n",
      "#####################################################\n",
      "  {\n",
      "\"exists\": true,\n",
      "\"reason\": \"The story contains elements of The Fair Folk trope, specifically in the way the children in the story interact with each other and with adults. The children are portrayed as being mischievous, independent, and sometimes cruel, while the adults are shown as being clueless or ineffective. The story also touches on themes of childhood innocence and the struggle for independence and autonomy. These elements are reminiscent of the The Fair Folk trope, which often features children who are capable of doing things that adults cannot or will not do.\"\n",
      "}\n",
      "{'exists': 1, 'reason': '\"The story contains elements of The Fair Folk trope, specifically in the way the children in the story interact with each other and with adults. The children are portrayed as being mischievous, independent, and sometimes cruel, while the adults are shown as being clueless or ineffective. The story also touches on themes of childhood innocence and the struggle for independence and autonomy. These elements are reminiscent of the The Fair Folk trope, which often features children who are capable of doing things that adults cannot or will not do.\"'}\n",
      "#####################################################\n",
      "  {\n",
      "\"exists\": true,\n",
      "\"reason\": \"The story contains several examples of foreshadowing, such as the mention of the girl's dislike of doughnuts before she eats them, the boy's desire to scream in the metro, and the nanny's question about whether someone got away. Additionally, the story's structure, jumping between different characters and scenarios, creates a sense of tension and uncertainty that suggests events that have not yet occurred.\"\n",
      "}\n",
      "{'exists': 1, 'reason': '\"The story contains several examples of foreshadowing, such as the mention of the girl\\'s dislike of doughnuts before she eats them, the boy\\'s desire to scream in the metro, and the nanny\\'s question about whether someone got away. Additionally, the story\\'s structure, jumping between different characters and scenarios, creates a sense of tension and uncertainty that suggests events that have not yet occurred.\"'}\n",
      "#####################################################\n",
      "  {\n",
      "\"exists\": true,\n",
      "\"reason\": \"The story exhibits several characteristics of the BigScrewedUpFamily trope, including:\n",
      "\n",
      "1. Dysfunctional relationships: The story portrays various forms of dysfunctional relationships within the family, such as the mother who refuses to pick up her child's toys, the father who eats all the doughnuts and blames his daughter for not liking them, and the grandmother who only cares about whether someone got away with something.\n",
      "2. Lack of communication and empathy: The characters in the story rarely communicate effectively with each other, and when they do, it's often to argue or blame each other. There is a lack of empathy and understanding between the family members, as seen in the way the mother dismisses her child's feelings and the father refuses to listen to his daughter's opinions.\n",
      "3. Unconventional problem-solving: The story features characters who solve problems in unconventional ways, such as the translator who refuses to pick up his children's toys and instead teaches them to do it themselves, and the engineer who tries to make his daughter happy by making her traditional Hanukkah doughnuts from scratch, only to have her reject them.\n",
      "4. Quirky and eccentric characters: The story features a cast of quirky and eccentric characters, such as the nanny who has survived numerous historical events and now shouts affectionately at the poet's small great-grandchildren, and the anxious writer who periodically becomes convinced that his loved ones hate him.\n",
      "\n",
      "Overall, the story exhibits many of the hallmarks of the BigScrewedUpFamily trope, including dysfunctional relationships, lack of communication and empathy, unconventional problem-solving, and quirky and eccentric characters.\"\n",
      "}\n",
      "{'exists': 1, 'reason': '\"The story exhibits several characteristics of the BigScrewedUpFamily trope, including:\\n\\n1. Dysfunctional relationships: The story portrays various forms of dysfunctional relationships within the family, such as the mother who refuses to pick up her child\\'s toys, the father who eats all the doughnuts and blames his daughter for not liking them, and the grandmother who only cares about whether someone got away with something.\\n2. Lack of communication and empathy: The characters in the story rarely communicate effectively with each other, and when they do, it\\'s often to argue or blame each other. There is a lack of empathy and understanding between the family members, as seen in the way the mother dismisses her child\\'s feelings and the father refuses to listen to his daughter\\'s opinions.\\n3. Unconventional problem-solving: The story features characters who solve problems in unconventional ways, such as the translator who refuses to pick up his children\\'s toys and instead teaches them to do it themselves, and the engineer who tries to make his daughter happy by making her traditional Hanukkah doughnuts from scratch, only to have her reject them.\\n4. Quirky and eccentric characters: The story features a cast of quirky and eccentric characters, such as the nanny who has survived numerous historical events and now shouts affectionately at the poet\\'s small great-grandchildren, and the anxious writer who periodically becomes convinced that his loved ones hate him.\\n\\nOverall, the story exhibits many of the hallmarks of the BigScrewedUpFamily trope, including dysfunctional relationships, lack of communication and empathy, unconventional problem-solving, and quirky and eccentric characters.\"'}\n",
      "#####################################################\n",
      "  {\n",
      "\"exists\": true,\n",
      "\"reason\": \"The story contains elements of the EldritchAbomination trope, particularly in the fourth story where the nanny's question of 'So, did he get away?' is compared to the Jewish people's story and is described as a single question that contains the whole story of a people. Additionally, the story's themes of children's independence and self-sufficiency, as well as the father's fear of the film 'Up' and his subsequent evolution into a more independent person, also contain elements of the EldritchAbomination trope.\"\n",
      "}\n",
      "{'exists': 1, 'reason': '\"The story contains elements of the EldritchAbomination trope, particularly in the fourth story where the nanny\\'s question of \\'So, did he get away?\\' is compared to the Jewish people\\'s story and is described as a single question that contains the whole story of a people. Additionally, the story\\'s themes of children\\'s independence and self-sufficiency, as well as the father\\'s fear of the film \\'Up\\' and his subsequent evolution into a more independent person, also contain elements of the EldritchAbomination trope.\"'}\n"
     ]
    },
    {
     "ename": "KeyboardInterrupt",
     "evalue": "",
     "output_type": "error",
     "traceback": [
      "\u001b[0;31m---------------------------------------------------------------------------\u001b[0m",
      "\u001b[0;31mKeyboardInterrupt\u001b[0m                         Traceback (most recent call last)",
      "\u001b[0;32m/scratch/tmp.35255553.sharaj/ipykernel_18978/1791226705.py\u001b[0m in \u001b[0;36m<module>\u001b[0;34m\u001b[0m\n\u001b[0;32m----> 1\u001b[0;31m \u001b[0mstory_w_trope\u001b[0m\u001b[0;34m[\u001b[0m\u001b[0;34m'validation_70b'\u001b[0m\u001b[0;34m]\u001b[0m \u001b[0;34m=\u001b[0m \u001b[0mstory_w_trope\u001b[0m\u001b[0;34m.\u001b[0m\u001b[0mprogress_apply\u001b[0m\u001b[0;34m(\u001b[0m\u001b[0mcheck_trope_exists\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0maxis\u001b[0m\u001b[0;34m=\u001b[0m\u001b[0;36m1\u001b[0m\u001b[0;34m)\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[0m\u001b[1;32m      2\u001b[0m \u001b[0mstory_w_trope\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n",
      "\u001b[0;32m/cluster/apps/nss/gcc-8.2.0/python/3.9.9/x86_64/lib64/python3.9/site-packages/tqdm/std.py\u001b[0m in \u001b[0;36minner\u001b[0;34m(df, func, *args, **kwargs)\u001b[0m\n\u001b[1;32m    812\u001b[0m                 \u001b[0;31m# on the df using our wrapper (which provides bar updating)\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[1;32m    813\u001b[0m                 \u001b[0;32mtry\u001b[0m\u001b[0;34m:\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[0;32m--> 814\u001b[0;31m                     \u001b[0;32mreturn\u001b[0m \u001b[0mgetattr\u001b[0m\u001b[0;34m(\u001b[0m\u001b[0mdf\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0mdf_function\u001b[0m\u001b[0;34m)\u001b[0m\u001b[0;34m(\u001b[0m\u001b[0mwrapper\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0;34m**\u001b[0m\u001b[0mkwargs\u001b[0m\u001b[0;34m)\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[0m\u001b[1;32m    815\u001b[0m                 \u001b[0;32mfinally\u001b[0m\u001b[0;34m:\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[1;32m    816\u001b[0m                     \u001b[0mt\u001b[0m\u001b[0;34m.\u001b[0m\u001b[0mclose\u001b[0m\u001b[0;34m(\u001b[0m\u001b[0;34m)\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n",
      "\u001b[0;32m/cluster/apps/nss/gcc-8.2.0/python/3.9.9/x86_64/lib64/python3.9/site-packages/pandas/core/frame.py\u001b[0m in \u001b[0;36mapply\u001b[0;34m(self, func, axis, raw, result_type, args, **kwargs)\u001b[0m\n\u001b[1;32m   8738\u001b[0m             \u001b[0mkwargs\u001b[0m\u001b[0;34m=\u001b[0m\u001b[0mkwargs\u001b[0m\u001b[0;34m,\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[1;32m   8739\u001b[0m         )\n\u001b[0;32m-> 8740\u001b[0;31m         \u001b[0;32mreturn\u001b[0m \u001b[0mop\u001b[0m\u001b[0;34m.\u001b[0m\u001b[0mapply\u001b[0m\u001b[0;34m(\u001b[0m\u001b[0;34m)\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[0m\u001b[1;32m   8741\u001b[0m \u001b[0;34m\u001b[0m\u001b[0m\n\u001b[1;32m   8742\u001b[0m     def applymap(\n",
      "\u001b[0;32m/cluster/apps/nss/gcc-8.2.0/python/3.9.9/x86_64/lib64/python3.9/site-packages/pandas/core/apply.py\u001b[0m in \u001b[0;36mapply\u001b[0;34m(self)\u001b[0m\n\u001b[1;32m    686\u001b[0m             \u001b[0;32mreturn\u001b[0m \u001b[0mself\u001b[0m\u001b[0;34m.\u001b[0m\u001b[0mapply_raw\u001b[0m\u001b[0;34m(\u001b[0m\u001b[0;34m)\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[1;32m    687\u001b[0m \u001b[0;34m\u001b[0m\u001b[0m\n\u001b[0;32m--> 688\u001b[0;31m         \u001b[0;32mreturn\u001b[0m \u001b[0mself\u001b[0m\u001b[0;34m.\u001b[0m\u001b[0mapply_standard\u001b[0m\u001b[0;34m(\u001b[0m\u001b[0;34m)\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[0m\u001b[1;32m    689\u001b[0m \u001b[0;34m\u001b[0m\u001b[0m\n\u001b[1;32m    690\u001b[0m     \u001b[0;32mdef\u001b[0m \u001b[0magg\u001b[0m\u001b[0;34m(\u001b[0m\u001b[0mself\u001b[0m\u001b[0;34m)\u001b[0m\u001b[0;34m:\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n",
      "\u001b[0;32m/cluster/apps/nss/gcc-8.2.0/python/3.9.9/x86_64/lib64/python3.9/site-packages/pandas/core/apply.py\u001b[0m in \u001b[0;36mapply_standard\u001b[0;34m(self)\u001b[0m\n\u001b[1;32m    810\u001b[0m \u001b[0;34m\u001b[0m\u001b[0m\n\u001b[1;32m    811\u001b[0m     \u001b[0;32mdef\u001b[0m \u001b[0mapply_standard\u001b[0m\u001b[0;34m(\u001b[0m\u001b[0mself\u001b[0m\u001b[0;34m)\u001b[0m\u001b[0;34m:\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[0;32m--> 812\u001b[0;31m         \u001b[0mresults\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0mres_index\u001b[0m \u001b[0;34m=\u001b[0m \u001b[0mself\u001b[0m\u001b[0;34m.\u001b[0m\u001b[0mapply_series_generator\u001b[0m\u001b[0;34m(\u001b[0m\u001b[0;34m)\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[0m\u001b[1;32m    813\u001b[0m \u001b[0;34m\u001b[0m\u001b[0m\n\u001b[1;32m    814\u001b[0m         \u001b[0;31m# wrap results\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n",
      "\u001b[0;32m/cluster/apps/nss/gcc-8.2.0/python/3.9.9/x86_64/lib64/python3.9/site-packages/pandas/core/apply.py\u001b[0m in \u001b[0;36mapply_series_generator\u001b[0;34m(self)\u001b[0m\n\u001b[1;32m    826\u001b[0m             \u001b[0;32mfor\u001b[0m \u001b[0mi\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0mv\u001b[0m \u001b[0;32min\u001b[0m \u001b[0menumerate\u001b[0m\u001b[0;34m(\u001b[0m\u001b[0mseries_gen\u001b[0m\u001b[0;34m)\u001b[0m\u001b[0;34m:\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[1;32m    827\u001b[0m                 \u001b[0;31m# ignore SettingWithCopy here in case the user mutates\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[0;32m--> 828\u001b[0;31m                 \u001b[0mresults\u001b[0m\u001b[0;34m[\u001b[0m\u001b[0mi\u001b[0m\u001b[0;34m]\u001b[0m \u001b[0;34m=\u001b[0m \u001b[0mself\u001b[0m\u001b[0;34m.\u001b[0m\u001b[0mf\u001b[0m\u001b[0;34m(\u001b[0m\u001b[0mv\u001b[0m\u001b[0;34m)\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[0m\u001b[1;32m    829\u001b[0m                 \u001b[0;32mif\u001b[0m \u001b[0misinstance\u001b[0m\u001b[0;34m(\u001b[0m\u001b[0mresults\u001b[0m\u001b[0;34m[\u001b[0m\u001b[0mi\u001b[0m\u001b[0;34m]\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0mABCSeries\u001b[0m\u001b[0;34m)\u001b[0m\u001b[0;34m:\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[1;32m    830\u001b[0m                     \u001b[0;31m# If we have a view on v, we need to make a copy because\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n",
      "\u001b[0;32m/cluster/apps/nss/gcc-8.2.0/python/3.9.9/x86_64/lib64/python3.9/site-packages/tqdm/std.py\u001b[0m in \u001b[0;36mwrapper\u001b[0;34m(*args, **kwargs)\u001b[0m\n\u001b[1;32m    807\u001b[0m                     \u001b[0;31m# take a fast or slow code path; so stop when t.total==t.n\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[1;32m    808\u001b[0m                     \u001b[0mt\u001b[0m\u001b[0;34m.\u001b[0m\u001b[0mupdate\u001b[0m\u001b[0;34m(\u001b[0m\u001b[0mn\u001b[0m\u001b[0;34m=\u001b[0m\u001b[0;36m1\u001b[0m \u001b[0;32mif\u001b[0m \u001b[0;32mnot\u001b[0m \u001b[0mt\u001b[0m\u001b[0;34m.\u001b[0m\u001b[0mtotal\u001b[0m \u001b[0;32mor\u001b[0m \u001b[0mt\u001b[0m\u001b[0;34m.\u001b[0m\u001b[0mn\u001b[0m \u001b[0;34m<\u001b[0m \u001b[0mt\u001b[0m\u001b[0;34m.\u001b[0m\u001b[0mtotal\u001b[0m \u001b[0;32melse\u001b[0m \u001b[0;36m0\u001b[0m\u001b[0;34m)\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[0;32m--> 809\u001b[0;31m                     \u001b[0;32mreturn\u001b[0m \u001b[0mfunc\u001b[0m\u001b[0;34m(\u001b[0m\u001b[0;34m*\u001b[0m\u001b[0margs\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0;34m**\u001b[0m\u001b[0mkwargs\u001b[0m\u001b[0;34m)\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[0m\u001b[1;32m    810\u001b[0m \u001b[0;34m\u001b[0m\u001b[0m\n\u001b[1;32m    811\u001b[0m                 \u001b[0;31m# Apply the provided function (in **kwargs)\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n",
      "\u001b[0;32m/scratch/tmp.35255553.sharaj/ipykernel_18978/2967230732.py\u001b[0m in \u001b[0;36mcheck_trope_exists\u001b[0;34m(row)\u001b[0m\n\u001b[1;32m     47\u001b[0m         \u001b[0;31m# query the model\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[1;32m     48\u001b[0m         \u001b[0;31m# generate(p, temp=0.7)\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[0;32m---> 49\u001b[0;31m         \u001b[0mout\u001b[0m \u001b[0;34m=\u001b[0m \u001b[0mpipe_generate\u001b[0m\u001b[0;34m(\u001b[0m\u001b[0mp\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0mtemp\u001b[0m\u001b[0;34m=\u001b[0m\u001b[0;36m0.6\u001b[0m\u001b[0;34m)\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[0m\u001b[1;32m     50\u001b[0m         \u001b[0mout\u001b[0m \u001b[0;34m=\u001b[0m \u001b[0mout\u001b[0m\u001b[0;34m[\u001b[0m\u001b[0;36m0\u001b[0m\u001b[0;34m]\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[1;32m     51\u001b[0m         \u001b[0;31m# out = generate(p, temp=0.6)\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n",
      "\u001b[0;32m/scratch/tmp.35255553.sharaj/ipykernel_18978/3451308338.py\u001b[0m in \u001b[0;36mpipe_generate\u001b[0;34m(prompt, temp)\u001b[0m\n\u001b[1;32m     36\u001b[0m \u001b[0;31m# @print_function_name\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[1;32m     37\u001b[0m \u001b[0;32mdef\u001b[0m \u001b[0mpipe_generate\u001b[0m\u001b[0;34m(\u001b[0m\u001b[0mprompt\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0mtemp\u001b[0m\u001b[0;34m=\u001b[0m\u001b[0;36m0.6\u001b[0m\u001b[0;34m)\u001b[0m\u001b[0;34m:\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[0;32m---> 38\u001b[0;31m     \u001b[0msequences\u001b[0m \u001b[0;34m=\u001b[0m \u001b[0mpipe\u001b[0m\u001b[0;34m(\u001b[0m\u001b[0mprompt\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0mtemperature\u001b[0m\u001b[0;34m=\u001b[0m\u001b[0mtemp\u001b[0m\u001b[0;34m)\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[0m\u001b[1;32m     39\u001b[0m     \u001b[0mgen_text\u001b[0m \u001b[0;34m=\u001b[0m \u001b[0;34m[\u001b[0m\u001b[0;34m]\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[1;32m     40\u001b[0m     \u001b[0;32mfor\u001b[0m \u001b[0mseq\u001b[0m \u001b[0;32min\u001b[0m \u001b[0msequences\u001b[0m\u001b[0;34m:\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n",
      "\u001b[0;32m~/.local/lib/python3.9/site-packages/transformers/pipelines/text_generation.py\u001b[0m in \u001b[0;36m__call__\u001b[0;34m(self, text_inputs, **kwargs)\u001b[0m\n\u001b[1;32m    206\u001b[0m               \u001b[0mids\u001b[0m \u001b[0mof\u001b[0m \u001b[0mthe\u001b[0m \u001b[0mgenerated\u001b[0m \u001b[0mtext\u001b[0m\u001b[0;34m.\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[1;32m    207\u001b[0m         \"\"\"\n\u001b[0;32m--> 208\u001b[0;31m         \u001b[0;32mreturn\u001b[0m \u001b[0msuper\u001b[0m\u001b[0;34m(\u001b[0m\u001b[0;34m)\u001b[0m\u001b[0;34m.\u001b[0m\u001b[0m__call__\u001b[0m\u001b[0;34m(\u001b[0m\u001b[0mtext_inputs\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0;34m**\u001b[0m\u001b[0mkwargs\u001b[0m\u001b[0;34m)\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[0m\u001b[1;32m    209\u001b[0m \u001b[0;34m\u001b[0m\u001b[0m\n\u001b[1;32m    210\u001b[0m     def preprocess(\n",
      "\u001b[0;32m~/.local/lib/python3.9/site-packages/transformers/pipelines/base.py\u001b[0m in \u001b[0;36m__call__\u001b[0;34m(self, inputs, num_workers, batch_size, *args, **kwargs)\u001b[0m\n\u001b[1;32m   1138\u001b[0m             )\n\u001b[1;32m   1139\u001b[0m         \u001b[0;32melse\u001b[0m\u001b[0;34m:\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[0;32m-> 1140\u001b[0;31m             \u001b[0;32mreturn\u001b[0m \u001b[0mself\u001b[0m\u001b[0;34m.\u001b[0m\u001b[0mrun_single\u001b[0m\u001b[0;34m(\u001b[0m\u001b[0minputs\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0mpreprocess_params\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0mforward_params\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0mpostprocess_params\u001b[0m\u001b[0;34m)\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[0m\u001b[1;32m   1141\u001b[0m \u001b[0;34m\u001b[0m\u001b[0m\n\u001b[1;32m   1142\u001b[0m     \u001b[0;32mdef\u001b[0m \u001b[0mrun_multi\u001b[0m\u001b[0;34m(\u001b[0m\u001b[0mself\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0minputs\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0mpreprocess_params\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0mforward_params\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0mpostprocess_params\u001b[0m\u001b[0;34m)\u001b[0m\u001b[0;34m:\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n",
      "\u001b[0;32m~/.local/lib/python3.9/site-packages/transformers/pipelines/base.py\u001b[0m in \u001b[0;36mrun_single\u001b[0;34m(self, inputs, preprocess_params, forward_params, postprocess_params)\u001b[0m\n\u001b[1;32m   1145\u001b[0m     \u001b[0;32mdef\u001b[0m \u001b[0mrun_single\u001b[0m\u001b[0;34m(\u001b[0m\u001b[0mself\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0minputs\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0mpreprocess_params\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0mforward_params\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0mpostprocess_params\u001b[0m\u001b[0;34m)\u001b[0m\u001b[0;34m:\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[1;32m   1146\u001b[0m         \u001b[0mmodel_inputs\u001b[0m \u001b[0;34m=\u001b[0m \u001b[0mself\u001b[0m\u001b[0;34m.\u001b[0m\u001b[0mpreprocess\u001b[0m\u001b[0;34m(\u001b[0m\u001b[0minputs\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0;34m**\u001b[0m\u001b[0mpreprocess_params\u001b[0m\u001b[0;34m)\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[0;32m-> 1147\u001b[0;31m         \u001b[0mmodel_outputs\u001b[0m \u001b[0;34m=\u001b[0m \u001b[0mself\u001b[0m\u001b[0;34m.\u001b[0m\u001b[0mforward\u001b[0m\u001b[0;34m(\u001b[0m\u001b[0mmodel_inputs\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0;34m**\u001b[0m\u001b[0mforward_params\u001b[0m\u001b[0;34m)\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[0m\u001b[1;32m   1148\u001b[0m         \u001b[0moutputs\u001b[0m \u001b[0;34m=\u001b[0m \u001b[0mself\u001b[0m\u001b[0;34m.\u001b[0m\u001b[0mpostprocess\u001b[0m\u001b[0;34m(\u001b[0m\u001b[0mmodel_outputs\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0;34m**\u001b[0m\u001b[0mpostprocess_params\u001b[0m\u001b[0;34m)\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[1;32m   1149\u001b[0m         \u001b[0;32mreturn\u001b[0m \u001b[0moutputs\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n",
      "\u001b[0;32m~/.local/lib/python3.9/site-packages/transformers/pipelines/base.py\u001b[0m in \u001b[0;36mforward\u001b[0;34m(self, model_inputs, **forward_params)\u001b[0m\n\u001b[1;32m   1044\u001b[0m                 \u001b[0;32mwith\u001b[0m \u001b[0minference_context\u001b[0m\u001b[0;34m(\u001b[0m\u001b[0;34m)\u001b[0m\u001b[0;34m:\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[1;32m   1045\u001b[0m                     \u001b[0mmodel_inputs\u001b[0m \u001b[0;34m=\u001b[0m \u001b[0mself\u001b[0m\u001b[0;34m.\u001b[0m\u001b[0m_ensure_tensor_on_device\u001b[0m\u001b[0;34m(\u001b[0m\u001b[0mmodel_inputs\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0mdevice\u001b[0m\u001b[0;34m=\u001b[0m\u001b[0mself\u001b[0m\u001b[0;34m.\u001b[0m\u001b[0mdevice\u001b[0m\u001b[0;34m)\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[0;32m-> 1046\u001b[0;31m                     \u001b[0mmodel_outputs\u001b[0m \u001b[0;34m=\u001b[0m \u001b[0mself\u001b[0m\u001b[0;34m.\u001b[0m\u001b[0m_forward\u001b[0m\u001b[0;34m(\u001b[0m\u001b[0mmodel_inputs\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0;34m**\u001b[0m\u001b[0mforward_params\u001b[0m\u001b[0;34m)\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[0m\u001b[1;32m   1047\u001b[0m                     \u001b[0mmodel_outputs\u001b[0m \u001b[0;34m=\u001b[0m \u001b[0mself\u001b[0m\u001b[0;34m.\u001b[0m\u001b[0m_ensure_tensor_on_device\u001b[0m\u001b[0;34m(\u001b[0m\u001b[0mmodel_outputs\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0mdevice\u001b[0m\u001b[0;34m=\u001b[0m\u001b[0mtorch\u001b[0m\u001b[0;34m.\u001b[0m\u001b[0mdevice\u001b[0m\u001b[0;34m(\u001b[0m\u001b[0;34m\"cpu\"\u001b[0m\u001b[0;34m)\u001b[0m\u001b[0;34m)\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[1;32m   1048\u001b[0m             \u001b[0;32melse\u001b[0m\u001b[0;34m:\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n",
      "\u001b[0;32m~/.local/lib/python3.9/site-packages/transformers/pipelines/text_generation.py\u001b[0m in \u001b[0;36m_forward\u001b[0;34m(self, model_inputs, **generate_kwargs)\u001b[0m\n\u001b[1;32m    269\u001b[0m \u001b[0;34m\u001b[0m\u001b[0m\n\u001b[1;32m    270\u001b[0m         \u001b[0;31m# BS x SL\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[0;32m--> 271\u001b[0;31m         \u001b[0mgenerated_sequence\u001b[0m \u001b[0;34m=\u001b[0m \u001b[0mself\u001b[0m\u001b[0;34m.\u001b[0m\u001b[0mmodel\u001b[0m\u001b[0;34m.\u001b[0m\u001b[0mgenerate\u001b[0m\u001b[0;34m(\u001b[0m\u001b[0minput_ids\u001b[0m\u001b[0;34m=\u001b[0m\u001b[0minput_ids\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0mattention_mask\u001b[0m\u001b[0;34m=\u001b[0m\u001b[0mattention_mask\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0;34m**\u001b[0m\u001b[0mgenerate_kwargs\u001b[0m\u001b[0;34m)\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[0m\u001b[1;32m    272\u001b[0m         \u001b[0mout_b\u001b[0m \u001b[0;34m=\u001b[0m \u001b[0mgenerated_sequence\u001b[0m\u001b[0;34m.\u001b[0m\u001b[0mshape\u001b[0m\u001b[0;34m[\u001b[0m\u001b[0;36m0\u001b[0m\u001b[0;34m]\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[1;32m    273\u001b[0m         \u001b[0;32mif\u001b[0m \u001b[0mself\u001b[0m\u001b[0;34m.\u001b[0m\u001b[0mframework\u001b[0m \u001b[0;34m==\u001b[0m \u001b[0;34m\"pt\"\u001b[0m\u001b[0;34m:\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n",
      "\u001b[0;32m~/.local/lib/python3.9/site-packages/torch/utils/_contextlib.py\u001b[0m in \u001b[0;36mdecorate_context\u001b[0;34m(*args, **kwargs)\u001b[0m\n\u001b[1;32m    113\u001b[0m     \u001b[0;32mdef\u001b[0m \u001b[0mdecorate_context\u001b[0m\u001b[0;34m(\u001b[0m\u001b[0;34m*\u001b[0m\u001b[0margs\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0;34m**\u001b[0m\u001b[0mkwargs\u001b[0m\u001b[0;34m)\u001b[0m\u001b[0;34m:\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[1;32m    114\u001b[0m         \u001b[0;32mwith\u001b[0m \u001b[0mctx_factory\u001b[0m\u001b[0;34m(\u001b[0m\u001b[0;34m)\u001b[0m\u001b[0;34m:\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[0;32m--> 115\u001b[0;31m             \u001b[0;32mreturn\u001b[0m \u001b[0mfunc\u001b[0m\u001b[0;34m(\u001b[0m\u001b[0;34m*\u001b[0m\u001b[0margs\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0;34m**\u001b[0m\u001b[0mkwargs\u001b[0m\u001b[0;34m)\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[0m\u001b[1;32m    116\u001b[0m \u001b[0;34m\u001b[0m\u001b[0m\n\u001b[1;32m    117\u001b[0m     \u001b[0;32mreturn\u001b[0m \u001b[0mdecorate_context\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n",
      "\u001b[0;32m~/.local/lib/python3.9/site-packages/transformers/generation/utils.py\u001b[0m in \u001b[0;36mgenerate\u001b[0;34m(self, inputs, generation_config, logits_processor, stopping_criteria, prefix_allowed_tokens_fn, synced_gpus, assistant_model, streamer, negative_prompt_ids, negative_prompt_attention_mask, **kwargs)\u001b[0m\n\u001b[1;32m   1650\u001b[0m \u001b[0;34m\u001b[0m\u001b[0m\n\u001b[1;32m   1651\u001b[0m             \u001b[0;31m# 13. run sample\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[0;32m-> 1652\u001b[0;31m             return self.sample(\n\u001b[0m\u001b[1;32m   1653\u001b[0m                 \u001b[0minput_ids\u001b[0m\u001b[0;34m,\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[1;32m   1654\u001b[0m                 \u001b[0mlogits_processor\u001b[0m\u001b[0;34m=\u001b[0m\u001b[0mlogits_processor\u001b[0m\u001b[0;34m,\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n",
      "\u001b[0;32m~/.local/lib/python3.9/site-packages/transformers/generation/utils.py\u001b[0m in \u001b[0;36msample\u001b[0;34m(self, input_ids, logits_processor, stopping_criteria, logits_warper, max_length, pad_token_id, eos_token_id, output_attentions, output_hidden_states, output_scores, return_dict_in_generate, synced_gpus, streamer, **model_kwargs)\u001b[0m\n\u001b[1;32m   2732\u001b[0m \u001b[0;34m\u001b[0m\u001b[0m\n\u001b[1;32m   2733\u001b[0m             \u001b[0;31m# forward pass to get next token\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[0;32m-> 2734\u001b[0;31m             outputs = self(\n\u001b[0m\u001b[1;32m   2735\u001b[0m                 \u001b[0;34m**\u001b[0m\u001b[0mmodel_inputs\u001b[0m\u001b[0;34m,\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[1;32m   2736\u001b[0m                 \u001b[0mreturn_dict\u001b[0m\u001b[0;34m=\u001b[0m\u001b[0;32mTrue\u001b[0m\u001b[0;34m,\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n",
      "\u001b[0;32m~/.local/lib/python3.9/site-packages/torch/nn/modules/module.py\u001b[0m in \u001b[0;36m_call_impl\u001b[0;34m(self, *args, **kwargs)\u001b[0m\n\u001b[1;32m   1499\u001b[0m                 \u001b[0;32mor\u001b[0m \u001b[0m_global_backward_pre_hooks\u001b[0m \u001b[0;32mor\u001b[0m \u001b[0m_global_backward_hooks\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[1;32m   1500\u001b[0m                 or _global_forward_hooks or _global_forward_pre_hooks):\n\u001b[0;32m-> 1501\u001b[0;31m             \u001b[0;32mreturn\u001b[0m \u001b[0mforward_call\u001b[0m\u001b[0;34m(\u001b[0m\u001b[0;34m*\u001b[0m\u001b[0margs\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0;34m**\u001b[0m\u001b[0mkwargs\u001b[0m\u001b[0;34m)\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[0m\u001b[1;32m   1502\u001b[0m         \u001b[0;31m# Do not call functions when jit is used\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[1;32m   1503\u001b[0m         \u001b[0mfull_backward_hooks\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0mnon_full_backward_hooks\u001b[0m \u001b[0;34m=\u001b[0m \u001b[0;34m[\u001b[0m\u001b[0;34m]\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0;34m[\u001b[0m\u001b[0;34m]\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n",
      "\u001b[0;32m~/.local/lib/python3.9/site-packages/accelerate/hooks.py\u001b[0m in \u001b[0;36mnew_forward\u001b[0;34m(*args, **kwargs)\u001b[0m\n\u001b[1;32m    163\u001b[0m                 \u001b[0moutput\u001b[0m \u001b[0;34m=\u001b[0m \u001b[0mold_forward\u001b[0m\u001b[0;34m(\u001b[0m\u001b[0;34m*\u001b[0m\u001b[0margs\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0;34m**\u001b[0m\u001b[0mkwargs\u001b[0m\u001b[0;34m)\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[1;32m    164\u001b[0m         \u001b[0;32melse\u001b[0m\u001b[0;34m:\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[0;32m--> 165\u001b[0;31m             \u001b[0moutput\u001b[0m \u001b[0;34m=\u001b[0m \u001b[0mold_forward\u001b[0m\u001b[0;34m(\u001b[0m\u001b[0;34m*\u001b[0m\u001b[0margs\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0;34m**\u001b[0m\u001b[0mkwargs\u001b[0m\u001b[0;34m)\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[0m\u001b[1;32m    166\u001b[0m         \u001b[0;32mreturn\u001b[0m \u001b[0mmodule\u001b[0m\u001b[0;34m.\u001b[0m\u001b[0m_hf_hook\u001b[0m\u001b[0;34m.\u001b[0m\u001b[0mpost_forward\u001b[0m\u001b[0;34m(\u001b[0m\u001b[0mmodule\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0moutput\u001b[0m\u001b[0;34m)\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[1;32m    167\u001b[0m \u001b[0;34m\u001b[0m\u001b[0m\n",
      "\u001b[0;32m~/.local/lib/python3.9/site-packages/transformers/models/llama/modeling_llama.py\u001b[0m in \u001b[0;36mforward\u001b[0;34m(self, input_ids, attention_mask, position_ids, past_key_values, inputs_embeds, labels, use_cache, output_attentions, output_hidden_states, return_dict)\u001b[0m\n\u001b[1;32m   1036\u001b[0m \u001b[0;34m\u001b[0m\u001b[0m\n\u001b[1;32m   1037\u001b[0m         \u001b[0;31m# decoder outputs consists of (dec_features, layer_state, dec_hidden, dec_attn)\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[0;32m-> 1038\u001b[0;31m         outputs = self.model(\n\u001b[0m\u001b[1;32m   1039\u001b[0m             \u001b[0minput_ids\u001b[0m\u001b[0;34m=\u001b[0m\u001b[0minput_ids\u001b[0m\u001b[0;34m,\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[1;32m   1040\u001b[0m             \u001b[0mattention_mask\u001b[0m\u001b[0;34m=\u001b[0m\u001b[0mattention_mask\u001b[0m\u001b[0;34m,\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n",
      "\u001b[0;32m~/.local/lib/python3.9/site-packages/torch/nn/modules/module.py\u001b[0m in \u001b[0;36m_call_impl\u001b[0;34m(self, *args, **kwargs)\u001b[0m\n\u001b[1;32m   1499\u001b[0m                 \u001b[0;32mor\u001b[0m \u001b[0m_global_backward_pre_hooks\u001b[0m \u001b[0;32mor\u001b[0m \u001b[0m_global_backward_hooks\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[1;32m   1500\u001b[0m                 or _global_forward_hooks or _global_forward_pre_hooks):\n\u001b[0;32m-> 1501\u001b[0;31m             \u001b[0;32mreturn\u001b[0m \u001b[0mforward_call\u001b[0m\u001b[0;34m(\u001b[0m\u001b[0;34m*\u001b[0m\u001b[0margs\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0;34m**\u001b[0m\u001b[0mkwargs\u001b[0m\u001b[0;34m)\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[0m\u001b[1;32m   1502\u001b[0m         \u001b[0;31m# Do not call functions when jit is used\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[1;32m   1503\u001b[0m         \u001b[0mfull_backward_hooks\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0mnon_full_backward_hooks\u001b[0m \u001b[0;34m=\u001b[0m \u001b[0;34m[\u001b[0m\u001b[0;34m]\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0;34m[\u001b[0m\u001b[0;34m]\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n",
      "\u001b[0;32m~/.local/lib/python3.9/site-packages/transformers/models/llama/modeling_llama.py\u001b[0m in \u001b[0;36mforward\u001b[0;34m(self, input_ids, attention_mask, position_ids, past_key_values, inputs_embeds, use_cache, output_attentions, output_hidden_states, return_dict)\u001b[0m\n\u001b[1;32m    923\u001b[0m                 )\n\u001b[1;32m    924\u001b[0m             \u001b[0;32melse\u001b[0m\u001b[0;34m:\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[0;32m--> 925\u001b[0;31m                 layer_outputs = decoder_layer(\n\u001b[0m\u001b[1;32m    926\u001b[0m                     \u001b[0mhidden_states\u001b[0m\u001b[0;34m,\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[1;32m    927\u001b[0m                     \u001b[0mattention_mask\u001b[0m\u001b[0;34m=\u001b[0m\u001b[0mattention_mask\u001b[0m\u001b[0;34m,\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n",
      "\u001b[0;32m~/.local/lib/python3.9/site-packages/torch/nn/modules/module.py\u001b[0m in \u001b[0;36m_call_impl\u001b[0;34m(self, *args, **kwargs)\u001b[0m\n\u001b[1;32m   1499\u001b[0m                 \u001b[0;32mor\u001b[0m \u001b[0m_global_backward_pre_hooks\u001b[0m \u001b[0;32mor\u001b[0m \u001b[0m_global_backward_hooks\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[1;32m   1500\u001b[0m                 or _global_forward_hooks or _global_forward_pre_hooks):\n\u001b[0;32m-> 1501\u001b[0;31m             \u001b[0;32mreturn\u001b[0m \u001b[0mforward_call\u001b[0m\u001b[0;34m(\u001b[0m\u001b[0;34m*\u001b[0m\u001b[0margs\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0;34m**\u001b[0m\u001b[0mkwargs\u001b[0m\u001b[0;34m)\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[0m\u001b[1;32m   1502\u001b[0m         \u001b[0;31m# Do not call functions when jit is used\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[1;32m   1503\u001b[0m         \u001b[0mfull_backward_hooks\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0mnon_full_backward_hooks\u001b[0m \u001b[0;34m=\u001b[0m \u001b[0;34m[\u001b[0m\u001b[0;34m]\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0;34m[\u001b[0m\u001b[0;34m]\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n",
      "\u001b[0;32m~/.local/lib/python3.9/site-packages/accelerate/hooks.py\u001b[0m in \u001b[0;36mnew_forward\u001b[0;34m(*args, **kwargs)\u001b[0m\n\u001b[1;32m    163\u001b[0m                 \u001b[0moutput\u001b[0m \u001b[0;34m=\u001b[0m \u001b[0mold_forward\u001b[0m\u001b[0;34m(\u001b[0m\u001b[0;34m*\u001b[0m\u001b[0margs\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0;34m**\u001b[0m\u001b[0mkwargs\u001b[0m\u001b[0;34m)\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[1;32m    164\u001b[0m         \u001b[0;32melse\u001b[0m\u001b[0;34m:\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[0;32m--> 165\u001b[0;31m             \u001b[0moutput\u001b[0m \u001b[0;34m=\u001b[0m \u001b[0mold_forward\u001b[0m\u001b[0;34m(\u001b[0m\u001b[0;34m*\u001b[0m\u001b[0margs\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0;34m**\u001b[0m\u001b[0mkwargs\u001b[0m\u001b[0;34m)\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[0m\u001b[1;32m    166\u001b[0m         \u001b[0;32mreturn\u001b[0m \u001b[0mmodule\u001b[0m\u001b[0;34m.\u001b[0m\u001b[0m_hf_hook\u001b[0m\u001b[0;34m.\u001b[0m\u001b[0mpost_forward\u001b[0m\u001b[0;34m(\u001b[0m\u001b[0mmodule\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0moutput\u001b[0m\u001b[0;34m)\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[1;32m    167\u001b[0m \u001b[0;34m\u001b[0m\u001b[0m\n",
      "\u001b[0;32m~/.local/lib/python3.9/site-packages/transformers/models/llama/modeling_llama.py\u001b[0m in \u001b[0;36mforward\u001b[0;34m(self, hidden_states, attention_mask, position_ids, past_key_value, output_attentions, use_cache, padding_mask)\u001b[0m\n\u001b[1;32m    633\u001b[0m \u001b[0;34m\u001b[0m\u001b[0m\n\u001b[1;32m    634\u001b[0m         \u001b[0;31m# Self Attention\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[0;32m--> 635\u001b[0;31m         hidden_states, self_attn_weights, present_key_value = self.self_attn(\n\u001b[0m\u001b[1;32m    636\u001b[0m             \u001b[0mhidden_states\u001b[0m\u001b[0;34m=\u001b[0m\u001b[0mhidden_states\u001b[0m\u001b[0;34m,\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[1;32m    637\u001b[0m             \u001b[0mattention_mask\u001b[0m\u001b[0;34m=\u001b[0m\u001b[0mattention_mask\u001b[0m\u001b[0;34m,\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n",
      "\u001b[0;32m~/.local/lib/python3.9/site-packages/torch/nn/modules/module.py\u001b[0m in \u001b[0;36m_call_impl\u001b[0;34m(self, *args, **kwargs)\u001b[0m\n\u001b[1;32m   1499\u001b[0m                 \u001b[0;32mor\u001b[0m \u001b[0m_global_backward_pre_hooks\u001b[0m \u001b[0;32mor\u001b[0m \u001b[0m_global_backward_hooks\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[1;32m   1500\u001b[0m                 or _global_forward_hooks or _global_forward_pre_hooks):\n\u001b[0;32m-> 1501\u001b[0;31m             \u001b[0;32mreturn\u001b[0m \u001b[0mforward_call\u001b[0m\u001b[0;34m(\u001b[0m\u001b[0;34m*\u001b[0m\u001b[0margs\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0;34m**\u001b[0m\u001b[0mkwargs\u001b[0m\u001b[0;34m)\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[0m\u001b[1;32m   1502\u001b[0m         \u001b[0;31m# Do not call functions when jit is used\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[1;32m   1503\u001b[0m         \u001b[0mfull_backward_hooks\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0mnon_full_backward_hooks\u001b[0m \u001b[0;34m=\u001b[0m \u001b[0;34m[\u001b[0m\u001b[0;34m]\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0;34m[\u001b[0m\u001b[0;34m]\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n",
      "\u001b[0;32m~/.local/lib/python3.9/site-packages/accelerate/hooks.py\u001b[0m in \u001b[0;36mnew_forward\u001b[0;34m(*args, **kwargs)\u001b[0m\n\u001b[1;32m    158\u001b[0m     \u001b[0;34m@\u001b[0m\u001b[0mfunctools\u001b[0m\u001b[0;34m.\u001b[0m\u001b[0mwraps\u001b[0m\u001b[0;34m(\u001b[0m\u001b[0mold_forward\u001b[0m\u001b[0;34m)\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[1;32m    159\u001b[0m     \u001b[0;32mdef\u001b[0m \u001b[0mnew_forward\u001b[0m\u001b[0;34m(\u001b[0m\u001b[0;34m*\u001b[0m\u001b[0margs\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0;34m**\u001b[0m\u001b[0mkwargs\u001b[0m\u001b[0;34m)\u001b[0m\u001b[0;34m:\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[0;32m--> 160\u001b[0;31m         \u001b[0margs\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0mkwargs\u001b[0m \u001b[0;34m=\u001b[0m \u001b[0mmodule\u001b[0m\u001b[0;34m.\u001b[0m\u001b[0m_hf_hook\u001b[0m\u001b[0;34m.\u001b[0m\u001b[0mpre_forward\u001b[0m\u001b[0;34m(\u001b[0m\u001b[0mmodule\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0;34m*\u001b[0m\u001b[0margs\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0;34m**\u001b[0m\u001b[0mkwargs\u001b[0m\u001b[0;34m)\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[0m\u001b[1;32m    161\u001b[0m         \u001b[0;32mif\u001b[0m \u001b[0mmodule\u001b[0m\u001b[0;34m.\u001b[0m\u001b[0m_hf_hook\u001b[0m\u001b[0;34m.\u001b[0m\u001b[0mno_grad\u001b[0m\u001b[0;34m:\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[1;32m    162\u001b[0m             \u001b[0;32mwith\u001b[0m \u001b[0mtorch\u001b[0m\u001b[0;34m.\u001b[0m\u001b[0mno_grad\u001b[0m\u001b[0;34m(\u001b[0m\u001b[0;34m)\u001b[0m\u001b[0;34m:\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n",
      "\u001b[0;32m~/.local/lib/python3.9/site-packages/accelerate/hooks.py\u001b[0m in \u001b[0;36mpre_forward\u001b[0;34m(self, module, *args, **kwargs)\u001b[0m\n\u001b[1;32m    288\u001b[0m                 )\n\u001b[1;32m    289\u001b[0m \u001b[0;34m\u001b[0m\u001b[0m\n\u001b[0;32m--> 290\u001b[0;31m         return send_to_device(args, self.execution_device), send_to_device(\n\u001b[0m\u001b[1;32m    291\u001b[0m             \u001b[0mkwargs\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0mself\u001b[0m\u001b[0;34m.\u001b[0m\u001b[0mexecution_device\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0mskip_keys\u001b[0m\u001b[0;34m=\u001b[0m\u001b[0mself\u001b[0m\u001b[0;34m.\u001b[0m\u001b[0mskip_keys\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[1;32m    292\u001b[0m         )\n",
      "\u001b[0;32m~/.local/lib/python3.9/site-packages/accelerate/utils/operations.py\u001b[0m in \u001b[0;36msend_to_device\u001b[0;34m(tensor, device, non_blocking, skip_keys)\u001b[0m\n\u001b[1;32m    150\u001b[0m     \u001b[0;32mif\u001b[0m \u001b[0misinstance\u001b[0m\u001b[0;34m(\u001b[0m\u001b[0mtensor\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0;34m(\u001b[0m\u001b[0mtuple\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0mlist\u001b[0m\u001b[0;34m)\u001b[0m\u001b[0;34m)\u001b[0m\u001b[0;34m:\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[1;32m    151\u001b[0m         return honor_type(\n\u001b[0;32m--> 152\u001b[0;31m             \u001b[0mtensor\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0;34m(\u001b[0m\u001b[0msend_to_device\u001b[0m\u001b[0;34m(\u001b[0m\u001b[0mt\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0mdevice\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0mnon_blocking\u001b[0m\u001b[0;34m=\u001b[0m\u001b[0mnon_blocking\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0mskip_keys\u001b[0m\u001b[0;34m=\u001b[0m\u001b[0mskip_keys\u001b[0m\u001b[0;34m)\u001b[0m \u001b[0;32mfor\u001b[0m \u001b[0mt\u001b[0m \u001b[0;32min\u001b[0m \u001b[0mtensor\u001b[0m\u001b[0;34m)\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[0m\u001b[1;32m    153\u001b[0m         )\n\u001b[1;32m    154\u001b[0m     \u001b[0;32melif\u001b[0m \u001b[0misinstance\u001b[0m\u001b[0;34m(\u001b[0m\u001b[0mtensor\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0mMapping\u001b[0m\u001b[0;34m)\u001b[0m\u001b[0;34m:\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n",
      "\u001b[0;31mKeyboardInterrupt\u001b[0m: "
     ]
    }
   ],
   "source": [
    "story_w_trope['validation_70b'] = story_w_trope.progress_apply(check_trope_exists, axis=1)\n",
    "story_w_trope"
   ]
  },
  {
   "cell_type": "code",
   "execution_count": 53,
   "id": "b138346c-6f7d-4ea2-a65d-5229535c250f",
   "metadata": {},
   "outputs": [
    {
     "name": "stdout",
     "output_type": "stream",
     "text": [
      "('Just behind the kingdom that failed ran a nice little river. It was a clear, lovely stream, and many fish lived in it. Weeds grew there, too, and the fish ate the weeds. The fish didn’t care whether or not the kingdom had failed, of course. Whether it was a kingdom or a republic made no difference to them. They didn’t vote or pay taxes. Makes no difference to us, they figured.\\n\\nI washed my feet in the stream. A short soak in the icy-cold water turned them red. From the stream, you could see the walls and the tower of the castle in the kingdom that failed. The two-colored flag still flew from the tower, fluttering in the breeze. Everyone passing along the riverbanks would see the flag and say, “Hey, look at that. It’s the flag of the kingdom that failed.”\\n\\nQ and I are friends—or should I say, were friends in college. It’s been more than ten years since the two of us did anything that friends do. Which is why I use the past tense. Anyhow, we were friends.\\n\\nWhenever I try to tell anyone about Q—to describe him as a person—I feel totally helpless. I’ve never been very good at explaining anything, but, even taking that into account, it’s a special challenge to try to explain Q to someone. And when I do try I’m overcome by a deep, deep sense of despair.\\n\\nLet me make this as simple as I can.\\n\\nQ and I are the same age, but he’s about five hundred and seventy times more handsome. He has a nice personality, too. He’s never pushy or boastful, and he never gets angry if someone accidentally causes a problem for him. “Oh, well,” he’ll say. “I’ve done the same thing myself.” But, in fact, I’ve never heard of him doing anything bad to anyone.\\n\\nHe was well brought up, too. His father was a doctor who had his own clinic on the island of Shikoku, which meant that Q never wanted for pocket money. Not that he was extravagant with it. He was a smart dresser and also an impressive athlete, who’d played interscholastic tennis in high school. He enjoyed swimming and went to the pool at least twice a week. Politically, he was a moderate liberal. His grades, if not outstanding, were at least good. He almost never studied for exams, but he never failed a course. He really listened to the lectures.\\n\\nHe was surprisingly talented on the piano, and he owned a lot of Bill Evans and Mozart records. His favorite writers tended to be French—Balzac and Maupassant. Sometimes he’d read a novel by Kenzaburo Oe or another writer. His critiques were always right on the mark.\\n\\nHe was popular with women, naturally enough. But he was not one of those “anyone he can get his hands on” type of guys. He had a steady girlfriend, a pretty sophomore from one of the fancy women’s colleges. They went out every Sunday.\\n\\nAnyhow, that was the Q I knew in college. In short, he was a character without flaws.\\n\\nBack then, Q lived in the apartment next door to mine. What with lending salt or borrowing salad dressing, we got to be friends, and soon we were at each other’s places all the time, listening to records, drinking beer. Once, my girlfriend and I drove out to the Kamakura shore with Q and his girlfriend. We were very comfortable together. Then, during the summer break of my senior year, I moved out, and that was that.\\n\\nThe next time I saw Q, almost a decade had gone by. I was reading a book by a swanky hotel pool near the Akasaka district. Q was sitting in the deck chair next to mine, and beside him was a beautiful long-legged woman in a bikini.\\n\\nI knew right away that it was Q. He was as handsome as ever, and now, just over thirty, he evinced a certain dignity that he hadn’t had before. Young women walking by gave him a quick once-over.\\n\\nHe didn’t notice me sitting next to him. I’m a fairly ordinary-looking guy, and I was wearing sunglasses. I wasn’t sure whether I should talk to him, but in the end I decided not to. He and the woman were deep in conversation, and I hesitated to interrupt them. Besides, there wasn’t a lot that he and I could have talked about. “I lent you salt, remember?” “Hey, that’s right, and I borrowed a bottle of salad dressing.” We would have run out of topics quickly. So I kept my mouth shut and stuck to my book.\\n\\nStill, I couldn’t help overhearing what Q and his pretty companion were saying to each other. It was a fairly complicated matter. I gave up trying to read and listened to them.\\n\\n“No way,” the woman said. “You’ve got to be kidding.”\\n\\n“I know, I know,” Q said. “I know exactly what you’re saying. But you’ve got to see it my way, too. I’m not doing this because I want to. It was the guys upstairs. I’m just telling you what they decided. So don’t look at me that way.”\\n\\n“Yeah, right,” she said.\\n\\nQ let out a sigh.\\n\\nLet me summarize their long conversation—filling in a good deal by way of imagination, of course. Q seemed to be now a director at a TV station or some such place, and the woman was a moderately well-known singer or actress. She was being let go from a project because of some sort of trouble or scandal she had become involved in, or maybe just because her popularity had declined. The job of informing her had been left to Q, who was the person most directly responsible for day-to-day operations. I don’t know much about the entertainment industry, so I can’t be sure of the finer points, but I don’t think I’m too far off over all.\\n\\nJudging from what I heard, Q was discharging his duty with genuine sincerity.\\n\\n“We can’t survive without sponsors,” he said. “I don’t have to tell you that—you know the business.”\\n\\n“So you’re telling me that you don’t have any responsibility or say in the matter?”\\n\\n“No, I’m not telling you that. But what I can do is really limited.”\\n\\nTheir conversation took another turn into a dead-end street. She wanted to know just how much he had exerted himself on her behalf. He insisted that he had done everything he could, but he had no way to prove it, and she didn’t believe him. I didn’t really believe him, either. The more sincerely he tried to explain things, the more a fog of insincerity came to hang over everything. But it wasn’t Q’s fault. It wasn’t anybody’s fault. Which was why there was no way out of this conversation.\\n\\nIt appeared that the woman had always liked Q. I sensed that they had got along well until this business came up. Which probably only added to the woman’s anger. In the end, though, she was the one who gave in.\\n\\n“O.K.,” she said. “I’ve had it. Buy me a Coke, will you?”\\n\\nWhen he heard that, Q breathed a sigh of relief and went off to the drink stand. The woman put on her sunglasses and stared straight ahead. By this time, I had read the same line in my book a couple hundred times.\\n\\nSoon, Q came back with two big paper cups. Handing one to the woman, he lowered himself into his deck chair. “Don’t get too depressed about this,” he said. “Any day now you’ll—”\\n\\nBut, before he could finish, the woman threw her full cup at him. It caught him square in the face, and about a third of the Coca-Cola splashed onto me. Without a word, the woman stood up and, giving a little yank at the seat of her bikini, strode off without a backward glance. Q and I just sat there stunned for a good fifteen seconds. The people nearby were staring at us in shock.\\n\\nQ was the first to regain his composure. “Sorry,” he said and held a towel out to me.\\n\\n“That’s O.K.,” I answered. “I’ll just take a shower.”\\n\\nLooking slightly annoyed, he drew the towel back and used it to dry himself.\\n\\n“At least let me pay for the book,” he said. It was true that my book was soaked. But it was just a cheap paperback, and not a very interesting one at that. Anyone who threw a Coke on it and prevented me from reading it was doing me a favor. He brightened up when I said that. He had the same great smile as always.\\n\\nQ left at that point, apologizing to me once more as he stood to go. He had never realized who I was.\\n\\nI decided to give this story the title “The Kingdom That Failed” because I happened to read an article in the evening paper that day about an African kingdom that had failed. “To see a splendid kingdom fade away,” it said, “is far sadder than seeing a second-rate republic collapse.”', ['HotSkittyOnWailordAction', 'BigBad', 'ProudWarriorRaceGuy', 'OurVampiresAreDifferent', 'ShoutOut', 'FairplayWhodunnit', 'Foreshadowing', 'DramaticIrony', 'GenderBlenderName', 'FantasyCounterpartCulture'])\n",
      "#####################################################\n",
      "  {\n",
      "\"trope_exists\": \"no\",\n",
      "\"evidence\": \"The story does not contain any elements of the HotSkittyOnWailordAction trope. The story is about a man named Q who is described as handsome, popular, and talented, but there is no mention of him engaging in any sort of romantic or sexual activity with a woman, let alone a woman who is described as a \"HotSkitty.\" The story does not contain any language or imagery that would suggest a sexual or romantic connection between Q and the woman he is talking to. Therefore, the trope does not exist in this story.\"\n",
      "}\n",
      "{'tname': 'HotSkittyOnWailordAction', 'exists': 0, 'reason': '\"The story does not contain any elements of the HotSkittyOnWailordAction trope. The story is about a man named Q who is described as handsome, popular, and talented, but there is no mention of him engaging in any sort of romantic or sexual activity with a woman, let alone a woman who is described as a \"HotSkitty.\" The story does not contain any language or imagery that would suggest a sexual or romantic connection between Q and the woman he is talking to. Therefore, the trope does not exist in this story.\"'}\n",
      "#####################################################\n",
      "  {\n",
      "\"trope_exists\": \"no\",\n",
      "\"evidence\": \"The story does not contain any elements of the BigBad trope. Q, the main character, is portrayed as a handsome, charming, and successful man, but he does not exhibit any behavior that would suggest he is a villain or an antagonist. In fact, he is shown to be a caring and empathetic person, trying to explain the situation to the woman in a sincere way. The story does not have a clear antagonist or a conflict, which further suggests that the BigBad trope is not present.\"\n",
      "}\n",
      "{'tname': 'BigBad', 'exists': 0, 'reason': '\"The story does not contain any elements of the BigBad trope. Q, the main character, is portrayed as a handsome, charming, and successful man, but he does not exhibit any behavior that would suggest he is a villain or an antagonist. In fact, he is shown to be a caring and empathetic person, trying to explain the situation to the woman in a sincere way. The story does not have a clear antagonist or a conflict, which further suggests that the BigBad trope is not present.\"'}\n",
      "#####################################################\n",
      "  {\n",
      "\"trope_exists\": \"no\",\n",
      "\"evidence\": \"The story does not contain any elements of the ProudWarriorRaceGuy trope. Q is portrayed as a handsome, intelligent, and capable person, but there is no mention of him being part of a warrior race or exhibiting any particular cultural or ethnic pride. In fact, the story focuses more on his relationships and his ability to navigate difficult situations with tact and empathy. Therefore, it can be concluded that the ProudWarriorRaceGuy trope does not exist in this story.\"\n",
      "}\n",
      "{'tname': 'ProudWarriorRaceGuy', 'exists': 0, 'reason': '\"The story does not contain any elements of the ProudWarriorRaceGuy trope. Q is portrayed as a handsome, intelligent, and capable person, but there is no mention of him being part of a warrior race or exhibiting any particular cultural or ethnic pride. In fact, the story focuses more on his relationships and his ability to navigate difficult situations with tact and empathy. Therefore, it can be concluded that the ProudWarriorRaceGuy trope does not exist in this story.\"'}\n",
      "#####################################################\n",
      "  {\n",
      "\"trope_exists\": \"no\",\n",
      "\"evidence\": \"The story does not contain any elements of the 'OurVampiresAreDifferent' trope. The story does not include any vampires or supernatural elements, and it focuses on a conversation between two friends and a woman they meet at a hotel pool.\"\n",
      "}\n",
      "{'tname': 'OurVampiresAreDifferent', 'exists': 0, 'reason': '\"The story does not contain any elements of the \\'OurVampiresAreDifferent\\' trope. The story does not include any vampires or supernatural elements, and it focuses on a conversation between two friends and a woman they meet at a hotel pool.\"'}\n",
      "#####################################################\n",
      "  {\n",
      "\"trope_exists\": \"no\",\n",
      "\"evidence\": \"The story does not contain any elements of the ShoutOut trope. There are no references to any real-world people, events, or works of fiction that are not integral to the story itself.\"\n",
      "}\n",
      "{'tname': 'ShoutOut', 'exists': 0, 'reason': '\"The story does not contain any elements of the ShoutOut trope. There are no references to any real-world people, events, or works of fiction that are not integral to the story itself.\"'}\n",
      "#####################################################\n",
      "  {\n",
      "\"trope_exists\": \"no\",\n",
      "\"evidence\": \"The story does not contain any elements of a FairplayWhodunnit trope. There is no mystery or crime to be solved, and the story does not revolve around a group of people working together to figure out a puzzle or uncover a truth. The story is primarily focused on the character development of Q and his interactions with the woman he is talking to, and does not fit the criteria for a FairplayWhodunnit.\"\n",
      "}\n",
      "{'tname': 'FairplayWhodunnit', 'exists': 0, 'reason': '\"The story does not contain any elements of a FairplayWhodunnit trope. There is no mystery or crime to be solved, and the story does not revolve around a group of people working together to figure out a puzzle or uncover a truth. The story is primarily focused on the character development of Q and his interactions with the woman he is talking to, and does not fit the criteria for a FairplayWhodunnit.\"'}\n",
      "#####################################################\n",
      "  {\n",
      "\"trope_exists\": \"yes\",\n",
      "\"evidence\": \"The story contains foreshadowing when the narrator describes Q's conversation with the woman and how it seemed to be heading towards a dead end, indicating that something bad was going to happen. The narrator also mentions that Q had always been handsome and popular, but the fact that he was well brought up and never got angry made him seem almost too good to be true, foreshadowing the eventual reveal that he was involved in some sort of scandal or trouble.\"\n",
      "}\n",
      "{'tname': 'Foreshadowing', 'exists': 1, 'reason': '\"The story contains foreshadowing when the narrator describes Q\\'s conversation with the woman and how it seemed to be heading towards a dead end, indicating that something bad was going to happen. The narrator also mentions that Q had always been handsome and popular, but the fact that he was well brought up and never got angry made him seem almost too good to be true, foreshadowing the eventual reveal that he was involved in some sort of scandal or trouble.\"'}\n",
      "#####################################################\n",
      "  {\n",
      "\"trope_exists\": \"yes\",\n",
      "\"evidence\": \"The story contains the trope of DramaticIrony as the reader knows that Q is responsible for the woman's dismissal, but Q tries to downplay his role and the woman doesn't believe him. The irony lies in the fact that Q is trying to be sincere, but his efforts come across as insincere due to the circumstances. The tension between what the characters know and what they are saying creates a sense of dramatic irony.\"\n",
      "}\n",
      "{'tname': 'DramaticIrony', 'exists': 1, 'reason': '\"The story contains the trope of DramaticIrony as the reader knows that Q is responsible for the woman\\'s dismissal, but Q tries to downplay his role and the woman doesn\\'t believe him. The irony lies in the fact that Q is trying to be sincere, but his efforts come across as insincere due to the circumstances. The tension between what the characters know and what they are saying creates a sense of dramatic irony.\"'}\n",
      "#####################################################\n",
      "  {\n",
      "\"trope_exists\": \"no\",\n",
      "\"evidence\": \"The story does not contain any elements of the GenderBlenderName trope. The characters are referred to by their gendered names, and there is no mention of any character blending genders or identifying as non-binary. The story is focused on the interactions between Q and the unnamed woman, and their genders are not fluid or ambiguous.\"\n",
      "}\n",
      "{'tname': 'GenderBlenderName', 'exists': 0, 'reason': '\"The story does not contain any elements of the GenderBlenderName trope. The characters are referred to by their gendered names, and there is no mention of any character blending genders or identifying as non-binary. The story is focused on the interactions between Q and the unnamed woman, and their genders are not fluid or ambiguous.\"'}\n",
      "#####################################################\n",
      "  {\n",
      "\"trope_exists\": \"yes\",\n",
      "\"evidence\": \"The story contains elements of the 'FantasyCounterpartCulture' trope, as it describes a kingdom that failed and a character who is from a different culture, Q, who is described as handsome, popular, and talented, but also flawed in a way that makes him relatable to the reader. The story also touches on themes of power dynamics, responsibility, and the limitations of individual agency in the face of larger structural issues, which are common in fantasy stories. Therefore, the trope exists in the story.\"\n",
      "}\n",
      "{'tname': 'FantasyCounterpartCulture', 'exists': 1, 'reason': '\"The story contains elements of the \\'FantasyCounterpartCulture\\' trope, as it describes a kingdom that failed and a character who is from a different culture, Q, who is described as handsome, popular, and talented, but also flawed in a way that makes him relatable to the reader. The story also touches on themes of power dynamics, responsibility, and the limitations of individual agency in the face of larger structural issues, which are common in fantasy stories. Therefore, the trope exists in the story.\"'}\n"
     ]
    },
    {
     "data": {
      "text/plain": [
       "[{'tname': 'HotSkittyOnWailordAction',\n",
       "  'exists': 0,\n",
       "  'reason': '\"The story does not contain any elements of the HotSkittyOnWailordAction trope. The story is about a man named Q who is described as handsome, popular, and talented, but there is no mention of him engaging in any sort of romantic or sexual activity with a woman, let alone a woman who is described as a \"HotSkitty.\" The story does not contain any language or imagery that would suggest a sexual or romantic connection between Q and the woman he is talking to. Therefore, the trope does not exist in this story.\"'},\n",
       " {'tname': 'BigBad',\n",
       "  'exists': 0,\n",
       "  'reason': '\"The story does not contain any elements of the BigBad trope. Q, the main character, is portrayed as a handsome, charming, and successful man, but he does not exhibit any behavior that would suggest he is a villain or an antagonist. In fact, he is shown to be a caring and empathetic person, trying to explain the situation to the woman in a sincere way. The story does not have a clear antagonist or a conflict, which further suggests that the BigBad trope is not present.\"'},\n",
       " {'tname': 'ProudWarriorRaceGuy',\n",
       "  'exists': 0,\n",
       "  'reason': '\"The story does not contain any elements of the ProudWarriorRaceGuy trope. Q is portrayed as a handsome, intelligent, and capable person, but there is no mention of him being part of a warrior race or exhibiting any particular cultural or ethnic pride. In fact, the story focuses more on his relationships and his ability to navigate difficult situations with tact and empathy. Therefore, it can be concluded that the ProudWarriorRaceGuy trope does not exist in this story.\"'},\n",
       " {'tname': 'OurVampiresAreDifferent',\n",
       "  'exists': 0,\n",
       "  'reason': '\"The story does not contain any elements of the \\'OurVampiresAreDifferent\\' trope. The story does not include any vampires or supernatural elements, and it focuses on a conversation between two friends and a woman they meet at a hotel pool.\"'},\n",
       " {'tname': 'ShoutOut',\n",
       "  'exists': 0,\n",
       "  'reason': '\"The story does not contain any elements of the ShoutOut trope. There are no references to any real-world people, events, or works of fiction that are not integral to the story itself.\"'},\n",
       " {'tname': 'FairplayWhodunnit',\n",
       "  'exists': 0,\n",
       "  'reason': '\"The story does not contain any elements of a FairplayWhodunnit trope. There is no mystery or crime to be solved, and the story does not revolve around a group of people working together to figure out a puzzle or uncover a truth. The story is primarily focused on the character development of Q and his interactions with the woman he is talking to, and does not fit the criteria for a FairplayWhodunnit.\"'},\n",
       " {'tname': 'Foreshadowing',\n",
       "  'exists': 1,\n",
       "  'reason': '\"The story contains foreshadowing when the narrator describes Q\\'s conversation with the woman and how it seemed to be heading towards a dead end, indicating that something bad was going to happen. The narrator also mentions that Q had always been handsome and popular, but the fact that he was well brought up and never got angry made him seem almost too good to be true, foreshadowing the eventual reveal that he was involved in some sort of scandal or trouble.\"'},\n",
       " {'tname': 'DramaticIrony',\n",
       "  'exists': 1,\n",
       "  'reason': '\"The story contains the trope of DramaticIrony as the reader knows that Q is responsible for the woman\\'s dismissal, but Q tries to downplay his role and the woman doesn\\'t believe him. The irony lies in the fact that Q is trying to be sincere, but his efforts come across as insincere due to the circumstances. The tension between what the characters know and what they are saying creates a sense of dramatic irony.\"'},\n",
       " {'tname': 'GenderBlenderName',\n",
       "  'exists': 0,\n",
       "  'reason': '\"The story does not contain any elements of the GenderBlenderName trope. The characters are referred to by their gendered names, and there is no mention of any character blending genders or identifying as non-binary. The story is focused on the interactions between Q and the unnamed woman, and their genders are not fluid or ambiguous.\"'},\n",
       " {'tname': 'FantasyCounterpartCulture',\n",
       "  'exists': 1,\n",
       "  'reason': '\"The story contains elements of the \\'FantasyCounterpartCulture\\' trope, as it describes a kingdom that failed and a character who is from a different culture, Q, who is described as handsome, popular, and talented, but also flawed in a way that makes him relatable to the reader. The story also touches on themes of power dynamics, responsibility, and the limitations of individual agency in the face of larger structural issues, which are common in fantasy stories. Therefore, the trope exists in the story.\"'}]"
      ]
     },
     "execution_count": 53,
     "metadata": {},
     "output_type": "execute_result"
    }
   ],
   "source": [
    "prompt = \"\"\"<s>[INST] <<SYS>>\n",
    "{}\n",
    "<</SYS>>\n",
    "\n",
    "{} [/INST]\"\"\"\n",
    "\n",
    "system_prompt = \"\"\"You always communicate using a valid python JSON string. You will be given a trope and a story. Analyze if the given trope exists or not in the story. The expected output from you should follow the structure:\\n \n",
    "    {\n",
    "        \"trope_exists\": {'yes' if the trope exists, 'no' if the trope does not exist},\n",
    "        \"evidence\": {explain concisely why in the context of the story}\n",
    "    }\n",
    "\"\"\"\n",
    "user_msg = \"\"\"\\nTrope: {}\\nStory:\\n{}\"\"\"\n",
    "\n",
    "def check_trope_exists(row):\n",
    "    print(row)\n",
    "    # print(b)\n",
    "    story = row[0]\n",
    "    tropes = row[1]\n",
    "    tropes_validated = []\n",
    "    for trope in tropes:\n",
    "        # trope_name, trope_def = get_trope_by_id(trope)\n",
    "        # trope_def goes in system_prompt\n",
    "        # system_prompt.format()\n",
    "        # story goes in user msg\n",
    "        u_m = user_msg.format(trope.strip(), story.strip())\n",
    "        # form the prompt\n",
    "        p = prompt.format(system_prompt, u_m)\n",
    "        # query the model\n",
    "        # generate(p, temp=0.7)\n",
    "        out = pipe_generate(p, temp=0.6)\n",
    "        out = out[0]\n",
    "        # out = generate(p, temp=0.6)\n",
    "        print(out)\n",
    "        # p_out = ast.literal_eval(out)\n",
    "        # p_out = {}\n",
    "        # exists = out.split(',')[0].split(': ')[1].strip()\n",
    "        # p_out['exists'] = strtobool(exists)\n",
    "        # p_out['reason'] = out.split(',',1)[1].split(':',1)[1].split('}')[0].strip()\n",
    "        # print(p_out)\n",
    "        \n",
    "        p_out = {}\n",
    "        target = out.split('{')[1].split('}')[0]\n",
    "        exists = target.split(',')[0].split(': ')[1].strip()\n",
    "        # p_out['tid'] = trope\n",
    "        p_out['tname'] = trope\n",
    "        p_out['exists'] = strtobool(exists)\n",
    "        p_out['reason'] = target.split(',',1)[1].split(':',1)[1].split('}')[0].strip()\n",
    "        print(p_out)\n",
    "        tropes_validated.append(p_out)\n",
    "        # parse the output and save it to tropes_validated\n",
    "        \n",
    "    return tropes_validated\n",
    "\n",
    "# prompt.format(system_p.strip(), user_m.format(story.strip()))\n",
    "s = stories_df[stories_df['sid']==\"s15\"].iloc[0].story\n",
    "# print(s)\n",
    "t = ['HotSkittyOnWailordAction', 'BigBad', 'ProudWarriorRaceGuy', 'OurVampiresAreDifferent', 'ShoutOut', 'FairplayWhodunnit', 'Foreshadowing', 'DramaticIrony', 'GenderBlenderName', 'FantasyCounterpartCulture']\n",
    "check_trope_exists((s,t))"
   ]
  },
  {
   "cell_type": "code",
   "execution_count": 56,
   "id": "fbbf12e0-9b12-415e-a6b8-22ab70c62e4f",
   "metadata": {},
   "outputs": [
    {
     "name": "stdout",
     "output_type": "stream",
     "text": [
      "('The gunman lights a cigarette, watches despondently as dusk falls upon the empty alley. He is alone in a lonely place, summoned here to receive instructions from a master criminal known only as the Boss, but the Boss isn’t here. No one is. It’s spooky. He feels like a marked man. The Boss is known for his ruthlessness. When he orders a killing, someone dies. The gunman would like there to be witnesses for what happens next, but the alley’s deserted.\\n\\nHe glances at his watch, a gift from the Boss. Face a gold coin, no numbers. A joke, probably: time is money. Or, maybe, money is time; it depends on what you’re short of. The Boss is a great joker. The watch hands are hair-thin, like the edge of a razor blade, hard to see, especially in this fading light. There and not there, like time itself. Which is perhaps not being clocked—perhaps that’s what the numberless face is saying. How can you measure the shit you’re buried in? He doesn’t know what keeps the watch running. Battery inside, maybe. When the battery dies? Don’t think about it.\\n\\nOn one assignment or another, the gunman has wasted a few suckers in alleys like this, but not many. His specialty is knocking them off in train stations and hotel lobbies or on the street in broad daylight. There’s a greater risk of getting nabbed, so always an extra thrill. Which is why he took up doing the Boss’s dirty work. Thrills remind him that he’s alive, when not much else does.\\n\\nOverhead, a street lamp comes on, its yellow light a mere stain under the dimming sky. Then a woman passes. It’s about time, the gunman thinks. Has she been sent by the Boss? Is she his witness? His victim? His executioner? His hand is inside his jacket, resting on the butt of the revolver holstered under his armpit. Probably just an innocent working girl, looking for a pickup, wandering into a place where she doesn’t belong. Which wouldn’t stop the Boss from targeting her. Or using her.\\n\\nYou looking for someone, sister? he asks, lurking in the shadows, his cigarette bobbing as he speaks.\\n\\nI don’t know, she says. She casts an inquisitive gaze at him, then quickly looks away. A signal? He should perhaps throw himself behind the trash cans, but her tender scrutiny has fixed him where he stands.\\n\\nShe walks slowly away into the shadows at the far end of the alley, then swivels and walks back again toward the light. She appears frightened, lost. Touchingly vulnerable. Above her, the street lamp sways rhythmically, causing shadows to stretch and recede, stretch and recede, like a slowly beating heart. She pauses under it and looks around, clearly thinking about something. She’s no beauty, but she has sweet ways. His hard heart softens. He takes his hand off the revolver.\\n\\nWhen she turns to walk down the alley again, the gunman flicks his cigarette away and walks with her, moving as she moves. Left, right, left . . . it’s a kind of dance. She asks if he’s making fun of her. He says he doesn’t know how to make fun. In truth, he feels caught up in something fundamental. Benumbing. A feeling he hasn’t had before. Abstract, yet oddly erotic.\\n\\nIt won’t do any good, she says, reading him.\\n\\nYeah, I know, lady. But I like it.\\n\\nThey reach the dark end of the alley, still moving together, and turn back toward the swaying street lamp. The alley seems almost to fade away, the lamp’s glow to brighten. There are bats twittering somewhere. Time itself seems to stop, even though he knows it’s still grinding inexorably toward something messy. The Boss has plans that haven’t happened yet. Never mind. Worry about them when they do.\\n\\nWhen their dance ends, night has fully descended, sharpening the contrast between the pool of lamplight they have stepped into and the rest of the world, lost in the darkness beyond. That was great, he says. She looks up at him, her face pale but radiant in the light. She nods. Her sad smile seems to say, Yes, but it’s not enough, is it? She stares down at her feet, and when she does so, her face is masked in shadow. Is she about to betray him? he wonders. Does he care?\\n\\nShe starts suddenly, glances back down the alley. He follows her gaze. Uh-oh. Something is moving. His hand, too slowly, is inside his jacket. Watch out! she cries, and throws herself in front of him. A shot rings out. She collapses into his arms. Holding her, he fires impotently into the darkness. His bullets ricochet through the alley like ironic laughter. Hang on, baby! he pleads, but it’s too late.\\n\\nIt must be . . . why . . . she whispers, and dies in his arms.\\n\\nHis heart hardens again. Rage bites at the corners of his eyes. He doesn’t understand a fucking thing.', ['t08393', 't02187', 't18297', 't03644', 't26668', 't20226', 't26723', 't15274', 't20214', 't23339'])\n",
      "#####################################################\n",
      "  {\n",
      "\"trope_exists\": \"yes\",\n",
      "\"evidence\": \"The story contains several elements of foreshadowing. For example, the gunman's watch with a gold coin face and hair-thin hands is described as 'like time itself' and 'perhaps that’s what the numberless face is saying. How can you measure the shit you’re buried in?' This could foreshadow the idea that time is running out for the gunman. Additionally, the woman's sudden appearance and the gunman's immediate suspicion of her suggest that she may be a witness or a victim, foreshadowing her eventual death. The street lamp overhead coming on and the shadows it casts also create a sense of foreboding, foreshadowing the violence that will soon occur.\"\n",
      "}\n",
      "{'tname': 'Foreshadowing', 'exists': 1, 'reason': '\"The story contains several elements of foreshadowing. For example, the gunman\\'s watch with a gold coin face and hair-thin hands is described as \\'like time itself\\' and \\'perhaps that’s what the numberless face is saying. How can you measure the shit you’re buried in?\\' This could foreshadow the idea that time is running out for the gunman. Additionally, the woman\\'s sudden appearance and the gunman\\'s immediate suspicion of her suggest that she may be a witness or a victim, foreshadowing her eventual death. The street lamp overhead coming on and the shadows it casts also create a sense of foreboding, foreshadowing the violence that will soon occur.\"'}\n",
      "#####################################################\n",
      "  {\n",
      "\"trope_exists\": \"yes\",\n",
      "\"evidence\": \"The gunman's interaction with the woman in the alley, who sacrifices herself to save him from an assassin, exhibits the characteristics of the BigBad trope. The gunman, who is a hitman for a criminal organization, is the protagonist of the story, but the woman's sudden appearance and selfless act shift the focus to her, making her the de facto hero of the scene. Her actions also create a sense of danger and tension, as the gunman is now in a vulnerable position, having to protect her and himself from the unknown assassin. This inverts the traditional dynamic between the hero and the villain, as the gunman, who is supposed to be the villain, is now in a position of weakness, and the woman, who is supposed to be a victim, has taken on a heroic role.\"\n",
      "}\n",
      "{'tname': 'BigBad', 'exists': 1, 'reason': '\"The gunman\\'s interaction with the woman in the alley, who sacrifices herself to save him from an assassin, exhibits the characteristics of the BigBad trope. The gunman, who is a hitman for a criminal organization, is the protagonist of the story, but the woman\\'s sudden appearance and selfless act shift the focus to her, making her the de facto hero of the scene. Her actions also create a sense of danger and tension, as the gunman is now in a vulnerable position, having to protect her and himself from the unknown assassin. This inverts the traditional dynamic between the hero and the villain, as the gunman, who is supposed to be the villain, is now in a position of weakness, and the woman, who is supposed to be a victim, has taken on a heroic role.\"'}\n",
      "#####################################################\n",
      "  {\n",
      "\"trope_exists\": \"yes\",\n",
      "\"evidence\": \"The story exhibits the trope of RealityEnsues, as the gunman's expectation of a thrilling and controlled encounter with a potential victim is subverted by the unexpected arrival of a woman, who ultimately dies in his arms. The story's focus on the mundane and unglamorous nature of the gunman's job, the dark alley setting, and the sudden and violent turn of events also contribute to the trope.\"\n",
      "}\n",
      "{'tname': 'RealityEnsues', 'exists': 1, 'reason': '\"The story exhibits the trope of RealityEnsues, as the gunman\\'s expectation of a thrilling and controlled encounter with a potential victim is subverted by the unexpected arrival of a woman, who ultimately dies in his arms. The story\\'s focus on the mundane and unglamorous nature of the gunman\\'s job, the dark alley setting, and the sudden and violent turn of events also contribute to the trope.\"'}\n",
      "#####################################################\n",
      "  {\n",
      "\"trope_exists\": \"yes\",\n",
      "\"evidence\": \"The story contains an example of Chekhov's Gun in the form of the watch that the gunman is wearing. The watch is described as having a hair-thin, razor-like edge and is mentioned twice in the story. The first time it is mentioned, it is described as a gift from the Boss, and the second time, it is mentioned in the context of the gunman checking the time. The watch serves as a subtle hint at the Boss's ruthlessness and the gunman's own vulnerability, foreshadowing the events that unfold later in the story.\"\n",
      "}\n",
      "{'tname': 'ChekhovsGun', 'exists': 1, 'reason': '\"The story contains an example of Chekhov\\'s Gun in the form of the watch that the gunman is wearing. The watch is described as having a hair-thin, razor-like edge and is mentioned twice in the story. The first time it is mentioned, it is described as a gift from the Boss, and the second time, it is mentioned in the context of the gunman checking the time. The watch serves as a subtle hint at the Boss\\'s ruthlessness and the gunman\\'s own vulnerability, foreshadowing the events that unfold later in the story.\"'}\n",
      "#####################################################\n",
      "  {\n",
      "\"trope_exists\": \"yes\",\n",
      "\"evidence\": \"The story features a DownerEnding, as the female character dies in the gunman's arms after being shot, and the gunman is left feeling enraged and confused. The story's atmosphere is also melancholic and nihilistic, with the characters' actions and dialogue suggesting a sense of hopelessness and futility.\"\n",
      "}\n",
      "{'tname': 'DownerEnding', 'exists': 1, 'reason': '\"The story features a DownerEnding, as the female character dies in the gunman\\'s arms after being shot, and the gunman is left feeling enraged and confused. The story\\'s atmosphere is also melancholic and nihilistic, with the characters\\' actions and dialogue suggesting a sense of hopelessness and futility.\"'}\n",
      "#####################################################\n",
      "  {\n",
      "\"trope_exists\": \"yes\",\n",
      "\"evidence\": \"The story exhibits the trope of 'ShownTheirWork' as the gunman takes the time to admire the woman's movements and gestures, and feels a sense of connection with her, despite the danger and uncertainty of the situation. The author also uses descriptive language to paint a vivid picture of the alley and the characters' movements within it, adding to the sense of immersion and intimacy. The gunman's emotions and thoughts are also shown, further emphasizing the trope.\"\n",
      "}\n",
      "{'tname': 'ShownTheirWork', 'exists': 1, 'reason': '\"The story exhibits the trope of \\'ShownTheirWork\\' as the gunman takes the time to admire the woman\\'s movements and gestures, and feels a sense of connection with her, despite the danger and uncertainty of the situation. The author also uses descriptive language to paint a vivid picture of the alley and the characters\\' movements within it, adding to the sense of immersion and intimacy. The gunman\\'s emotions and thoughts are also shown, further emphasizing the trope.\"'}\n",
      "#####################################################\n",
      "  {\n",
      "\"trope_exists\": \"yes\",\n",
      "\"evidence\": \"The story contains the SpannerInTheWorks trope, as the gunman's plans are foiled by the woman's unexpected intervention, leading to a shootout and the woman's death. The gunman's reaction, 'He doesn’t understand a fucking thing,' also suggests that he was not expecting this turn of events, highlighting the spanner in the works element.\"\n",
      "}\n",
      "{'tname': 'SpannerInTheWorks', 'exists': 1, 'reason': '\"The story contains the SpannerInTheWorks trope, as the gunman\\'s plans are foiled by the woman\\'s unexpected intervention, leading to a shootout and the woman\\'s death. The gunman\\'s reaction, \\'He doesn’t understand a fucking thing,\\' also suggests that he was not expecting this turn of events, highlighting the spanner in the works element.\"'}\n",
      "#####################################################\n",
      "  {\n",
      "\"trope_exists\": \"yes\",\n",
      "\"evidence\": \"The gunman's behavior towards the woman in the alley, whom he doesn't know and has no obvious connection to, is an example of the NiceToTheWaiter trope. He is gentle, protective, and respectful towards her, even when she is not explicitly reciprocating. He offers her a cigarette, walks with her, and tries to make her feel comfortable, going as far as to tell her that he likes her. This behavior is not explicitly rewarded or punished in the story, but it serves to humanize the gunman and create a sense of tension and uncertainty in the narrative.\"\n",
      "}\n",
      "{'tname': 'NiceToTheWaiter', 'exists': 1, 'reason': '\"The gunman\\'s behavior towards the woman in the alley, whom he doesn\\'t know and has no obvious connection to, is an example of the NiceToTheWaiter trope. He is gentle, protective, and respectful towards her, even when she is not explicitly reciprocating. He offers her a cigarette, walks with her, and tries to make her feel comfortable, going as far as to tell her that he likes her. This behavior is not explicitly rewarded or punished in the story, but it serves to humanize the gunman and create a sense of tension and uncertainty in the narrative.\"'}\n",
      "#####################################################\n",
      "  {\n",
      "\"trope_exists\": \"yes\",\n",
      "\"evidence\": \"The story contains a ShoutOut to the film 'The Third Man' in the scene where the gunman and the woman dance down the alley together, echoing the famous 'cuckoo clock' scene from the film.\"\n",
      "}\n",
      "\n",
      "The story also contains other tropes such as \"The Boss\" (a common trope in crime fiction) and \"The Gunman\" (a common trope in crime fiction and film noir). The story's use of shadows, alleys, and a mysterious woman also evoke tropes commonly found in film noir.\n",
      "{'tname': 'ShoutOut', 'exists': 1, 'reason': '\"The story contains a ShoutOut to the film \\'The Third Man\\' in the scene where the gunman and the woman dance down the alley together, echoing the famous \\'cuckoo clock\\' scene from the film.\"'}\n",
      "#####################################################\n",
      "  {\n",
      "\"trope_exists\": \"yes\",\n",
      "\"evidence\": \"The Power of Love trope exists in the story because the gunman's feelings for the woman he is dancing with in the alley soften his hard heart and cause him to hesitate, ultimately leading to his downfall. The abstract, erotic feeling he experiences is a clear example of the Power of Love trope, as it is a powerful and transformative emotion that affects his actions and decision-making.\"\n",
      "}\n",
      "{'tname': 'ThePowerOfLove', 'exists': 1, 'reason': '\"The Power of Love trope exists in the story because the gunman\\'s feelings for the woman he is dancing with in the alley soften his hard heart and cause him to hesitate, ultimately leading to his downfall. The abstract, erotic feeling he experiences is a clear example of the Power of Love trope, as it is a powerful and transformative emotion that affects his actions and decision-making.\"'}\n"
     ]
    },
    {
     "data": {
      "text/plain": [
       "[{'tname': 'Foreshadowing',\n",
       "  'exists': 1,\n",
       "  'reason': '\"The story contains several elements of foreshadowing. For example, the gunman\\'s watch with a gold coin face and hair-thin hands is described as \\'like time itself\\' and \\'perhaps that’s what the numberless face is saying. How can you measure the shit you’re buried in?\\' This could foreshadow the idea that time is running out for the gunman. Additionally, the woman\\'s sudden appearance and the gunman\\'s immediate suspicion of her suggest that she may be a witness or a victim, foreshadowing her eventual death. The street lamp overhead coming on and the shadows it casts also create a sense of foreboding, foreshadowing the violence that will soon occur.\"'},\n",
       " {'tname': 'BigBad',\n",
       "  'exists': 1,\n",
       "  'reason': '\"The gunman\\'s interaction with the woman in the alley, who sacrifices herself to save him from an assassin, exhibits the characteristics of the BigBad trope. The gunman, who is a hitman for a criminal organization, is the protagonist of the story, but the woman\\'s sudden appearance and selfless act shift the focus to her, making her the de facto hero of the scene. Her actions also create a sense of danger and tension, as the gunman is now in a vulnerable position, having to protect her and himself from the unknown assassin. This inverts the traditional dynamic between the hero and the villain, as the gunman, who is supposed to be the villain, is now in a position of weakness, and the woman, who is supposed to be a victim, has taken on a heroic role.\"'},\n",
       " {'tname': 'RealityEnsues',\n",
       "  'exists': 1,\n",
       "  'reason': '\"The story exhibits the trope of RealityEnsues, as the gunman\\'s expectation of a thrilling and controlled encounter with a potential victim is subverted by the unexpected arrival of a woman, who ultimately dies in his arms. The story\\'s focus on the mundane and unglamorous nature of the gunman\\'s job, the dark alley setting, and the sudden and violent turn of events also contribute to the trope.\"'},\n",
       " {'tname': 'ChekhovsGun',\n",
       "  'exists': 1,\n",
       "  'reason': '\"The story contains an example of Chekhov\\'s Gun in the form of the watch that the gunman is wearing. The watch is described as having a hair-thin, razor-like edge and is mentioned twice in the story. The first time it is mentioned, it is described as a gift from the Boss, and the second time, it is mentioned in the context of the gunman checking the time. The watch serves as a subtle hint at the Boss\\'s ruthlessness and the gunman\\'s own vulnerability, foreshadowing the events that unfold later in the story.\"'},\n",
       " {'tname': 'DownerEnding',\n",
       "  'exists': 1,\n",
       "  'reason': '\"The story features a DownerEnding, as the female character dies in the gunman\\'s arms after being shot, and the gunman is left feeling enraged and confused. The story\\'s atmosphere is also melancholic and nihilistic, with the characters\\' actions and dialogue suggesting a sense of hopelessness and futility.\"'},\n",
       " {'tname': 'ShownTheirWork',\n",
       "  'exists': 1,\n",
       "  'reason': '\"The story exhibits the trope of \\'ShownTheirWork\\' as the gunman takes the time to admire the woman\\'s movements and gestures, and feels a sense of connection with her, despite the danger and uncertainty of the situation. The author also uses descriptive language to paint a vivid picture of the alley and the characters\\' movements within it, adding to the sense of immersion and intimacy. The gunman\\'s emotions and thoughts are also shown, further emphasizing the trope.\"'},\n",
       " {'tname': 'SpannerInTheWorks',\n",
       "  'exists': 1,\n",
       "  'reason': '\"The story contains the SpannerInTheWorks trope, as the gunman\\'s plans are foiled by the woman\\'s unexpected intervention, leading to a shootout and the woman\\'s death. The gunman\\'s reaction, \\'He doesn’t understand a fucking thing,\\' also suggests that he was not expecting this turn of events, highlighting the spanner in the works element.\"'},\n",
       " {'tname': 'NiceToTheWaiter',\n",
       "  'exists': 1,\n",
       "  'reason': '\"The gunman\\'s behavior towards the woman in the alley, whom he doesn\\'t know and has no obvious connection to, is an example of the NiceToTheWaiter trope. He is gentle, protective, and respectful towards her, even when she is not explicitly reciprocating. He offers her a cigarette, walks with her, and tries to make her feel comfortable, going as far as to tell her that he likes her. This behavior is not explicitly rewarded or punished in the story, but it serves to humanize the gunman and create a sense of tension and uncertainty in the narrative.\"'},\n",
       " {'tname': 'ShoutOut',\n",
       "  'exists': 1,\n",
       "  'reason': '\"The story contains a ShoutOut to the film \\'The Third Man\\' in the scene where the gunman and the woman dance down the alley together, echoing the famous \\'cuckoo clock\\' scene from the film.\"'},\n",
       " {'tname': 'ThePowerOfLove',\n",
       "  'exists': 1,\n",
       "  'reason': '\"The Power of Love trope exists in the story because the gunman\\'s feelings for the woman he is dancing with in the alley soften his hard heart and cause him to hesitate, ultimately leading to his downfall. The abstract, erotic feeling he experiences is a clear example of the Power of Love trope, as it is a powerful and transformative emotion that affects his actions and decision-making.\"'}]"
      ]
     },
     "execution_count": 56,
     "metadata": {},
     "output_type": "execute_result"
    }
   ],
   "source": [
    "prompt = \"\"\"<s>[INST] <<SYS>>\n",
    "{}\n",
    "<</SYS>>\n",
    "\n",
    "{} [/INST]\"\"\"\n",
    "\n",
    "system_prompt = \"\"\"You always communicate using a valid python JSON string. You will be given a trope and a story. Analyze if the given trope exists or not in the story. The expected output from you should follow the structure:\\n \n",
    "    {\n",
    "        \"trope_exists\": {'yes' if the trope exists, 'no' if the trope does not exist},\n",
    "        \"evidence\": {explain concisely why in the context of the story}\n",
    "    }\n",
    "\"\"\"\n",
    "user_msg = \"\"\"\\nTrope: {}\\nStory:\\n{}\"\"\"\n",
    "def check_trope_exists(row):\n",
    "    print(row)\n",
    "    story = row[0]\n",
    "    tropes = row[1]\n",
    "    tropes_validated = []\n",
    "    for trope in tropes:\n",
    "        trope_name, trope_def = get_trope_by_id(trope)\n",
    "        u_m = user_msg.format(trope_name.strip(), story.strip())\n",
    "        # form the prompt\n",
    "        p = prompt.format(system_prompt, u_m)\n",
    "        # query the model\n",
    "        # generate(p, temp=0.7)\n",
    "        out = pipe_generate(p, temp=0.6)\n",
    "        out = out[0]\n",
    "        print(out)\n",
    "        p_out = {}\n",
    "        target = out.split('{')[1].split('}')[0]\n",
    "        exists = target.split(',')[0].split(': ')[1].strip()\n",
    "        p_out['tname'] = trope_name\n",
    "        p_out['exists'] = strtobool(exists)\n",
    "        p_out['reason'] = target.split(',',1)[1].split(':',1)[1].split('}')[0].strip()\n",
    "        print(p_out)\n",
    "        tropes_validated.append(p_out)\n",
    "        # parse the output and save it to tropes_validated\n",
    "    return tropes_validated\n",
    "s = stories_df[stories_df['sid']==\"s1\"].iloc[0].story\n",
    "# print(s)\n",
    "t = story_w_trope[story_w_trope['sid']==\"s1\"].iloc[0].tropes\n",
    "check_trope_exists((s,t))"
   ]
  },
  {
   "cell_type": "code",
   "execution_count": 57,
   "id": "0628ffb6-b396-41dd-aa8f-bb120063ad72",
   "metadata": {},
   "outputs": [
    {
     "name": "stdout",
     "output_type": "stream",
     "text": [
      "('The gunman lights a cigarette, watches despondently as dusk falls upon the empty alley. He is alone in a lonely place, summoned here to receive instructions from a master criminal known only as the Boss, but the Boss isn’t here. No one is. It’s spooky. He feels like a marked man. The Boss is known for his ruthlessness. When he orders a killing, someone dies. The gunman would like there to be witnesses for what happens next, but the alley’s deserted.\\n\\nHe glances at his watch, a gift from the Boss. Face a gold coin, no numbers. A joke, probably: time is money. Or, maybe, money is time; it depends on what you’re short of. The Boss is a great joker. The watch hands are hair-thin, like the edge of a razor blade, hard to see, especially in this fading light. There and not there, like time itself. Which is perhaps not being clocked—perhaps that’s what the numberless face is saying. How can you measure the shit you’re buried in? He doesn’t know what keeps the watch running. Battery inside, maybe. When the battery dies? Don’t think about it.\\n\\nOn one assignment or another, the gunman has wasted a few suckers in alleys like this, but not many. His specialty is knocking them off in train stations and hotel lobbies or on the street in broad daylight. There’s a greater risk of getting nabbed, so always an extra thrill. Which is why he took up doing the Boss’s dirty work. Thrills remind him that he’s alive, when not much else does.\\n\\nOverhead, a street lamp comes on, its yellow light a mere stain under the dimming sky. Then a woman passes. It’s about time, the gunman thinks. Has she been sent by the Boss? Is she his witness? His victim? His executioner? His hand is inside his jacket, resting on the butt of the revolver holstered under his armpit. Probably just an innocent working girl, looking for a pickup, wandering into a place where she doesn’t belong. Which wouldn’t stop the Boss from targeting her. Or using her.\\n\\nYou looking for someone, sister? he asks, lurking in the shadows, his cigarette bobbing as he speaks.\\n\\nI don’t know, she says. She casts an inquisitive gaze at him, then quickly looks away. A signal? He should perhaps throw himself behind the trash cans, but her tender scrutiny has fixed him where he stands.\\n\\nShe walks slowly away into the shadows at the far end of the alley, then swivels and walks back again toward the light. She appears frightened, lost. Touchingly vulnerable. Above her, the street lamp sways rhythmically, causing shadows to stretch and recede, stretch and recede, like a slowly beating heart. She pauses under it and looks around, clearly thinking about something. She’s no beauty, but she has sweet ways. His hard heart softens. He takes his hand off the revolver.\\n\\nWhen she turns to walk down the alley again, the gunman flicks his cigarette away and walks with her, moving as she moves. Left, right, left . . . it’s a kind of dance. She asks if he’s making fun of her. He says he doesn’t know how to make fun. In truth, he feels caught up in something fundamental. Benumbing. A feeling he hasn’t had before. Abstract, yet oddly erotic.\\n\\nIt won’t do any good, she says, reading him.\\n\\nYeah, I know, lady. But I like it.\\n\\nThey reach the dark end of the alley, still moving together, and turn back toward the swaying street lamp. The alley seems almost to fade away, the lamp’s glow to brighten. There are bats twittering somewhere. Time itself seems to stop, even though he knows it’s still grinding inexorably toward something messy. The Boss has plans that haven’t happened yet. Never mind. Worry about them when they do.\\n\\nWhen their dance ends, night has fully descended, sharpening the contrast between the pool of lamplight they have stepped into and the rest of the world, lost in the darkness beyond. That was great, he says. She looks up at him, her face pale but radiant in the light. She nods. Her sad smile seems to say, Yes, but it’s not enough, is it? She stares down at her feet, and when she does so, her face is masked in shadow. Is she about to betray him? he wonders. Does he care?\\n\\nShe starts suddenly, glances back down the alley. He follows her gaze. Uh-oh. Something is moving. His hand, too slowly, is inside his jacket. Watch out! she cries, and throws herself in front of him. A shot rings out. She collapses into his arms. Holding her, he fires impotently into the darkness. His bullets ricochet through the alley like ironic laughter. Hang on, baby! he pleads, but it’s too late.\\n\\nIt must be . . . why . . . she whispers, and dies in his arms.\\n\\nHis heart hardens again. Rage bites at the corners of his eyes. He doesn’t understand a fucking thing.', ['t08393', 't02187', 't18297', 't03644', 't26668', 't20226', 't26723', 't15274', 't20214', 't23339'])\n",
      "#####################################################\n",
      "  {\n",
      "\"trope_exists\": \"yes\",\n",
      "\"evidence\": \"The story contains foreshadowing elements, such as the gunman's comment about the Boss's plans haven't happened yet and the ominous atmosphere created by the deserted alley and the swaying street lamp. The gunman's unease and the woman's warning also contribute to the sense of foreboding. The story also ends with a dramatic and unexpected event, the woman's death, which adds to the sense of tension and danger that has been building throughout the story.\"\n",
      "}\n",
      "{'tname': 'Foreshadowing', 'exists': 1, 'reason': '\"The story contains foreshadowing elements, such as the gunman\\'s comment about the Boss\\'s plans haven\\'t happened yet and the ominous atmosphere created by the deserted alley and the swaying street lamp. The gunman\\'s unease and the woman\\'s warning also contribute to the sense of foreboding. The story also ends with a dramatic and unexpected event, the woman\\'s death, which adds to the sense of tension and danger that has been building throughout the story.\"'}\n",
      "#####################################################\n",
      "  {\n",
      "\"trope_exists\": \"yes\",\n",
      "\"evidence\": \"The gunman's conversation with the woman in the alley, the way he looks at her and the way she looks at him, and the way he feels caught up in something fundamental and erotic, all suggest that the trope of BigBad is present in the story. The gunman's actions and feelings towards the woman show that he is not just a heartless criminal, but also a complex character with his own motivations and emotions, making him a BigBad.\"\n",
      "}\n",
      "{'tname': 'BigBad', 'exists': 1, 'reason': '\"The gunman\\'s conversation with the woman in the alley, the way he looks at her and the way she looks at him, and the way he feels caught up in something fundamental and erotic, all suggest that the trope of BigBad is present in the story. The gunman\\'s actions and feelings towards the woman show that he is not just a heartless criminal, but also a complex character with his own motivations and emotions, making him a BigBad.\"'}\n",
      "#####################################################\n",
      "  {\n",
      "\"trope_exists\": \"yes\",\n",
      "\"evidence\": \"The story exhibits the RealityEnsues trope through the gunman's experience in the alley. Despite his expectations of a thrilling encounter with a potential victim or witness, the woman he encounters is not what he expected. She is not a threat, but a vulnerable and lost person who catches his attention and elicits a protective response from him. The moment they share, moving together in the alley, is a respite from the danger and violence that surrounds him. However, reality soon intrudes, and the woman is killed by an unseen attacker, leaving the gunman confused and enraged. The story's exploration of the contrast between the gunman's expectations and the harsh reality of the situation highlights the RealityEnsues trope.\"\n",
      "}\n",
      "{'tname': 'RealityEnsues', 'exists': 1, 'reason': '\"The story exhibits the RealityEnsues trope through the gunman\\'s experience in the alley. Despite his expectations of a thrilling encounter with a potential victim or witness, the woman he encounters is not what he expected. She is not a threat, but a vulnerable and lost person who catches his attention and elicits a protective response from him. The moment they share, moving together in the alley, is a respite from the danger and violence that surrounds him. However, reality soon intrudes, and the woman is killed by an unseen attacker, leaving the gunman confused and enraged. The story\\'s exploration of the contrast between the gunman\\'s expectations and the harsh reality of the situation highlights the RealityEnsues trope.\"'}\n",
      "#####################################################\n",
      "  {\n",
      "\"trope_exists\": \"yes\",\n",
      "\"evidence\": \"The story contains the trope of Chekhov's Gun. The gunman's watch, which is a gift from the Boss and has a hair-thin, razor-like edge, is mentioned early in the story. The watch is described as having no numbers on its face, which could be interpreted as a metaphor for the passage of time being irrelevant or unmeasurable. Later in the story, the gunman uses the watch to time the movement of a woman who walks by, and the sound of the watch's ticking is described as 'ironic laughter' when the woman is shot and killed. The watch serves as a subtle but significant element in the story, foreshadowing the eventual death of the woman and highlighting the gunman's preoccupation with time and mortality.\"\n",
      "}\n",
      "{'tname': 'ChekhovsGun', 'exists': 1, 'reason': '\"The story contains the trope of Chekhov\\'s Gun. The gunman\\'s watch, which is a gift from the Boss and has a hair-thin, razor-like edge, is mentioned early in the story. The watch is described as having no numbers on its face, which could be interpreted as a metaphor for the passage of time being irrelevant or unmeasurable. Later in the story, the gunman uses the watch to time the movement of a woman who walks by, and the sound of the watch\\'s ticking is described as \\'ironic laughter\\' when the woman is shot and killed. The watch serves as a subtle but significant element in the story, foreshadowing the eventual death of the woman and highlighting the gunman\\'s preoccupation with time and mortality.\"'}\n",
      "#####################################################\n",
      "  {\n",
      "\"trope_exists\": \"yes\",\n",
      "\"evidence\": \"The story ends with the death of the woman, who dies in the gunman's arms after being shot. The gunman is left alone and confused, feeling a mix of emotions including rage and sadness. The story ends on a somber note, leaving the reader with a sense of loss and tragedy. This fits the definition of a DownerEnding trope.\"\n",
      "}\n",
      "{'tname': 'DownerEnding', 'exists': 1, 'reason': '\"The story ends with the death of the woman, who dies in the gunman\\'s arms after being shot. The gunman is left alone and confused, feeling a mix of emotions including rage and sadness. The story ends on a somber note, leaving the reader with a sense of loss and tragedy. This fits the definition of a DownerEnding trope.\"'}\n",
      "#####################################################\n",
      "  {\n",
      "\"trope_exists\": \"yes\",\n",
      "\"evidence\": \"The story exhibits the trope 'ShownTheirWork' as the gunman takes the time to appreciate the woman's vulnerability and beauty, and allows himself to feel caught up in something fundamental and erotic, despite the danger and uncertainty of his situation. The author also employs imagery and symbolism, such as the swaying street lamp, the shadows, and the bats, to create a sense of atmosphere and tension. The gunman's emotions and thoughts are also shown, revealing his humanity and complexity, and the woman's tragic death serves to heighten the emotional impact of the scene.\"\n",
      "}\n",
      "{'tname': 'ShownTheirWork', 'exists': 1, 'reason': '\"The story exhibits the trope \\'ShownTheirWork\\' as the gunman takes the time to appreciate the woman\\'s vulnerability and beauty, and allows himself to feel caught up in something fundamental and erotic, despite the danger and uncertainty of his situation. The author also employs imagery and symbolism, such as the swaying street lamp, the shadows, and the bats, to create a sense of atmosphere and tension. The gunman\\'s emotions and thoughts are also shown, revealing his humanity and complexity, and the woman\\'s tragic death serves to heighten the emotional impact of the scene.\"'}\n",
      "#####################################################\n",
      "  {\n",
      "\"trope_exists\": \"yes\",\n",
      "\"evidence\": \"The story contains the SpannerInTheWorks trope, as the gunman's plans are foiled by the woman's unexpected intervention, leading to a shootout and the woman's death. The gunman's reaction to the woman's death, 'Hang on, baby!' and his confusion and rage afterwards, highlight the unexpected turn of events and the disruption of his plans.\"\n",
      "}\n",
      "{'tname': 'SpannerInTheWorks', 'exists': 1, 'reason': '\"The story contains the SpannerInTheWorks trope, as the gunman\\'s plans are foiled by the woman\\'s unexpected intervention, leading to a shootout and the woman\\'s death. The gunman\\'s reaction to the woman\\'s death, \\'Hang on, baby!\\' and his confusion and rage afterwards, highlight the unexpected turn of events and the disruption of his plans.\"'}\n",
      "#####################################################\n",
      "  {\n",
      "\"trope_exists\": \"yes\",\n",
      "\"evidence\": \"The gunman's behavior towards the woman in the alley, whom he initially perceives as a potential threat, but then begins to dance with and eventually tries to protect from an unknown attacker, exhibits the NiceToTheWaiter trope. Despite his violent profession and the dangerously situation he is in, he shows kindness and empathy towards the woman, indicating that he is not a completely heartless individual.\"\n",
      "}\n",
      "{'tname': 'NiceToTheWaiter', 'exists': 1, 'reason': '\"The gunman\\'s behavior towards the woman in the alley, whom he initially perceives as a potential threat, but then begins to dance with and eventually tries to protect from an unknown attacker, exhibits the NiceToTheWaiter trope. Despite his violent profession and the dangerously situation he is in, he shows kindness and empathy towards the woman, indicating that he is not a completely heartless individual.\"'}\n",
      "#####################################################\n",
      "  {\n",
      "\"trope_exists\": \"yes\",\n",
      "\"evidence\": \"The story contains a ShoutOut to the film 'The Third Man' in the scene where the gunman and the woman dance down the alley together, echoing the famous zither theme from the film. The use of the phrase 'Left, right, left' to describe their movements is a clear reference to the film's iconic scene where Joseph Cotten's character Holly Martins imitates the way Harry Lime's character moves.\"\n",
      "}\n",
      "{'tname': 'ShoutOut', 'exists': 1, 'reason': '\"The story contains a ShoutOut to the film \\'The Third Man\\' in the scene where the gunman and the woman dance down the alley together, echoing the famous zither theme from the film. The use of the phrase \\'Left, right, left\\' to describe their movements is a clear reference to the film\\'s iconic scene where Joseph Cotten\\'s character Holly Martins imitates the way Harry Lime\\'s character moves.\"'}\n",
      "#####################################################\n",
      "  {\n",
      "\"trope_exists\": \"yes\",\n",
      "\"evidence\": \"The trope of ThePowerOfLove exists in the story because the gunman's interactions with the woman in the alley reveal a deep emotional connection between them, despite their initial animosity. The gunman's decision to not harm her and instead protect her from harm, as well as his obvious feelings for her, demonstrate the power of love and connection overcoming initial hostility. Additionally, the woman's sacrifice for the gunman, giving her life to save him, is a powerful example of the trope.\"\n",
      "}\n",
      "{'tname': 'ThePowerOfLove', 'exists': 1, 'reason': '\"The trope of ThePowerOfLove exists in the story because the gunman\\'s interactions with the woman in the alley reveal a deep emotional connection between them, despite their initial animosity. The gunman\\'s decision to not harm her and instead protect her from harm, as well as his obvious feelings for her, demonstrate the power of love and connection overcoming initial hostility. Additionally, the woman\\'s sacrifice for the gunman, giving her life to save him, is a powerful example of the trope.\"'}\n"
     ]
    },
    {
     "data": {
      "text/plain": [
       "[{'tname': 'Foreshadowing',\n",
       "  'exists': 1,\n",
       "  'reason': '\"The story contains foreshadowing elements, such as the gunman\\'s comment about the Boss\\'s plans haven\\'t happened yet and the ominous atmosphere created by the deserted alley and the swaying street lamp. The gunman\\'s unease and the woman\\'s warning also contribute to the sense of foreboding. The story also ends with a dramatic and unexpected event, the woman\\'s death, which adds to the sense of tension and danger that has been building throughout the story.\"'},\n",
       " {'tname': 'BigBad',\n",
       "  'exists': 1,\n",
       "  'reason': '\"The gunman\\'s conversation with the woman in the alley, the way he looks at her and the way she looks at him, and the way he feels caught up in something fundamental and erotic, all suggest that the trope of BigBad is present in the story. The gunman\\'s actions and feelings towards the woman show that he is not just a heartless criminal, but also a complex character with his own motivations and emotions, making him a BigBad.\"'},\n",
       " {'tname': 'RealityEnsues',\n",
       "  'exists': 1,\n",
       "  'reason': '\"The story exhibits the RealityEnsues trope through the gunman\\'s experience in the alley. Despite his expectations of a thrilling encounter with a potential victim or witness, the woman he encounters is not what he expected. She is not a threat, but a vulnerable and lost person who catches his attention and elicits a protective response from him. The moment they share, moving together in the alley, is a respite from the danger and violence that surrounds him. However, reality soon intrudes, and the woman is killed by an unseen attacker, leaving the gunman confused and enraged. The story\\'s exploration of the contrast between the gunman\\'s expectations and the harsh reality of the situation highlights the RealityEnsues trope.\"'},\n",
       " {'tname': 'ChekhovsGun',\n",
       "  'exists': 1,\n",
       "  'reason': '\"The story contains the trope of Chekhov\\'s Gun. The gunman\\'s watch, which is a gift from the Boss and has a hair-thin, razor-like edge, is mentioned early in the story. The watch is described as having no numbers on its face, which could be interpreted as a metaphor for the passage of time being irrelevant or unmeasurable. Later in the story, the gunman uses the watch to time the movement of a woman who walks by, and the sound of the watch\\'s ticking is described as \\'ironic laughter\\' when the woman is shot and killed. The watch serves as a subtle but significant element in the story, foreshadowing the eventual death of the woman and highlighting the gunman\\'s preoccupation with time and mortality.\"'},\n",
       " {'tname': 'DownerEnding',\n",
       "  'exists': 1,\n",
       "  'reason': '\"The story ends with the death of the woman, who dies in the gunman\\'s arms after being shot. The gunman is left alone and confused, feeling a mix of emotions including rage and sadness. The story ends on a somber note, leaving the reader with a sense of loss and tragedy. This fits the definition of a DownerEnding trope.\"'},\n",
       " {'tname': 'ShownTheirWork',\n",
       "  'exists': 1,\n",
       "  'reason': '\"The story exhibits the trope \\'ShownTheirWork\\' as the gunman takes the time to appreciate the woman\\'s vulnerability and beauty, and allows himself to feel caught up in something fundamental and erotic, despite the danger and uncertainty of his situation. The author also employs imagery and symbolism, such as the swaying street lamp, the shadows, and the bats, to create a sense of atmosphere and tension. The gunman\\'s emotions and thoughts are also shown, revealing his humanity and complexity, and the woman\\'s tragic death serves to heighten the emotional impact of the scene.\"'},\n",
       " {'tname': 'SpannerInTheWorks',\n",
       "  'exists': 1,\n",
       "  'reason': '\"The story contains the SpannerInTheWorks trope, as the gunman\\'s plans are foiled by the woman\\'s unexpected intervention, leading to a shootout and the woman\\'s death. The gunman\\'s reaction to the woman\\'s death, \\'Hang on, baby!\\' and his confusion and rage afterwards, highlight the unexpected turn of events and the disruption of his plans.\"'},\n",
       " {'tname': 'NiceToTheWaiter',\n",
       "  'exists': 1,\n",
       "  'reason': '\"The gunman\\'s behavior towards the woman in the alley, whom he initially perceives as a potential threat, but then begins to dance with and eventually tries to protect from an unknown attacker, exhibits the NiceToTheWaiter trope. Despite his violent profession and the dangerously situation he is in, he shows kindness and empathy towards the woman, indicating that he is not a completely heartless individual.\"'},\n",
       " {'tname': 'ShoutOut',\n",
       "  'exists': 1,\n",
       "  'reason': '\"The story contains a ShoutOut to the film \\'The Third Man\\' in the scene where the gunman and the woman dance down the alley together, echoing the famous zither theme from the film. The use of the phrase \\'Left, right, left\\' to describe their movements is a clear reference to the film\\'s iconic scene where Joseph Cotten\\'s character Holly Martins imitates the way Harry Lime\\'s character moves.\"'},\n",
       " {'tname': 'ThePowerOfLove',\n",
       "  'exists': 1,\n",
       "  'reason': '\"The trope of ThePowerOfLove exists in the story because the gunman\\'s interactions with the woman in the alley reveal a deep emotional connection between them, despite their initial animosity. The gunman\\'s decision to not harm her and instead protect her from harm, as well as his obvious feelings for her, demonstrate the power of love and connection overcoming initial hostility. Additionally, the woman\\'s sacrifice for the gunman, giving her life to save him, is a powerful example of the trope.\"'}]"
      ]
     },
     "execution_count": 57,
     "metadata": {},
     "output_type": "execute_result"
    }
   ],
   "source": [
    "prompt = \"\"\"<s>[INST] <<SYS>>\n",
    "{}\n",
    "<</SYS>>\n",
    "\n",
    "{} [/INST]\"\"\"\n",
    "\n",
    "system_prompt = \"\"\"You always communicate using a valid python JSON string. You will be given a trope and a story. Analyze carefully if the given trope exists or not in the story. The expected output from you should follow the structure:\\n \n",
    "    {\n",
    "        \"trope_exists\": {'yes' if the trope exists, 'no' if the trope does not exist},\n",
    "        \"evidence\": {reason why the trope exists or not in the context of the story}\n",
    "    }\n",
    "\"\"\"\n",
    "user_msg = \"\"\"\\nTrope: {}\\nStory:\\n{}\"\"\"\n",
    "def check_trope_exists(row):\n",
    "    print(row)\n",
    "    story = row[0]\n",
    "    tropes = row[1]\n",
    "    tropes_validated = []\n",
    "    for trope in tropes:\n",
    "        trope_name, trope_def = get_trope_by_id(trope)\n",
    "        u_m = user_msg.format(trope_name.strip(), story.strip())\n",
    "        # form the prompt\n",
    "        p = prompt.format(system_prompt, u_m)\n",
    "        # query the model\n",
    "        # generate(p, temp=0.7)\n",
    "        out = pipe_generate(p, temp=0.6)\n",
    "        out = out[0]\n",
    "        print(out)\n",
    "        p_out = {}\n",
    "        target = out.split('{')[1].split('}')[0]\n",
    "        exists = target.split(',')[0].split(': ')[1].strip()\n",
    "        p_out['tname'] = trope_name\n",
    "        p_out['exists'] = strtobool(exists)\n",
    "        p_out['reason'] = target.split(',',1)[1].split(':',1)[1].split('}')[0].strip()\n",
    "        print(p_out)\n",
    "        tropes_validated.append(p_out)\n",
    "        # parse the output and save it to tropes_validated\n",
    "    return tropes_validated\n",
    "s = stories_df[stories_df['sid']==\"s1\"].iloc[0].story\n",
    "# print(s)\n",
    "t = story_w_trope[story_w_trope['sid']==\"s1\"].iloc[0].tropes\n",
    "check_trope_exists((s,t))"
   ]
  },
  {
   "cell_type": "code",
   "execution_count": 58,
   "id": "c617dd23-c527-41e4-b835-ac8e7223d739",
   "metadata": {},
   "outputs": [
    {
     "name": "stdout",
     "output_type": "stream",
     "text": [
      "('The gunman lights a cigarette, watches despondently as dusk falls upon the empty alley. He is alone in a lonely place, summoned here to receive instructions from a master criminal known only as the Boss, but the Boss isn’t here. No one is. It’s spooky. He feels like a marked man. The Boss is known for his ruthlessness. When he orders a killing, someone dies. The gunman would like there to be witnesses for what happens next, but the alley’s deserted.\\n\\nHe glances at his watch, a gift from the Boss. Face a gold coin, no numbers. A joke, probably: time is money. Or, maybe, money is time; it depends on what you’re short of. The Boss is a great joker. The watch hands are hair-thin, like the edge of a razor blade, hard to see, especially in this fading light. There and not there, like time itself. Which is perhaps not being clocked—perhaps that’s what the numberless face is saying. How can you measure the shit you’re buried in? He doesn’t know what keeps the watch running. Battery inside, maybe. When the battery dies? Don’t think about it.\\n\\nOn one assignment or another, the gunman has wasted a few suckers in alleys like this, but not many. His specialty is knocking them off in train stations and hotel lobbies or on the street in broad daylight. There’s a greater risk of getting nabbed, so always an extra thrill. Which is why he took up doing the Boss’s dirty work. Thrills remind him that he’s alive, when not much else does.\\n\\nOverhead, a street lamp comes on, its yellow light a mere stain under the dimming sky. Then a woman passes. It’s about time, the gunman thinks. Has she been sent by the Boss? Is she his witness? His victim? His executioner? His hand is inside his jacket, resting on the butt of the revolver holstered under his armpit. Probably just an innocent working girl, looking for a pickup, wandering into a place where she doesn’t belong. Which wouldn’t stop the Boss from targeting her. Or using her.\\n\\nYou looking for someone, sister? he asks, lurking in the shadows, his cigarette bobbing as he speaks.\\n\\nI don’t know, she says. She casts an inquisitive gaze at him, then quickly looks away. A signal? He should perhaps throw himself behind the trash cans, but her tender scrutiny has fixed him where he stands.\\n\\nShe walks slowly away into the shadows at the far end of the alley, then swivels and walks back again toward the light. She appears frightened, lost. Touchingly vulnerable. Above her, the street lamp sways rhythmically, causing shadows to stretch and recede, stretch and recede, like a slowly beating heart. She pauses under it and looks around, clearly thinking about something. She’s no beauty, but she has sweet ways. His hard heart softens. He takes his hand off the revolver.\\n\\nWhen she turns to walk down the alley again, the gunman flicks his cigarette away and walks with her, moving as she moves. Left, right, left . . . it’s a kind of dance. She asks if he’s making fun of her. He says he doesn’t know how to make fun. In truth, he feels caught up in something fundamental. Benumbing. A feeling he hasn’t had before. Abstract, yet oddly erotic.\\n\\nIt won’t do any good, she says, reading him.\\n\\nYeah, I know, lady. But I like it.\\n\\nThey reach the dark end of the alley, still moving together, and turn back toward the swaying street lamp. The alley seems almost to fade away, the lamp’s glow to brighten. There are bats twittering somewhere. Time itself seems to stop, even though he knows it’s still grinding inexorably toward something messy. The Boss has plans that haven’t happened yet. Never mind. Worry about them when they do.\\n\\nWhen their dance ends, night has fully descended, sharpening the contrast between the pool of lamplight they have stepped into and the rest of the world, lost in the darkness beyond. That was great, he says. She looks up at him, her face pale but radiant in the light. She nods. Her sad smile seems to say, Yes, but it’s not enough, is it? She stares down at her feet, and when she does so, her face is masked in shadow. Is she about to betray him? he wonders. Does he care?\\n\\nShe starts suddenly, glances back down the alley. He follows her gaze. Uh-oh. Something is moving. His hand, too slowly, is inside his jacket. Watch out! she cries, and throws herself in front of him. A shot rings out. She collapses into his arms. Holding her, he fires impotently into the darkness. His bullets ricochet through the alley like ironic laughter. Hang on, baby! he pleads, but it’s too late.\\n\\nIt must be . . . why . . . she whispers, and dies in his arms.\\n\\nHis heart hardens again. Rage bites at the corners of his eyes. He doesn’t understand a fucking thing.', ['t08393', 't02187', 't18297', 't03644', 't26668', 't20226', 't26723', 't15274', 't20214', 't23339'])\n",
      "#####################################################\n",
      "  {\n",
      "\"trope_exists\": \"yes\",\n",
      "\"evidence\": \"The story contains foreshadowing elements, such as the gunman's unease and the ominous atmosphere, which hint at the tragic events that will unfold. The author also employs symbolism, such as the gold watch with the blank face, which suggests that time is running out for the characters. Additionally, the woman's sudden appearance and her eerie behavior, such as her slow walk towards the darkness and her eventual betrayal, further heighten the tension and foreboding in the scene.\"\n",
      "}\n",
      "{'tname': 'Foreshadowing', 'exists': 1, 'reason': '\"The story contains foreshadowing elements, such as the gunman\\'s unease and the ominous atmosphere, which hint at the tragic events that will unfold. The author also employs symbolism, such as the gold watch with the blank face, which suggests that time is running out for the characters. Additionally, the woman\\'s sudden appearance and her eerie behavior, such as her slow walk towards the darkness and her eventual betrayal, further heighten the tension and foreboding in the scene.\"'}\n",
      "#####################################################\n",
      "  {\n",
      "\"trope_exists\": \"yes\",\n",
      "\"evidence\": \"The gunman's encounter with the woman in the alley and the events that unfold demonstrate the trope of 'BigBad' as the gunman is the one who is supposed to be in control and taking charge, but instead, he is left confused and powerless as the woman takes the lead and ultimately meets her demise. Additionally, the gunman's confusion and rage at the end of the story suggest that he has been outsmarted and overpowered by the woman, further solidifying the 'BigBad' trope.\"\n",
      "}\n",
      "{'tname': 'BigBad', 'exists': 1, 'reason': '\"The gunman\\'s encounter with the woman in the alley and the events that unfold demonstrate the trope of \\'BigBad\\' as the gunman is the one who is supposed to be in control and taking charge, but instead, he is left confused and powerless as the woman takes the lead and ultimately meets her demise. Additionally, the gunman\\'s confusion and rage at the end of the story suggest that he has been outsmarted and overpowered by the woman, further solidifying the \\'BigBad\\' trope.\"'}\n",
      "#####################################################\n",
      "  {\n",
      "\"trope_exists\": \"yes\",\n",
      "\"evidence\": \"The story exhibits the trope of RealityEnsues as the gunman's expectations of a thrilling encounter with a woman in an alley are subverted by the woman's unexpected vulnerability and the sudden turn of events that leads to her death. The story also explores the theme of the futility of violence and the inevitability of fate, as the gunman's attempts to protect the woman and avenge her death are ultimately futile in the face of the Boss's ruthlessness and the chaos of the world they inhabit.\"\n",
      "}\n",
      "{'tname': 'RealityEnsues', 'exists': 1, 'reason': '\"The story exhibits the trope of RealityEnsues as the gunman\\'s expectations of a thrilling encounter with a woman in an alley are subverted by the woman\\'s unexpected vulnerability and the sudden turn of events that leads to her death. The story also explores the theme of the futility of violence and the inevitability of fate, as the gunman\\'s attempts to protect the woman and avenge her death are ultimately futile in the face of the Boss\\'s ruthlessness and the chaos of the world they inhabit.\"'}\n",
      "#####################################################\n",
      "  {\n",
      "\"trope_exists\": \"yes\",\n",
      "\"evidence\": \"The story contains the trope of Chekhov's Gun, as the gunman's watch with a hair-thin, razor-like edge serves as a subtle yet ominous detail that foreshadows the violent events that unfold later in the story. The watch is mentioned early on and seems insignificant at first, but it later becomes clear that it plays a role in the story's climax, when the gunman uses it to defend himself against an attacker. The trope is further emphasized by the fact that the watch is a gift from the Boss, suggesting that it may hold some kind of significance or symbolism. Overall, the inclusion of the watch as a seemingly trivial detail that later becomes important is a classic example of Chekhov's Gun.\"\n",
      "}\n",
      "{'tname': 'ChekhovsGun', 'exists': 1, 'reason': '\"The story contains the trope of Chekhov\\'s Gun, as the gunman\\'s watch with a hair-thin, razor-like edge serves as a subtle yet ominous detail that foreshadows the violent events that unfold later in the story. The watch is mentioned early on and seems insignificant at first, but it later becomes clear that it plays a role in the story\\'s climax, when the gunman uses it to defend himself against an attacker. The trope is further emphasized by the fact that the watch is a gift from the Boss, suggesting that it may hold some kind of significance or symbolism. Overall, the inclusion of the watch as a seemingly trivial detail that later becomes important is a classic example of Chekhov\\'s Gun.\"'}\n",
      "#####################################################\n",
      "  {\n",
      "\"trope_exists\": \"yes\",\n",
      "\"evidence\": \"The story features a DownerEnding, as the protagonist's dance with the woman in the alley ends with her death by a shot from an unknown assailant, and the protagonist is left holding her lifeless body. The story's tone and atmosphere also contribute to the DownerEnding trope, with the use of words like \"despondently,\" \"spooky,\" \"marked man,\" and \"shadows\" creating a sense of foreboding and danger. Additionally, the protagonist's line \"It won’t do any good, she says, reading him\" suggests that the woman may have had a premonition of her own death, adding to the sense of tragedy and hopelessness.\"\n",
      "}\n",
      "{'tname': 'DownerEnding', 'exists': 1, 'reason': '\"The story features a DownerEnding, as the protagonist\\'s dance with the woman in the alley ends with her death by a shot from an unknown assailant, and the protagonist is left holding her lifeless body. The story\\'s tone and atmosphere also contribute to the DownerEnding trope, with the use of words like \"despondently,\" \"spooky,\" \"marked man,\" and \"shadows\" creating a sense of foreboding and danger. Additionally, the protagonist\\'s line \"It won’t do any good, she says, reading him\" suggests that the woman may have had a premonition of her own death, adding to the sense of tragedy and hopelessness.\"'}\n",
      "#####################################################\n",
      "  {\n",
      "\"trope_exists\": \"yes\",\n",
      "\"evidence\": \"The story exhibits the ShownTheirWork trope through the character's introspection and actions. The gunman litters his cigarette butt, walks with the woman, and feels caught up in something fundamental and erotic. He also shows his vulnerability when he says, 'I don't know how to make fun of you' and when he pleads with the dying woman to 'hang on, baby!' The story highlights the character's humanity and gives the reader a glimpse into his thoughts and feelings, rather than just portraying him as a one-dimensional criminal.\"\n",
      "}\n",
      "{'tname': 'ShownTheirWork', 'exists': 1, 'reason': '\"The story exhibits the ShownTheirWork trope through the character\\'s introspection and actions. The gunman litters his cigarette butt, walks with the woman, and feels caught up in something fundamental and erotic. He also shows his vulnerability when he says, \\'I don\\'t know how to make fun of you\\' and when he pleads with the dying woman to \\'hang on, baby!\\' The story highlights the character\\'s humanity and gives the reader a glimpse into his thoughts and feelings, rather than just portraying him as a one-dimensional criminal.\"'}\n",
      "#####################################################\n",
      "  {\n",
      "\"trope_exists\": \"yes\",\n",
      "\"evidence\": \"The story exhibits the SpannerInTheWorks trope through the character's unexpected encounter with the woman in the alley. The gunman's plans are disrupted by her presence, and he becomes distracted from his mission to follow her and engage in a strange, wordless dance. This encounter delays his execution of the Boss's orders and creates tension and uncertainty in the story. The woman's sudden death also adds to the sense of chaos and unpredictability, further highlighting the SpannerInTheWorks trope.\"\n",
      "}\n",
      "{'tname': 'SpannerInTheWorks', 'exists': 1, 'reason': '\"The story exhibits the SpannerInTheWorks trope through the character\\'s unexpected encounter with the woman in the alley. The gunman\\'s plans are disrupted by her presence, and he becomes distracted from his mission to follow her and engage in a strange, wordless dance. This encounter delays his execution of the Boss\\'s orders and creates tension and uncertainty in the story. The woman\\'s sudden death also adds to the sense of chaos and unpredictability, further highlighting the SpannerInTheWorks trope.\"'}\n",
      "#####################################################\n",
      "  {\n",
      "\"trope_exists\": \"no\",\n",
      "\"evidence\": \"The story does not contain any instance of the NiceToTheWaiter trope. The gunman does not exhibit any behavior that suggests he is nice to the waiter or any other character in the story. In fact, he is portrayed as a ruthless criminal who is willing to kill without hesitation.\"\n",
      "}\n",
      "{'tname': 'NiceToTheWaiter', 'exists': 0, 'reason': '\"The story does not contain any instance of the NiceToTheWaiter trope. The gunman does not exhibit any behavior that suggests he is nice to the waiter or any other character in the story. In fact, he is portrayed as a ruthless criminal who is willing to kill without hesitation.\"'}\n",
      "#####################################################\n",
      "  {\n",
      "\"trope_exists\": \"yes\",\n",
      "\"evidence\": \"The story contains a ShoutOut to the movie 'The Third Man' in the scene where the gunman and the woman walk together in the alley, with the street lamp swaying rhythmically above them, creating shadows that stretch and recede like a slowly beating heart. This is a clear reference to the iconic scene in 'The Third Man' where Joseph Cotten and Orson Welles walk through the sewers of Vienna, with the shadows of their figures stretching and receding on the walls around them. Additionally, the gunman's line 'Yeah, I know, lady. But I like it' is a nod to the famous line from 'The Third Man' where Harry Lime says 'I don't know, Holly. I don't know.'\"\n",
      "}\n",
      "{'tname': 'ShoutOut', 'exists': 1, 'reason': '\"The story contains a ShoutOut to the movie \\'The Third Man\\' in the scene where the gunman and the woman walk together in the alley, with the street lamp swaying rhythmically above them, creating shadows that stretch and recede like a slowly beating heart. This is a clear reference to the iconic scene in \\'The Third Man\\' where Joseph Cotten and Orson Welles walk through the sewers of Vienna, with the shadows of their figures stretching and receding on the walls around them. Additionally, the gunman\\'s line \\'Yeah, I know, lady. But I like it\\' is a nod to the famous line from \\'The Third Man\\' where Harry Lime says \\'I don\\'t know, Holly. I don\\'t know.\\'\"'}\n",
      "#####################################################\n",
      "  {\n",
      "\"trope_exists\": \"yes\",\n",
      "\"evidence\": \"The trope of ThePowerOfLove exists in the story because the gunman's feelings for the woman he is dancing with in the alley soften his hard heart, making him question his mission and ultimately leading to his downfall. The woman's sacrifice to save him and her subsequent death in his arms further solidifies the presence of this trope.\"\n",
      "}\n",
      "{'tname': 'ThePowerOfLove', 'exists': 1, 'reason': '\"The trope of ThePowerOfLove exists in the story because the gunman\\'s feelings for the woman he is dancing with in the alley soften his hard heart, making him question his mission and ultimately leading to his downfall. The woman\\'s sacrifice to save him and her subsequent death in his arms further solidifies the presence of this trope.\"'}\n"
     ]
    },
    {
     "data": {
      "text/plain": [
       "[{'tname': 'Foreshadowing',\n",
       "  'exists': 1,\n",
       "  'reason': '\"The story contains foreshadowing elements, such as the gunman\\'s unease and the ominous atmosphere, which hint at the tragic events that will unfold. The author also employs symbolism, such as the gold watch with the blank face, which suggests that time is running out for the characters. Additionally, the woman\\'s sudden appearance and her eerie behavior, such as her slow walk towards the darkness and her eventual betrayal, further heighten the tension and foreboding in the scene.\"'},\n",
       " {'tname': 'BigBad',\n",
       "  'exists': 1,\n",
       "  'reason': '\"The gunman\\'s encounter with the woman in the alley and the events that unfold demonstrate the trope of \\'BigBad\\' as the gunman is the one who is supposed to be in control and taking charge, but instead, he is left confused and powerless as the woman takes the lead and ultimately meets her demise. Additionally, the gunman\\'s confusion and rage at the end of the story suggest that he has been outsmarted and overpowered by the woman, further solidifying the \\'BigBad\\' trope.\"'},\n",
       " {'tname': 'RealityEnsues',\n",
       "  'exists': 1,\n",
       "  'reason': '\"The story exhibits the trope of RealityEnsues as the gunman\\'s expectations of a thrilling encounter with a woman in an alley are subverted by the woman\\'s unexpected vulnerability and the sudden turn of events that leads to her death. The story also explores the theme of the futility of violence and the inevitability of fate, as the gunman\\'s attempts to protect the woman and avenge her death are ultimately futile in the face of the Boss\\'s ruthlessness and the chaos of the world they inhabit.\"'},\n",
       " {'tname': 'ChekhovsGun',\n",
       "  'exists': 1,\n",
       "  'reason': '\"The story contains the trope of Chekhov\\'s Gun, as the gunman\\'s watch with a hair-thin, razor-like edge serves as a subtle yet ominous detail that foreshadows the violent events that unfold later in the story. The watch is mentioned early on and seems insignificant at first, but it later becomes clear that it plays a role in the story\\'s climax, when the gunman uses it to defend himself against an attacker. The trope is further emphasized by the fact that the watch is a gift from the Boss, suggesting that it may hold some kind of significance or symbolism. Overall, the inclusion of the watch as a seemingly trivial detail that later becomes important is a classic example of Chekhov\\'s Gun.\"'},\n",
       " {'tname': 'DownerEnding',\n",
       "  'exists': 1,\n",
       "  'reason': '\"The story features a DownerEnding, as the protagonist\\'s dance with the woman in the alley ends with her death by a shot from an unknown assailant, and the protagonist is left holding her lifeless body. The story\\'s tone and atmosphere also contribute to the DownerEnding trope, with the use of words like \"despondently,\" \"spooky,\" \"marked man,\" and \"shadows\" creating a sense of foreboding and danger. Additionally, the protagonist\\'s line \"It won’t do any good, she says, reading him\" suggests that the woman may have had a premonition of her own death, adding to the sense of tragedy and hopelessness.\"'},\n",
       " {'tname': 'ShownTheirWork',\n",
       "  'exists': 1,\n",
       "  'reason': '\"The story exhibits the ShownTheirWork trope through the character\\'s introspection and actions. The gunman litters his cigarette butt, walks with the woman, and feels caught up in something fundamental and erotic. He also shows his vulnerability when he says, \\'I don\\'t know how to make fun of you\\' and when he pleads with the dying woman to \\'hang on, baby!\\' The story highlights the character\\'s humanity and gives the reader a glimpse into his thoughts and feelings, rather than just portraying him as a one-dimensional criminal.\"'},\n",
       " {'tname': 'SpannerInTheWorks',\n",
       "  'exists': 1,\n",
       "  'reason': '\"The story exhibits the SpannerInTheWorks trope through the character\\'s unexpected encounter with the woman in the alley. The gunman\\'s plans are disrupted by her presence, and he becomes distracted from his mission to follow her and engage in a strange, wordless dance. This encounter delays his execution of the Boss\\'s orders and creates tension and uncertainty in the story. The woman\\'s sudden death also adds to the sense of chaos and unpredictability, further highlighting the SpannerInTheWorks trope.\"'},\n",
       " {'tname': 'NiceToTheWaiter',\n",
       "  'exists': 0,\n",
       "  'reason': '\"The story does not contain any instance of the NiceToTheWaiter trope. The gunman does not exhibit any behavior that suggests he is nice to the waiter or any other character in the story. In fact, he is portrayed as a ruthless criminal who is willing to kill without hesitation.\"'},\n",
       " {'tname': 'ShoutOut',\n",
       "  'exists': 1,\n",
       "  'reason': '\"The story contains a ShoutOut to the movie \\'The Third Man\\' in the scene where the gunman and the woman walk together in the alley, with the street lamp swaying rhythmically above them, creating shadows that stretch and recede like a slowly beating heart. This is a clear reference to the iconic scene in \\'The Third Man\\' where Joseph Cotten and Orson Welles walk through the sewers of Vienna, with the shadows of their figures stretching and receding on the walls around them. Additionally, the gunman\\'s line \\'Yeah, I know, lady. But I like it\\' is a nod to the famous line from \\'The Third Man\\' where Harry Lime says \\'I don\\'t know, Holly. I don\\'t know.\\'\"'},\n",
       " {'tname': 'ThePowerOfLove',\n",
       "  'exists': 1,\n",
       "  'reason': '\"The trope of ThePowerOfLove exists in the story because the gunman\\'s feelings for the woman he is dancing with in the alley soften his hard heart, making him question his mission and ultimately leading to his downfall. The woman\\'s sacrifice to save him and her subsequent death in his arms further solidifies the presence of this trope.\"'}]"
      ]
     },
     "execution_count": 58,
     "metadata": {},
     "output_type": "execute_result"
    }
   ],
   "source": [
    "prompt = \"\"\"<s>[INST] <<SYS>>\n",
    "{}\n",
    "<</SYS>>\n",
    "\n",
    "{} [/INST]\"\"\"\n",
    "\n",
    "system_prompt = \"\"\"You always communicate using a valid python JSON string. You will be given a trope and a story. Analyze carefully if the given trope exists or not in the story. The expected output from you should follow the structure:\\n \n",
    "    {\n",
    "        \"trope_exists\": {'yes' if the trope exists, 'no' if the trope does not exist},\n",
    "        \"evidence\": {reason why the trope exists or does not exist in the context of the story}\n",
    "    }\n",
    "\"\"\"\n",
    "user_msg = \"\"\"\\nTrope: {}\\nStory:\\n{}\"\"\"\n",
    "def check_trope_exists(row):\n",
    "    print(row)\n",
    "    story = row[0]\n",
    "    tropes = row[1]\n",
    "    tropes_validated = []\n",
    "    for trope in tropes:\n",
    "        trope_name, trope_def = get_trope_by_id(trope)\n",
    "        u_m = user_msg.format(trope_name.strip(), story.strip())\n",
    "        # form the prompt\n",
    "        p = prompt.format(system_prompt, u_m)\n",
    "        # query the model\n",
    "        # generate(p, temp=0.7)\n",
    "        out = pipe_generate(p, temp=0.7)\n",
    "        out = out[0]\n",
    "        print(out)\n",
    "        p_out = {}\n",
    "        target = out.split('{')[1].split('}')[0]\n",
    "        exists = target.split(',')[0].split(': ')[1].strip()\n",
    "        p_out['tname'] = trope_name\n",
    "        p_out['exists'] = strtobool(exists)\n",
    "        p_out['reason'] = target.split(',',1)[1].split(':',1)[1].split('}')[0].strip()\n",
    "        print(p_out)\n",
    "        tropes_validated.append(p_out)\n",
    "        # parse the output and save it to tropes_validated\n",
    "    return tropes_validated\n",
    "s = stories_df[stories_df['sid']==\"s1\"].iloc[0].story\n",
    "# print(s)\n",
    "t = story_w_trope[story_w_trope['sid']==\"s1\"].iloc[0].tropes\n",
    "check_trope_exists((s,t))"
   ]
  },
  {
   "cell_type": "code",
   "execution_count": 60,
   "id": "9ef44def-33a4-4299-a6b4-acaef84ec204",
   "metadata": {},
   "outputs": [
    {
     "data": {
      "text/plain": [
       "'Camel Case Test123'"
      ]
     },
     "execution_count": 60,
     "metadata": {},
     "output_type": "execute_result"
    }
   ],
   "source": [
    "import re\n",
    "name = \"CamelCaseTest123\"\n",
    "splitted = re.sub('([A-Z][a-z]+)', r' \\1', re.sub('([A-Z]+)', r' \\1', name)).split()\n",
    "\" \".join(splitted)"
   ]
  },
  {
   "cell_type": "code",
   "execution_count": 65,
   "id": "358e9e68-03f5-492a-88b3-35b1356824cb",
   "metadata": {},
   "outputs": [
    {
     "name": "stdout",
     "output_type": "stream",
     "text": [
      "('The gunman lights a cigarette, watches despondently as dusk falls upon the empty alley. He is alone in a lonely place, summoned here to receive instructions from a master criminal known only as the Boss, but the Boss isn’t here. No one is. It’s spooky. He feels like a marked man. The Boss is known for his ruthlessness. When he orders a killing, someone dies. The gunman would like there to be witnesses for what happens next, but the alley’s deserted.\\n\\nHe glances at his watch, a gift from the Boss. Face a gold coin, no numbers. A joke, probably: time is money. Or, maybe, money is time; it depends on what you’re short of. The Boss is a great joker. The watch hands are hair-thin, like the edge of a razor blade, hard to see, especially in this fading light. There and not there, like time itself. Which is perhaps not being clocked—perhaps that’s what the numberless face is saying. How can you measure the shit you’re buried in? He doesn’t know what keeps the watch running. Battery inside, maybe. When the battery dies? Don’t think about it.\\n\\nOn one assignment or another, the gunman has wasted a few suckers in alleys like this, but not many. His specialty is knocking them off in train stations and hotel lobbies or on the street in broad daylight. There’s a greater risk of getting nabbed, so always an extra thrill. Which is why he took up doing the Boss’s dirty work. Thrills remind him that he’s alive, when not much else does.\\n\\nOverhead, a street lamp comes on, its yellow light a mere stain under the dimming sky. Then a woman passes. It’s about time, the gunman thinks. Has she been sent by the Boss? Is she his witness? His victim? His executioner? His hand is inside his jacket, resting on the butt of the revolver holstered under his armpit. Probably just an innocent working girl, looking for a pickup, wandering into a place where she doesn’t belong. Which wouldn’t stop the Boss from targeting her. Or using her.\\n\\nYou looking for someone, sister? he asks, lurking in the shadows, his cigarette bobbing as he speaks.\\n\\nI don’t know, she says. She casts an inquisitive gaze at him, then quickly looks away. A signal? He should perhaps throw himself behind the trash cans, but her tender scrutiny has fixed him where he stands.\\n\\nShe walks slowly away into the shadows at the far end of the alley, then swivels and walks back again toward the light. She appears frightened, lost. Touchingly vulnerable. Above her, the street lamp sways rhythmically, causing shadows to stretch and recede, stretch and recede, like a slowly beating heart. She pauses under it and looks around, clearly thinking about something. She’s no beauty, but she has sweet ways. His hard heart softens. He takes his hand off the revolver.\\n\\nWhen she turns to walk down the alley again, the gunman flicks his cigarette away and walks with her, moving as she moves. Left, right, left . . . it’s a kind of dance. She asks if he’s making fun of her. He says he doesn’t know how to make fun. In truth, he feels caught up in something fundamental. Benumbing. A feeling he hasn’t had before. Abstract, yet oddly erotic.\\n\\nIt won’t do any good, she says, reading him.\\n\\nYeah, I know, lady. But I like it.\\n\\nThey reach the dark end of the alley, still moving together, and turn back toward the swaying street lamp. The alley seems almost to fade away, the lamp’s glow to brighten. There are bats twittering somewhere. Time itself seems to stop, even though he knows it’s still grinding inexorably toward something messy. The Boss has plans that haven’t happened yet. Never mind. Worry about them when they do.\\n\\nWhen their dance ends, night has fully descended, sharpening the contrast between the pool of lamplight they have stepped into and the rest of the world, lost in the darkness beyond. That was great, he says. She looks up at him, her face pale but radiant in the light. She nods. Her sad smile seems to say, Yes, but it’s not enough, is it? She stares down at her feet, and when she does so, her face is masked in shadow. Is she about to betray him? he wonders. Does he care?\\n\\nShe starts suddenly, glances back down the alley. He follows her gaze. Uh-oh. Something is moving. His hand, too slowly, is inside his jacket. Watch out! she cries, and throws herself in front of him. A shot rings out. She collapses into his arms. Holding her, he fires impotently into the darkness. His bullets ricochet through the alley like ironic laughter. Hang on, baby! he pleads, but it’s too late.\\n\\nIt must be . . . why . . . she whispers, and dies in his arms.\\n\\nHis heart hardens again. Rage bites at the corners of his eyes. He doesn’t understand a fucking thing.', ['t08393', 't02187', 't18297', 't03644', 't26668', 't20226', 't26723', 't15274', 't20214', 't23339'])\n",
      "#####################################################\n",
      "  {\n",
      "\"trope_exists\": \"yes\",\n",
      "\"evidence\": \"The story contains foreshadowing elements, such as the gunman's mention of the Boss's ruthlessness and the ominous atmosphere created by the deserted alley and the fading light. The gunman's internal monologue also hints at a larger plan or threat, as he mentions the Boss's plans that haven't happened yet. Additionally, the woman's sudden appearance and her eventual death by a gunshot wound suggest that she was meant to be a witness or a victim, further foreshadowing the danger that the gunman is in.\"\n",
      "}\n",
      "{'tname': 'Foreshadowing', 'exists': 1, 'reason': '\"The story contains foreshadowing elements, such as the gunman\\'s mention of the Boss\\'s ruthlessness and the ominous atmosphere created by the deserted alley and the fading light. The gunman\\'s internal monologue also hints at a larger plan or threat, as he mentions the Boss\\'s plans that haven\\'t happened yet. Additionally, the woman\\'s sudden appearance and her eventual death by a gunshot wound suggest that she was meant to be a witness or a victim, further foreshadowing the danger that the gunman is in.\"'}\n",
      "#####################################################\n",
      "  {\n",
      "\"trope_exists\": \"yes\",\n",
      "\"evidence\": \"The story features a Big Bad in the form of the master criminal known only as the Boss. The Boss is described as ruthless and powerful, able to summon the gunman to carry out his orders. The gunman is fearful of the Boss and his power, indicating that the Boss is a formidable villain. The story also implies that the Boss has a network of operatives and is able to manipulate events to his advantage, further solidifying his position as the Big Bad.\"\n",
      "}\n",
      "{'tname': 'Big Bad', 'exists': 1, 'reason': '\"The story features a Big Bad in the form of the master criminal known only as the Boss. The Boss is described as ruthless and powerful, able to summon the gunman to carry out his orders. The gunman is fearful of the Boss and his power, indicating that the Boss is a formidable villain. The story also implies that the Boss has a network of operatives and is able to manipulate events to his advantage, further solidifying his position as the Big Bad.\"'}\n",
      "#####################################################\n",
      "  {\n",
      "\"trope_exists\": \"yes\",\n",
      "\"evidence\": \"The story exhibits the trope of Reality Ensues when the gunman's plans are foiled by the woman's sudden appearance and death. Despite his attempts to be stealthy and avoid witnesses, the gunman is unable to escape the consequences of his actions. The woman's death serves as a reminder that the gunman's actions have real-world consequences and that he cannot avoid the repercussions of his choices indefinitely. Additionally, the story's focus on the mundane details of the alley and the characters' movements and interactions adds to the sense of realism, emphasizing the idea that the events unfolding are part of a harsh and unforgiving reality.\"\n",
      "}\n",
      "{'tname': 'Reality Ensues', 'exists': 1, 'reason': '\"The story exhibits the trope of Reality Ensues when the gunman\\'s plans are foiled by the woman\\'s sudden appearance and death. Despite his attempts to be stealthy and avoid witnesses, the gunman is unable to escape the consequences of his actions. The woman\\'s death serves as a reminder that the gunman\\'s actions have real-world consequences and that he cannot avoid the repercussions of his choices indefinitely. Additionally, the story\\'s focus on the mundane details of the alley and the characters\\' movements and interactions adds to the sense of realism, emphasizing the idea that the events unfolding are part of a harsh and unforgiving reality.\"'}\n",
      "#####################################################\n",
      "  {\n",
      "\"trope_exists\": \"yes\",\n",
      "\"evidence\": \"The story contains an example of Chekhov's Gun in the form of the gunman's watch, which is described as having a hair-thin, razor-like edge. The watch is mentioned early in the story and seems to serve no purpose other than to indicate the passage of time. However, later in the story, the watch plays a crucial role when the gunman uses it to defend himself against an attacker, firing a shot that kills the woman who had been walking with him. The watch acts as a distraction, allowing the gunman to fire back and potentially saving his life. This is an example of Chekhov's Gun because the watch is introduced early in the story and seems insignificant until it becomes important later on.\"\n",
      "}\n",
      "{'tname': 'Chekhovs Gun', 'exists': 1, 'reason': '\"The story contains an example of Chekhov\\'s Gun in the form of the gunman\\'s watch, which is described as having a hair-thin, razor-like edge. The watch is mentioned early in the story and seems to serve no purpose other than to indicate the passage of time. However, later in the story, the watch plays a crucial role when the gunman uses it to defend himself against an attacker, firing a shot that kills the woman who had been walking with him. The watch acts as a distraction, allowing the gunman to fire back and potentially saving his life. This is an example of Chekhov\\'s Gun because the watch is introduced early in the story and seems insignificant until it becomes important later on.\"'}\n",
      "#####################################################\n",
      "  {\n",
      "\"trope_exists\": \"yes\",\n",
      "\"evidence\": \"The story features a Downer Ending as the gunman's witness/potential victim dies in his arms after being shot, and he is left alone and confused, feeling rage and a sense of nothing making sense. The ending is bleak and tragic, leaving the reader with a feeling of emptiness and despair, which is a hallmark of the Downer Ending trope.\"\n",
      "}\n",
      "{'tname': 'Downer Ending', 'exists': 1, 'reason': '\"The story features a Downer Ending as the gunman\\'s witness/potential victim dies in his arms after being shot, and he is left alone and confused, feeling rage and a sense of nothing making sense. The ending is bleak and tragic, leaving the reader with a feeling of emptiness and despair, which is a hallmark of the Downer Ending trope.\"'}\n",
      "#####################################################\n",
      "  {\n",
      "\"trope_exists\": \"yes\",\n",
      "\"evidence\": \"The story exhibits the 'Shown Their Work' trope through the gunman's introspection and attention to detail. The author describes the gunman's thoughts and feelings in depth, showing the reader how he perceives the world around him. The use of sensory details, such as the sound of the street lamp swaying and the bats twittering, adds to the immersive quality of the narrative. The gunman's inner monologue and his observations of the woman's movements and expressions also contribute to the trope. The story also explores themes of loneliness, vulnerability, and the futility of violence, which are common in noir fiction.\"\n",
      "}\n",
      "{'tname': 'Shown Their Work', 'exists': 1, 'reason': '\"The story exhibits the \\'Shown Their Work\\' trope through the gunman\\'s introspection and attention to detail. The author describes the gunman\\'s thoughts and feelings in depth, showing the reader how he perceives the world around him. The use of sensory details, such as the sound of the street lamp swaying and the bats twittering, adds to the immersive quality of the narrative. The gunman\\'s inner monologue and his observations of the woman\\'s movements and expressions also contribute to the trope. The story also explores themes of loneliness, vulnerability, and the futility of violence, which are common in noir fiction.\"'}\n",
      "#####################################################\n",
      "  {\n",
      "\"trope_exists\": \"yes\",\n",
      "\"evidence\": \"The story contains the Spanner In The Works trope, as the gunman's plans are foiled by the woman's unexpected arrival and subsequent events. The gunman's reaction to the woman's presence and his decision to not kill her also indicate that he is not fully in control of the situation, which is another characteristic of the Spanner In The Works trope.\"\n",
      "}\n",
      "{'tname': 'Spanner In The Works', 'exists': 1, 'reason': '\"The story contains the Spanner In The Works trope, as the gunman\\'s plans are foiled by the woman\\'s unexpected arrival and subsequent events. The gunman\\'s reaction to the woman\\'s presence and his decision to not kill her also indicate that he is not fully in control of the situation, which is another characteristic of the Spanner In The Works trope.\"'}\n",
      "#####################################################\n",
      "  {\n",
      "\"trope_exists\": \"yes\",\n",
      "\"evidence\": \"The gunman's behavior towards the woman in the alley, whom he doesn't know and has no reason to be nice to, exhibits the Nice To The Waiter trope. He is gentle, respectful, and even protective towards her, despite the fact that she is a stranger and he is in a dangerous and stressful situation. He takes his hand off the revolver when she approaches, flicks his cigarette away, and walks with her, moving as she moves. He tells her he doesn't know how to make fun of her and feels caught up in something fundamental and oddly erotic. He even risks his own life to protect her when he hears a shot ring out, firing impotently into the darkness in a futile attempt to defend her. All of these actions demonstrate the Nice To The Waiter trope, where a character shows kindness and respect to someone who is not in a position to reciprocate or reward them.\"\n",
      "}\n",
      "{'tname': 'Nice To The Waiter', 'exists': 1, 'reason': '\"The gunman\\'s behavior towards the woman in the alley, whom he doesn\\'t know and has no reason to be nice to, exhibits the Nice To The Waiter trope. He is gentle, respectful, and even protective towards her, despite the fact that she is a stranger and he is in a dangerous and stressful situation. He takes his hand off the revolver when she approaches, flicks his cigarette away, and walks with her, moving as she moves. He tells her he doesn\\'t know how to make fun of her and feels caught up in something fundamental and oddly erotic. He even risks his own life to protect her when he hears a shot ring out, firing impotently into the darkness in a futile attempt to defend her. All of these actions demonstrate the Nice To The Waiter trope, where a character shows kindness and respect to someone who is not in a position to reciprocate or reward them.\"'}\n",
      "#####################################################\n",
      "  {\n",
      "\"trope_exists\": \"yes\",\n",
      "\"evidence\": \"The story contains a shout out to the theme of the Boss's ruthlessness and the gunman's fear of being caught or killed, which is a common trope in crime fiction. The use of the word 'boss' itself is also a nod to the trope of the criminal underworld. Additionally, the gunman's line 'Yeah, I know, lady. But I like it' could be seen as a reference to the trope of the 'femme fatale'.\"\n",
      "}\n",
      "{'tname': 'Shout Out', 'exists': 1, 'reason': '\"The story contains a shout out to the theme of the Boss\\'s ruthlessness and the gunman\\'s fear of being caught or killed, which is a common trope in crime fiction. The use of the word \\'boss\\' itself is also a nod to the trope of the criminal underworld. Additionally, the gunman\\'s line \\'Yeah, I know, lady. But I like it\\' could be seen as a reference to the trope of the \\'femme fatale\\'.\"'}\n",
      "#####################################################\n",
      "  {\n",
      "\"trope_exists\": \"yes\",\n",
      "\"evidence\": \"The Power Of Love trope exists in the story through the gunman's unexpected feelings for the woman he's dancing with in the alley. Despite his initial intentions and the dangerous situation they're in, he finds himself enjoying her company and feeling a sense of connection. This is evident in the way he slows down his movements to match hers, and how he feels caught up in something fundamental and oddly erotic. The way he describes her as having sweet ways and how he takes his hand off the revolver when she's around him, also suggest that he's experiencing feelings of love or attraction. The fact that he's willing to put himself in harm's way to protect her and fire back at the unknown threat, further highlights the power of love and the lengths he's willing to go for the person he cares about.\"\n",
      "}\n",
      "{'tname': 'The Power Of Love', 'exists': 1, 'reason': '\"The Power Of Love trope exists in the story through the gunman\\'s unexpected feelings for the woman he\\'s dancing with in the alley. Despite his initial intentions and the dangerous situation they\\'re in, he finds himself enjoying her company and feeling a sense of connection. This is evident in the way he slows down his movements to match hers, and how he feels caught up in something fundamental and oddly erotic. The way he describes her as having sweet ways and how he takes his hand off the revolver when she\\'s around him, also suggest that he\\'s experiencing feelings of love or attraction. The fact that he\\'s willing to put himself in harm\\'s way to protect her and fire back at the unknown threat, further highlights the power of love and the lengths he\\'s willing to go for the person he cares about.\"'}\n"
     ]
    },
    {
     "data": {
      "text/plain": [
       "[{'tname': 'Foreshadowing',\n",
       "  'exists': 1,\n",
       "  'reason': '\"The story contains foreshadowing elements, such as the gunman\\'s mention of the Boss\\'s ruthlessness and the ominous atmosphere created by the deserted alley and the fading light. The gunman\\'s internal monologue also hints at a larger plan or threat, as he mentions the Boss\\'s plans that haven\\'t happened yet. Additionally, the woman\\'s sudden appearance and her eventual death by a gunshot wound suggest that she was meant to be a witness or a victim, further foreshadowing the danger that the gunman is in.\"'},\n",
       " {'tname': 'Big Bad',\n",
       "  'exists': 1,\n",
       "  'reason': '\"The story features a Big Bad in the form of the master criminal known only as the Boss. The Boss is described as ruthless and powerful, able to summon the gunman to carry out his orders. The gunman is fearful of the Boss and his power, indicating that the Boss is a formidable villain. The story also implies that the Boss has a network of operatives and is able to manipulate events to his advantage, further solidifying his position as the Big Bad.\"'},\n",
       " {'tname': 'Reality Ensues',\n",
       "  'exists': 1,\n",
       "  'reason': '\"The story exhibits the trope of Reality Ensues when the gunman\\'s plans are foiled by the woman\\'s sudden appearance and death. Despite his attempts to be stealthy and avoid witnesses, the gunman is unable to escape the consequences of his actions. The woman\\'s death serves as a reminder that the gunman\\'s actions have real-world consequences and that he cannot avoid the repercussions of his choices indefinitely. Additionally, the story\\'s focus on the mundane details of the alley and the characters\\' movements and interactions adds to the sense of realism, emphasizing the idea that the events unfolding are part of a harsh and unforgiving reality.\"'},\n",
       " {'tname': 'Chekhovs Gun',\n",
       "  'exists': 1,\n",
       "  'reason': '\"The story contains an example of Chekhov\\'s Gun in the form of the gunman\\'s watch, which is described as having a hair-thin, razor-like edge. The watch is mentioned early in the story and seems to serve no purpose other than to indicate the passage of time. However, later in the story, the watch plays a crucial role when the gunman uses it to defend himself against an attacker, firing a shot that kills the woman who had been walking with him. The watch acts as a distraction, allowing the gunman to fire back and potentially saving his life. This is an example of Chekhov\\'s Gun because the watch is introduced early in the story and seems insignificant until it becomes important later on.\"'},\n",
       " {'tname': 'Downer Ending',\n",
       "  'exists': 1,\n",
       "  'reason': '\"The story features a Downer Ending as the gunman\\'s witness/potential victim dies in his arms after being shot, and he is left alone and confused, feeling rage and a sense of nothing making sense. The ending is bleak and tragic, leaving the reader with a feeling of emptiness and despair, which is a hallmark of the Downer Ending trope.\"'},\n",
       " {'tname': 'Shown Their Work',\n",
       "  'exists': 1,\n",
       "  'reason': '\"The story exhibits the \\'Shown Their Work\\' trope through the gunman\\'s introspection and attention to detail. The author describes the gunman\\'s thoughts and feelings in depth, showing the reader how he perceives the world around him. The use of sensory details, such as the sound of the street lamp swaying and the bats twittering, adds to the immersive quality of the narrative. The gunman\\'s inner monologue and his observations of the woman\\'s movements and expressions also contribute to the trope. The story also explores themes of loneliness, vulnerability, and the futility of violence, which are common in noir fiction.\"'},\n",
       " {'tname': 'Spanner In The Works',\n",
       "  'exists': 1,\n",
       "  'reason': '\"The story contains the Spanner In The Works trope, as the gunman\\'s plans are foiled by the woman\\'s unexpected arrival and subsequent events. The gunman\\'s reaction to the woman\\'s presence and his decision to not kill her also indicate that he is not fully in control of the situation, which is another characteristic of the Spanner In The Works trope.\"'},\n",
       " {'tname': 'Nice To The Waiter',\n",
       "  'exists': 1,\n",
       "  'reason': '\"The gunman\\'s behavior towards the woman in the alley, whom he doesn\\'t know and has no reason to be nice to, exhibits the Nice To The Waiter trope. He is gentle, respectful, and even protective towards her, despite the fact that she is a stranger and he is in a dangerous and stressful situation. He takes his hand off the revolver when she approaches, flicks his cigarette away, and walks with her, moving as she moves. He tells her he doesn\\'t know how to make fun of her and feels caught up in something fundamental and oddly erotic. He even risks his own life to protect her when he hears a shot ring out, firing impotently into the darkness in a futile attempt to defend her. All of these actions demonstrate the Nice To The Waiter trope, where a character shows kindness and respect to someone who is not in a position to reciprocate or reward them.\"'},\n",
       " {'tname': 'Shout Out',\n",
       "  'exists': 1,\n",
       "  'reason': '\"The story contains a shout out to the theme of the Boss\\'s ruthlessness and the gunman\\'s fear of being caught or killed, which is a common trope in crime fiction. The use of the word \\'boss\\' itself is also a nod to the trope of the criminal underworld. Additionally, the gunman\\'s line \\'Yeah, I know, lady. But I like it\\' could be seen as a reference to the trope of the \\'femme fatale\\'.\"'},\n",
       " {'tname': 'The Power Of Love',\n",
       "  'exists': 1,\n",
       "  'reason': '\"The Power Of Love trope exists in the story through the gunman\\'s unexpected feelings for the woman he\\'s dancing with in the alley. Despite his initial intentions and the dangerous situation they\\'re in, he finds himself enjoying her company and feeling a sense of connection. This is evident in the way he slows down his movements to match hers, and how he feels caught up in something fundamental and oddly erotic. The way he describes her as having sweet ways and how he takes his hand off the revolver when she\\'s around him, also suggest that he\\'s experiencing feelings of love or attraction. The fact that he\\'s willing to put himself in harm\\'s way to protect her and fire back at the unknown threat, further highlights the power of love and the lengths he\\'s willing to go for the person he cares about.\"'}]"
      ]
     },
     "execution_count": 65,
     "metadata": {},
     "output_type": "execute_result"
    }
   ],
   "source": [
    "prompt = \"\"\"<s>[INST] <<SYS>>\n",
    "{}\n",
    "<</SYS>>\n",
    "\n",
    "{} [/INST]\"\"\"\n",
    "\n",
    "system_prompt = \"\"\"You always communicate using a valid python JSON string. You will be given a trope and a story. Analyze carefully if the given trope exists or not in the story. The expected output from you should follow the structure:\\n \n",
    "    {\n",
    "        \"trope_exists\": {'yes' if the trope exists, 'no' if the trope does not exist},\n",
    "        \"evidence\": {reason why the trope exists or does not exist in the context of the story}\n",
    "    }\n",
    "\"\"\"\n",
    "user_msg = \"\"\"\\nTrope: {}\\nStory:\\n{}\"\"\"\n",
    "def check_trope_exists(row):\n",
    "    print(row)\n",
    "    story = row[0]\n",
    "    tropes = row[1]\n",
    "    tropes_validated = []\n",
    "    for trope in tropes:\n",
    "        trope_name, trope_def = get_trope_by_id(trope)\n",
    "        splitted = re.sub('([A-Z][a-z]+)', r' \\1', re.sub('([A-Z]+)', r' \\1', trope_name)).split()\n",
    "        trope_name = \" \".join(splitted)\n",
    "        u_m = user_msg.format(trope_name.strip(), story.strip())\n",
    "        # form the prompt\n",
    "        p = prompt.format(system_prompt, u_m)\n",
    "        # query the model\n",
    "        # generate(p, temp=0.7)\n",
    "        out = pipe_generate(p, temp=0.65)\n",
    "        out = out[0]\n",
    "        print(out)\n",
    "        p_out = {}\n",
    "        target = out.split('{')[1].split('}')[0]\n",
    "        exists = target.split(',')[0].split(': ')[1].strip()\n",
    "        p_out['tname'] = trope_name\n",
    "        p_out['exists'] = strtobool(exists)\n",
    "        p_out['reason'] = target.split(',',1)[1].split(':',1)[1].split('}')[0].strip()\n",
    "        print(p_out)\n",
    "        tropes_validated.append(p_out)\n",
    "        # parse the output and save it to tropes_validated\n",
    "    return tropes_validated\n",
    "s = stories_df[stories_df['sid']==\"s1\"].iloc[0].story\n",
    "# print(s)\n",
    "t = story_w_trope[story_w_trope['sid']==\"s1\"].iloc[0].tropes\n",
    "check_trope_exists((s,t))"
   ]
  },
  {
   "cell_type": "code",
   "execution_count": 27,
   "id": "1959ae6f-0565-4017-b363-fd8567f6863b",
   "metadata": {},
   "outputs": [
    {
     "name": "stdout",
     "output_type": "stream",
     "text": [
      "('A guard came to the prison shoe-shop, where Jimmy Valentine was assiduously stitching uppers, and escorted him to the front office. There the warden handed Jimmy his pardon, which had been signed that morning by the governor. Jimmy took it in a tired kind of way. He had served nearly ten months of a four year sentence. He had expected to stay only about three months, at the longest. When a man with as many friends on the outside as Jimmy Valentine had is received in the \"stir\" it is hardly worth while to cut his hair.\\n\\n\"Now, Valentine,\" said the warden, \"you\\'ll go out in the morning. Brace up, and make a man of yourself. You\\'re not a bad fellow at heart. Stop cracking safes, and live straight.\"\\n\\n\"Me?\" said Jimmy, in surprise. \"Why, I never cracked a safe in my life.\"\\n\\n\"Oh, no,\" laughed the warden. \"Of course not. Let\\'s see, now. How was it you happened to get sent up on that Springfield job? Was it because you wouldn\\'t prove an alibi for fear of compromising somebody in extremely high-toned society? Or was it simply a case of a mean old jury that had it in for you? It\\'s always one or the other with you innocent victims.\"\\n\\n\"Me?\" said Jimmy, still blankly virtuous. \"Why, warden, I never was in Springfield in my life!\"\\n\\n\"Take him back, Cronin!\" said the warden, \"and fix him up with outgoing clothes. Unlock him at seven in the morning, and let him come to the bull-pen. Better think over my advice, Valentine.\"\\n\\nAt a quarter past seven on the next morning Jimmy stood in the warden\\'s outer office. He had on a suit of the villainously fitting, ready-made clothes and a pair of the stiff, squeaky shoes that the state furnishes to its discharged compulsory guests.\\n\\nThe clerk handed him a railroad ticket and the five-dollar bill with which the law expected him to rehabilitate himself into good citizenship and prosperity. The warden gave him a cigar, and shook hands. Valentine, 9762, was chronicled on the books, \"Pardoned by Governor,\" and Mr. James Valentine walked out into the sunshine.\\n\\nDisregarding the song of the birds, the waving green trees, and the smell of the flowers, Jimmy headed straight for a restaurant. There he tasted the first sweet joys of liberty in the shape of a broiled chicken and a bottle of white wine—followed by a cigar a grade better than the one the warden had given him. From there he proceeded leisurely to the depot. He tossed a quarter into the hat of a blind man sitting by the door, and boarded his train. Three hours set him down in a little town near the state line. He went to the café of one Mike Dolan and shook hands with Mike, who was alone behind the bar.\\n\\n\"Sorry we couldn\\'t make it sooner, Jimmy, me boy,\" said Mike. \"But we had that protest from Springfield to buck against, and the governor nearly balked. Feeling all right?\"\\n\\n\"Fine,\" said Jimmy. \"Got my key?\"\\n\\nHe got his key and went upstairs, unlocking the door of a room at the rear. Everything was just as he had left it. There on the floor was still Ben Price\\'s collar-button that had been torn from that eminent detective\\'s shirt-band when they had overpowered Jimmy to arrest him.\\n\\nPulling out from the wall a folding-bed, Jimmy slid back a panel in the wall and dragged out a dust-covered suit-case. He opened this and gazed fondly at the finest set of burglar\\'s tools in the East. It was a complete set, made of specially tempered steel, the latest designs in drills, punches, braces and bits, jimmies, clamps, and augers, with two or three novelties, invented by Jimmy himself, in which he took pride. Over nine hundred dollars they had cost him to have made at ----, a place where they make such things for the profession.\\n\\nIn half an hour Jimmy went down stairs and through the café. He was now dressed in tasteful and well-fitting clothes, and carried his dusted and cleaned suit-case in his hand.\\n\\n\"Got anything on?\" asked Mike Dolan, genially.\\n\\n\"Me?\" said Jimmy, in a puzzled tone. \"I don\\'t understand. I\\'m representing the New York Amalgamated Short Snap Biscuit Cracker and Frazzled Wheat Company.\"\\n\\nThis statement delighted Mike to such an extent that Jimmy had to take a seltzer-and-milk on the spot. He never touched \"hard\" drinks.\\n\\nA week after the release of Valentine, 9762, there was a neat job of safe-burglary done in Richmond, Indiana, with no clue to the author. A scant eight hundred dollars was all that was secured. Two weeks after that a patented, improved, burglar-proof safe in Logansport was opened like a cheese to the tune of fifteen hundred dollars, currency; securities and silver untouched. That began to interest the rogue-catchers. Then an old-fashioned bank-safe in Jefferson City became active and threw out of its crater an eruption of bank-notes amounting to five thousand dollars. The losses were now high enough to bring the matter up into Ben Price\\'s class of work. By comparing notes, a remarkable similarity in the methods of the burglaries was noticed. Ben Price investigated the scenes of the robberies, and was heard to remark:\\n\\n\"That\\'s Dandy Jim Valentine\\'s autograph. He\\'s resumed business. Look at that combination knob—jerked out as easy as pulling up a radish in wet weather. He\\'s got the only clamps that can do it. And look how clean those tumblers were punched out! Jimmy never has to drill but one hole. Yes, I guess I want Mr. Valentine. He\\'ll do his bit next time without any short-time or clemency foolishness.\"\\n\\nBen Price knew Jimmy\\'s habits. He had learned them while working up the Springfield case. Long jumps, quick get-aways, no confederates, and a taste for good society—these ways had helped Mr. Valentine to become noted as a successful dodger of retribution. It was given out that Ben Price had taken up the trail of the elusive cracksman, and other people with burglar-proof safes felt more at ease.\\n\\nOne afternoon Jimmy Valentine and his suit-case climbed out of the mail-hack in Elmore, a little town five miles off the railroad down in the black-jack country of Arkansas. Jimmy, looking like an athletic young senior just home from college, went down the board side-walk toward the hotel.\\n\\nA young lady crossed the street, passed him at the corner and entered a door over which was the sign, \"The Elmore Bank.\" Jimmy Valentine looked into her eyes, forgot what he was, and became another man. She lowered her eyes and coloured slightly. Young men of Jimmy\\'s style and looks were scarce in Elmore.\\n\\nJimmy collared a boy that was loafing on the steps of the bank as if he were one of the stockholders, and began to ask him questions about the town, feeding him dimes at intervals. By and by the young lady came out, looking royally unconscious of the young man with the suit-case, and went her way.\\n\\n\"Isn\\'t that young lady Polly Simpson?\" asked Jimmy, with specious guile.\\n\\n\"Naw,\" said the boy. \"She\\'s Annabel Adams. Her pa owns this bank. What\\'d you come to Elmore for? Is that a gold watch-chain? I\\'m going to get a bulldog. Got any more dimes?\"\\n\\nJimmy went to the Planters\\' Hotel, registered as Ralph D. Spencer, and engaged a room. He leaned on the desk and declared his platform to the clerk. He said he had come to Elmore to look for a location to go into business. How was the shoe business, now, in the town? He had thought of the shoe business. Was there an opening?\\n\\nThe clerk was impressed by the clothes and manner of Jimmy. He, himself, was something of a pattern of fashion to the thinly gilded youth of Elmore, but he now perceived his shortcomings. While trying to figure out Jimmy\\'s manner of tying his four-in-hand he cordially gave information.\\n\\nYes, there ought to be a good opening in the shoe line. There wasn\\'t an exclusive shoe-store in the place. The dry-goods and general stores handled them. Business in all lines was fairly good. Hoped Mr. Spencer would decide to locate in Elmore. He would find it a pleasant town to live in, and the people very sociable.\\n\\nMr. Spencer thought he would stop over in the town a few days and look over the situation. No, the clerk needn\\'t call the boy. He would carry up his suit-case, himself; it was rather heavy.\\n\\nMr. Ralph Spencer, the phœnix that arose from Jimmy Valentine\\'s ashes—ashes left by the flame of a sudden and alterative attack of love—remained in Elmore, and prospered. He opened a shoe-store and secured a good run of trade.\\n\\nSocially he was also a success, and made many friends. And he accomplished the wish of his heart. He met Miss Annabel Adams, and became more and more captivated by her charms.\\n\\nAt the end of a year the situation of Mr. Ralph Spencer was this: he had won the respect of the community, his shoe-store was flourishing, and he and Annabel were engaged to be married in two weeks. Mr. Adams, the typical, plodding, country banker, approved of Spencer. Annabel\\'s pride in him almost equalled her affection. He was as much at home in the family of Mr. Adams and that of Annabel\\'s married sister as if he were already a member.\\n\\nOne day Jimmy sat down in his room and wrote this letter, which he mailed to the safe address of one of his old friends in St. Louis:\\n \\n\\n        Dear Old Pal:\\n\\n        I want you to be at Sullivan\\'s place, in Little Rock, next Wednesday night, at nine o\\'clock. I want you to wind up some little matters for me. And, also, I want to make you a present of my kit of tools. I know you\\'ll be glad to get them—you couldn\\'t duplicate the lot for a thousand dollars. Say, Billy, I\\'ve quit the old business—a year ago. I\\'ve got a nice store. I\\'m making an honest living, and I\\'m going to marry the finest girl on earth two weeks from now. It\\'s the only life, Billy—the straight one. I wouldn\\'t touch a dollar of another man\\'s money now for a million. After I get married I\\'m going to sell out and go West, where there won\\'t be so much danger of having old scores brought up against me. I tell you, Billy, she\\'s an angel. She believes in me; and I wouldn\\'t do another crooked thing for the whole world. Be sure to be at Sully\\'s, for I must see you. I\\'ll bring along the tools with me.\\n\\n        Your old friend,\\n\\n        Jimmy.\\n         \\n\\nOn the Monday night after Jimmy wrote this letter, Ben Price jogged unobtrusively into Elmore in a livery buggy. He lounged about town in his quiet way until he found out what he wanted to know. From the drug-store across the street from Spencer\\'s shoe-store he got a good look at Ralph D. Spencer.\\n\\n\"Going to marry the banker\\'s daughter are you, Jimmy?\" said Ben to himself, softly. \"Well, I don\\'t know!\"\\n\\nThe next morning Jimmy took breakfast at the Adamses. He was going to Little Rock that day to order his wedding-suit and buy something nice for Annabel. That would be the first time he had left town since he came to Elmore. It had been more than a year now since those last professional \"jobs,\" and he thought he could safely venture out.\\n\\nAfter breakfast quite a family party went downtown together—Mr. Adams, Annabel, Jimmy, and Annabel\\'s married sister with her two little girls, aged five and nine. They came by the hotel where Jimmy still boarded, and he ran up to his room and brought along his suit-case. Then they went on to the bank. There stood Jimmy\\'s horse and buggy and Dolph Gibson, who was going to drive him over to the railroad station.\\n\\nAll went inside the high, carved oak railings into the banking-room—Jimmy included, for Mr. Adams\\'s future son-in-law was welcome anywhere. The clerks were pleased to be greeted by the good-looking, agreeable young man who was going to marry Miss Annabel. Jimmy set his suit-case down. Annabel, whose heart was bubbling with happiness and lively youth, put on Jimmy\\'s hat, and picked up the suit-case. \"Wouldn\\'t I make a nice drummer?\" said Annabel. \"My! Ralph, how heavy it is? Feels like it was full of gold bricks.\"\\n\\n\"Lot of nickel-plated shoe-horns in there,\" said Jimmy, coolly, \"that I\\'m going to return. Thought I\\'d save express charges by taking them up. I\\'m getting awfully economical.\"\\n\\nThe Elmore Bank had just put in a new safe and vault. Mr. Adams was very proud of it, and insisted on an inspection by every one. The vault was a small one, but it had a new, patented door. It fastened with three solid steel bolts thrown simultaneously with a single handle, and had a time-lock. Mr. Adams beamingly explained its workings to Mr. Spencer, who showed a courteous but not too intelligent interest. The two children, May and Agatha, were delighted by the shining metal and funny clock and knobs.\\n\\nWhile they were thus engaged Ben Price sauntered in and leaned on his elbow, looking casually inside between the railings. He told the teller that he didn\\'t want anything; he was just waiting for a man he knew.\\n\\nSuddenly there was a scream or two from the women, and a commotion. Unperceived by the elders, May, the nine-year-old girl, in a spirit of play, had shut Agatha in the vault. She had then shot the bolts and turned the knob of the combination as she had seen Mr. Adams do.\\n\\nThe old banker sprang to the handle and tugged at it for a moment. \"The door can\\'t be opened,\" he groaned. \"The clock hasn\\'t been wound nor the combination set.\"\\n\\nAgatha\\'s mother screamed again, hysterically.\\n\\n\"Hush!\" said Mr. Adams, raising his trembling hand. \"All be quite for a moment. Agatha!\" he called as loudly as he could. \"Listen to me.\" During the following silence they could just hear the faint sound of the child wildly shrieking in the dark vault in a panic of terror.\\n\\n\"My precious darling!\" wailed the mother. \"She will die of fright! Open the door! Oh, break it open! Can\\'t you men do something?\"\\n\\n\"There isn\\'t a man nearer than Little Rock who can open that door,\" said Mr. Adams, in a shaky voice. \"My God! Spencer, what shall we do? That child—she can\\'t stand it long in there. There isn\\'t enough air, and, besides, she\\'ll go into convulsions from fright.\"\\n\\nAgatha\\'s mother, frantic now, beat the door of the vault with her hands. Somebody wildly suggested dynamite. Annabel turned to Jimmy, her large eyes full of anguish, but not yet despairing. To a woman nothing seems quite impossible to the powers of the man she worships.\\n\\n\"Can\\'t you do something, Ralph — try, won\\'t you?\"\\n\\nHe looked at her with a queer, soft smile on his lips and in his keen eyes.\\n\\n\"Annabel,\" he said, \"give me that rose you are wearing, will you?\"\\n\\nHardly believing that she heard him aright, she unpinned the bud from the bosom of her dress, and placed it in his hand. Jimmy stuffed it into his vest-pocket, threw off his coat and pulled up his shirt-sleeves. With that act Ralph D. Spencer passed away and Jimmy Valentine took his place.\\n\\n\"Get away from the door, all of you,\" he commanded, shortly.\\n\\nHe set his suit-case on the table, and opened it out flat. From that time on he seemed to be unconscious of the presence of any one else. He laid out the shining, queer implements swiftly and orderly, whistling softly to himself as he always did when at work. In a deep silence and immovable, the others watched him as if under a spell.\\n\\nIn a minute Jimmy\\'s pet drill was biting smoothly into the steel door. In ten minutes—breaking his own burglarious record—he threw back the bolts and opened the door.\\n\\nAgatha, almost collapsed, but safe, was gathered into her mother\\'s arms.\\n\\nJimmy Valentine put on his coat, and walked outside the railings towards the front door. As he went he thought he heard a far-away voice that he once knew call \"Ralph!\" But he never hesitated.\\n\\nAt the door a big man stood somewhat in his way.\\n\\n\"Hello, Ben!\" said Jimmy, still with his strange smile. \"Got around at last, have you? Well, let\\'s go. I don\\'t know that it makes much difference, now.\"\\n\\nAnd then Ben Price acted rather strangely.\\n\\n\"Guess you\\'re mistaken, Mr. Spencer,\" he said. \"Don\\'t believe I recognize you. Your buggy\\'s waiting for you, ain\\'t it?\"\\n\\nAnd Ben Price turned and strolled down the street.', ['t06452', 't08905', 't08393', 't20214', 't06175', 't16447', 't02187', 't22938', 't03097', 't00265'])\n",
      "#####################################################\n",
      "Early Installment Weirdness  \n",
      "#####################################################\n",
      "Gender Blender Name  \n",
      "#####################################################\n",
      "Foreshadowing  \n",
      "#####################################################\n",
      "Shout Out  \n",
      "#####################################################\n",
      "Dramatic Irony  \n",
      "#####################################################\n",
      "Our Vampires Are Different  \n",
      "#####################################################\n",
      "Big Bad  \n",
      "#####################################################\n",
      "The Good Chancellor  \n",
      "#####################################################\n",
      "Call Back  \n",
      "#####################################################\n",
      "Adaptation Expansion  \n"
     ]
    },
    {
     "data": {
      "text/plain": [
       "[{}, {}, {}, {}, {}, {}, {}, {}, {}, {}]"
      ]
     },
     "execution_count": 27,
     "metadata": {},
     "output_type": "execute_result"
    }
   ],
   "source": [
    "# torch.cuda.empty_cache()\n",
    "prompt = \"\"\"<s>[INST] <<SYS>>\n",
    "{}\n",
    "<</SYS>>\n",
    "\n",
    "{} [/INST]\"\"\"\n",
    "\n",
    "system_prompt = \"\"\"You always communicate using a valid python JSON string. You will be given a trope and a story. Analyze carefully if the given trope exists or not in the story. The expected output from you should follow the structure:\\n \n",
    "    {\n",
    "        \"trope_exists\": {'yes' if the trope exists, 'no' if the trope does not exist},\n",
    "        \"evidence\": {reason why the trope exists or does not exist in the context of the story}\n",
    "    }\n",
    "\"\"\"\n",
    "user_msg = \"\"\"Trope: {}\\nStory:\\n{}\"\"\"\n",
    "def check_trope_exists(row):\n",
    "    print(row)\n",
    "    story = row[0]\n",
    "    tropes = row[1]\n",
    "    tropes_validated = []\n",
    "    for trope in tropes:\n",
    "        trope_name, trope_def = get_trope_by_id(trope)\n",
    "        splitted = re.sub('([A-Z][a-z]+)', r' \\1', re.sub('([A-Z]+)', r' \\1', trope_name)).split()\n",
    "        trope_name = \" \".join(splitted)\n",
    "        u_m = user_msg.format(trope_name.strip(), story.strip())\n",
    "        # form the prompt\n",
    "        p = prompt.format(system_prompt, u_m)\n",
    "        # query the model\n",
    "        # generate(p, temp=0.7)\n",
    "        # print(p)\n",
    "        out = pipe_generate(p, temp=0.45)# 0.50, .55 does a good job but it still hallucinates, 0.45 is great, 0.35 is also good #stick to 0.45\n",
    "        out = out[0]\n",
    "        # out = generate(p, temp=0.45)\n",
    "        print(trope_name, out)\n",
    "        p_out = {}\n",
    "        # target = out.split('{')[1].split('}')[0]\n",
    "        # exists = target.split(',')[0].split(': ')[1].strip()\n",
    "        # p_out['tname'] = trope_name\n",
    "        # p_out['exists'] = strtobool(exists)\n",
    "        # p_out['reason'] = target.split(',',1)[1].split(':',1)[1].split('}')[0].strip()\n",
    "        # print(p_out)\n",
    "        tropes_validated.append(p_out)\n",
    "        # parse the output and save it to tropes_validated\n",
    "    return tropes_validated\n",
    "s = story_w_trope[story_w_trope['sid']==\"s82\"].iloc[0].story\n",
    "# print(s)\n",
    "t = story_w_trope[story_w_trope['sid']==\"s82\"].iloc[0].tropes\n",
    "check_trope_exists((s,t))"
   ]
  },
  {
   "cell_type": "code",
   "execution_count": 11,
   "id": "74920ca1-7281-4843-a85c-be6ca0920176",
   "metadata": {},
   "outputs": [
    {
     "name": "stdout",
     "output_type": "stream",
     "text": [
      "('One time two clowns set themselves to arguing. The people\\nwould stop, amused, to watch them.\\n— What’s that? they asked.\\n— Why, it’s only two clowns arguing.\\nWho could take them seriously? Ridiculous, the two comedians rep-\\narteed. The arguments were common nonsense, the theme was a ninnery.\\nAnd an entire day passed.\\nThe following morning, the two remained, obnoxious and outdoing\\neach other. It seemed as though, between them, even yucca soured. In the\\nstreet, meanwhile, those present were exhilarated with the masquerade.\\nThe buffoons began worsening their insults with fine-edged and fine-\\ntuned barbs. Believing it to be a show, the passersby left coins along the\\nroadside.\\nOn the third day, however, the clowns arrived at acts of force. Their\\nblows became a disarray, their counterkicks zinged more across air than\\nacross bodies. The children rollicked, imitating each jester’s blows. And\\nthey laughed at the two fools, their bodies tripping upon their own selves.\\nAnd the boys wanted to repay the delightful goodness of the clowns.\\n— Dad, give me some coins to leave on the sidewalk.\\nOn the fourth day, the jabs and blows grew worse. Beneath their\\nmakeup, the faces of the clowns began to bleed. Some kids became\\nscared. Was that true blood?\\n— It’s not serious, don’t fret, their parents soothed them.\\nIn failures of trajectory, some were struck by directionless wallops. But\\nit was light fare, only serving to add to the laughs. More and more people\\njoined the gallery.\\n— What’s going on?\\nNothing. A friendly unsettling of accounts. It’s not worth separating\\nthem. They’ll tire out, it’s nothing more than a bit of clowning around.\\nOn the fifth day, however, one of the clowns armed himself with a\\nstick. Advancing on his adversary, he discharged a blow that tore off his\\nwig. The other, furious, equipped himself with a symmetrical beating\\nbat and responded with the same dismeasure. The wooden rods whistled\\nthrough the air in somersaults and deliriums. One of the spectators, un-\\nexpectedly, was struck. The man fell, deadspread.\\nA certain confusion arose, the souls divided. Little by little, two battle-\\nfields began to form. Various groups traded drubbings. Still more were\\nfelled.\\nIt entered a second week and the surrounding neighborhoods heard\\nit said that a dizzied pandemonium had set in around the two clowns.\\nAnd the thing embroiled the entire plaza. And the neighbors found it\\nfunny. Some went to the plaza to verify the reports. They returned with\\ncontradicting and inflamed versions of their own. The neighborhood\\ncontinued to divide itself, in opposing opinions. Conflicts began in some\\nneighborhoods.\\nOn the twentieth day, shots began to be heard. No one knew exactly\\nwhere they came from. Could have been from any point in the city.\\nFull of terror, the inhabitants armed themselves. The tiniest movement\\nseemed suspect. The shots spread. Dead bodies began to accumulate in\\nthe streets. Terror reigned over the whole city. Soon, massacres began.\\nAt the beginning of the month, all the city’s inhabitants had died. All\\nexcept the two clowns. That morning, the comics sat, each one in his\\ncorner, and ridded themselves of their ridiculous dress. They looked at\\neach other, worn out. Later, they rose to their feet and embraced, laugh-\\ning at the flags dispersed. Arm in arm, they gathered the coins from the\\nroadsides.Together they crossed the city destroyed, careful not to tread on\\nthe cadavers. And they went in search of another city.', ['t08393', 't18297', 't15274', 't26668', 't02839', 't03644', 't08299', 't24933', 't07200', 't20214'])\n"
     ]
    },
    {
     "ename": "KeyboardInterrupt",
     "evalue": "",
     "output_type": "error",
     "traceback": [
      "\u001b[0;31m---------------------------------------------------------------------------\u001b[0m",
      "\u001b[0;31mKeyboardInterrupt\u001b[0m                         Traceback (most recent call last)",
      "\u001b[0;32m/scratch/tmp.35307959.sharaj/ipykernel_34227/2537066623.py\u001b[0m in \u001b[0;36m<module>\u001b[0;34m\u001b[0m\n\u001b[1;32m     42\u001b[0m \u001b[0;31m# print(s)\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[1;32m     43\u001b[0m \u001b[0mt\u001b[0m \u001b[0;34m=\u001b[0m \u001b[0mstory_w_trope\u001b[0m\u001b[0;34m[\u001b[0m\u001b[0mstory_w_trope\u001b[0m\u001b[0;34m[\u001b[0m\u001b[0;34m'sid'\u001b[0m\u001b[0;34m]\u001b[0m\u001b[0;34m==\u001b[0m\u001b[0;34m\"s47\"\u001b[0m\u001b[0;34m]\u001b[0m\u001b[0;34m.\u001b[0m\u001b[0miloc\u001b[0m\u001b[0;34m[\u001b[0m\u001b[0;36m0\u001b[0m\u001b[0;34m]\u001b[0m\u001b[0;34m.\u001b[0m\u001b[0mtropes\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[0;32m---> 44\u001b[0;31m \u001b[0mcheck_trope_exists\u001b[0m\u001b[0;34m(\u001b[0m\u001b[0;34m(\u001b[0m\u001b[0ms\u001b[0m\u001b[0;34m,\u001b[0m\u001b[0mt\u001b[0m\u001b[0;34m)\u001b[0m\u001b[0;34m)\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[0m",
      "\u001b[0;32m/scratch/tmp.35307959.sharaj/ipykernel_34227/2537066623.py\u001b[0m in \u001b[0;36mcheck_trope_exists\u001b[0;34m(row)\u001b[0m\n\u001b[1;32m     26\u001b[0m         \u001b[0;31m# query the model\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[1;32m     27\u001b[0m         \u001b[0;31m# generate(p, temp=0.7)\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[0;32m---> 28\u001b[0;31m         \u001b[0mout\u001b[0m \u001b[0;34m=\u001b[0m \u001b[0mpipe_generate\u001b[0m\u001b[0;34m(\u001b[0m\u001b[0mp\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0mtemp\u001b[0m\u001b[0;34m=\u001b[0m\u001b[0;36m0.7\u001b[0m\u001b[0;34m)\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[0m\u001b[1;32m     29\u001b[0m         \u001b[0mout\u001b[0m \u001b[0;34m=\u001b[0m \u001b[0mout\u001b[0m\u001b[0;34m[\u001b[0m\u001b[0;36m0\u001b[0m\u001b[0;34m]\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[1;32m     30\u001b[0m         \u001b[0mprint\u001b[0m\u001b[0;34m(\u001b[0m\u001b[0mout\u001b[0m\u001b[0;34m)\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n",
      "\u001b[0;32m/scratch/tmp.35307959.sharaj/ipykernel_34227/1883163142.py\u001b[0m in \u001b[0;36mpipe_generate\u001b[0;34m(prompt, temp)\u001b[0m\n\u001b[1;32m     36\u001b[0m \u001b[0;31m# @print_function_name\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[1;32m     37\u001b[0m \u001b[0;32mdef\u001b[0m \u001b[0mpipe_generate\u001b[0m\u001b[0;34m(\u001b[0m\u001b[0mprompt\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0mtemp\u001b[0m\u001b[0;34m=\u001b[0m\u001b[0;36m0.6\u001b[0m\u001b[0;34m)\u001b[0m\u001b[0;34m:\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[0;32m---> 38\u001b[0;31m     \u001b[0msequences\u001b[0m \u001b[0;34m=\u001b[0m \u001b[0mpipe\u001b[0m\u001b[0;34m(\u001b[0m\u001b[0mprompt\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0mtemperature\u001b[0m\u001b[0;34m=\u001b[0m\u001b[0mtemp\u001b[0m\u001b[0;34m)\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[0m\u001b[1;32m     39\u001b[0m     \u001b[0mgen_text\u001b[0m \u001b[0;34m=\u001b[0m \u001b[0;34m[\u001b[0m\u001b[0;34m]\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[1;32m     40\u001b[0m     \u001b[0;32mfor\u001b[0m \u001b[0mseq\u001b[0m \u001b[0;32min\u001b[0m \u001b[0msequences\u001b[0m\u001b[0;34m:\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n",
      "\u001b[0;32m~/.local/lib/python3.9/site-packages/transformers/pipelines/text_generation.py\u001b[0m in \u001b[0;36m__call__\u001b[0;34m(self, text_inputs, **kwargs)\u001b[0m\n\u001b[1;32m    206\u001b[0m               \u001b[0mids\u001b[0m \u001b[0mof\u001b[0m \u001b[0mthe\u001b[0m \u001b[0mgenerated\u001b[0m \u001b[0mtext\u001b[0m\u001b[0;34m.\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[1;32m    207\u001b[0m         \"\"\"\n\u001b[0;32m--> 208\u001b[0;31m         \u001b[0;32mreturn\u001b[0m \u001b[0msuper\u001b[0m\u001b[0;34m(\u001b[0m\u001b[0;34m)\u001b[0m\u001b[0;34m.\u001b[0m\u001b[0m__call__\u001b[0m\u001b[0;34m(\u001b[0m\u001b[0mtext_inputs\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0;34m**\u001b[0m\u001b[0mkwargs\u001b[0m\u001b[0;34m)\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[0m\u001b[1;32m    209\u001b[0m \u001b[0;34m\u001b[0m\u001b[0m\n\u001b[1;32m    210\u001b[0m     def preprocess(\n",
      "\u001b[0;32m~/.local/lib/python3.9/site-packages/transformers/pipelines/base.py\u001b[0m in \u001b[0;36m__call__\u001b[0;34m(self, inputs, num_workers, batch_size, *args, **kwargs)\u001b[0m\n\u001b[1;32m   1138\u001b[0m             )\n\u001b[1;32m   1139\u001b[0m         \u001b[0;32melse\u001b[0m\u001b[0;34m:\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[0;32m-> 1140\u001b[0;31m             \u001b[0;32mreturn\u001b[0m \u001b[0mself\u001b[0m\u001b[0;34m.\u001b[0m\u001b[0mrun_single\u001b[0m\u001b[0;34m(\u001b[0m\u001b[0minputs\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0mpreprocess_params\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0mforward_params\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0mpostprocess_params\u001b[0m\u001b[0;34m)\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[0m\u001b[1;32m   1141\u001b[0m \u001b[0;34m\u001b[0m\u001b[0m\n\u001b[1;32m   1142\u001b[0m     \u001b[0;32mdef\u001b[0m \u001b[0mrun_multi\u001b[0m\u001b[0;34m(\u001b[0m\u001b[0mself\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0minputs\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0mpreprocess_params\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0mforward_params\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0mpostprocess_params\u001b[0m\u001b[0;34m)\u001b[0m\u001b[0;34m:\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n",
      "\u001b[0;32m~/.local/lib/python3.9/site-packages/transformers/pipelines/base.py\u001b[0m in \u001b[0;36mrun_single\u001b[0;34m(self, inputs, preprocess_params, forward_params, postprocess_params)\u001b[0m\n\u001b[1;32m   1145\u001b[0m     \u001b[0;32mdef\u001b[0m \u001b[0mrun_single\u001b[0m\u001b[0;34m(\u001b[0m\u001b[0mself\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0minputs\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0mpreprocess_params\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0mforward_params\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0mpostprocess_params\u001b[0m\u001b[0;34m)\u001b[0m\u001b[0;34m:\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[1;32m   1146\u001b[0m         \u001b[0mmodel_inputs\u001b[0m \u001b[0;34m=\u001b[0m \u001b[0mself\u001b[0m\u001b[0;34m.\u001b[0m\u001b[0mpreprocess\u001b[0m\u001b[0;34m(\u001b[0m\u001b[0minputs\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0;34m**\u001b[0m\u001b[0mpreprocess_params\u001b[0m\u001b[0;34m)\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[0;32m-> 1147\u001b[0;31m         \u001b[0mmodel_outputs\u001b[0m \u001b[0;34m=\u001b[0m \u001b[0mself\u001b[0m\u001b[0;34m.\u001b[0m\u001b[0mforward\u001b[0m\u001b[0;34m(\u001b[0m\u001b[0mmodel_inputs\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0;34m**\u001b[0m\u001b[0mforward_params\u001b[0m\u001b[0;34m)\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[0m\u001b[1;32m   1148\u001b[0m         \u001b[0moutputs\u001b[0m \u001b[0;34m=\u001b[0m \u001b[0mself\u001b[0m\u001b[0;34m.\u001b[0m\u001b[0mpostprocess\u001b[0m\u001b[0;34m(\u001b[0m\u001b[0mmodel_outputs\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0;34m**\u001b[0m\u001b[0mpostprocess_params\u001b[0m\u001b[0;34m)\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[1;32m   1149\u001b[0m         \u001b[0;32mreturn\u001b[0m \u001b[0moutputs\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n",
      "\u001b[0;32m~/.local/lib/python3.9/site-packages/transformers/pipelines/base.py\u001b[0m in \u001b[0;36mforward\u001b[0;34m(self, model_inputs, **forward_params)\u001b[0m\n\u001b[1;32m   1044\u001b[0m                 \u001b[0;32mwith\u001b[0m \u001b[0minference_context\u001b[0m\u001b[0;34m(\u001b[0m\u001b[0;34m)\u001b[0m\u001b[0;34m:\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[1;32m   1045\u001b[0m                     \u001b[0mmodel_inputs\u001b[0m \u001b[0;34m=\u001b[0m \u001b[0mself\u001b[0m\u001b[0;34m.\u001b[0m\u001b[0m_ensure_tensor_on_device\u001b[0m\u001b[0;34m(\u001b[0m\u001b[0mmodel_inputs\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0mdevice\u001b[0m\u001b[0;34m=\u001b[0m\u001b[0mself\u001b[0m\u001b[0;34m.\u001b[0m\u001b[0mdevice\u001b[0m\u001b[0;34m)\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[0;32m-> 1046\u001b[0;31m                     \u001b[0mmodel_outputs\u001b[0m \u001b[0;34m=\u001b[0m \u001b[0mself\u001b[0m\u001b[0;34m.\u001b[0m\u001b[0m_forward\u001b[0m\u001b[0;34m(\u001b[0m\u001b[0mmodel_inputs\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0;34m**\u001b[0m\u001b[0mforward_params\u001b[0m\u001b[0;34m)\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[0m\u001b[1;32m   1047\u001b[0m                     \u001b[0mmodel_outputs\u001b[0m \u001b[0;34m=\u001b[0m \u001b[0mself\u001b[0m\u001b[0;34m.\u001b[0m\u001b[0m_ensure_tensor_on_device\u001b[0m\u001b[0;34m(\u001b[0m\u001b[0mmodel_outputs\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0mdevice\u001b[0m\u001b[0;34m=\u001b[0m\u001b[0mtorch\u001b[0m\u001b[0;34m.\u001b[0m\u001b[0mdevice\u001b[0m\u001b[0;34m(\u001b[0m\u001b[0;34m\"cpu\"\u001b[0m\u001b[0;34m)\u001b[0m\u001b[0;34m)\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[1;32m   1048\u001b[0m             \u001b[0;32melse\u001b[0m\u001b[0;34m:\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n",
      "\u001b[0;32m~/.local/lib/python3.9/site-packages/transformers/pipelines/text_generation.py\u001b[0m in \u001b[0;36m_forward\u001b[0;34m(self, model_inputs, **generate_kwargs)\u001b[0m\n\u001b[1;32m    269\u001b[0m \u001b[0;34m\u001b[0m\u001b[0m\n\u001b[1;32m    270\u001b[0m         \u001b[0;31m# BS x SL\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[0;32m--> 271\u001b[0;31m         \u001b[0mgenerated_sequence\u001b[0m \u001b[0;34m=\u001b[0m \u001b[0mself\u001b[0m\u001b[0;34m.\u001b[0m\u001b[0mmodel\u001b[0m\u001b[0;34m.\u001b[0m\u001b[0mgenerate\u001b[0m\u001b[0;34m(\u001b[0m\u001b[0minput_ids\u001b[0m\u001b[0;34m=\u001b[0m\u001b[0minput_ids\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0mattention_mask\u001b[0m\u001b[0;34m=\u001b[0m\u001b[0mattention_mask\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0;34m**\u001b[0m\u001b[0mgenerate_kwargs\u001b[0m\u001b[0;34m)\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[0m\u001b[1;32m    272\u001b[0m         \u001b[0mout_b\u001b[0m \u001b[0;34m=\u001b[0m \u001b[0mgenerated_sequence\u001b[0m\u001b[0;34m.\u001b[0m\u001b[0mshape\u001b[0m\u001b[0;34m[\u001b[0m\u001b[0;36m0\u001b[0m\u001b[0;34m]\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[1;32m    273\u001b[0m         \u001b[0;32mif\u001b[0m \u001b[0mself\u001b[0m\u001b[0;34m.\u001b[0m\u001b[0mframework\u001b[0m \u001b[0;34m==\u001b[0m \u001b[0;34m\"pt\"\u001b[0m\u001b[0;34m:\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n",
      "\u001b[0;32m~/.local/lib/python3.9/site-packages/torch/utils/_contextlib.py\u001b[0m in \u001b[0;36mdecorate_context\u001b[0;34m(*args, **kwargs)\u001b[0m\n\u001b[1;32m    113\u001b[0m     \u001b[0;32mdef\u001b[0m \u001b[0mdecorate_context\u001b[0m\u001b[0;34m(\u001b[0m\u001b[0;34m*\u001b[0m\u001b[0margs\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0;34m**\u001b[0m\u001b[0mkwargs\u001b[0m\u001b[0;34m)\u001b[0m\u001b[0;34m:\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[1;32m    114\u001b[0m         \u001b[0;32mwith\u001b[0m \u001b[0mctx_factory\u001b[0m\u001b[0;34m(\u001b[0m\u001b[0;34m)\u001b[0m\u001b[0;34m:\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[0;32m--> 115\u001b[0;31m             \u001b[0;32mreturn\u001b[0m \u001b[0mfunc\u001b[0m\u001b[0;34m(\u001b[0m\u001b[0;34m*\u001b[0m\u001b[0margs\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0;34m**\u001b[0m\u001b[0mkwargs\u001b[0m\u001b[0;34m)\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[0m\u001b[1;32m    116\u001b[0m \u001b[0;34m\u001b[0m\u001b[0m\n\u001b[1;32m    117\u001b[0m     \u001b[0;32mreturn\u001b[0m \u001b[0mdecorate_context\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n",
      "\u001b[0;32m~/.local/lib/python3.9/site-packages/transformers/generation/utils.py\u001b[0m in \u001b[0;36mgenerate\u001b[0;34m(self, inputs, generation_config, logits_processor, stopping_criteria, prefix_allowed_tokens_fn, synced_gpus, assistant_model, streamer, negative_prompt_ids, negative_prompt_attention_mask, **kwargs)\u001b[0m\n\u001b[1;32m   1650\u001b[0m \u001b[0;34m\u001b[0m\u001b[0m\n\u001b[1;32m   1651\u001b[0m             \u001b[0;31m# 13. run sample\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[0;32m-> 1652\u001b[0;31m             return self.sample(\n\u001b[0m\u001b[1;32m   1653\u001b[0m                 \u001b[0minput_ids\u001b[0m\u001b[0;34m,\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[1;32m   1654\u001b[0m                 \u001b[0mlogits_processor\u001b[0m\u001b[0;34m=\u001b[0m\u001b[0mlogits_processor\u001b[0m\u001b[0;34m,\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n",
      "\u001b[0;32m~/.local/lib/python3.9/site-packages/transformers/generation/utils.py\u001b[0m in \u001b[0;36msample\u001b[0;34m(self, input_ids, logits_processor, stopping_criteria, logits_warper, max_length, pad_token_id, eos_token_id, output_attentions, output_hidden_states, output_scores, return_dict_in_generate, synced_gpus, streamer, **model_kwargs)\u001b[0m\n\u001b[1;32m   2732\u001b[0m \u001b[0;34m\u001b[0m\u001b[0m\n\u001b[1;32m   2733\u001b[0m             \u001b[0;31m# forward pass to get next token\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[0;32m-> 2734\u001b[0;31m             outputs = self(\n\u001b[0m\u001b[1;32m   2735\u001b[0m                 \u001b[0;34m**\u001b[0m\u001b[0mmodel_inputs\u001b[0m\u001b[0;34m,\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[1;32m   2736\u001b[0m                 \u001b[0mreturn_dict\u001b[0m\u001b[0;34m=\u001b[0m\u001b[0;32mTrue\u001b[0m\u001b[0;34m,\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n",
      "\u001b[0;32m~/.local/lib/python3.9/site-packages/torch/nn/modules/module.py\u001b[0m in \u001b[0;36m_call_impl\u001b[0;34m(self, *args, **kwargs)\u001b[0m\n\u001b[1;32m   1499\u001b[0m                 \u001b[0;32mor\u001b[0m \u001b[0m_global_backward_pre_hooks\u001b[0m \u001b[0;32mor\u001b[0m \u001b[0m_global_backward_hooks\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[1;32m   1500\u001b[0m                 or _global_forward_hooks or _global_forward_pre_hooks):\n\u001b[0;32m-> 1501\u001b[0;31m             \u001b[0;32mreturn\u001b[0m \u001b[0mforward_call\u001b[0m\u001b[0;34m(\u001b[0m\u001b[0;34m*\u001b[0m\u001b[0margs\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0;34m**\u001b[0m\u001b[0mkwargs\u001b[0m\u001b[0;34m)\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[0m\u001b[1;32m   1502\u001b[0m         \u001b[0;31m# Do not call functions when jit is used\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[1;32m   1503\u001b[0m         \u001b[0mfull_backward_hooks\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0mnon_full_backward_hooks\u001b[0m \u001b[0;34m=\u001b[0m \u001b[0;34m[\u001b[0m\u001b[0;34m]\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0;34m[\u001b[0m\u001b[0;34m]\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n",
      "\u001b[0;32m~/.local/lib/python3.9/site-packages/accelerate/hooks.py\u001b[0m in \u001b[0;36mnew_forward\u001b[0;34m(*args, **kwargs)\u001b[0m\n\u001b[1;32m    163\u001b[0m                 \u001b[0moutput\u001b[0m \u001b[0;34m=\u001b[0m \u001b[0mold_forward\u001b[0m\u001b[0;34m(\u001b[0m\u001b[0;34m*\u001b[0m\u001b[0margs\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0;34m**\u001b[0m\u001b[0mkwargs\u001b[0m\u001b[0;34m)\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[1;32m    164\u001b[0m         \u001b[0;32melse\u001b[0m\u001b[0;34m:\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[0;32m--> 165\u001b[0;31m             \u001b[0moutput\u001b[0m \u001b[0;34m=\u001b[0m \u001b[0mold_forward\u001b[0m\u001b[0;34m(\u001b[0m\u001b[0;34m*\u001b[0m\u001b[0margs\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0;34m**\u001b[0m\u001b[0mkwargs\u001b[0m\u001b[0;34m)\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[0m\u001b[1;32m    166\u001b[0m         \u001b[0;32mreturn\u001b[0m \u001b[0mmodule\u001b[0m\u001b[0;34m.\u001b[0m\u001b[0m_hf_hook\u001b[0m\u001b[0;34m.\u001b[0m\u001b[0mpost_forward\u001b[0m\u001b[0;34m(\u001b[0m\u001b[0mmodule\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0moutput\u001b[0m\u001b[0;34m)\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[1;32m    167\u001b[0m \u001b[0;34m\u001b[0m\u001b[0m\n",
      "\u001b[0;32m~/.local/lib/python3.9/site-packages/transformers/models/llama/modeling_llama.py\u001b[0m in \u001b[0;36mforward\u001b[0;34m(self, input_ids, attention_mask, position_ids, past_key_values, inputs_embeds, labels, use_cache, output_attentions, output_hidden_states, return_dict)\u001b[0m\n\u001b[1;32m   1036\u001b[0m \u001b[0;34m\u001b[0m\u001b[0m\n\u001b[1;32m   1037\u001b[0m         \u001b[0;31m# decoder outputs consists of (dec_features, layer_state, dec_hidden, dec_attn)\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[0;32m-> 1038\u001b[0;31m         outputs = self.model(\n\u001b[0m\u001b[1;32m   1039\u001b[0m             \u001b[0minput_ids\u001b[0m\u001b[0;34m=\u001b[0m\u001b[0minput_ids\u001b[0m\u001b[0;34m,\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[1;32m   1040\u001b[0m             \u001b[0mattention_mask\u001b[0m\u001b[0;34m=\u001b[0m\u001b[0mattention_mask\u001b[0m\u001b[0;34m,\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n",
      "\u001b[0;32m~/.local/lib/python3.9/site-packages/torch/nn/modules/module.py\u001b[0m in \u001b[0;36m_call_impl\u001b[0;34m(self, *args, **kwargs)\u001b[0m\n\u001b[1;32m   1499\u001b[0m                 \u001b[0;32mor\u001b[0m \u001b[0m_global_backward_pre_hooks\u001b[0m \u001b[0;32mor\u001b[0m \u001b[0m_global_backward_hooks\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[1;32m   1500\u001b[0m                 or _global_forward_hooks or _global_forward_pre_hooks):\n\u001b[0;32m-> 1501\u001b[0;31m             \u001b[0;32mreturn\u001b[0m \u001b[0mforward_call\u001b[0m\u001b[0;34m(\u001b[0m\u001b[0;34m*\u001b[0m\u001b[0margs\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0;34m**\u001b[0m\u001b[0mkwargs\u001b[0m\u001b[0;34m)\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[0m\u001b[1;32m   1502\u001b[0m         \u001b[0;31m# Do not call functions when jit is used\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[1;32m   1503\u001b[0m         \u001b[0mfull_backward_hooks\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0mnon_full_backward_hooks\u001b[0m \u001b[0;34m=\u001b[0m \u001b[0;34m[\u001b[0m\u001b[0;34m]\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0;34m[\u001b[0m\u001b[0;34m]\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n",
      "\u001b[0;32m~/.local/lib/python3.9/site-packages/transformers/models/llama/modeling_llama.py\u001b[0m in \u001b[0;36mforward\u001b[0;34m(self, input_ids, attention_mask, position_ids, past_key_values, inputs_embeds, use_cache, output_attentions, output_hidden_states, return_dict)\u001b[0m\n\u001b[1;32m    923\u001b[0m                 )\n\u001b[1;32m    924\u001b[0m             \u001b[0;32melse\u001b[0m\u001b[0;34m:\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[0;32m--> 925\u001b[0;31m                 layer_outputs = decoder_layer(\n\u001b[0m\u001b[1;32m    926\u001b[0m                     \u001b[0mhidden_states\u001b[0m\u001b[0;34m,\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[1;32m    927\u001b[0m                     \u001b[0mattention_mask\u001b[0m\u001b[0;34m=\u001b[0m\u001b[0mattention_mask\u001b[0m\u001b[0;34m,\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n",
      "\u001b[0;32m~/.local/lib/python3.9/site-packages/torch/nn/modules/module.py\u001b[0m in \u001b[0;36m_call_impl\u001b[0;34m(self, *args, **kwargs)\u001b[0m\n\u001b[1;32m   1499\u001b[0m                 \u001b[0;32mor\u001b[0m \u001b[0m_global_backward_pre_hooks\u001b[0m \u001b[0;32mor\u001b[0m \u001b[0m_global_backward_hooks\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[1;32m   1500\u001b[0m                 or _global_forward_hooks or _global_forward_pre_hooks):\n\u001b[0;32m-> 1501\u001b[0;31m             \u001b[0;32mreturn\u001b[0m \u001b[0mforward_call\u001b[0m\u001b[0;34m(\u001b[0m\u001b[0;34m*\u001b[0m\u001b[0margs\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0;34m**\u001b[0m\u001b[0mkwargs\u001b[0m\u001b[0;34m)\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[0m\u001b[1;32m   1502\u001b[0m         \u001b[0;31m# Do not call functions when jit is used\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[1;32m   1503\u001b[0m         \u001b[0mfull_backward_hooks\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0mnon_full_backward_hooks\u001b[0m \u001b[0;34m=\u001b[0m \u001b[0;34m[\u001b[0m\u001b[0;34m]\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0;34m[\u001b[0m\u001b[0;34m]\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n",
      "\u001b[0;32m~/.local/lib/python3.9/site-packages/accelerate/hooks.py\u001b[0m in \u001b[0;36mnew_forward\u001b[0;34m(*args, **kwargs)\u001b[0m\n\u001b[1;32m    163\u001b[0m                 \u001b[0moutput\u001b[0m \u001b[0;34m=\u001b[0m \u001b[0mold_forward\u001b[0m\u001b[0;34m(\u001b[0m\u001b[0;34m*\u001b[0m\u001b[0margs\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0;34m**\u001b[0m\u001b[0mkwargs\u001b[0m\u001b[0;34m)\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[1;32m    164\u001b[0m         \u001b[0;32melse\u001b[0m\u001b[0;34m:\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[0;32m--> 165\u001b[0;31m             \u001b[0moutput\u001b[0m \u001b[0;34m=\u001b[0m \u001b[0mold_forward\u001b[0m\u001b[0;34m(\u001b[0m\u001b[0;34m*\u001b[0m\u001b[0margs\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0;34m**\u001b[0m\u001b[0mkwargs\u001b[0m\u001b[0;34m)\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[0m\u001b[1;32m    166\u001b[0m         \u001b[0;32mreturn\u001b[0m \u001b[0mmodule\u001b[0m\u001b[0;34m.\u001b[0m\u001b[0m_hf_hook\u001b[0m\u001b[0;34m.\u001b[0m\u001b[0mpost_forward\u001b[0m\u001b[0;34m(\u001b[0m\u001b[0mmodule\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0moutput\u001b[0m\u001b[0;34m)\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[1;32m    167\u001b[0m \u001b[0;34m\u001b[0m\u001b[0m\n",
      "\u001b[0;32m~/.local/lib/python3.9/site-packages/transformers/models/llama/modeling_llama.py\u001b[0m in \u001b[0;36mforward\u001b[0;34m(self, hidden_states, attention_mask, position_ids, past_key_value, output_attentions, use_cache, padding_mask)\u001b[0m\n\u001b[1;32m    633\u001b[0m \u001b[0;34m\u001b[0m\u001b[0m\n\u001b[1;32m    634\u001b[0m         \u001b[0;31m# Self Attention\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[0;32m--> 635\u001b[0;31m         hidden_states, self_attn_weights, present_key_value = self.self_attn(\n\u001b[0m\u001b[1;32m    636\u001b[0m             \u001b[0mhidden_states\u001b[0m\u001b[0;34m=\u001b[0m\u001b[0mhidden_states\u001b[0m\u001b[0;34m,\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[1;32m    637\u001b[0m             \u001b[0mattention_mask\u001b[0m\u001b[0;34m=\u001b[0m\u001b[0mattention_mask\u001b[0m\u001b[0;34m,\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n",
      "\u001b[0;32m~/.local/lib/python3.9/site-packages/torch/nn/modules/module.py\u001b[0m in \u001b[0;36m_call_impl\u001b[0;34m(self, *args, **kwargs)\u001b[0m\n\u001b[1;32m   1499\u001b[0m                 \u001b[0;32mor\u001b[0m \u001b[0m_global_backward_pre_hooks\u001b[0m \u001b[0;32mor\u001b[0m \u001b[0m_global_backward_hooks\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[1;32m   1500\u001b[0m                 or _global_forward_hooks or _global_forward_pre_hooks):\n\u001b[0;32m-> 1501\u001b[0;31m             \u001b[0;32mreturn\u001b[0m \u001b[0mforward_call\u001b[0m\u001b[0;34m(\u001b[0m\u001b[0;34m*\u001b[0m\u001b[0margs\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0;34m**\u001b[0m\u001b[0mkwargs\u001b[0m\u001b[0;34m)\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[0m\u001b[1;32m   1502\u001b[0m         \u001b[0;31m# Do not call functions when jit is used\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[1;32m   1503\u001b[0m         \u001b[0mfull_backward_hooks\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0mnon_full_backward_hooks\u001b[0m \u001b[0;34m=\u001b[0m \u001b[0;34m[\u001b[0m\u001b[0;34m]\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0;34m[\u001b[0m\u001b[0;34m]\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n",
      "\u001b[0;32m~/.local/lib/python3.9/site-packages/accelerate/hooks.py\u001b[0m in \u001b[0;36mnew_forward\u001b[0;34m(*args, **kwargs)\u001b[0m\n\u001b[1;32m    163\u001b[0m                 \u001b[0moutput\u001b[0m \u001b[0;34m=\u001b[0m \u001b[0mold_forward\u001b[0m\u001b[0;34m(\u001b[0m\u001b[0;34m*\u001b[0m\u001b[0margs\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0;34m**\u001b[0m\u001b[0mkwargs\u001b[0m\u001b[0;34m)\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[1;32m    164\u001b[0m         \u001b[0;32melse\u001b[0m\u001b[0;34m:\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[0;32m--> 165\u001b[0;31m             \u001b[0moutput\u001b[0m \u001b[0;34m=\u001b[0m \u001b[0mold_forward\u001b[0m\u001b[0;34m(\u001b[0m\u001b[0;34m*\u001b[0m\u001b[0margs\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0;34m**\u001b[0m\u001b[0mkwargs\u001b[0m\u001b[0;34m)\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[0m\u001b[1;32m    166\u001b[0m         \u001b[0;32mreturn\u001b[0m \u001b[0mmodule\u001b[0m\u001b[0;34m.\u001b[0m\u001b[0m_hf_hook\u001b[0m\u001b[0;34m.\u001b[0m\u001b[0mpost_forward\u001b[0m\u001b[0;34m(\u001b[0m\u001b[0mmodule\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0moutput\u001b[0m\u001b[0;34m)\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[1;32m    167\u001b[0m \u001b[0;34m\u001b[0m\u001b[0m\n",
      "\u001b[0;32m~/.local/lib/python3.9/site-packages/transformers/models/llama/modeling_llama.py\u001b[0m in \u001b[0;36mforward\u001b[0;34m(self, hidden_states, attention_mask, position_ids, past_key_value, output_attentions, use_cache, padding_mask)\u001b[0m\n\u001b[1;32m    358\u001b[0m         \u001b[0;32mif\u001b[0m \u001b[0mpast_key_value\u001b[0m \u001b[0;32mis\u001b[0m \u001b[0;32mnot\u001b[0m \u001b[0;32mNone\u001b[0m\u001b[0;34m:\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[1;32m    359\u001b[0m             \u001b[0mkv_seq_len\u001b[0m \u001b[0;34m+=\u001b[0m \u001b[0mpast_key_value\u001b[0m\u001b[0;34m[\u001b[0m\u001b[0;36m0\u001b[0m\u001b[0;34m]\u001b[0m\u001b[0;34m.\u001b[0m\u001b[0mshape\u001b[0m\u001b[0;34m[\u001b[0m\u001b[0;34m-\u001b[0m\u001b[0;36m2\u001b[0m\u001b[0;34m]\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[0;32m--> 360\u001b[0;31m         \u001b[0mcos\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0msin\u001b[0m \u001b[0;34m=\u001b[0m \u001b[0mself\u001b[0m\u001b[0;34m.\u001b[0m\u001b[0mrotary_emb\u001b[0m\u001b[0;34m(\u001b[0m\u001b[0mvalue_states\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0mseq_len\u001b[0m\u001b[0;34m=\u001b[0m\u001b[0mkv_seq_len\u001b[0m\u001b[0;34m)\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[0m\u001b[1;32m    361\u001b[0m         \u001b[0mquery_states\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0mkey_states\u001b[0m \u001b[0;34m=\u001b[0m \u001b[0mapply_rotary_pos_emb\u001b[0m\u001b[0;34m(\u001b[0m\u001b[0mquery_states\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0mkey_states\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0mcos\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0msin\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0mposition_ids\u001b[0m\u001b[0;34m)\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[1;32m    362\u001b[0m \u001b[0;34m\u001b[0m\u001b[0m\n",
      "\u001b[0;32m~/.local/lib/python3.9/site-packages/torch/nn/modules/module.py\u001b[0m in \u001b[0;36m_call_impl\u001b[0;34m(self, *args, **kwargs)\u001b[0m\n\u001b[1;32m   1499\u001b[0m                 \u001b[0;32mor\u001b[0m \u001b[0m_global_backward_pre_hooks\u001b[0m \u001b[0;32mor\u001b[0m \u001b[0m_global_backward_hooks\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[1;32m   1500\u001b[0m                 or _global_forward_hooks or _global_forward_pre_hooks):\n\u001b[0;32m-> 1501\u001b[0;31m             \u001b[0;32mreturn\u001b[0m \u001b[0mforward_call\u001b[0m\u001b[0;34m(\u001b[0m\u001b[0;34m*\u001b[0m\u001b[0margs\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0;34m**\u001b[0m\u001b[0mkwargs\u001b[0m\u001b[0;34m)\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[0m\u001b[1;32m   1502\u001b[0m         \u001b[0;31m# Do not call functions when jit is used\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[1;32m   1503\u001b[0m         \u001b[0mfull_backward_hooks\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0mnon_full_backward_hooks\u001b[0m \u001b[0;34m=\u001b[0m \u001b[0;34m[\u001b[0m\u001b[0;34m]\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0;34m[\u001b[0m\u001b[0;34m]\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n",
      "\u001b[0;32m~/.local/lib/python3.9/site-packages/transformers/models/llama/modeling_llama.py\u001b[0m in \u001b[0;36mforward\u001b[0;34m(self, x, seq_len)\u001b[0m\n\u001b[1;32m    149\u001b[0m         return (\n\u001b[1;32m    150\u001b[0m             \u001b[0mself\u001b[0m\u001b[0;34m.\u001b[0m\u001b[0mcos_cached\u001b[0m\u001b[0;34m[\u001b[0m\u001b[0;34m:\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0;34m:\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0;34m:\u001b[0m\u001b[0mseq_len\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0;34m...\u001b[0m\u001b[0;34m]\u001b[0m\u001b[0;34m.\u001b[0m\u001b[0mto\u001b[0m\u001b[0;34m(\u001b[0m\u001b[0mdtype\u001b[0m\u001b[0;34m=\u001b[0m\u001b[0mx\u001b[0m\u001b[0;34m.\u001b[0m\u001b[0mdtype\u001b[0m\u001b[0;34m)\u001b[0m\u001b[0;34m,\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[0;32m--> 151\u001b[0;31m             \u001b[0mself\u001b[0m\u001b[0;34m.\u001b[0m\u001b[0msin_cached\u001b[0m\u001b[0;34m[\u001b[0m\u001b[0;34m:\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0;34m:\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0;34m:\u001b[0m\u001b[0mseq_len\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0;34m...\u001b[0m\u001b[0;34m]\u001b[0m\u001b[0;34m.\u001b[0m\u001b[0mto\u001b[0m\u001b[0;34m(\u001b[0m\u001b[0mdtype\u001b[0m\u001b[0;34m=\u001b[0m\u001b[0mx\u001b[0m\u001b[0;34m.\u001b[0m\u001b[0mdtype\u001b[0m\u001b[0;34m)\u001b[0m\u001b[0;34m,\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[0m\u001b[1;32m    152\u001b[0m         )\n\u001b[1;32m    153\u001b[0m \u001b[0;34m\u001b[0m\u001b[0m\n",
      "\u001b[0;31mKeyboardInterrupt\u001b[0m: "
     ]
    }
   ],
   "source": [
    "prompt = \"\"\"<s>[INST] <<SYS>>\n",
    "{}\n",
    "<</SYS>>\n",
    "\n",
    "{} [/INST]\"\"\"\n",
    "\n",
    "system_prompt = \"\"\"You always communicate using a valid python JSON string. You will be given a trope and a story. Analyze carefully if the given trope exists or not in the story. The expected output from you should follow the structure:\\n \n",
    "    {\n",
    "        \"trope_exists\": {'yes' if the trope exists, 'no' if the trope does not exist},\n",
    "        \"evidence\": {reason why the trope exists or does not exist in the context of the story}\n",
    "    }\n",
    "\"\"\"\n",
    "user_msg = \"\"\"\\nTrope: {}\\nStory:\\n{}\"\"\"\n",
    "def check_trope_exists(row):\n",
    "    print(row)\n",
    "    story = row[0]\n",
    "    tropes = row[1]\n",
    "    tropes_validated = []\n",
    "    for trope in tropes:\n",
    "        trope_name, trope_def = get_trope_by_id(trope)\n",
    "        splitted = re.sub('([A-Z][a-z]+)', r' \\1', re.sub('([A-Z]+)', r' \\1', trope_name)).split()\n",
    "        trope_name = \" \".join(splitted)\n",
    "        u_m = user_msg.format(trope_name.strip(), story.strip())\n",
    "        # form the prompt\n",
    "        p = prompt.format(system_prompt, u_m)\n",
    "        # query the model\n",
    "        # generate(p, temp=0.7)\n",
    "        out = pipe_generate(p, temp=0.7)\n",
    "        out = out[0]\n",
    "        print(out)\n",
    "        p_out = {}\n",
    "        target = out.split('{')[1].split('}')[0]\n",
    "        exists = target.split(',')[0].split(': ')[1].strip()\n",
    "        p_out['tname'] = trope_name\n",
    "        p_out['exists'] = strtobool(exists)\n",
    "        p_out['reason'] = target.split(',',1)[1].split(':',1)[1].split('}')[0].strip()\n",
    "        print(p_out)\n",
    "        tropes_validated.append(p_out)\n",
    "        # parse the output and save it to tropes_validated\n",
    "    return tropes_validated\n",
    "s = story_w_trope[story_w_trope['sid']==\"s47\"].iloc[0].story\n",
    "# print(s)\n",
    "t = story_w_trope[story_w_trope['sid']==\"s47\"].iloc[0].tropes\n",
    "check_trope_exists((s,t))"
   ]
  },
  {
   "cell_type": "code",
   "execution_count": 83,
   "id": "57534032-0f6c-4660-a850-cd1c5820681d",
   "metadata": {},
   "outputs": [
    {
     "name": "stdout",
     "output_type": "stream",
     "text": [
      "('Nobody knew what to do at first. Deposit slips fluttered to the floor. A man touched the rim of his baseball cap to make sure it was still there.\\n\\nThe bank robber seemed just as shocked. There were too many people. He realized that, despite all his preparation, he hadn’t considered the afternoon rush.\\n\\n“Put your hands up,” he said, and people more or less did that. “You’re all hostages now.”\\n\\n“We don’t want to be hostages,” someone said.\\n\\n“That’s not how this works,” the bank robber said. “I come in, you all become hostages, I get some money and leave, and then you’re free again.”\\n\\n“We’re afraid,” someone else said.\\n\\nThe bank robber got it—he was also afraid.\\n\\nA bank teller waved her hand, which was still raised above her head. “I’ll be the hostage,” she said.\\n\\n“You are already one of many hostages,” the bank robber said.\\n\\n“Then everyone can go and sit in the old vault,” she said. “There’s no way to call for help in there, and it has a heavy iron door. That means fewer people to mess things up. And I can access everything up front.”\\n\\nIt was a good plan and made the bank robber feel less like he had screwed up by coming in during the rush. “You’re sure there are no alert switches or emergency phones in there?”\\n\\n“It’s a hundred years old,” she said. “You couldn’t get a call out of there if you tried.”\\n\\nThe hostages all turned to see what he would say. He shifted his gun from one hand to the other.\\n\\n“Fine,” he said.\\n\\nThey all went to the old vault and the hostages filed in silently. There was plenty of room for them to sit or stand; they would be comfortable there. The teller turned an iron wheel to lock them in. “All right,” she said. “Let’s get to work.”\\n\\nShe opened every teller station using keys on a ring she kept at her waist. He watched her stack the money in a duffelbag, one of two he had brought for the purpose. He was grateful for her knowledge and assistance, if a little unsettled that she was offering it all so freely.\\n\\n“You’re not putting a dye pack in there, are you?” he asked.\\n\\nThe woman turned to look at him, and he was surprised to see that his question seemed to have wounded her. “I would never,” she said. “What would make you say that?”\\n\\n“I’m sorry.” He tried to think about what would make him say it; he had seen a dye pack in a movie once and knew that it could explode and make a terrible mess. There was a lot that he didn’t know about robbing banks, and every moment was another opportunity to reveal his ignorance.\\n\\nShe seemed to sense his hesitation and plucked a pen from one of the teller stations, rolling it across the counter toward him. “Why don’t you go sit down over there and draft a taunting letter to the police,” she said. She pointed to the mortgage officers’ desks, which ringed the lobby.\\n\\nHe pulled back the leather chair behind one of the desks and sat. It felt funny to be behind a desk, dressed as he was in black fatigues. The bank robber couldn’t remember the last time he’d sat behind any desk, and he’d certainly never been near one this nice. He stared at the empty page. Writing had never interested him in school; though he knew he had something to say, it gave him an uneasy feeling. He put his gun in the outgoing-mail tray and dumped a box of paper clips onto the desk.\\n\\nThe woman noticed him stringing paper clips together. “You could start with, ‘Fuck you, pigs, dumb motherfuckers,’ ” she said. “Or, if you want it to be more personal, you could try, like, ‘I’m the motherfucking heist king and you know it.’ It depends on the tone you want.”\\n\\n“Motherfucking heist king,” he repeated, writing it down.\\n\\n“You’re welcome.”\\n\\n“Yes,” he said, a little annoyed. “Thank you.”\\n\\nHe printed “Motherfucking Heist King” at the top of the page, then wrote it again and again, trying out different handwriting styles and lining the paper with a chain-link pattern. “Motherfucking Heist King”—it really was a nice phrase. Maybe if he could make a design with it, they would get the point of what he was trying to say. What was he trying to say, anyway? He realized that he hadn’t actually considered writing a letter until it was suggested to him.\\n\\nAfter a while, the teller came out from behind the counter to get his other bag. She looked over his shoulder at the page, which by then was covered in designs of his own creation. “Want me to write it?” she asked.\\n\\nHe handed her the paper and stood, surprised to find himself so irritated at someone who seemed only to want to help him. Walking to one of the high windows, he saw that a few police cars had begun to gather. “Maybe I should go,” he said.\\n\\nShe went back behind the counter with a pointed sigh and started to fill the second bag. He watched her poking around the cabinets. Outside, the police were setting up a barricade.\\n\\n“I’m going as fast as I can,” the teller said. She sounded angry. “I have to write your stupid letter and pack up this cash and get everything organized. I’m only one person.”\\n\\n“I didn’t say anything.”\\n\\n“This obviously isn’t about me,” she said. “I’ve seen this a million times before. You come in here for a little quick cash, you want to make a getaway. Am I wrong?”\\n\\n“You’re the bitch who volunteered.”\\n\\n“Wow,” she said. “I guess I must have said something to deserve that.”\\n\\nShe sounded exactly like his mother, which the bank robber realized was just typical.\\n\\n“Maybe you should go and get in the vault now,” he said. “You’ve helped me out. I appreciate you. I can take it from here.”\\n\\n“Yeah, right,” she said. “You think I’d let you finish this alone? I’ve done too much for you already to just walk away. I’m in it for the long haul.” She threw the last stacks of cash into the duffel so hard that it slid off the counter, sending its contents spilling across the floor.\\n\\nHe turned back to the window. If he just stayed out of her way, it would be over soon enough.\\n\\nGrumbling, she crouched down to clean it all up. At the very least, she figured, he could have helped when the bag fell. Thinking of others clearly wasn’t in his nature. She was actually getting pretty tired of his attitude: his inability to speak up, his dismal lack of self-confidence, his unwillingness to take a stand with either the hostages or the police. He didn’t have a point of view or an exit strategy, was content to remain in limbo. It was pathetic, really.\\n\\nWhen he approached the counter, the blank look on his face sickened her; it was the look of a man completely unable to understand the future or to confront it.\\n\\n“What?” he asked.\\n\\nShe slid the bag across the counter and spread her arms wide, levelling upon him the full power of her scorn. “You might as well just fucking shoot me,” she said.', ['t02187', 't06175', 't08393', 't28820', 't17855', 't26723', 't20226', 't18456', 't02282', 't01284'])\n",
      "#####################################################\n",
      "  {\n",
      "\"trope_exists\": \"yes\",\n",
      "\"evidence\": The character of the bank robber fits the description of the Big Bad trope. He is the main antagonist of the story, and his actions and behavior exhibit many of the characteristics associated with the trope. He is portrayed as incompetent, unsure of himself, and unprepared for the situation he finds himself in. He relies on the teller's assistance, who seems to know more about robbing banks than he does. He is also shown to be inconsiderate and ungrateful towards the teller, who is hostage and helping him. Moreover, the teller's comment about the bank robber's inability to understand the future or to confront it, suggests that he lacks the intelligence, courage, and determination that are typically associated with the Big Bad trope. \n",
      "}\n",
      "{'tname': 'Big Bad', 'exists': 1, 'reason': \"The character of the bank robber fits the description of the Big Bad trope. He is the main antagonist of the story, and his actions and behavior exhibit many of the characteristics associated with the trope. He is portrayed as incompetent, unsure of himself, and unprepared for the situation he finds himself in. He relies on the teller's assistance, who seems to know more about robbing banks than he does. He is also shown to be inconsiderate and ungrateful towards the teller, who is hostage and helping him. Moreover, the teller's comment about the bank robber's inability to understand the future or to confront it, suggests that he lacks the intelligence, courage, and determination that are typically associated with the Big Bad trope.\"}\n",
      "#####################################################\n",
      "  {\n",
      "\"trope_exists\": \"yes\",\n",
      "\"evidence\": The story contains the trope of dramatic irony. The bank robber is unaware that the teller is secretly helping him, and the teller is aware of the bank robber's ignorance. The teller's sarcastic comments and the bank robber's obliviousness to her sarcasm create a sense of irony. The fact that the teller is willingly helping the bank robber, despite the danger she and the other hostages are in, adds to the irony.\n",
      "}\n",
      "{'tname': 'Dramatic Irony', 'exists': 1, 'reason': \"The story contains the trope of dramatic irony. The bank robber is unaware that the teller is secretly helping him, and the teller is aware of the bank robber's ignorance. The teller's sarcastic comments and the bank robber's obliviousness to her sarcasm create a sense of irony. The fact that the teller is willingly helping the bank robber, despite the danger she and the other hostages are in, adds to the irony.\"}\n",
      "#####################################################\n",
      "  {\n",
      "\"trope_exists\": \"yes\",\n",
      "\"evidence\": The story contains several elements that suggest the trope of foreshadowing is present. For example, the bank robber's plan to use the old vault as a hostage room is foiled when the teller reveals that it has no emergency phones or alert switches, which foreshadows the robber's eventual reliance on the teller's assistance. Additionally, the teller's suggestion that the robber write a taunting letter to the police foreshadows the letter's importance later in the story. Furthermore, the teller's frustration with the robber's lack of confidence and inability to take a stand foreshadows her eventual frustration with him and her desire to leave. All these hints and suggestions of events to come later in the story, are clear examples of foreshadowing.\n",
      "}\n",
      "{'tname': 'Foreshadowing', 'exists': 1, 'reason': \"The story contains several elements that suggest the trope of foreshadowing is present. For example, the bank robber's plan to use the old vault as a hostage room is foiled when the teller reveals that it has no emergency phones or alert switches, which foreshadows the robber's eventual reliance on the teller's assistance. Additionally, the teller's suggestion that the robber write a taunting letter to the police foreshadows the letter's importance later in the story. Furthermore, the teller's frustration with the robber's lack of confidence and inability to take a stand foreshadows her eventual frustration with him and her desire to leave. All these hints and suggestions of events to come later in the story, are clear examples of foreshadowing.\"}\n",
      "#####################################################\n",
      "  {\n",
      "\"trope_exists\": \"yes\",\n",
      "\"evidence\": \"The story contains elements of the Fairplay Whodunnit trope, specifically in the way the bank robber and the teller work together to carry out the heist and the hostages' reactions to the situation. The teller's suggestion to write a taunting letter to the police and the robber's unease at the idea of writing it himself are also indicative of the Fairplay Whodunnit trope. Additionally, the teller's frustration with the robber's lack of planning and her taking charge of the situation further supports this trope.\"\n",
      "}\n",
      "{'tname': 'Fairplay Whodunnit', 'exists': 1, 'reason': '\"The story contains elements of the Fairplay Whodunnit trope, specifically in the way the bank robber and the teller work together to carry out the heist and the hostages\\' reactions to the situation. The teller\\'s suggestion to write a taunting letter to the police and the robber\\'s unease at the idea of writing it himself are also indicative of the Fairplay Whodunnit trope. Additionally, the teller\\'s frustration with the robber\\'s lack of planning and her taking charge of the situation further supports this trope.\"'}\n",
      "#####################################################\n",
      "  {\n",
      "\"trope_exists\": \"yes\",\n",
      "\"evidence\": \"The character of the bank robber exhibits the traits of a Proud Warrior Race Guy. He is described as dressing in black fatigues, carrying a gun, and having a confrontational attitude towards the police. He also displays a sense of entitlement and a lack of self-confidence, which are common traits associated with the Proud Warrior Race Guy trope. Additionally, the teller's comment about the bank robber's inability to understand the future or confront it also suggests that he lacks the ability to think critically or plan ahead, which is another characteristic of the Proud Warrior Race Guy trope.\"\n",
      "}\n",
      "{'tname': 'Proud Warrior Race Guy', 'exists': 1, 'reason': '\"The character of the bank robber exhibits the traits of a Proud Warrior Race Guy. He is described as dressing in black fatigues, carrying a gun, and having a confrontational attitude towards the police. He also displays a sense of entitlement and a lack of self-confidence, which are common traits associated with the Proud Warrior Race Guy trope. Additionally, the teller\\'s comment about the bank robber\\'s inability to understand the future or confront it also suggests that he lacks the ability to think critically or plan ahead, which is another characteristic of the Proud Warrior Race Guy trope.\"'}\n",
      "#####################################################\n",
      "  {\n",
      "\"trope_exists\": \"yes\",\n",
      "\"evidence\": \"The story contains the trope 'Spanner In The Works' as the bank robber's plan is foiled by the teller's unexpected assistance and the police's arrival, causing him to become increasingly frustrated and uncertain about how to proceed. The teller's sarcastic remarks and the robber's inability to respond effectively also add to the trope. The story's focus on the unexpected twists and turns of the heist and the characters' reactions to them further support the presence of this trope.\"\n",
      "}\n",
      "{'tname': 'Spanner In The Works', 'exists': 1, 'reason': '\"The story contains the trope \\'Spanner In The Works\\' as the bank robber\\'s plan is foiled by the teller\\'s unexpected assistance and the police\\'s arrival, causing him to become increasingly frustrated and uncertain about how to proceed. The teller\\'s sarcastic remarks and the robber\\'s inability to respond effectively also add to the trope. The story\\'s focus on the unexpected twists and turns of the heist and the characters\\' reactions to them further support the presence of this trope.\"'}\n",
      "#####################################################\n",
      "  {\n",
      "\"trope_exists\": \"yes\",\n",
      "\"evidence\": \"The story contains the trope 'Shown Their Work' as the bank robber is shown to be incompetent and unprepared for the heist, and the teller is the one who takes charge and helps him throughout the process. The teller's sarcastic comments and the robber's inability to write a taunting letter to the police without her help further highlight the trope. Additionally, the teller's frustration with the robber's lack of leadership and unwillingness to take a stand with either the hostages or the police also reinforces the trope.\"\n",
      "}\n",
      "{'tname': 'Shown Their Work', 'exists': 1, 'reason': '\"The story contains the trope \\'Shown Their Work\\' as the bank robber is shown to be incompetent and unprepared for the heist, and the teller is the one who takes charge and helps him throughout the process. The teller\\'s sarcastic comments and the robber\\'s inability to write a taunting letter to the police without her help further highlight the trope. Additionally, the teller\\'s frustration with the robber\\'s lack of leadership and unwillingness to take a stand with either the hostages or the police also reinforces the trope.\"'}\n",
      "#####################################################\n",
      "  {\n",
      "\"trope_exists\": \"yes\",\n",
      "\"evidence\": The character of the bank robber is portrayed as incompetent and unsure of himself, making mistakes and showing a lack of self-confidence. The teller, on the other hand, is depicted as confident, knowledgeable, and willing to help the robber, even offering to write a taunting letter to the police for him. The robber's inability to understand the future and his reluctance to take a stand with either the hostages or the police further highlight his incompetence. The story sets up a red herring by making the reader believe that the teller is on the side of the robber, but her actions and words suggest otherwise, revealing her true intentions. \n",
      "}\n",
      "{'tname': 'Red Herring', 'exists': 1, 'reason': \"The character of the bank robber is portrayed as incompetent and unsure of himself, making mistakes and showing a lack of self-confidence. The teller, on the other hand, is depicted as confident, knowledgeable, and willing to help the robber, even offering to write a taunting letter to the police for him. The robber's inability to understand the future and his reluctance to take a stand with either the hostages or the police further highlight his incompetence. The story sets up a red herring by making the reader believe that the teller is on the side of the robber, but her actions and words suggest otherwise, revealing her true intentions.\"}\n",
      "#####################################################\n",
      "  {\n",
      "\"trope_exists\": \"yes\",\n",
      "\"evidence\": \"The story contains the Bilingual Bonus trope, as the bank teller is described as having a 'heavy iron door' and the bank robber is surprised by her knowledge and assistance. The teller also uses a pen to write a letter to the police, which the robber finds amusing. The use of the word 'bitch' by the robber towards the teller also suggests a familiarity with English language and culture.\"\n",
      "}\n",
      "{'tname': 'Bilingual Bonus', 'exists': 1, 'reason': '\"The story contains the Bilingual Bonus trope, as the bank teller is described as having a \\'heavy iron door\\' and the bank robber is surprised by her knowledge and assistance. The teller also uses a pen to write a letter to the police, which the robber finds amusing. The use of the word \\'bitch\\' by the robber towards the teller also suggests a familiarity with English language and culture.\"'}\n",
      "#####################################################\n",
      "  {\n",
      "\"trope_exists\": \"yes\",\n",
      "\"evidence\": \"The story contains the trope of Arranged Marriage, as the bank robber and the teller are forced to work together and develop a relationship despite their initial disagreements and lack of trust. The teller's comment about the bank robber's attitude and lack of self-confidence also suggests a power dynamic similar to that found in Arranged Marriage stories.\"\n",
      "}\n",
      "{'tname': 'Arranged Marriage', 'exists': 1, 'reason': '\"The story contains the trope of Arranged Marriage, as the bank robber and the teller are forced to work together and develop a relationship despite their initial disagreements and lack of trust. The teller\\'s comment about the bank robber\\'s attitude and lack of self-confidence also suggests a power dynamic similar to that found in Arranged Marriage stories.\"'}\n"
     ]
    },
    {
     "data": {
      "text/plain": [
       "[{'tname': 'Big Bad',\n",
       "  'exists': 1,\n",
       "  'reason': \"The character of the bank robber fits the description of the Big Bad trope. He is the main antagonist of the story, and his actions and behavior exhibit many of the characteristics associated with the trope. He is portrayed as incompetent, unsure of himself, and unprepared for the situation he finds himself in. He relies on the teller's assistance, who seems to know more about robbing banks than he does. He is also shown to be inconsiderate and ungrateful towards the teller, who is hostage and helping him. Moreover, the teller's comment about the bank robber's inability to understand the future or to confront it, suggests that he lacks the intelligence, courage, and determination that are typically associated with the Big Bad trope.\"},\n",
       " {'tname': 'Dramatic Irony',\n",
       "  'exists': 1,\n",
       "  'reason': \"The story contains the trope of dramatic irony. The bank robber is unaware that the teller is secretly helping him, and the teller is aware of the bank robber's ignorance. The teller's sarcastic comments and the bank robber's obliviousness to her sarcasm create a sense of irony. The fact that the teller is willingly helping the bank robber, despite the danger she and the other hostages are in, adds to the irony.\"},\n",
       " {'tname': 'Foreshadowing',\n",
       "  'exists': 1,\n",
       "  'reason': \"The story contains several elements that suggest the trope of foreshadowing is present. For example, the bank robber's plan to use the old vault as a hostage room is foiled when the teller reveals that it has no emergency phones or alert switches, which foreshadows the robber's eventual reliance on the teller's assistance. Additionally, the teller's suggestion that the robber write a taunting letter to the police foreshadows the letter's importance later in the story. Furthermore, the teller's frustration with the robber's lack of confidence and inability to take a stand foreshadows her eventual frustration with him and her desire to leave. All these hints and suggestions of events to come later in the story, are clear examples of foreshadowing.\"},\n",
       " {'tname': 'Fairplay Whodunnit',\n",
       "  'exists': 1,\n",
       "  'reason': '\"The story contains elements of the Fairplay Whodunnit trope, specifically in the way the bank robber and the teller work together to carry out the heist and the hostages\\' reactions to the situation. The teller\\'s suggestion to write a taunting letter to the police and the robber\\'s unease at the idea of writing it himself are also indicative of the Fairplay Whodunnit trope. Additionally, the teller\\'s frustration with the robber\\'s lack of planning and her taking charge of the situation further supports this trope.\"'},\n",
       " {'tname': 'Proud Warrior Race Guy',\n",
       "  'exists': 1,\n",
       "  'reason': '\"The character of the bank robber exhibits the traits of a Proud Warrior Race Guy. He is described as dressing in black fatigues, carrying a gun, and having a confrontational attitude towards the police. He also displays a sense of entitlement and a lack of self-confidence, which are common traits associated with the Proud Warrior Race Guy trope. Additionally, the teller\\'s comment about the bank robber\\'s inability to understand the future or confront it also suggests that he lacks the ability to think critically or plan ahead, which is another characteristic of the Proud Warrior Race Guy trope.\"'},\n",
       " {'tname': 'Spanner In The Works',\n",
       "  'exists': 1,\n",
       "  'reason': '\"The story contains the trope \\'Spanner In The Works\\' as the bank robber\\'s plan is foiled by the teller\\'s unexpected assistance and the police\\'s arrival, causing him to become increasingly frustrated and uncertain about how to proceed. The teller\\'s sarcastic remarks and the robber\\'s inability to respond effectively also add to the trope. The story\\'s focus on the unexpected twists and turns of the heist and the characters\\' reactions to them further support the presence of this trope.\"'},\n",
       " {'tname': 'Shown Their Work',\n",
       "  'exists': 1,\n",
       "  'reason': '\"The story contains the trope \\'Shown Their Work\\' as the bank robber is shown to be incompetent and unprepared for the heist, and the teller is the one who takes charge and helps him throughout the process. The teller\\'s sarcastic comments and the robber\\'s inability to write a taunting letter to the police without her help further highlight the trope. Additionally, the teller\\'s frustration with the robber\\'s lack of leadership and unwillingness to take a stand with either the hostages or the police also reinforces the trope.\"'},\n",
       " {'tname': 'Red Herring',\n",
       "  'exists': 1,\n",
       "  'reason': \"The character of the bank robber is portrayed as incompetent and unsure of himself, making mistakes and showing a lack of self-confidence. The teller, on the other hand, is depicted as confident, knowledgeable, and willing to help the robber, even offering to write a taunting letter to the police for him. The robber's inability to understand the future and his reluctance to take a stand with either the hostages or the police further highlight his incompetence. The story sets up a red herring by making the reader believe that the teller is on the side of the robber, but her actions and words suggest otherwise, revealing her true intentions.\"},\n",
       " {'tname': 'Bilingual Bonus',\n",
       "  'exists': 1,\n",
       "  'reason': '\"The story contains the Bilingual Bonus trope, as the bank teller is described as having a \\'heavy iron door\\' and the bank robber is surprised by her knowledge and assistance. The teller also uses a pen to write a letter to the police, which the robber finds amusing. The use of the word \\'bitch\\' by the robber towards the teller also suggests a familiarity with English language and culture.\"'},\n",
       " {'tname': 'Arranged Marriage',\n",
       "  'exists': 1,\n",
       "  'reason': '\"The story contains the trope of Arranged Marriage, as the bank robber and the teller are forced to work together and develop a relationship despite their initial disagreements and lack of trust. The teller\\'s comment about the bank robber\\'s attitude and lack of self-confidence also suggests a power dynamic similar to that found in Arranged Marriage stories.\"'}]"
      ]
     },
     "execution_count": 83,
     "metadata": {},
     "output_type": "execute_result"
    }
   ],
   "source": [
    "prompt = \"\"\"<s>[INST] <<SYS>>\n",
    "{}\n",
    "<</SYS>>\n",
    "\n",
    "{} [/INST]\"\"\"\n",
    "\n",
    "system_prompt = \"\"\"You are an expert on tropes and you always answer truthfully. You always communicate using a valid python dictionary. You will be given a trope and a story and you analyze carefully if the given trope exists or not in the story. The expected output from you should follow the structure:\\n \n",
    "    {\n",
    "        \"trope_exists\": {'yes' if the trope exists, 'no' if the trope does not exist},\n",
    "        \"evidence\": <reason critically why the trope exists or does not exist strictly in the context of the story>\n",
    "    }\n",
    "\"\"\"\n",
    "user_msg = \"\"\"\\nTrope: {}\\nStory:\\n{}\"\"\"\n",
    "def check_trope_exists(row):\n",
    "    print(row)\n",
    "    story = row[0]\n",
    "    tropes = row[1]\n",
    "    tropes_validated = []\n",
    "    for trope in tropes:\n",
    "        trope_name, trope_def = get_trope_by_id(trope)\n",
    "        splitted = re.sub('([A-Z][a-z]+)', r' \\1', re.sub('([A-Z]+)', r' \\1', trope_name)).split()\n",
    "        trope_name = \" \".join(splitted)\n",
    "        u_m = user_msg.format(trope_name.strip(), story.strip())\n",
    "        # form the prompt\n",
    "        p = prompt.format(system_prompt, u_m)\n",
    "        # query the model\n",
    "        # generate(p, temp=0.7)\n",
    "        out = pipe_generate(p, temp=0.7)\n",
    "        out = out[0]\n",
    "        print(out)\n",
    "        p_out = {}\n",
    "        target = out.split('{')[1].split('}')[0]\n",
    "        exists = target.split(',')[0].split(': ')[1].strip()\n",
    "        p_out['tname'] = trope_name\n",
    "        p_out['exists'] = strtobool(exists)\n",
    "        p_out['reason'] = target.split(',',1)[1].split(':',1)[1].split('}')[0].strip()\n",
    "        print(p_out)\n",
    "        tropes_validated.append(p_out)\n",
    "        # parse the output and save it to tropes_validated\n",
    "    return tropes_validated\n",
    "s = story_w_trope[story_w_trope['sid']==\"s83\"].iloc[0].story\n",
    "# print(s)\n",
    "t = story_w_trope[story_w_trope['sid']==\"s83\"].iloc[0].tropes\n",
    "check_trope_exists((s,t))"
   ]
  },
  {
   "cell_type": "code",
   "execution_count": 87,
   "id": "9dbfeb04-5fb3-4d8d-a838-489a76abe232",
   "metadata": {},
   "outputs": [
    {
     "name": "stdout",
     "output_type": "stream",
     "text": [
      "('Nobody knew what to do at first. Deposit slips fluttered to the floor. A man touched the rim of his baseball cap to make sure it was still there.\\n\\nThe bank robber seemed just as shocked. There were too many people. He realized that, despite all his preparation, he hadn’t considered the afternoon rush.\\n\\n“Put your hands up,” he said, and people more or less did that. “You’re all hostages now.”\\n\\n“We don’t want to be hostages,” someone said.\\n\\n“That’s not how this works,” the bank robber said. “I come in, you all become hostages, I get some money and leave, and then you’re free again.”\\n\\n“We’re afraid,” someone else said.\\n\\nThe bank robber got it—he was also afraid.\\n\\nA bank teller waved her hand, which was still raised above her head. “I’ll be the hostage,” she said.\\n\\n“You are already one of many hostages,” the bank robber said.\\n\\n“Then everyone can go and sit in the old vault,” she said. “There’s no way to call for help in there, and it has a heavy iron door. That means fewer people to mess things up. And I can access everything up front.”\\n\\nIt was a good plan and made the bank robber feel less like he had screwed up by coming in during the rush. “You’re sure there are no alert switches or emergency phones in there?”\\n\\n“It’s a hundred years old,” she said. “You couldn’t get a call out of there if you tried.”\\n\\nThe hostages all turned to see what he would say. He shifted his gun from one hand to the other.\\n\\n“Fine,” he said.\\n\\nThey all went to the old vault and the hostages filed in silently. There was plenty of room for them to sit or stand; they would be comfortable there. The teller turned an iron wheel to lock them in. “All right,” she said. “Let’s get to work.”\\n\\nShe opened every teller station using keys on a ring she kept at her waist. He watched her stack the money in a duffelbag, one of two he had brought for the purpose. He was grateful for her knowledge and assistance, if a little unsettled that she was offering it all so freely.\\n\\n“You’re not putting a dye pack in there, are you?” he asked.\\n\\nThe woman turned to look at him, and he was surprised to see that his question seemed to have wounded her. “I would never,” she said. “What would make you say that?”\\n\\n“I’m sorry.” He tried to think about what would make him say it; he had seen a dye pack in a movie once and knew that it could explode and make a terrible mess. There was a lot that he didn’t know about robbing banks, and every moment was another opportunity to reveal his ignorance.\\n\\nShe seemed to sense his hesitation and plucked a pen from one of the teller stations, rolling it across the counter toward him. “Why don’t you go sit down over there and draft a taunting letter to the police,” she said. She pointed to the mortgage officers’ desks, which ringed the lobby.\\n\\nHe pulled back the leather chair behind one of the desks and sat. It felt funny to be behind a desk, dressed as he was in black fatigues. The bank robber couldn’t remember the last time he’d sat behind any desk, and he’d certainly never been near one this nice. He stared at the empty page. Writing had never interested him in school; though he knew he had something to say, it gave him an uneasy feeling. He put his gun in the outgoing-mail tray and dumped a box of paper clips onto the desk.\\n\\nThe woman noticed him stringing paper clips together. “You could start with, ‘Fuck you, pigs, dumb motherfuckers,’ ” she said. “Or, if you want it to be more personal, you could try, like, ‘I’m the motherfucking heist king and you know it.’ It depends on the tone you want.”\\n\\n“Motherfucking heist king,” he repeated, writing it down.\\n\\n“You’re welcome.”\\n\\n“Yes,” he said, a little annoyed. “Thank you.”\\n\\nHe printed “Motherfucking Heist King” at the top of the page, then wrote it again and again, trying out different handwriting styles and lining the paper with a chain-link pattern. “Motherfucking Heist King”—it really was a nice phrase. Maybe if he could make a design with it, they would get the point of what he was trying to say. What was he trying to say, anyway? He realized that he hadn’t actually considered writing a letter until it was suggested to him.\\n\\nAfter a while, the teller came out from behind the counter to get his other bag. She looked over his shoulder at the page, which by then was covered in designs of his own creation. “Want me to write it?” she asked.\\n\\nHe handed her the paper and stood, surprised to find himself so irritated at someone who seemed only to want to help him. Walking to one of the high windows, he saw that a few police cars had begun to gather. “Maybe I should go,” he said.\\n\\nShe went back behind the counter with a pointed sigh and started to fill the second bag. He watched her poking around the cabinets. Outside, the police were setting up a barricade.\\n\\n“I’m going as fast as I can,” the teller said. She sounded angry. “I have to write your stupid letter and pack up this cash and get everything organized. I’m only one person.”\\n\\n“I didn’t say anything.”\\n\\n“This obviously isn’t about me,” she said. “I’ve seen this a million times before. You come in here for a little quick cash, you want to make a getaway. Am I wrong?”\\n\\n“You’re the bitch who volunteered.”\\n\\n“Wow,” she said. “I guess I must have said something to deserve that.”\\n\\nShe sounded exactly like his mother, which the bank robber realized was just typical.\\n\\n“Maybe you should go and get in the vault now,” he said. “You’ve helped me out. I appreciate you. I can take it from here.”\\n\\n“Yeah, right,” she said. “You think I’d let you finish this alone? I’ve done too much for you already to just walk away. I’m in it for the long haul.” She threw the last stacks of cash into the duffel so hard that it slid off the counter, sending its contents spilling across the floor.\\n\\nHe turned back to the window. If he just stayed out of her way, it would be over soon enough.\\n\\nGrumbling, she crouched down to clean it all up. At the very least, she figured, he could have helped when the bag fell. Thinking of others clearly wasn’t in his nature. She was actually getting pretty tired of his attitude: his inability to speak up, his dismal lack of self-confidence, his unwillingness to take a stand with either the hostages or the police. He didn’t have a point of view or an exit strategy, was content to remain in limbo. It was pathetic, really.\\n\\nWhen he approached the counter, the blank look on his face sickened her; it was the look of a man completely unable to understand the future or to confront it.\\n\\n“What?” he asked.\\n\\nShe slid the bag across the counter and spread her arms wide, levelling upon him the full power of her scorn. “You might as well just fucking shoot me,” she said.', ['t02187', 't06175', 't08393', 't28820', 't17855', 't26723', 't20226', 't18456', 't02282', 't01284'])\n",
      "#####################################################\n",
      "  {\n",
      "\"trope_exists\": \"yes\",\n",
      "\"evidence\": \"The character of the bank robber exhibits several traits of the Big Bad trope. He is the main antagonist of the story, and his actions and decisions drive the plot. He is portrayed as incompetent and unsure of himself, which adds to the tension and humor in the story. He is also shown to be unaware of the consequences of his actions and is oblivious to the fact that he is being manipulated by the teller. Additionally, the teller's comment about the bank robber's attitude and lack of self-confidence further supports the idea that he is the Big Bad.\"\n",
      "}\n",
      "#####################################################\n",
      "  {\n",
      "\"trope_exists\": \"yes\",\n",
      "\"evidence\": [\n",
      "\"The bank robber's ignorance and inexperience in robbing banks, as well as his lack of preparation for the afternoon rush, lead to a series of unexpected events and mistakes that put him and the hostages in a difficult situation.\"\n",
      "\"The teller's offer to help the bank robber and her knowledge of the bank's systems and security measures, despite her initial reluctance, suggests that she may have an ulterior motive or a personal stake in the outcome of the robbery.\"\n",
      "\"The bank robber's inability to write a taunting letter to the police and his reliance on the teller to draft it for him, as well as his lack of confidence in his own abilities, reveal a deeper insecurity and vulnerability.\"\n",
      "\"The teller's frustration with the bank robber's attitude and behavior, as well as her willingness to take matters into her own hands, suggest that she may have a personal stake in the outcome of the robbery and may not be as helpless as she initially seemed.\"\n",
      "]\n",
      "}\n",
      "#####################################################\n",
      "  {\n",
      "\"trope_exists\": \"yes\",\n",
      "\"evidence\": {\n",
      "\"The bank robber's plan to rob the bank during the afternoon rush hour, despite knowing it was a risky move, foreshadows the consequences that will follow.\"\n",
      "\"The teller's offer to help the bank robber and her knowledge of the bank's security measures foreshadows her role in assisting him in the heist.\"\n",
      "\"The bank robber's unease and lack of confidence in his plan foreshadows the complications that will arise during the heist.\"\n",
      "\"The teller's frustration with the bank robber's attitude and behavior foreshadows the tension that will build between them as the heist progresses.\"\n",
      "}\n",
      "}\n",
      "#####################################################\n",
      "  {\n",
      "\"trope_exists\": \"yes\",\n",
      "\"evidence\": \"The story contains elements of the Fairplay Whodunnit trope, including a complex plot, a mysterious crime, and a twist at the end that challenges the reader's expectations. The use of the phrase \"Motherfucking Heist King\" and the character's obsession with creating a taunting letter to the police also add to the trope. Additionally, the character's inability to understand the future and confront it, as well as the teller's frustration with his attitude and lack of self-confidence, contribute to the trope.\"\n",
      "}\n",
      "#####################################################\n",
      "  {\n",
      "\"trope_exists\": \"no\",\n",
      "\"evidence\": \"The story does not contain any elements that align with the trope of a Proud Warrior Race Guy. The character of the bank robber does not exhibit any traits of this trope, such as a strong sense of honor, a desire for glory, or a tendency to act impulsively. Instead, he appears to be a nervous and uncertain individual who is struggling to navigate the situation he has found himself in. The teller, who is the only other character in the story, also does not exhibit any traits of this trope. She is portrayed as a competent and level-headed individual who is simply trying to do her job and assist the bank robber in the best way she can.\"\n",
      "}\n",
      "#####################################################\n",
      "  {\n",
      "\"trope_exists\": \"yes\",\n",
      "\"evidence\": \"The bank robber's ineptitude and lack of preparation, as well as the teller's willingness to help him, despite being a hostage, are clear examples of the 'Spanner In The Works' trope. The teller's sassy attitude and willingness to call out the robber's mistakes also add to the trope.\"\n",
      "}\n",
      "#####################################################\n",
      "  {\n",
      "\"trope_exists\": \"yes\",\n",
      "\"evidence\": [\n",
      "\"The bank robber seems to be incompetent and unprepared for the heist, as he didn't consider the afternoon rush and didn't know how to handle the hostages.\"\n",
      "\"The teller, who volunteered to help the robber, is shown to be knowledgeable and skilled in handling the situation, as she knows how to access the old vault and how to fill the duffelbags with money.\"\n",
      "\"The robber is portrayed as being afraid and unsure of himself, as he shifts his gun from one hand to the other and seems hesitant to speak up or take a stand.\"\n",
      "\"The teller, on the other hand, is shown to be confident and assertive, as she offers to write a taunting letter to the police and doesn't seem intimidated by the robber's gun.\"\n",
      "\"The robber's lack of preparation and incompetence is further highlighted when he can't even write a simple letter to the police, and the teller has to offer to write it for him.\"\n",
      "\"The teller's sarcasm and frustration with the robber's attitude and behavior is evident in her dialogue, as she rolls her eyes and makes snide comments towards him.\"\n",
      "\"The robber's inability to understand the future or confront it is shown when he doesn't have an exit strategy and seems content to remain in limbo.\"\n",
      "]\n",
      "}\n",
      "#####################################################\n",
      "  {\n",
      "\"trope_exists\": \"yes\",\n",
      "\"evidence\": \"The bank robber's plan to rob the bank during the afternoon rush hour, despite knowing it was a bad idea, and his inability to think critically and make decisions, leading to him relying on the teller's help, who seemingly has more experience in the situation than he does, is a clear example of the trope 'Red Herring'. The teller's sarcastic comments and the robber's inability to respond to them, as well as his lack of self-confidence and unwillingness to take a stand with either the hostages or the police, further reinforce this trope.\"\n",
      "}\n",
      "#####################################################\n",
      "  {\n",
      "\"trope_exists\": \"yes\",\n",
      "\"evidence\": \"The story contains dialogue in multiple languages, specifically English and Spanish, which is a common trait in bilingual individuals. The teller uses phrases like 'Fuck you, pigs, dumb motherfuckers' and 'Motherfucking Heist King' which are written in English but contain profanity and slang, suggesting that the character is fluent in both languages and comfortable using them in conversation.\"\n",
      "}\n",
      "#####################################################\n",
      "  {\n",
      "\"trope_exists\": \"no\",\n",
      "\"evidence\": \"The story does not include any elements of an arranged marriage, such as a arranged marriage contract, a betrothal, or a discussion of marriage negotiations. The plot revolves around a bank robbery and the relationship between the robber and the bank teller, but it does not involve any arranged marriage tropes.\"\n",
      "}\n"
     ]
    },
    {
     "data": {
      "text/plain": [
       "[{}, {}, {}, {}, {}, {}, {}, {}, {}, {}]"
      ]
     },
     "execution_count": 87,
     "metadata": {},
     "output_type": "execute_result"
    }
   ],
   "source": [
    "prompt = \"\"\"<s>[INST] <<SYS>>\n",
    "{}\n",
    "<</SYS>>\n",
    "\n",
    "{} [/INST]\"\"\"\n",
    "\n",
    "system_prompt = \"\"\"You always answer truthfully and communicate using a valid JSON string. You will be given a trope and a story and you analyze carefully if the given trope exists or not in the story. First reason critically if the trope exists or not in the story. The expected output from you should follow the structure:\\n\n",
    "    {\n",
    "        \"trope_exists\": {'yes' if the trope exists, 'no' if the trope does not exist},\n",
    "        \"evidence\": {provide reason(s) strictly from the context of the story}\n",
    "    }\n",
    "\"\"\"\n",
    "user_msg = \"\"\"Trope: {}\\nStory:\\n{}\"\"\"\n",
    "def check_trope_exists(row):\n",
    "    print(row)\n",
    "    story = row[0]\n",
    "    tropes = row[1]\n",
    "    tropes_validated = []\n",
    "    for trope in tropes:\n",
    "        trope_name, trope_def = get_trope_by_id(trope)\n",
    "        splitted = re.sub('([A-Z][a-z]+)', r' \\1', re.sub('([A-Z]+)', r' \\1', trope_name)).split()\n",
    "        trope_name = \" \".join(splitted)\n",
    "        u_m = user_msg.format(trope_name.strip(), story.strip())\n",
    "        # form the prompt\n",
    "        p = prompt.format(system_prompt, u_m)\n",
    "        # query the model\n",
    "        # generate(p, temp=0.7)\n",
    "        out = pipe_generate(p, temp=0.55)\n",
    "        out = out[0]\n",
    "        print(out)\n",
    "        p_out = {}\n",
    "        # target = out.split('{')[1].split('}')[0]\n",
    "        # exists = target.split(',')[0].split(': ')[1].strip()\n",
    "        # p_out['tname'] = trope_name\n",
    "        # p_out['exists'] = strtobool(exists)\n",
    "        # p_out['reason'] = target.split(',',1)[1].split(':',1)[1].split('}')[0].strip()\n",
    "        # print(p_out)\n",
    "        tropes_validated.append(p_out)\n",
    "        # parse the output and save it to tropes_validated\n",
    "    return tropes_validated\n",
    "s = story_w_trope[story_w_trope['sid']==\"s83\"].iloc[0].story\n",
    "# print(s)\n",
    "t = story_w_trope[story_w_trope['sid']==\"s83\"].iloc[0].tropes\n",
    "check_trope_exists((s,t))"
   ]
  },
  {
   "cell_type": "code",
   "execution_count": 12,
   "id": "7d64eda5-ddbd-426a-8c40-ab631a3c18b2",
   "metadata": {},
   "outputs": [],
   "source": [
    "import re"
   ]
  },
  {
   "cell_type": "code",
   "execution_count": 13,
   "id": "fe0b8c0c-65cb-4347-affa-b0d82eeb798c",
   "metadata": {},
   "outputs": [
    {
     "name": "stdout",
     "output_type": "stream",
     "text": [
      "('Nobody knew what to do at first. Deposit slips fluttered to the floor. A man touched the rim of his baseball cap to make sure it was still there.\\n\\nThe bank robber seemed just as shocked. There were too many people. He realized that, despite all his preparation, he hadn’t considered the afternoon rush.\\n\\n“Put your hands up,” he said, and people more or less did that. “You’re all hostages now.”\\n\\n“We don’t want to be hostages,” someone said.\\n\\n“That’s not how this works,” the bank robber said. “I come in, you all become hostages, I get some money and leave, and then you’re free again.”\\n\\n“We’re afraid,” someone else said.\\n\\nThe bank robber got it—he was also afraid.\\n\\nA bank teller waved her hand, which was still raised above her head. “I’ll be the hostage,” she said.\\n\\n“You are already one of many hostages,” the bank robber said.\\n\\n“Then everyone can go and sit in the old vault,” she said. “There’s no way to call for help in there, and it has a heavy iron door. That means fewer people to mess things up. And I can access everything up front.”\\n\\nIt was a good plan and made the bank robber feel less like he had screwed up by coming in during the rush. “You’re sure there are no alert switches or emergency phones in there?”\\n\\n“It’s a hundred years old,” she said. “You couldn’t get a call out of there if you tried.”\\n\\nThe hostages all turned to see what he would say. He shifted his gun from one hand to the other.\\n\\n“Fine,” he said.\\n\\nThey all went to the old vault and the hostages filed in silently. There was plenty of room for them to sit or stand; they would be comfortable there. The teller turned an iron wheel to lock them in. “All right,” she said. “Let’s get to work.”\\n\\nShe opened every teller station using keys on a ring she kept at her waist. He watched her stack the money in a duffelbag, one of two he had brought for the purpose. He was grateful for her knowledge and assistance, if a little unsettled that she was offering it all so freely.\\n\\n“You’re not putting a dye pack in there, are you?” he asked.\\n\\nThe woman turned to look at him, and he was surprised to see that his question seemed to have wounded her. “I would never,” she said. “What would make you say that?”\\n\\n“I’m sorry.” He tried to think about what would make him say it; he had seen a dye pack in a movie once and knew that it could explode and make a terrible mess. There was a lot that he didn’t know about robbing banks, and every moment was another opportunity to reveal his ignorance.\\n\\nShe seemed to sense his hesitation and plucked a pen from one of the teller stations, rolling it across the counter toward him. “Why don’t you go sit down over there and draft a taunting letter to the police,” she said. She pointed to the mortgage officers’ desks, which ringed the lobby.\\n\\nHe pulled back the leather chair behind one of the desks and sat. It felt funny to be behind a desk, dressed as he was in black fatigues. The bank robber couldn’t remember the last time he’d sat behind any desk, and he’d certainly never been near one this nice. He stared at the empty page. Writing had never interested him in school; though he knew he had something to say, it gave him an uneasy feeling. He put his gun in the outgoing-mail tray and dumped a box of paper clips onto the desk.\\n\\nThe woman noticed him stringing paper clips together. “You could start with, ‘Fuck you, pigs, dumb motherfuckers,’ ” she said. “Or, if you want it to be more personal, you could try, like, ‘I’m the motherfucking heist king and you know it.’ It depends on the tone you want.”\\n\\n“Motherfucking heist king,” he repeated, writing it down.\\n\\n“You’re welcome.”\\n\\n“Yes,” he said, a little annoyed. “Thank you.”\\n\\nHe printed “Motherfucking Heist King” at the top of the page, then wrote it again and again, trying out different handwriting styles and lining the paper with a chain-link pattern. “Motherfucking Heist King”—it really was a nice phrase. Maybe if he could make a design with it, they would get the point of what he was trying to say. What was he trying to say, anyway? He realized that he hadn’t actually considered writing a letter until it was suggested to him.\\n\\nAfter a while, the teller came out from behind the counter to get his other bag. She looked over his shoulder at the page, which by then was covered in designs of his own creation. “Want me to write it?” she asked.\\n\\nHe handed her the paper and stood, surprised to find himself so irritated at someone who seemed only to want to help him. Walking to one of the high windows, he saw that a few police cars had begun to gather. “Maybe I should go,” he said.\\n\\nShe went back behind the counter with a pointed sigh and started to fill the second bag. He watched her poking around the cabinets. Outside, the police were setting up a barricade.\\n\\n“I’m going as fast as I can,” the teller said. She sounded angry. “I have to write your stupid letter and pack up this cash and get everything organized. I’m only one person.”\\n\\n“I didn’t say anything.”\\n\\n“This obviously isn’t about me,” she said. “I’ve seen this a million times before. You come in here for a little quick cash, you want to make a getaway. Am I wrong?”\\n\\n“You’re the bitch who volunteered.”\\n\\n“Wow,” she said. “I guess I must have said something to deserve that.”\\n\\nShe sounded exactly like his mother, which the bank robber realized was just typical.\\n\\n“Maybe you should go and get in the vault now,” he said. “You’ve helped me out. I appreciate you. I can take it from here.”\\n\\n“Yeah, right,” she said. “You think I’d let you finish this alone? I’ve done too much for you already to just walk away. I’m in it for the long haul.” She threw the last stacks of cash into the duffel so hard that it slid off the counter, sending its contents spilling across the floor.\\n\\nHe turned back to the window. If he just stayed out of her way, it would be over soon enough.\\n\\nGrumbling, she crouched down to clean it all up. At the very least, she figured, he could have helped when the bag fell. Thinking of others clearly wasn’t in his nature. She was actually getting pretty tired of his attitude: his inability to speak up, his dismal lack of self-confidence, his unwillingness to take a stand with either the hostages or the police. He didn’t have a point of view or an exit strategy, was content to remain in limbo. It was pathetic, really.\\n\\nWhen he approached the counter, the blank look on his face sickened her; it was the look of a man completely unable to understand the future or to confront it.\\n\\n“What?” he asked.\\n\\nShe slid the bag across the counter and spread her arms wide, levelling upon him the full power of her scorn. “You might as well just fucking shoot me,” she said.', ['t02187', 't06175', 't08393', 't28820', 't17855', 't26723', 't20226', 't18456', 't02282', 't01284'])\n",
      "#####################################################\n",
      "Big Bad   {\n",
      "\"trope_exists\": true,\n",
      "\"evidence\": [\n",
      "\"The bank robber is the cause of all the problems in the story, as he is the one who initiates the hostage situation and creates tension and danger for the hostages and the police.\",\n",
      "\"The teller, who is initially a hostage, becomes an unlikely ally to the bank robber and helps him with the heist. She is the one who suggests the idea of writing a taunting letter to the police and offers to help him draft it.\",\n",
      "\"The teller's attitude towards the bank robber changes over the course of the story. At first, she seems willing to help him, but as the story progresses, she becomes increasingly frustrated with his lack of confidence and inability to take a stand. She ultimately expresses her scorn for him, suggesting that he is pathetic and unable to understand the future or confront it.\"\n",
      "]\n",
      "}\n",
      "#####################################################\n",
      "Dramatic Irony   {\n",
      "\"trope_exists\": \"yes\",\n",
      "\"evidence\": [\n",
      "\"The bank robber's statement, 'You’re all hostages now,' is an example of Dramatic Irony as the audience knows that the teller has already suggested that they all go to the old vault, which is a safer place, but the robber is unaware of this and thinks that he has taken them hostage.\"\n",
      "\"The teller's offer to help the robber write a taunting letter to the police is another example of Dramatic Irony as the audience knows that she is trying to stall for time and help the police, but the robber thinks that she is genuinely trying to help him.\"\n",
      "\"The teller's comment, 'You might as well just fucking shoot me,' is an example of Dramatic Irony as the audience knows that she is trying to provoke the robber into shooting her, which would end the hostage situation, but the robber is unaware of her intentions and thinks that she is just expressing frustration.\"\n",
      "]\n",
      "}\n",
      "#####################################################\n",
      "Foreshadowing   {\n",
      "\"trope_exists\": \"yes\",\n",
      "\"evidence\": [\n",
      "\"The bank robber's plan is foiled when the teller suggests that they all go to the old vault, which has a heavy iron door and no way to call for help. This is a clear example of foreshadowing, as it sets up the idea that the robber will not be able to escape and that the teller will play a key role in the outcome.\"\n",
      "]\n",
      "}\n",
      "\n",
      "The trope of foreshadowing exists in the story. The teller's suggestion to go to the old vault is a clear example of foreshadowing, as it sets up the idea that the robber will not be able to escape and that the teller will play a key role in the outcome. This is a subtle hint to the reader that things may not go as planned for the robber, and that the teller may have a larger role to play in the story than initially expected.\n",
      "#####################################################\n",
      "Fairplay Whodunnit   {\n",
      "\"trope_exists\": \"yes\",\n",
      "\"evidence\": [\n",
      "\"The story follows a bank robbery, where the robber takes hostages and demands money from the bank tellers.\",\n",
      "\"The teller, who is the main character, is not only knowledgeable about the bank's security systems but also actively helps the robber by providing him with a duffel bag to put the money in, a pen to write a taunting letter to the police, and even suggesting a phrase for the letter.\",\n",
      "\"The teller's actions and the robber's ineptitude and lack of planning suggest that the story is a Fairplay Whodunnit, where the puzzle of the story is solvable by the reader/viewer before the reveal.\",\n",
      "\"The story also includes a twist where the teller, who seems to be helping the robber, actually has a hidden motive and is not what she seems to be, which is another characteristic of a Fairplay Whodunnit.\"\n",
      "]\n",
      "}\n",
      "#####################################################\n",
      "Proud Warrior Race Guy   {\n",
      "\"trope_exists\": true,\n",
      "\"evidence\": [\n",
      "\"The bank robber is described as a 'Proud Warrior Race Guy'\",\n",
      "\"He is described as wearing black fatigues and having a gun\",\n",
      "\"He is portrayed as being afraid and unsure of himself\",\n",
      "\"The teller, who is a woman, is described as being confident and competent\",\n",
      "\"The teller offers to help the robber, and he is grateful for her assistance\",\n",
      "\"The robber is described as being hesitant and unsure of himself\",\n",
      "\"The teller is described as being'scornful' of the robber\"\n",
      "]\n",
      "}\n",
      "#####################################################\n",
      "Spanner In The Works   {\n",
      "\"trope_exists\": true,\n",
      "\"evidence\": [\n",
      "\"The bank robber's ineptitude and lack of planning lead to him being outsmarted by the bank teller, who takes control of the situation and helps him rob the bank. This is an example of the Spanner In The Works trope, as the teller's actions are unexpected and unpredictable, and they ultimately lead to the success of the robbery.\"\n",
      "]\n",
      "}\n",
      "#####################################################\n",
      "Shown Their Work   {\n",
      "\"trope_exists\": \"yes\",\n",
      "\"evidence\": [\n",
      "\"The bank robber seemed just as shocked. There were too many people. He realized that, despite all his preparation, he hadn’t considered the afternoon rush.\",\n",
      "\"It was a good plan and made the bank robber feel less like he had screwed up by coming in during the rush.\",\n",
      "\"He shifted his gun from one hand to the other.\",\n",
      "\"She opened every teller station using keys on a ring she kept at her waist.\",\n",
      "\"He watched her stack the money in a duffelbag, one of two he had brought for the purpose.\",\n",
      "\"She seemed to sense his hesitation and plucked a pen from one of the teller stations, rolling it across the counter toward him.\",\n",
      "\"He pulled back the leather chair behind one of the desks and sat. It felt funny to be behind a desk, dressed as he was in black fatigues.\",\n",
      "\"The woman noticed him stringing paper clips together. “You could start with, ‘Fuck you, pigs, dumb motherfuckers,’ ” she said. “Or, if you want it to be more personal, you could try, like, ‘I’m the motherfucking heist king and you know it.’ It depends on the tone you want.”\",\n",
      "\"He printed “Motherfucking Heist King” at the top of the page, then wrote it again and again, trying out different handwriting styles and lining the paper with a chain-link pattern.\"\n",
      "]\n",
      "}\n",
      "\n",
      "The trope \"Shown Their Work\" exists in the story. The author has put in considerable effort to research and accurately depict the details of the bank robbery, such as the use of a duffelbag to carry the money, the presence of a mortgage officers’ desks in the lobby, and the use of paper clips to create a makeshift barrier. The author has also demonstrated a good understanding of the psychology of the characters, particularly the bank robber's uncertainty and the teller's frustration with his lack of preparation and confidence.\n",
      "\n",
      "The evidence for this trope can be seen in various parts of the story, such as the attention to detail in the description of the bank's layout and the characters' actions, as well as the use of realistic dialogue and body language. The author has clearly done their research and put in the effort to create a believable and engaging story.\n",
      "#####################################################\n",
      "Red Herring   {\n",
      "\"trope_exists\": \"yes\",\n",
      "\"evidence\": {\n",
      "\"reason\": \"The story includes a red herring in the form of the teller's suggestion to write a taunting letter to the police. The teller's behavior and the bank robber's reaction to her suggestion suggest that she may be trying to distract him or lead him astray. Additionally, the teller's comment about the dye pack and her offer to help the bank robber draft the letter further suggest that she may have ulterior motives. The story also includes a twist when the teller reveals that she has been helping the bank robber all along, which adds to the red herring trope.\"\n",
      "}\n",
      "}\n",
      "#####################################################\n",
      "Bilingual Bonus   {\n",
      "\"trope_exists\": \"yes\",\n",
      "\"evidence\": {\n",
      "\"reason\": \"The story contains a hidden message in a foreign language, specifically the phrase 'Motherfucking Heist King' written in English and then translated into a chain-link pattern. This meets the definition of the Bilingual Bonus trope.\"\n",
      "}\n",
      "}\n",
      "#####################################################\n",
      "Arranged Marriage   {\n",
      "\"trope_exists\": true,\n",
      "\"evidence\": [\n",
      "\"The story features an Arranged Marriage between the bank robber and the bank teller, as they are forced to work together to carry out the heist and eventually develop a romantic connection.\"\n",
      "]\n",
      "}\n",
      "\n",
      "The story contains elements of the Arranged Marriage trope, as the bank robber and the bank teller are forced to work together and eventually develop a romantic connection. The teller's suggestion to write a taunting letter to the police and the robber's hesitation to do so, as well as the teller's offer to help him with the heist, are reminiscent of the trope's common themes of an arranged marriage being used to bring two people together who may not have initially wanted to be together. The teller's frustration with the robber's lack of confidence and inability to take a stand also echoes the trope's theme of tension and conflict between the couple. Therefore, the trope exists in the story.\n"
     ]
    },
    {
     "data": {
      "text/plain": [
       "[{}, {}, {}, {}, {}, {}, {}, {}, {}, {}]"
      ]
     },
     "execution_count": 13,
     "metadata": {},
     "output_type": "execute_result"
    }
   ],
   "source": [
    "prompt = \"\"\"<s>[INST] <<SYS>>\n",
    "{}\n",
    "<</SYS>>\n",
    "\n",
    "{} [/INST]\"\"\"\n",
    "\n",
    "system_prompt = \"\"\"You always answer truthfully and communicate using a valid JSON string. You will be given a trope, its definition and a story and you analyze carefully if the given trope exists or not in the story. First reason critically if the trope exists or not in the story based on its definition. The expected output from you should follow the structure:\\n\n",
    "    {\n",
    "        \"trope_exists\": {'yes' if the trope exists, 'no' if the trope does not exist},\n",
    "        \"evidence\": {provide reason(s) strictly from the context of the story}\n",
    "    }\n",
    "\"\"\"\n",
    "user_msg = \"\"\"Trope: {}\\nTrope Definition: {}\\nStory:\\n{}\"\"\"\n",
    "def check_trope_exists(row):\n",
    "    print(row)\n",
    "    story = row[0]\n",
    "    tropes = row[1]\n",
    "    tropes_validated = []\n",
    "    for trope in tropes:\n",
    "        trope_name, trope_def = get_trope_by_id(trope)\n",
    "        splitted = re.sub('([A-Z][a-z]+)', r' \\1', re.sub('([A-Z]+)', r' \\1', trope_name)).split()\n",
    "        trope_name = \" \".join(splitted)\n",
    "        u_m = user_msg.format(trope_name.strip(), trope_def.strip(), story.strip())\n",
    "        # form the prompt\n",
    "        p = prompt.format(system_prompt, u_m)\n",
    "        # query the model\n",
    "        # generate(p, temp=0.7)\n",
    "        out = pipe_generate(p, temp=0.55)\n",
    "        out = out[0]\n",
    "        print(trope_name, out)\n",
    "        p_out = {}\n",
    "        # target = out.split('{')[1].split('}')[0]\n",
    "        # exists = target.split(',')[0].split(': ')[1].strip()\n",
    "        # p_out['tname'] = trope_name\n",
    "        # p_out['exists'] = strtobool(exists)\n",
    "        # p_out['reason'] = target.split(',',1)[1].split(':',1)[1].split('}')[0].strip()\n",
    "        # print(p_out)\n",
    "        tropes_validated.append(p_out)\n",
    "        # parse the output and save it to tropes_validated\n",
    "    return tropes_validated\n",
    "s = story_w_trope[story_w_trope['sid']==\"s83\"].iloc[0].story\n",
    "# print(s)\n",
    "t = story_w_trope[story_w_trope['sid']==\"s83\"].iloc[0].tropes\n",
    "check_trope_exists((s,t))"
   ]
  },
  {
   "cell_type": "code",
   "execution_count": 14,
   "id": "c72159cd-407d-47f9-b2f3-59d6d57f0cd2",
   "metadata": {},
   "outputs": [
    {
     "name": "stdout",
     "output_type": "stream",
     "text": [
      "('Nobody knew what to do at first. Deposit slips fluttered to the floor. A man touched the rim of his baseball cap to make sure it was still there.\\n\\nThe bank robber seemed just as shocked. There were too many people. He realized that, despite all his preparation, he hadn’t considered the afternoon rush.\\n\\n“Put your hands up,” he said, and people more or less did that. “You’re all hostages now.”\\n\\n“We don’t want to be hostages,” someone said.\\n\\n“That’s not how this works,” the bank robber said. “I come in, you all become hostages, I get some money and leave, and then you’re free again.”\\n\\n“We’re afraid,” someone else said.\\n\\nThe bank robber got it—he was also afraid.\\n\\nA bank teller waved her hand, which was still raised above her head. “I’ll be the hostage,” she said.\\n\\n“You are already one of many hostages,” the bank robber said.\\n\\n“Then everyone can go and sit in the old vault,” she said. “There’s no way to call for help in there, and it has a heavy iron door. That means fewer people to mess things up. And I can access everything up front.”\\n\\nIt was a good plan and made the bank robber feel less like he had screwed up by coming in during the rush. “You’re sure there are no alert switches or emergency phones in there?”\\n\\n“It’s a hundred years old,” she said. “You couldn’t get a call out of there if you tried.”\\n\\nThe hostages all turned to see what he would say. He shifted his gun from one hand to the other.\\n\\n“Fine,” he said.\\n\\nThey all went to the old vault and the hostages filed in silently. There was plenty of room for them to sit or stand; they would be comfortable there. The teller turned an iron wheel to lock them in. “All right,” she said. “Let’s get to work.”\\n\\nShe opened every teller station using keys on a ring she kept at her waist. He watched her stack the money in a duffelbag, one of two he had brought for the purpose. He was grateful for her knowledge and assistance, if a little unsettled that she was offering it all so freely.\\n\\n“You’re not putting a dye pack in there, are you?” he asked.\\n\\nThe woman turned to look at him, and he was surprised to see that his question seemed to have wounded her. “I would never,” she said. “What would make you say that?”\\n\\n“I’m sorry.” He tried to think about what would make him say it; he had seen a dye pack in a movie once and knew that it could explode and make a terrible mess. There was a lot that he didn’t know about robbing banks, and every moment was another opportunity to reveal his ignorance.\\n\\nShe seemed to sense his hesitation and plucked a pen from one of the teller stations, rolling it across the counter toward him. “Why don’t you go sit down over there and draft a taunting letter to the police,” she said. She pointed to the mortgage officers’ desks, which ringed the lobby.\\n\\nHe pulled back the leather chair behind one of the desks and sat. It felt funny to be behind a desk, dressed as he was in black fatigues. The bank robber couldn’t remember the last time he’d sat behind any desk, and he’d certainly never been near one this nice. He stared at the empty page. Writing had never interested him in school; though he knew he had something to say, it gave him an uneasy feeling. He put his gun in the outgoing-mail tray and dumped a box of paper clips onto the desk.\\n\\nThe woman noticed him stringing paper clips together. “You could start with, ‘Fuck you, pigs, dumb motherfuckers,’ ” she said. “Or, if you want it to be more personal, you could try, like, ‘I’m the motherfucking heist king and you know it.’ It depends on the tone you want.”\\n\\n“Motherfucking heist king,” he repeated, writing it down.\\n\\n“You’re welcome.”\\n\\n“Yes,” he said, a little annoyed. “Thank you.”\\n\\nHe printed “Motherfucking Heist King” at the top of the page, then wrote it again and again, trying out different handwriting styles and lining the paper with a chain-link pattern. “Motherfucking Heist King”—it really was a nice phrase. Maybe if he could make a design with it, they would get the point of what he was trying to say. What was he trying to say, anyway? He realized that he hadn’t actually considered writing a letter until it was suggested to him.\\n\\nAfter a while, the teller came out from behind the counter to get his other bag. She looked over his shoulder at the page, which by then was covered in designs of his own creation. “Want me to write it?” she asked.\\n\\nHe handed her the paper and stood, surprised to find himself so irritated at someone who seemed only to want to help him. Walking to one of the high windows, he saw that a few police cars had begun to gather. “Maybe I should go,” he said.\\n\\nShe went back behind the counter with a pointed sigh and started to fill the second bag. He watched her poking around the cabinets. Outside, the police were setting up a barricade.\\n\\n“I’m going as fast as I can,” the teller said. She sounded angry. “I have to write your stupid letter and pack up this cash and get everything organized. I’m only one person.”\\n\\n“I didn’t say anything.”\\n\\n“This obviously isn’t about me,” she said. “I’ve seen this a million times before. You come in here for a little quick cash, you want to make a getaway. Am I wrong?”\\n\\n“You’re the bitch who volunteered.”\\n\\n“Wow,” she said. “I guess I must have said something to deserve that.”\\n\\nShe sounded exactly like his mother, which the bank robber realized was just typical.\\n\\n“Maybe you should go and get in the vault now,” he said. “You’ve helped me out. I appreciate you. I can take it from here.”\\n\\n“Yeah, right,” she said. “You think I’d let you finish this alone? I’ve done too much for you already to just walk away. I’m in it for the long haul.” She threw the last stacks of cash into the duffel so hard that it slid off the counter, sending its contents spilling across the floor.\\n\\nHe turned back to the window. If he just stayed out of her way, it would be over soon enough.\\n\\nGrumbling, she crouched down to clean it all up. At the very least, she figured, he could have helped when the bag fell. Thinking of others clearly wasn’t in his nature. She was actually getting pretty tired of his attitude: his inability to speak up, his dismal lack of self-confidence, his unwillingness to take a stand with either the hostages or the police. He didn’t have a point of view or an exit strategy, was content to remain in limbo. It was pathetic, really.\\n\\nWhen he approached the counter, the blank look on his face sickened her; it was the look of a man completely unable to understand the future or to confront it.\\n\\n“What?” he asked.\\n\\nShe slid the bag across the counter and spread her arms wide, levelling upon him the full power of her scorn. “You might as well just fucking shoot me,” she said.', ['t02187', 't06175', 't08393', 't28820', 't17855', 't26723', 't20226', 't18456', 't02282', 't01284'])\n"
     ]
    },
    {
     "name": "stderr",
     "output_type": "stream",
     "text": [
      "/cluster/home/sharaj/.local/lib/python3.9/site-packages/transformers/pipelines/base.py:1101: UserWarning: You seem to be using the pipelines sequentially on GPU. In order to maximize efficiency please use a dataset\n",
      "  warnings.warn(\n"
     ]
    },
    {
     "name": "stdout",
     "output_type": "stream",
     "text": [
      "#####################################################\n",
      "  {\n",
      "\"trope_exists\": true,\n",
      "\"evidence\": [\n",
      "\"The bank robber is the cause of all the problems in the story, as he is the one who initiates the robbery and takes the hostages.\"\n",
      "\"The teller, who is the main character, is the one who suggests the plan to rob the bank and helps the robber carry it out, making her the Big Bad of the story.\"\n",
      "\"The teller's motivations and backstory are not explored in detail, adding to the mystery and complexity of her character, which is a common trait of the Big Bad.\"\n",
      "\"The teller's actions and decisions drive the plot forward and create tension and conflict for the other characters, which is another hallmark of the Big Bad.\"\n",
      "]\n",
      "}\n",
      "#####################################################\n",
      "  {\n",
      "\"trope_exists\": \"yes\",\n",
      "\"evidence\": [\n",
      "\"The bank robber seems just as shocked as the hostages, indicating that he didn't consider the afternoon rush and is now improvising.\",\n",
      "\"The teller suggests that the hostages file into the old vault, which has a heavy iron door and no way to call for help, making it a safer place for them to wait out the robbery.\",\n",
      "\"The teller offers to write a taunting letter to the police for the robber, using language that suggests she has experience with this type of situation and is trying to help him avoid making mistakes.\",\n",
      "\"The robber is described as being unable to understand the future or confront it, indicating that he is not in control of the situation and is unsure of what to do next.\"\n",
      "]\n",
      "}\n",
      "#####################################################\n",
      "  {\n",
      "\"trope_exists\": \"yes\",\n",
      "\"evidence\": [\n",
      "\"The bank robber's plan was foiled by the teller's quick thinking and expertise, leading to a tense standoff between the two.\"\n",
      "\"The teller's suggestion to write a taunting letter to the police was a clever move that the bank robber didn't expect.\"\n",
      "\"The teller's ability to keep calm and think on her feet was a key factor in the success of the heist.\"\n",
      "\"The bank robber's inexperience and lack of planning were evident throughout the ordeal.\"\n",
      "\"The teller's line, 'You might as well just fucking shoot me,' was a powerful moment that foreshadowed the eventual outcome of the heist.\"\n",
      "]\n",
      "}\n",
      "#####################################################\n",
      "  {\n",
      "\"trope_exists\": \"yes\",\n",
      "\"evidence\": [\n",
      "\"The story follows a bank robbery, where the robber takes hostages and demands a ransom. The story is told from the perspective of the robber, who is portrayed as incompetent and unsure of what to do. The hostages are used as a tool to further the plot, as the robber's plan is to use them as leverage to get what he wants. The story also includes a mysterious figure, the bank teller, who seems to know more than she's letting on and is revealed to be helping the robber. The story has a complex plot with unexpected twists and turns, keeping the reader guessing until the end. All of these elements point to the trope of Fairplay Whodunnit.\"\n",
      "]\n",
      "}\n",
      "#####################################################\n",
      "  {\n",
      "\"trope_exists\": true,\n",
      "\"evidence\": [\n",
      "\"The Proud Warrior Race Guy trope is clearly present in the story, as the bank robber is described as a man who is dressed in black fatigues and has a gun. He is also described as being afraid, which suggests that he is not a seasoned warrior. The teller, on the other hand, is described as being knowledgeable and confident, and she takes charge of the situation, suggesting that she is a member of a Proud Warrior Race. The fact that the teller is willing to help the bank robber and that she is not afraid of him also suggests that she is a member of a Proud Warrior Race.\",\n",
      "\"The teller's willingness to help the bank robber and her confidence in her own abilities also suggest that she is a member of a Proud Warrior Race. The fact that she is not afraid of the bank robber and is willing to stand up to him also suggests that she is a member of a Proud Warrior Race.\",\n",
      "\"The fact that the bank robber is described as being 'afraid' and 'unsure' suggests that he is not a member of a Proud Warrior Race. The fact that he is willing to listen to the teller and follow her instructions also suggests that he is not a member of a Proud Warrior Race.\",\n",
      "\"The fact that the teller is described as being 'angry' and'sickened' by the bank robber's behavior suggests that she is a member of a Proud Warrior Race. The fact that she is willing to confront the bank robber and stand up to him also suggests that she is a member of a Proud Warrior Race.\"\n",
      "]\n",
      "}\n",
      "#####################################################\n",
      "  {\n",
      "\"trope_exists\": \"yes\",\n",
      "\"evidence\": [\n",
      "\"The bank robber's ineptitude and lack of a well-thought-out plan, combined with the teller's unexpected assistance and willingness to help, create a situation where the character's plans are consistently foiled by unforeseen circumstances and the actions of others. This is in line with the definition of the Spanner In The Works trope, where a character's plans are disrupted by external factors, often in unexpected ways.\"\n",
      "]\n",
      "}\n",
      "#####################################################\n",
      "  {\n",
      "\"trope_exists\": \"yes\",\n",
      "\"evidence\": [\n",
      "\"The bank robber seemed just as shocked. There were too many people. He realized that, despite all his preparation, he hadn’t considered the afternoon rush.\",\n",
      "\"It was a good plan and made the bank robber feel less like he had screwed up by coming in during the rush.\"\n",
      "]\n",
      "}\n",
      "\n",
      "The trope of Shown Their Work is present in the story. The author has put in the effort to research and include details that are consistent with current scientific theories, such as the fact that the bank robber didn't consider the afternoon rush and the teller's knowledge of the old vault's security features. The author has also shown a willingness to learn and understand the subject matter, as evidenced by the teller's ability to operate the old vault's lock and the bank robber's ignorance of dye packs.\n",
      "\n",
      "The evidence for this trope includes the attention to detail in the story, such as the description of the bank robber's preparation and the teller's knowledge of the vault's security features. Additionally, the author's willingness to learn and understand the subject matter is evident in the way they describe the characters' actions and decisions. Overall, the trope of Shown Their Work is present in the story, and the author has done an excellent job of researching and including details that enhance the narrative.\n",
      "#####################################################\n",
      "  {\n",
      "\"trope_exists\": \"yes\",\n",
      "\"evidence\": [\n",
      "\"The bank robber's unclear motive and lack of preparation for the afternoon rush suggest that he did not have a well-thought-out plan, leading to red herrings such as his focus on the teller's assistance and his hesitation when asked if he had placed a dye pack in the duffelbag.\",\n",
      "\"The teller's offer to help the bank robber and her seemingly genuine desire to assist him in completing the heist without any obvious motive or gain suggests that she may have ulterior motives, leading to red herrings such as her comment about not putting a dye pack in the bag and her sudden irritation when he suggests she should go and get in the vault now.\",\n",
      "\"The bank robber's inability to take a stand with either the hostages or the police and his unwillingness to confront the future or understand the consequences of his actions suggest that he is not in control of the situation and is unsure of what to do, leading to red herrings such as his reliance on the teller for assistance and his lack of an exit strategy.\"\n",
      "]\n",
      "}\n",
      "#####################################################\n",
      "  {\n",
      "\"trope_exists\": \"yes\",\n",
      "\"evidence\": [\n",
      "\"The bank robber seemed just as shocked. There were too many people. He realized that, despite all his preparation, he hadn’t considered the afternoon rush.\",\n",
      "\"It was a good plan and made the bank robber feel less like he had screwed up by coming in during the rush.\",\n",
      "\"He shifted his gun from one hand to the other.\",\n",
      "\"She opened every teller station using keys on a ring she kept at her waist.\",\n",
      "\"He watched her stack the money in a duffelbag, one of two he had brought for the purpose.\",\n",
      "\"She seemed to sense his hesitation and plucked a pen from one of the teller stations, rolling it across the counter toward him.\",\n",
      "\"He pulled back the leather chair behind one of the desks and sat. It felt funny to be behind a desk, dressed as he was in black fatigues.\",\n",
      "\"He stared at the empty page. Writing had never interested him in school; though he knew he had something to say, it gave him an uneasy feeling.\",\n",
      "\"He put his gun in the outgoing-mail tray and dumped a box of paper clips onto the desk.\",\n",
      "\"The woman noticed him stringing paper clips together. 'You could start with, 'Fuck you, pigs, dumb motherfuckers,' she said. 'Or, if you want it to be more personal, you could try, like, 'I’m the motherfucking heist king and you know it.' It depends on the tone you want.'\",\n",
      "\"'Motherfucking Heist King'—it really was a nice phrase.\"\n",
      "]\n",
      "}\n",
      "#####################################################\n",
      "  {\n",
      "\"trope_exists\": true,\n",
      "\"evidence\": [\n",
      "\"The story features an Arranged Marriage between the bank robber and the bank teller, as they are forced to work together to carry out the heist and deal with the police.\"\n",
      "]\n",
      "}\n",
      "\n",
      "The story contains elements of the Arranged Marriage trope, as the bank robber and the bank teller are forced to work together and cooperate despite their differences. The teller, in particular, seems to be taking charge and helping the robber, who is portrayed as incompetent and uncertain. The teller's attitude towards the robber also suggests a sense of resentment and frustration, which could be indicative of an arranged marriage. However, it's worth noting that the story does not explicitly state that the two are in an arranged marriage, and their relationship is not the central focus of the narrative.\n"
     ]
    },
    {
     "data": {
      "text/plain": [
       "[{}, {}, {}, {}, {}, {}, {}, {}, {}, {}]"
      ]
     },
     "execution_count": 14,
     "metadata": {},
     "output_type": "execute_result"
    }
   ],
   "source": [
    "prompt = \"\"\"<s>[INST] <<SYS>>\n",
    "{}\n",
    "<</SYS>>\n",
    "\n",
    "{} [/INST]\"\"\"\n",
    "\n",
    "system_prompt = \"\"\"You always answer truthfully and communicate using a valid JSON string. You will be given a trope, its definition and a story and you analyze carefully if the given trope exists or not in the story. First reason critically if the trope exists or not in the story based on its definition. The expected output from you should follow the structure:\\n\n",
    "    {\n",
    "        \"trope_exists\": {'yes' if the trope exists, 'no' if the trope does not exist},\n",
    "        \"evidence\": {provide reason(s) strictly from the context of the story}\n",
    "    }\n",
    "\"\"\"\n",
    "user_msg = \"\"\"Trope: {}\\nTrope Definition: {}\\nStory:\\n{}\"\"\"\n",
    "def check_trope_exists(row):\n",
    "    print(row)\n",
    "    story = row[0]\n",
    "    tropes = row[1]\n",
    "    tropes_validated = []\n",
    "    for trope in tropes:\n",
    "        trope_name, trope_def = get_trope_by_id(trope)\n",
    "        splitted = re.sub('([A-Z][a-z]+)', r' \\1', re.sub('([A-Z]+)', r' \\1', trope_name)).split()\n",
    "        trope_name = \" \".join(splitted)\n",
    "        u_m = user_msg.format(trope_name.strip(), trope_def.strip(), story.strip())\n",
    "        # form the prompt\n",
    "        p = prompt.format(system_prompt, u_m)\n",
    "        # query the model\n",
    "        # generate(p, temp=0.7)\n",
    "        out = pipe_generate(p, temp=0.7)\n",
    "        out = out[0]\n",
    "        print(out)\n",
    "        p_out = {}\n",
    "        # target = out.split('{')[1].split('}')[0]\n",
    "        # exists = target.split(',')[0].split(': ')[1].strip()\n",
    "        # p_out['tname'] = trope_name\n",
    "        # p_out['exists'] = strtobool(exists)\n",
    "        # p_out['reason'] = target.split(',',1)[1].split(':',1)[1].split('}')[0].strip()\n",
    "        # print(p_out)\n",
    "        tropes_validated.append(p_out)\n",
    "        # parse the output and save it to tropes_validated\n",
    "    return tropes_validated\n",
    "s = story_w_trope[story_w_trope['sid']==\"s83\"].iloc[0].story\n",
    "# print(s)\n",
    "t = story_w_trope[story_w_trope['sid']==\"s83\"].iloc[0].tropes\n",
    "check_trope_exists((s,t))"
   ]
  },
  {
   "cell_type": "code",
   "execution_count": 5,
   "id": "6a858746-6c3c-47f9-9467-244c4651b109",
   "metadata": {},
   "outputs": [],
   "source": [
    "def strtobool (val):\n",
    "    \"\"\"Convert a string representation of truth to true (1) or false (0).\n",
    "    True values are 'y', 'yes', 't', 'true', 'on', and '1'; false values\n",
    "    are 'n', 'no', 'f', 'false', 'off', and '0'.  Raises ValueError if\n",
    "    'val' is anything else.\n",
    "    \"\"\"\n",
    "    val = val.lower()\n",
    "    if val in ('y', 'yes', 't', 'true', 'on', '1', '\"yes\"', \"'yes'\"):\n",
    "        return 1\n",
    "    elif val in ('n', 'no', 'f', 'false', 'off', '0', '\"no\"', \"'no'\"):\n",
    "        return 0\n",
    "    else:\n",
    "        raise ValueError(\"invalid truth value %r\" % (val,))"
   ]
  },
  {
   "cell_type": "code",
   "execution_count": 38,
   "id": "f397dfaf-839e-4818-8908-7f767ee6a245",
   "metadata": {},
   "outputs": [
    {
     "name": "stdout",
     "output_type": "stream",
     "text": [
      "('Nobody knew what to do at first. Deposit slips fluttered to the floor. A man touched the rim of his baseball cap to make sure it was still there.\\n\\nThe bank robber seemed just as shocked. There were too many people. He realized that, despite all his preparation, he hadn’t considered the afternoon rush.\\n\\n“Put your hands up,” he said, and people more or less did that. “You’re all hostages now.”\\n\\n“We don’t want to be hostages,” someone said.\\n\\n“That’s not how this works,” the bank robber said. “I come in, you all become hostages, I get some money and leave, and then you’re free again.”\\n\\n“We’re afraid,” someone else said.\\n\\nThe bank robber got it—he was also afraid.\\n\\nA bank teller waved her hand, which was still raised above her head. “I’ll be the hostage,” she said.\\n\\n“You are already one of many hostages,” the bank robber said.\\n\\n“Then everyone can go and sit in the old vault,” she said. “There’s no way to call for help in there, and it has a heavy iron door. That means fewer people to mess things up. And I can access everything up front.”\\n\\nIt was a good plan and made the bank robber feel less like he had screwed up by coming in during the rush. “You’re sure there are no alert switches or emergency phones in there?”\\n\\n“It’s a hundred years old,” she said. “You couldn’t get a call out of there if you tried.”\\n\\nThe hostages all turned to see what he would say. He shifted his gun from one hand to the other.\\n\\n“Fine,” he said.\\n\\nThey all went to the old vault and the hostages filed in silently. There was plenty of room for them to sit or stand; they would be comfortable there. The teller turned an iron wheel to lock them in. “All right,” she said. “Let’s get to work.”\\n\\nShe opened every teller station using keys on a ring she kept at her waist. He watched her stack the money in a duffelbag, one of two he had brought for the purpose. He was grateful for her knowledge and assistance, if a little unsettled that she was offering it all so freely.\\n\\n“You’re not putting a dye pack in there, are you?” he asked.\\n\\nThe woman turned to look at him, and he was surprised to see that his question seemed to have wounded her. “I would never,” she said. “What would make you say that?”\\n\\n“I’m sorry.” He tried to think about what would make him say it; he had seen a dye pack in a movie once and knew that it could explode and make a terrible mess. There was a lot that he didn’t know about robbing banks, and every moment was another opportunity to reveal his ignorance.\\n\\nShe seemed to sense his hesitation and plucked a pen from one of the teller stations, rolling it across the counter toward him. “Why don’t you go sit down over there and draft a taunting letter to the police,” she said. She pointed to the mortgage officers’ desks, which ringed the lobby.\\n\\nHe pulled back the leather chair behind one of the desks and sat. It felt funny to be behind a desk, dressed as he was in black fatigues. The bank robber couldn’t remember the last time he’d sat behind any desk, and he’d certainly never been near one this nice. He stared at the empty page. Writing had never interested him in school; though he knew he had something to say, it gave him an uneasy feeling. He put his gun in the outgoing-mail tray and dumped a box of paper clips onto the desk.\\n\\nThe woman noticed him stringing paper clips together. “You could start with, ‘Fuck you, pigs, dumb motherfuckers,’ ” she said. “Or, if you want it to be more personal, you could try, like, ‘I’m the motherfucking heist king and you know it.’ It depends on the tone you want.”\\n\\n“Motherfucking heist king,” he repeated, writing it down.\\n\\n“You’re welcome.”\\n\\n“Yes,” he said, a little annoyed. “Thank you.”\\n\\nHe printed “Motherfucking Heist King” at the top of the page, then wrote it again and again, trying out different handwriting styles and lining the paper with a chain-link pattern. “Motherfucking Heist King”—it really was a nice phrase. Maybe if he could make a design with it, they would get the point of what he was trying to say. What was he trying to say, anyway? He realized that he hadn’t actually considered writing a letter until it was suggested to him.\\n\\nAfter a while, the teller came out from behind the counter to get his other bag. She looked over his shoulder at the page, which by then was covered in designs of his own creation. “Want me to write it?” she asked.\\n\\nHe handed her the paper and stood, surprised to find himself so irritated at someone who seemed only to want to help him. Walking to one of the high windows, he saw that a few police cars had begun to gather. “Maybe I should go,” he said.\\n\\nShe went back behind the counter with a pointed sigh and started to fill the second bag. He watched her poking around the cabinets. Outside, the police were setting up a barricade.\\n\\n“I’m going as fast as I can,” the teller said. She sounded angry. “I have to write your stupid letter and pack up this cash and get everything organized. I’m only one person.”\\n\\n“I didn’t say anything.”\\n\\n“This obviously isn’t about me,” she said. “I’ve seen this a million times before. You come in here for a little quick cash, you want to make a getaway. Am I wrong?”\\n\\n“You’re the bitch who volunteered.”\\n\\n“Wow,” she said. “I guess I must have said something to deserve that.”\\n\\nShe sounded exactly like his mother, which the bank robber realized was just typical.\\n\\n“Maybe you should go and get in the vault now,” he said. “You’ve helped me out. I appreciate you. I can take it from here.”\\n\\n“Yeah, right,” she said. “You think I’d let you finish this alone? I’ve done too much for you already to just walk away. I’m in it for the long haul.” She threw the last stacks of cash into the duffel so hard that it slid off the counter, sending its contents spilling across the floor.\\n\\nHe turned back to the window. If he just stayed out of her way, it would be over soon enough.\\n\\nGrumbling, she crouched down to clean it all up. At the very least, she figured, he could have helped when the bag fell. Thinking of others clearly wasn’t in his nature. She was actually getting pretty tired of his attitude: his inability to speak up, his dismal lack of self-confidence, his unwillingness to take a stand with either the hostages or the police. He didn’t have a point of view or an exit strategy, was content to remain in limbo. It was pathetic, really.\\n\\nWhen he approached the counter, the blank look on his face sickened her; it was the look of a man completely unable to understand the future or to confront it.\\n\\n“What?” he asked.\\n\\nShe slid the bag across the counter and spread her arms wide, levelling upon him the full power of her scorn. “You might as well just fucking shoot me,” she said.', ['t02187', 't06175', 't08393', 't28820', 't17855', 't26723', 't20226', 't18456', 't02282', 't01284'])\n",
      "#####################################################\n",
      "Big Bad   {\n",
      "\"trope_exists\": \"no\",\n",
      "\"evidence\": \"The story does not contain any elements of the Big Bad trope. The character described as the bank robber is portrayed as incompetent, uncertain, and unconfident, lacking the typical characteristics of a Big Bad such as intelligence, cunning, and a clear motive. The teller, who is described as being knowledgeable and helpful, does not fit the role of a Big Bad either. The story does not have a clear antagonist or a sense of danger and urgency, which are also hallmarks of the Big Bad trope.\"\n",
      "}\n",
      "{'tname': 'Big Bad', 'exists': 0, 'reason': '\"The story does not contain any elements of the Big Bad trope. The character described as the bank robber is portrayed as incompetent, uncertain, and unconfident, lacking the typical characteristics of a Big Bad such as intelligence, cunning, and a clear motive. The teller, who is described as being knowledgeable and helpful, does not fit the role of a Big Bad either. The story does not have a clear antagonist or a sense of danger and urgency, which are also hallmarks of the Big Bad trope.\"'}\n",
      "#####################################################\n",
      "Dramatic Irony   {\n",
      "\"trope_exists\": \"yes\",\n",
      "\"evidence\": [\n",
      "\"The bank robber seemed just as shocked. There were too many people. He realized that, despite all his preparation, he hadn’t considered the afternoon rush.\",\n",
      "\"The teller turned an iron wheel to lock them in. 'All right,' she said. 'Let’s get to work.'\",\n",
      "\"He pulled back the leather chair behind one of the desks and sat. It felt funny to be behind a desk, dressed as he was in black fatigues.\",\n",
      "\"The woman noticed him stringing paper clips together. 'You could start with, ‘Fuck you, pigs, dumb motherfuckers,’ she said. 'Or, if you want it to be more personal, you could try, like, ‘I’m the motherfucking heist king and you know it.’ It depends on the tone you want.'\",\n",
      "\"He printed 'Motherfucking Heist King' at the top of the page, then wrote it again and again, trying out different handwriting styles and lining the paper with a chain-link pattern.\"\n",
      "]\n",
      "}\n",
      "\n",
      "The trope of Dramatic Irony exists in the story because the reader is aware of certain details that the characters are not. For example, the reader knows that the bank robber is not prepared for the afternoon rush, but the robber himself does not seem to realize this until it is too late. Additionally, the reader knows that the teller is offering to help the robber, but the robber is unaware of her motives and is instead focused on his own confusion and frustration. The use of dramatic irony creates tension and adds depth to the story, as it allows the reader to understand the characters' situations and motivations in a way that the characters themselves do not.\n",
      "{'tname': 'Dramatic Irony', 'exists': 1, 'reason': '[\\n\"The bank robber seemed just as shocked. There were too many people. He realized that, despite all his preparation, he hadn’t considered the afternoon rush.\",\\n\"The teller turned an iron wheel to lock them in. \\'All right,\\' she said. \\'Let’s get to work.\\'\",\\n\"He pulled back the leather chair behind one of the desks and sat. It felt funny to be behind a desk, dressed as he was in black fatigues.\",\\n\"The woman noticed him stringing paper clips together. \\'You could start with, ‘Fuck you, pigs, dumb motherfuckers,’ she said. \\'Or, if you want it to be more personal, you could try, like, ‘I’m the motherfucking heist king and you know it.’ It depends on the tone you want.\\'\",\\n\"He printed \\'Motherfucking Heist King\\' at the top of the page, then wrote it again and again, trying out different handwriting styles and lining the paper with a chain-link pattern.\"\\n]'}\n",
      "#####################################################\n",
      "Foreshadowing   {\n",
      "\"trope_exists\": \"yes\",\n",
      "\"evidence\": [\n",
      "\"The bank robber seemed just as shocked. There were too many people. He realized that, despite all his preparation, he hadn’t considered the afternoon rush.\",\n",
      "\"It was a good plan and made the bank robber feel less like he had screwed up by coming in during the rush.\",\n",
      "\"He was grateful for her knowledge and assistance, if a little unsettled that she was offering it all so freely.\",\n",
      "\"She seemed to sense his hesitation and plucked a pen from one of the teller stations, rolling it across the counter toward him.\",\n",
      "\"He pulled back the leather chair behind one of the desks and sat. It felt funny to be behind a desk, dressed as he was in black fatigues.\",\n",
      "\"He stared at the empty page. Writing had never interested him in school; though he knew he had something to say, it gave him an uneasy feeling.\",\n",
      "\"She noticed him stringing paper clips together. 'You could start with, 'Fuck you, pigs, dumb motherfuckers,' she said. 'Or, if you want it to be more personal, you could try, like, 'I’m the motherfucking heist king and you know it.' It depends on the tone you want.'\",\n",
      "\"He printed 'Motherfucking Heist King' at the top of the page, then wrote it again and again, trying out different handwriting styles and lining the paper with a chain-link pattern.\",\n",
      "\"He realized that he hadn’t actually considered writing a letter until it was suggested to him.\",\n",
      "\"She went back behind the counter with a pointed sigh and started to fill the second bag. He watched her poking around the cabinets.\",\n",
      "\"Outside, the police were setting up a barricade.\",\n",
      "\"She sounded angry. 'I’m only one person.'\",\n",
      "\"He turned back to the window. If he just stayed out of her way, it would be over soon enough.\",\n",
      "\"Grumbling, she crouched down to clean it all up. At the very least, she figured, he could have helped when the bag fell.\",\n",
      "\"She was actually getting pretty tired of his attitude: his inability to speak up, his dismal lack of self-confidence, his unwillingness to take a stand with either the hostages or the police.\",\n",
      "\"He didn’t have a point of view or an exit strategy, was content to remain in limbo. It was pathetic, really.\",\n",
      "\"The blank look on his face sickened her; it was the look of a man completely unable to understand the future or to confront it.\"\n",
      "]\n",
      "}\n",
      "{'tname': 'Foreshadowing', 'exists': 1, 'reason': '[\\n\"The bank robber seemed just as shocked. There were too many people. He realized that, despite all his preparation, he hadn’t considered the afternoon rush.\",\\n\"It was a good plan and made the bank robber feel less like he had screwed up by coming in during the rush.\",\\n\"He was grateful for her knowledge and assistance, if a little unsettled that she was offering it all so freely.\",\\n\"She seemed to sense his hesitation and plucked a pen from one of the teller stations, rolling it across the counter toward him.\",\\n\"He pulled back the leather chair behind one of the desks and sat. It felt funny to be behind a desk, dressed as he was in black fatigues.\",\\n\"He stared at the empty page. Writing had never interested him in school; though he knew he had something to say, it gave him an uneasy feeling.\",\\n\"She noticed him stringing paper clips together. \\'You could start with, \\'Fuck you, pigs, dumb motherfuckers,\\' she said. \\'Or, if you want it to be more personal, you could try, like, \\'I’m the motherfucking heist king and you know it.\\' It depends on the tone you want.\\'\",\\n\"He printed \\'Motherfucking Heist King\\' at the top of the page, then wrote it again and again, trying out different handwriting styles and lining the paper with a chain-link pattern.\",\\n\"He realized that he hadn’t actually considered writing a letter until it was suggested to him.\",\\n\"She went back behind the counter with a pointed sigh and started to fill the second bag. He watched her poking around the cabinets.\",\\n\"Outside, the police were setting up a barricade.\",\\n\"She sounded angry. \\'I’m only one person.\\'\",\\n\"He turned back to the window. If he just stayed out of her way, it would be over soon enough.\",\\n\"Grumbling, she crouched down to clean it all up. At the very least, she figured, he could have helped when the bag fell.\",\\n\"She was actually getting pretty tired of his attitude: his inability to speak up, his dismal lack of self-confidence, his unwillingness to take a stand with either the hostages or the police.\",\\n\"He didn’t have a point of view or an exit strategy, was content to remain in limbo. It was pathetic, really.\",\\n\"The blank look on his face sickened her; it was the look of a man completely unable to understand the future or to confront it.\"\\n]'}\n",
      "#####################################################\n",
      "Fairplay Whodunnit   {\n",
      "\"trope_exists\": \"no\",\n",
      "\"evidence\": \"The story does not contain any elements of a Fairplay Whodunnit. There is no mystery to be solved, no clues to be gathered, and no suspects to be interviewed. The story is focused on a bank robbery and the dynamics between the robber and the hostages, rather than a puzzle to be solved.\"\n",
      "}\n",
      "{'tname': 'Fairplay Whodunnit', 'exists': 0, 'reason': '\"The story does not contain any elements of a Fairplay Whodunnit. There is no mystery to be solved, no clues to be gathered, and no suspects to be interviewed. The story is focused on a bank robbery and the dynamics between the robber and the hostages, rather than a puzzle to be solved.\"'}\n",
      "#####################################################\n",
      "Proud Warrior Race Guy   {\n",
      "\"trope_exists\": \"no\",\n",
      "\"evidence\": \"The story does not contain any elements of the Proud Warrior Race Guy trope. The character of the bank robber does not exhibit any of the typical traits of this trope, such as a strong sense of honor, a desire for glory, or a willingness to sacrifice himself for a greater cause. Instead, he is portrayed as a nervous and uncertain individual who is struggling to navigate the situation he has found himself in. The teller, who is the only other character in the story, also does not exhibit any traits of this trope. She is portrayed as a competent and resourceful individual who is able to think on her feet and help the bank robber, but she does not display any of the characteristic traits of the Proud Warrior Race Guy trope.\"\n",
      "}\n",
      "{'tname': 'Proud Warrior Race Guy', 'exists': 0, 'reason': '\"The story does not contain any elements of the Proud Warrior Race Guy trope. The character of the bank robber does not exhibit any of the typical traits of this trope, such as a strong sense of honor, a desire for glory, or a willingness to sacrifice himself for a greater cause. Instead, he is portrayed as a nervous and uncertain individual who is struggling to navigate the situation he has found himself in. The teller, who is the only other character in the story, also does not exhibit any traits of this trope. She is portrayed as a competent and resourceful individual who is able to think on her feet and help the bank robber, but she does not display any of the characteristic traits of the Proud Warrior Race Guy trope.\"'}\n",
      "#####################################################\n",
      "Spanner In The Works   {\n",
      "\"trope_exists\": \"yes\",\n",
      "\"evidence\": \"The bank robber's ineptitude and lack of planning, combined with the teller's competence and take-charge attitude, create a situation where the teller becomes the de facto leader of the hostages and the robbery. The teller's sarcastic comments and frustration with the robber's incompetence further highlight the reversal of roles and the trope of the Spanner In The Works.\"\n",
      "}\n",
      "{'tname': 'Spanner In The Works', 'exists': 1, 'reason': '\"The bank robber\\'s ineptitude and lack of planning, combined with the teller\\'s competence and take-charge attitude, create a situation where the teller becomes the de facto leader of the hostages and the robbery. The teller\\'s sarcastic comments and frustration with the robber\\'s incompetence further highlight the reversal of roles and the trope of the Spanner In The Works.\"'}\n",
      "#####################################################\n",
      "Shown Their Work   {\n",
      "\"trope_exists\": \"yes\",\n",
      "\"evidence\": {\n",
      "\"The bank robber seems to be incompetent and unprepared for the situation, as he didn't consider the afternoon rush and didn't know how to handle the hostages. The teller, on the other hand, is knowledgeable and experienced, as she knows how to access the old vault and has keys to all the teller stations. She also seems to be in control of the situation, as she tells the robber what to do and how to do it. The robber is also shown to be afraid and unsure of himself, as he shifts his gun from one hand to the other and seems hesitant to make decisions. The teller, on the other hand, is confident and assertive, as she takes charge of the situation and tells the robber what to do. The robber's lack of preparation and incompetence is further highlighted when he doesn't know how to write a taunting letter to the police and needs the teller's help. The teller's sarcasm and frustration with the robber's ineptitude also suggests that she is the one in control of the situation. Overall, the story shows the trope of the incompetent criminal vs. the competent hostage, with the teller being the competent hostage who takes charge of the situation and the robber being the incompetent criminal who is unsure of himself and makes mistakes.\"\n",
      "}\n",
      "}\n",
      "{'tname': 'Shown Their Work', 'exists': 1, 'reason': ''}\n",
      "#####################################################\n",
      "Red Herring   {\n",
      "\"trope_exists\": \"no\",\n",
      "\"evidence\": \"The story does not contain a red herring. The plot is straightforward, with the bank robber attempting to rob the bank and the teller assisting him. There are no misleading clues or red herrings to distract the reader or the characters. The story is focused on the interaction between the bank robber and the teller, and the tension builds as the police arrive outside.\"\n",
      "}\n",
      "{'tname': 'Red Herring', 'exists': 0, 'reason': '\"The story does not contain a red herring. The plot is straightforward, with the bank robber attempting to rob the bank and the teller assisting him. There are no misleading clues or red herrings to distract the reader or the characters. The story is focused on the interaction between the bank robber and the teller, and the tension builds as the police arrive outside.\"'}\n",
      "#####################################################\n",
      "Bilingual Bonus   {\n",
      "\"trope_exists\": \"no\",\n",
      "\"evidence\": \"The story does not contain any elements of the Bilingual Bonus trope. There is no mention of any character speaking multiple languages or communicating with others in a language other than their own. The story is set in a bank in the United States and all the characters speak English. Therefore, the Bilingual Bonus trope does not exist in this story.\"\n",
      "}\n",
      "{'tname': 'Bilingual Bonus', 'exists': 0, 'reason': '\"The story does not contain any elements of the Bilingual Bonus trope. There is no mention of any character speaking multiple languages or communicating with others in a language other than their own. The story is set in a bank in the United States and all the characters speak English. Therefore, the Bilingual Bonus trope does not exist in this story.\"'}\n",
      "#####################################################\n",
      "Arranged Marriage   {\n",
      "\"trope_exists\": \"no\",\n",
      "\"evidence\": \"The story does not include any elements of an arranged marriage, such as a discussion of marriage plans or the involvement of family members in the arrangement of a marriage. The story focuses on a bank robbery and the dynamic between the robber and the bank teller, but it does not touch on the topic of arranged marriages.\"\n",
      "}\n",
      "{'tname': 'Arranged Marriage', 'exists': 0, 'reason': '\"The story does not include any elements of an arranged marriage, such as a discussion of marriage plans or the involvement of family members in the arrangement of a marriage. The story focuses on a bank robbery and the dynamic between the robber and the bank teller, but it does not touch on the topic of arranged marriages.\"'}\n"
     ]
    },
    {
     "data": {
      "text/plain": [
       "[{'tname': 'Big Bad',\n",
       "  'exists': 0,\n",
       "  'reason': '\"The story does not contain any elements of the Big Bad trope. The character described as the bank robber is portrayed as incompetent, uncertain, and unconfident, lacking the typical characteristics of a Big Bad such as intelligence, cunning, and a clear motive. The teller, who is described as being knowledgeable and helpful, does not fit the role of a Big Bad either. The story does not have a clear antagonist or a sense of danger and urgency, which are also hallmarks of the Big Bad trope.\"'},\n",
       " {'tname': 'Dramatic Irony',\n",
       "  'exists': 1,\n",
       "  'reason': '[\\n\"The bank robber seemed just as shocked. There were too many people. He realized that, despite all his preparation, he hadn’t considered the afternoon rush.\",\\n\"The teller turned an iron wheel to lock them in. \\'All right,\\' she said. \\'Let’s get to work.\\'\",\\n\"He pulled back the leather chair behind one of the desks and sat. It felt funny to be behind a desk, dressed as he was in black fatigues.\",\\n\"The woman noticed him stringing paper clips together. \\'You could start with, ‘Fuck you, pigs, dumb motherfuckers,’ she said. \\'Or, if you want it to be more personal, you could try, like, ‘I’m the motherfucking heist king and you know it.’ It depends on the tone you want.\\'\",\\n\"He printed \\'Motherfucking Heist King\\' at the top of the page, then wrote it again and again, trying out different handwriting styles and lining the paper with a chain-link pattern.\"\\n]'},\n",
       " {'tname': 'Foreshadowing',\n",
       "  'exists': 1,\n",
       "  'reason': '[\\n\"The bank robber seemed just as shocked. There were too many people. He realized that, despite all his preparation, he hadn’t considered the afternoon rush.\",\\n\"It was a good plan and made the bank robber feel less like he had screwed up by coming in during the rush.\",\\n\"He was grateful for her knowledge and assistance, if a little unsettled that she was offering it all so freely.\",\\n\"She seemed to sense his hesitation and plucked a pen from one of the teller stations, rolling it across the counter toward him.\",\\n\"He pulled back the leather chair behind one of the desks and sat. It felt funny to be behind a desk, dressed as he was in black fatigues.\",\\n\"He stared at the empty page. Writing had never interested him in school; though he knew he had something to say, it gave him an uneasy feeling.\",\\n\"She noticed him stringing paper clips together. \\'You could start with, \\'Fuck you, pigs, dumb motherfuckers,\\' she said. \\'Or, if you want it to be more personal, you could try, like, \\'I’m the motherfucking heist king and you know it.\\' It depends on the tone you want.\\'\",\\n\"He printed \\'Motherfucking Heist King\\' at the top of the page, then wrote it again and again, trying out different handwriting styles and lining the paper with a chain-link pattern.\",\\n\"He realized that he hadn’t actually considered writing a letter until it was suggested to him.\",\\n\"She went back behind the counter with a pointed sigh and started to fill the second bag. He watched her poking around the cabinets.\",\\n\"Outside, the police were setting up a barricade.\",\\n\"She sounded angry. \\'I’m only one person.\\'\",\\n\"He turned back to the window. If he just stayed out of her way, it would be over soon enough.\",\\n\"Grumbling, she crouched down to clean it all up. At the very least, she figured, he could have helped when the bag fell.\",\\n\"She was actually getting pretty tired of his attitude: his inability to speak up, his dismal lack of self-confidence, his unwillingness to take a stand with either the hostages or the police.\",\\n\"He didn’t have a point of view or an exit strategy, was content to remain in limbo. It was pathetic, really.\",\\n\"The blank look on his face sickened her; it was the look of a man completely unable to understand the future or to confront it.\"\\n]'},\n",
       " {'tname': 'Fairplay Whodunnit',\n",
       "  'exists': 0,\n",
       "  'reason': '\"The story does not contain any elements of a Fairplay Whodunnit. There is no mystery to be solved, no clues to be gathered, and no suspects to be interviewed. The story is focused on a bank robbery and the dynamics between the robber and the hostages, rather than a puzzle to be solved.\"'},\n",
       " {'tname': 'Proud Warrior Race Guy',\n",
       "  'exists': 0,\n",
       "  'reason': '\"The story does not contain any elements of the Proud Warrior Race Guy trope. The character of the bank robber does not exhibit any of the typical traits of this trope, such as a strong sense of honor, a desire for glory, or a willingness to sacrifice himself for a greater cause. Instead, he is portrayed as a nervous and uncertain individual who is struggling to navigate the situation he has found himself in. The teller, who is the only other character in the story, also does not exhibit any traits of this trope. She is portrayed as a competent and resourceful individual who is able to think on her feet and help the bank robber, but she does not display any of the characteristic traits of the Proud Warrior Race Guy trope.\"'},\n",
       " {'tname': 'Spanner In The Works',\n",
       "  'exists': 1,\n",
       "  'reason': '\"The bank robber\\'s ineptitude and lack of planning, combined with the teller\\'s competence and take-charge attitude, create a situation where the teller becomes the de facto leader of the hostages and the robbery. The teller\\'s sarcastic comments and frustration with the robber\\'s incompetence further highlight the reversal of roles and the trope of the Spanner In The Works.\"'},\n",
       " {'tname': 'Shown Their Work', 'exists': 1, 'reason': ''},\n",
       " {'tname': 'Red Herring',\n",
       "  'exists': 0,\n",
       "  'reason': '\"The story does not contain a red herring. The plot is straightforward, with the bank robber attempting to rob the bank and the teller assisting him. There are no misleading clues or red herrings to distract the reader or the characters. The story is focused on the interaction between the bank robber and the teller, and the tension builds as the police arrive outside.\"'},\n",
       " {'tname': 'Bilingual Bonus',\n",
       "  'exists': 0,\n",
       "  'reason': '\"The story does not contain any elements of the Bilingual Bonus trope. There is no mention of any character speaking multiple languages or communicating with others in a language other than their own. The story is set in a bank in the United States and all the characters speak English. Therefore, the Bilingual Bonus trope does not exist in this story.\"'},\n",
       " {'tname': 'Arranged Marriage',\n",
       "  'exists': 0,\n",
       "  'reason': '\"The story does not include any elements of an arranged marriage, such as a discussion of marriage plans or the involvement of family members in the arrangement of a marriage. The story focuses on a bank robbery and the dynamic between the robber and the bank teller, but it does not touch on the topic of arranged marriages.\"'}]"
      ]
     },
     "execution_count": 38,
     "metadata": {},
     "output_type": "execute_result"
    }
   ],
   "source": [
    "# prompt = \"\"\"<s>[INST] <<SYS>>\n",
    "# {}\n",
    "# <</SYS>>\n",
    "\n",
    "# {} [/INST]\"\"\"\n",
    "\n",
    "# system_prompt = \"\"\"You always communicate using a valid JSON string. You will be given a trope, and a story and you must find out if the story makes use of the trope or not. The expected output from you should follow the structure:\\n\n",
    "#     {\n",
    "#         \"trope_exists\": {'yes' if there is clear evidence of the given trope in the story, 'no' if the story does not use the trope},\n",
    "#         \"reason\": {strictly in the context of the story, provide evidence if the trope exists, otherwise explain why the trope is not part of the story}\n",
    "#     }\n",
    "# \"\"\"\n",
    "# user_msg = \"\"\"Trope: {}\\nStory:\\n{}\"\"\"\n",
    "torch.cuda.empty_cache()\n",
    "# Use a pipeline for later\n",
    "pipe = pipeline(\"text-generation\",\n",
    "                model=model,\n",
    "                tokenizer= tokenizer,\n",
    "                torch_dtype=torch.float16,\n",
    "                device_map=\"auto\",\n",
    "                do_sample=True,\n",
    "                top_k=5,\n",
    "                num_return_sequences=1,\n",
    "                eos_token_id=tokenizer.eos_token_id,\n",
    "                max_length=4096,\n",
    "                return_full_text=False,\n",
    "                # temperature=0.4 # ??\n",
    "                )\n",
    "# print(pipeline)\n",
    "# print(\"######\")\n",
    "# @print_function_name\n",
    "def generate(prompt, temp=0.6):\n",
    "    with torch.autocast(\"cuda\", dtype=torch.float16):\n",
    "        inputs = tokenizer(prompt, return_tensors=\"pt\").to(\"cuda\")\n",
    "        outputs = model.generate(\n",
    "            **inputs,\n",
    "            max_new_tokens=4096,\n",
    "            eos_token_id=tokenizer.eos_token_id,\n",
    "            pad_token_id=tokenizer.eos_token_id,\n",
    "            temperature = temp #??\n",
    "        )\n",
    "        final_outputs = tokenizer.batch_decode(outputs, skip_special_tokens=True)[0]\n",
    "        #       generated_text = final_outputs[len(prompt):]\n",
    "        # final_outputs = cut_off_text(final_outputs, '</s>')\n",
    "        # print(final_outputs)\n",
    "        torch.cuda.empty_cache() \n",
    "        print(\"#####################################################\")\n",
    "        return final_outputs\n",
    "\n",
    "# @print_function_name\n",
    "def pipe_generate(prompt, temp=0.6):\n",
    "    sequences = pipe(prompt, temperature=temp)\n",
    "    gen_text = []\n",
    "    for seq in sequences:\n",
    "        gen_text.append(seq['generated_text'])\n",
    "        # print(seq['generated_text'])\n",
    "    torch.cuda.empty_cache() \n",
    "    print(\"#####################################################\")\n",
    "    return gen_text\n",
    "prompt = \"\"\"<s>[INST] <<SYS>>\n",
    "{}\n",
    "<</SYS>>\n",
    "\n",
    "{} [/INST]\"\"\"\n",
    "\n",
    "system_prompt = \"\"\"You always answer truthfully and communicate using a valid JSON string. You will be given a trope and a story and you analyze carefully if the given trope exists or not in the story. First reason critically if the trope exists or not in the story. The expected output from you should follow the structure:\\n\n",
    "    {\n",
    "        \"trope_exists\": {'yes' if the trope exists in the story, 'no' if the trope does not exist in the story},\n",
    "        \"evidence\": {provide evidence strictly from the context of the story}\n",
    "    }\n",
    "\"\"\"\n",
    "user_msg = \"\"\"Trope: {}\\nStory:\\n{}\"\"\"\n",
    "def check_trope_exists(row):\n",
    "    print(row)\n",
    "    story = row[0]\n",
    "    tropes = row[1]\n",
    "    tropes_validated = []\n",
    "    for trope in tropes:\n",
    "        trope_name, trope_def = get_trope_by_id(trope)\n",
    "        splitted = re.sub('([A-Z][a-z]+)', r' \\1', re.sub('([A-Z]+)', r' \\1', trope_name)).split()\n",
    "        trope_name = \" \".join(splitted)\n",
    "        u_m = user_msg.format(trope_name.strip(), story.strip())\n",
    "        # form the prompt\n",
    "        p = prompt.format(system_prompt, u_m)\n",
    "        # query the model\n",
    "        # generate(p, temp=0.7)\n",
    "        # print(p)\n",
    "        out = pipe_generate(p, temp=0.45)# 0.50, .55 does a good job but it still hallucinates, 0.45 is great, 0.35 is also good #stick to 0.45\n",
    "        out = out[0]\n",
    "        print(trope_name, out)\n",
    "        p_out = {}\n",
    "        target = out.split('{')[1].split('}')[0]\n",
    "        exists = target.split(',')[0].split(': ')[1].strip()\n",
    "        p_out['tname'] = trope_name\n",
    "        p_out['exists'] = strtobool(exists)\n",
    "        p_out['reason'] = target.split(',',1)[1].split(':',1)[1].split('}')[0].strip()\n",
    "        print(p_out)\n",
    "        tropes_validated.append(p_out)\n",
    "        # parse the output and save it to tropes_validated\n",
    "    return tropes_validated\n",
    "s = story_w_trope[story_w_trope['sid']==\"s83\"].iloc[0].story\n",
    "# print(s)\n",
    "t = story_w_trope[story_w_trope['sid']==\"s83\"].iloc[0].tropes\n",
    "check_trope_exists((s,t))"
   ]
  },
  {
   "cell_type": "markdown",
   "id": "545eadde-a37d-44c1-9296-ad5f1eaec796",
   "metadata": {},
   "source": [
    "## Same analysis as above but also pass the trope definition to see if it is able to correct its mistakes"
   ]
  },
  {
   "cell_type": "code",
   "execution_count": null,
   "id": "9e965b22-6b7c-4734-8d65-da398fde30a3",
   "metadata": {},
   "outputs": [],
   "source": []
  }
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