nc33/multispan_quoref huggingface dataset:
Scarpia's apartment in the Palazzo Farnese, that evening
Scarpia, at supper, sends a note to Tosca asking her to come to his apartment, anticipating that two of his goals will soon be fulfilled at once. His agent, Spoletta, arrives to report that Angelotti remains at large, but Cavaradossi has been arrested for questioning.  He is brought in, and an interrogation ensues. As the painter steadfastly denies knowing anything about Angelotti's escape, Tosca's voice is heard singing a celebratory cantata elsewhere in the Palace.
She enters the apartment in time to see Cavaradossi being escorted to an antechamber. All he has time to say is that she mustn't tell them anything.  Scarpia then claims she can save her lover from indescribable pain if she reveals Angelotti's hiding place. She resists, but the sound of screams coming through the door eventually breaks her down, and she tells Scarpia to search the well in the garden of Cavaradossi's villa.
Scarpia orders his torturers to cease, and the bloodied painter is dragged back in. He's devastated to discover that Tosca has betrayed his friend. Sciarrone, another agent, then enters with news: there was an upset on the battlefield at Marengo, and the French are marching on Rome. Cavaradossi, unable to contain himself, gloats to Scarpia that his rule of terror will soon be at an end. This is enough for the police to consider him guilty, and they haul him away to be shot.
Scarpia, now alone with Tosca, proposes a bargain: if she gives herself to him, Cavaradossi will be freed. She is revolted, and repeatedly rejects his advances, but she hears the drums outside announcing an execution. As Scarpia awaits her decision, she prays, asking why God has abandoned her in her hour of need: "Vissi d'arte" ("I lived for art"). She tries to offer money, but Scarpia isn't interested in that kind of bribe: he wants Tosca herself.
Spoletta returns with the news that Angelotti has killed himself upon discovery, and that everything is in place for Cavaradossi's execution. Scarpia hesitates to give the order, looking to Tosca, and despairingly she agrees to submit to him. He tells Spoletta to arrange a mock execution, both men repeating that it will be "as we did with Count Palmieri," and Spoletta exits.
Tosca insists that Scarpia must provide safe-conduct out of Rome for herself and Cavaradossi. He easily agrees to this and heads to his desk. While he's drafting the document, she quietly takes a knife from the supper table. Scarpia triumphantly strides toward Tosca. When he begins to embrace her, she stabs him, crying "this is Tosca's kiss!"  Once she's certain he's dead, she ruefully says "now I forgive him." She removes the safe-conduct from his pocket, lights candles in a gesture of piety, and places a crucifix on the body before leaving.

Question: What is the name of the person who ruefully says "now I forgive him"?
Answer: Tosca
Scarpia's apartment in the Palazzo Farnese, that evening
Scarpia, at supper, sends a note to Tosca asking her to come to his apartment, anticipating that two of his goals will soon be fulfilled at once. His agent, Spoletta, arrives to report that Angelotti remains at large, but Cavaradossi has been arrested for questioning.  He is brought in, and an interrogation ensues. As the painter steadfastly denies knowing anything about Angelotti's escape, Tosca's voice is heard singing a celebratory cantata elsewhere in the Palace.
She enters the apartment in time to see Cavaradossi being escorted to an antechamber. All he has time to say is that she mustn't tell them anything.  Scarpia then claims she can save her lover from indescribable pain if she reveals Angelotti's hiding place. She resists, but the sound of screams coming through the door eventually breaks her down, and she tells Scarpia to search the well in the garden of Cavaradossi's villa.
Scarpia orders his torturers to cease, and the bloodied painter is dragged back in. He's devastated to discover that Tosca has betrayed his friend. Sciarrone, another agent, then enters with news: there was an upset on the battlefield at Marengo, and the French are marching on Rome. Cavaradossi, unable to contain himself, gloats to Scarpia that his rule of terror will soon be at an end. This is enough for the police to consider him guilty, and they haul him away to be shot.
Scarpia, now alone with Tosca, proposes a bargain: if she gives herself to him, Cavaradossi will be freed. She is revolted, and repeatedly rejects his advances, but she hears the drums outside announcing an execution. As Scarpia awaits her decision, she prays, asking why God has abandoned her in her hour of need: "Vissi d'arte" ("I lived for art"). She tries to offer money, but Scarpia isn't interested in that kind of bribe: he wants Tosca herself.
Spoletta returns with the news that Angelotti has killed himself upon discovery, and that everything is in place for Cavaradossi's execution. Scarpia hesitates to give the order, looking to Tosca, and despairingly she agrees to submit to him. He tells Spoletta to arrange a mock execution, both men repeating that it will be "as we did with Count Palmieri," and Spoletta exits.
Tosca insists that Scarpia must provide safe-conduct out of Rome for herself and Cavaradossi. He easily agrees to this and heads to his desk. While he's drafting the document, she quietly takes a knife from the supper table. Scarpia triumphantly strides toward Tosca. When he begins to embrace her, she stabs him, crying "this is Tosca's kiss!"  Once she's certain he's dead, she ruefully says "now I forgive him." She removes the safe-conduct from his pocket, lights candles in a gesture of piety, and places a crucifix on the body before leaving.

Question: What is the name of the person from whose pocket she removes the safe-conduct, then lights candles in a gesture of piety, and places a crucifix on his body before leaving?
Answer: Scarpia
By December 1899, Tosca was in rehearsal at the Teatro Costanzi. Because of the Roman setting, Ricordi arranged a Roman premiere for the opera, even though this meant that Arturo Toscanini could not conduct it as Puccini had hoped—Toscanini was fully engaged at La Scala in Milan. Leopoldo Mugnone was appointed to conduct. The accomplished (but temperamental) soprano Hariclea Darclée was selected for the title role; Eugenio Giraldoni, whose father had originated many Verdi roles, became the first Scarpia. The young Enrico Caruso had hoped to create Cavaradossi, but was passed over in favour of the more experienced Emilio De Marchi. The performance was to be directed by Nino Vignuzzi, with stage designs by Adolfo Hohenstein.At the time of the premiere, Italy had experienced political and social unrest for several years. The start of the Holy Year in December 1899 attracted the religious to the city, but also brought threats from anarchists and other anticlericals. Police received warnings of an anarchist bombing of the theatre, and instructed Mugnone (who had survived a theatre bombing in Barcelona), that in an emergency he was to strike up the royal march. The unrest caused the premiere to be postponed by one day, to 14 January.By 1900, the premiere of a Puccini opera was a national event. Many Roman dignitaries attended, as did Queen Margherita, though she arrived late, after the first act. The Prime Minister of Italy, Luigi Pelloux was present, with several members of his cabinet. A number of Puccini's operatic rivals were there, including Franchetti, Pietro Mascagni, Francesco Cilea and Ildebrando Pizzetti. Shortly after the curtain was raised there was a disturbance in the back of the theatre, caused by latecomers attempting to enter the auditorium, and a shout of "Bring down the curtain!", at which Mugnone stopped the orchestra. A few moments later the opera began again, and proceeded without further disruption.The performance, while not quite the triumph that Puccini had hoped for, was generally successful, with numerous encores. Much of the critical and press reaction was lukewarm, often blaming Illica's libretto. In response, Illica condemned Puccini for treating his librettists "like stagehands" and reducing the text to a shadow of its original form. Nevertheless, any public doubts about Tosca soon vanished; the premiere was followed by twenty performances, all given to packed houses.

Question: What is the full name of the name of the Prime Minister that attended the opera that was delayed due to a possible bomb threat?
Answer: Luigi Pelloux
By December 1899, Tosca was in rehearsal at the Teatro Costanzi. Because of the Roman setting, Ricordi arranged a Roman premiere for the opera, even though this meant that Arturo Toscanini could not conduct it as Puccini had hoped—Toscanini was fully engaged at La Scala in Milan. Leopoldo Mugnone was appointed to conduct. The accomplished (but temperamental) soprano Hariclea Darclée was selected for the title role; Eugenio Giraldoni, whose father had originated many Verdi roles, became the first Scarpia. The young Enrico Caruso had hoped to create Cavaradossi, but was passed over in favour of the more experienced Emilio De Marchi. The performance was to be directed by Nino Vignuzzi, with stage designs by Adolfo Hohenstein.At the time of the premiere, Italy had experienced political and social unrest for several years. The start of the Holy Year in December 1899 attracted the religious to the city, but also brought threats from anarchists and other anticlericals. Police received warnings of an anarchist bombing of the theatre, and instructed Mugnone (who had survived a theatre bombing in Barcelona), that in an emergency he was to strike up the royal march. The unrest caused the premiere to be postponed by one day, to 14 January.By 1900, the premiere of a Puccini opera was a national event. Many Roman dignitaries attended, as did Queen Margherita, though she arrived late, after the first act. The Prime Minister of Italy, Luigi Pelloux was present, with several members of his cabinet. A number of Puccini's operatic rivals were there, including Franchetti, Pietro Mascagni, Francesco Cilea and Ildebrando Pizzetti. Shortly after the curtain was raised there was a disturbance in the back of the theatre, caused by latecomers attempting to enter the auditorium, and a shout of "Bring down the curtain!", at which Mugnone stopped the orchestra. A few moments later the opera began again, and proceeded without further disruption.The performance, while not quite the triumph that Puccini had hoped for, was generally successful, with numerous encores. Much of the critical and press reaction was lukewarm, often blaming Illica's libretto. In response, Illica condemned Puccini for treating his librettists "like stagehands" and reducing the text to a shadow of its original form. Nevertheless, any public doubts about Tosca soon vanished; the premiere was followed by twenty performances, all given to packed houses.

Question: What are the last names of the rivals of the man who's opera wasn't a great triumph that attended the performance?
Answer: Mascagni, Cilea, Franchetti, Pizzetti
The opera begins without any prelude; the opening chords of the Scarpia motif lead immediately to the agitated appearance of Angelotti and the enunciation of the "fugitive" motif. The sacristan's entry, accompanied by his sprightly buffo theme, lifts the mood, as does the generally light-hearted colloquy with Cavaradossi which follows after the latter's entrance. This leads to the first of the "Grand Tunes", Cavaradossi's "Recondita armonia" with its sustained high B flat, accompanied by the sacristan's grumbling counter-melody. The domination, in that aria, of themes which will be repeated in the love duet make it clear that though the painting may incorporate the Marchesa's features, Tosca is the ultimate inspiration of his work. Cavaradossi's dialogue with Angelotti is interrupted by Tosca's arrival, signalled by her motif which incorporates, in Newman's words, "the feline, caressing cadence so characteristic of her." Though Tosca enters violently and suspiciously, the music paints her devotion and serenity. According to Budden, there is no contradiction: Tosca's jealousy is largely a matter of habit, which her lover does not take too seriously.After Tosca's "Non la sospiri" and the subsequent argument inspired by her jealousy, the sensuous character of the love duet "Qual'occhio" provides what opera writer Burton Fisher describes as "an almost erotic lyricism that has been called pornophony". The brief scene in which the sacristan returns with the choristers to celebrate Napoleon's supposed defeat provides almost the last carefree moments in the opera; after the entrance of Scarpia to his menacing theme, the mood becomes sombre, then steadily darker. As the police chief interrogates the sacristan, the "fugitive" motif recurs three more times, each time more emphatically, signalling Scarpia's success in his investigation. In Scarpia's exchanges with Tosca the sound of tolling bells, interwoven with the orchestra, creates an almost religious atmosphere, for which Puccini draws on music from his then unpublished Mass of 1880. The final scene in the act is a juxtaposition of the sacred and the profane, as Scarpia's lustful reverie is sung alongside the swelling Te Deum chorus. He joins with the chorus in the final statement "Te aeternum Patrem omnis terra veneratur" ("Everlasting Father, all the earth worships thee"), before the act ends with a thunderous restatement of the Scarpia motif.

Question: What is the name of the opera that the first of the "Grand Tunes" is "Recondita armonia"?
Answer: Tosca
The opera begins without any prelude; the opening chords of the Scarpia motif lead immediately to the agitated appearance of Angelotti and the enunciation of the "fugitive" motif. The sacristan's entry, accompanied by his sprightly buffo theme, lifts the mood, as does the generally light-hearted colloquy with Cavaradossi which follows after the latter's entrance. This leads to the first of the "Grand Tunes", Cavaradossi's "Recondita armonia" with its sustained high B flat, accompanied by the sacristan's grumbling counter-melody. The domination, in that aria, of themes which will be repeated in the love duet make it clear that though the painting may incorporate the Marchesa's features, Tosca is the ultimate inspiration of his work. Cavaradossi's dialogue with Angelotti is interrupted by Tosca's arrival, signalled by her motif which incorporates, in Newman's words, "the feline, caressing cadence so characteristic of her." Though Tosca enters violently and suspiciously, the music paints her devotion and serenity. According to Budden, there is no contradiction: Tosca's jealousy is largely a matter of habit, which her lover does not take too seriously.After Tosca's "Non la sospiri" and the subsequent argument inspired by her jealousy, the sensuous character of the love duet "Qual'occhio" provides what opera writer Burton Fisher describes as "an almost erotic lyricism that has been called pornophony". The brief scene in which the sacristan returns with the choristers to celebrate Napoleon's supposed defeat provides almost the last carefree moments in the opera; after the entrance of Scarpia to his menacing theme, the mood becomes sombre, then steadily darker. As the police chief interrogates the sacristan, the "fugitive" motif recurs three more times, each time more emphatically, signalling Scarpia's success in his investigation. In Scarpia's exchanges with Tosca the sound of tolling bells, interwoven with the orchestra, creates an almost religious atmosphere, for which Puccini draws on music from his then unpublished Mass of 1880. The final scene in the act is a juxtaposition of the sacred and the profane, as Scarpia's lustful reverie is sung alongside the swelling Te Deum chorus. He joins with the chorus in the final statement "Te aeternum Patrem omnis terra veneratur" ("Everlasting Father, all the earth worships thee"), before the act ends with a thunderous restatement of the Scarpia motif.

Question: What is the name of the person that created the opera?
Answer: Puccini
The opera begins without any prelude; the opening chords of the Scarpia motif lead immediately to the agitated appearance of Angelotti and the enunciation of the "fugitive" motif. The sacristan's entry, accompanied by his sprightly buffo theme, lifts the mood, as does the generally light-hearted colloquy with Cavaradossi which follows after the latter's entrance. This leads to the first of the "Grand Tunes", Cavaradossi's "Recondita armonia" with its sustained high B flat, accompanied by the sacristan's grumbling counter-melody. The domination, in that aria, of themes which will be repeated in the love duet make it clear that though the painting may incorporate the Marchesa's features, Tosca is the ultimate inspiration of his work. Cavaradossi's dialogue with Angelotti is interrupted by Tosca's arrival, signalled by her motif which incorporates, in Newman's words, "the feline, caressing cadence so characteristic of her." Though Tosca enters violently and suspiciously, the music paints her devotion and serenity. According to Budden, there is no contradiction: Tosca's jealousy is largely a matter of habit, which her lover does not take too seriously.After Tosca's "Non la sospiri" and the subsequent argument inspired by her jealousy, the sensuous character of the love duet "Qual'occhio" provides what opera writer Burton Fisher describes as "an almost erotic lyricism that has been called pornophony". The brief scene in which the sacristan returns with the choristers to celebrate Napoleon's supposed defeat provides almost the last carefree moments in the opera; after the entrance of Scarpia to his menacing theme, the mood becomes sombre, then steadily darker. As the police chief interrogates the sacristan, the "fugitive" motif recurs three more times, each time more emphatically, signalling Scarpia's success in his investigation. In Scarpia's exchanges with Tosca the sound of tolling bells, interwoven with the orchestra, creates an almost religious atmosphere, for which Puccini draws on music from his then unpublished Mass of 1880. The final scene in the act is a juxtaposition of the sacred and the profane, as Scarpia's lustful reverie is sung alongside the swelling Te Deum chorus. He joins with the chorus in the final statement "Te aeternum Patrem omnis terra veneratur" ("Everlasting Father, all the earth worships thee"), before the act ends with a thunderous restatement of the Scarpia motif.

Question: What is the name of the person that wrote the Recondita armonia in a high B flat?
Answer: Puccini
In the second act of Tosca, according to Newman, Puccini rises to his greatest height as a master of the musical macabre. The act begins quietly, with Scarpia musing on the forthcoming downfall of Angelotti and Cavaradossi, while in the background a gavotte is played in a distant quarter of the Farnese Palace. For this music Puccini adapted a fifteen-year-old student exercise by his late brother, Michele, stating that in this way his brother could live again through him. In the dialogue with Spoletta, the "torture" motif—an "ideogram of suffering", according to Budden—is heard for the first time as a foretaste of what is to come. As Cavaradossi is brought in for interrogation, Tosca's voice is heard with the offstage chorus singing a cantata, "[its] suave strains contrast[ing] dramatically with the increasing tension and ever-darkening colour of the stage action". The cantata is most likely the Cantata a Giove, in the literature referred to as a lost work of Puccini's from 1897.Osborne describes the scenes that follow—Cavaradossi's interrogation, his torture, Scarpia's sadistic tormenting of Tosca—as Puccini's musical equivalent of grand guignol to which Cavaradossi's brief "Vittoria! Vittoria!" on the news of Napoleon's victory gives only partial relief. Scarpia's aria "Già, mi dicon venal" ("Yes, they say I am venal") is closely followed by Tosca's "Vissi d'arte". A lyrical andante based on Tosca's act 1 motif, this is perhaps the opera's best-known aria, yet was regarded by Puccini as a mistake; he considered eliminating it since it held up the action. Fisher calls it "a Job-like prayer questioning God for punishing a woman who has lived unselfishly and righteously". In the act's finale, Newman likens the orchestral turmoil which follows Tosca's stabbing of Scarpia to the sudden outburst after the slow movement of Beethoven's Ninth Symphony. After Tosca's contemptuous "E avanti a lui tremava tutta Roma!" ("All Rome trembled before him"), sung on a middle C♯ monotone  (sometimes spoken), the music gradually fades, ending what Newman calls "the most impressively macabre scene in all opera." The final notes in the act are those of the Scarpia motif, softly, in a minor key.

Question: What are the verbatim descriptions of the three scenes that Osborne views as Puccini's musical of equivalent of grand guignol, to which Cavaradossi's brief "Vittoria! Vittoria!" on the news of Napoleon's victory gives only partial relief?
Answer: Cavaradossi's interrogation, his torture, Scarpia's sadistic tormenting of Tosca
In the second act of Tosca, according to Newman, Puccini rises to his greatest height as a master of the musical macabre. The act begins quietly, with Scarpia musing on the forthcoming downfall of Angelotti and Cavaradossi, while in the background a gavotte is played in a distant quarter of the Farnese Palace. For this music Puccini adapted a fifteen-year-old student exercise by his late brother, Michele, stating that in this way his brother could live again through him. In the dialogue with Spoletta, the "torture" motif—an "ideogram of suffering", according to Budden—is heard for the first time as a foretaste of what is to come. As Cavaradossi is brought in for interrogation, Tosca's voice is heard with the offstage chorus singing a cantata, "[its] suave strains contrast[ing] dramatically with the increasing tension and ever-darkening colour of the stage action". The cantata is most likely the Cantata a Giove, in the literature referred to as a lost work of Puccini's from 1897.Osborne describes the scenes that follow—Cavaradossi's interrogation, his torture, Scarpia's sadistic tormenting of Tosca—as Puccini's musical equivalent of grand guignol to which Cavaradossi's brief "Vittoria! Vittoria!" on the news of Napoleon's victory gives only partial relief. Scarpia's aria "Già, mi dicon venal" ("Yes, they say I am venal") is closely followed by Tosca's "Vissi d'arte". A lyrical andante based on Tosca's act 1 motif, this is perhaps the opera's best-known aria, yet was regarded by Puccini as a mistake; he considered eliminating it since it held up the action. Fisher calls it "a Job-like prayer questioning God for punishing a woman who has lived unselfishly and righteously". In the act's finale, Newman likens the orchestral turmoil which follows Tosca's stabbing of Scarpia to the sudden outburst after the slow movement of Beethoven's Ninth Symphony. After Tosca's contemptuous "E avanti a lui tremava tutta Roma!" ("All Rome trembled before him"), sung on a middle C♯ monotone  (sometimes spoken), the music gradually fades, ending what Newman calls "the most impressively macabre scene in all opera." The final notes in the act are those of the Scarpia motif, softly, in a minor key.

Question: What is the name of the lyrical adante based on Tosca's act 1 motif that is perhaps the opera's best known aria?
Answer: Vissi d'arte
In the second act of Tosca, according to Newman, Puccini rises to his greatest height as a master of the musical macabre. The act begins quietly, with Scarpia musing on the forthcoming downfall of Angelotti and Cavaradossi, while in the background a gavotte is played in a distant quarter of the Farnese Palace. For this music Puccini adapted a fifteen-year-old student exercise by his late brother, Michele, stating that in this way his brother could live again through him. In the dialogue with Spoletta, the "torture" motif—an "ideogram of suffering", according to Budden—is heard for the first time as a foretaste of what is to come. As Cavaradossi is brought in for interrogation, Tosca's voice is heard with the offstage chorus singing a cantata, "[its] suave strains contrast[ing] dramatically with the increasing tension and ever-darkening colour of the stage action". The cantata is most likely the Cantata a Giove, in the literature referred to as a lost work of Puccini's from 1897.Osborne describes the scenes that follow—Cavaradossi's interrogation, his torture, Scarpia's sadistic tormenting of Tosca—as Puccini's musical equivalent of grand guignol to which Cavaradossi's brief "Vittoria! Vittoria!" on the news of Napoleon's victory gives only partial relief. Scarpia's aria "Già, mi dicon venal" ("Yes, they say I am venal") is closely followed by Tosca's "Vissi d'arte". A lyrical andante based on Tosca's act 1 motif, this is perhaps the opera's best-known aria, yet was regarded by Puccini as a mistake; he considered eliminating it since it held up the action. Fisher calls it "a Job-like prayer questioning God for punishing a woman who has lived unselfishly and righteously". In the act's finale, Newman likens the orchestral turmoil which follows Tosca's stabbing of Scarpia to the sudden outburst after the slow movement of Beethoven's Ninth Symphony. After Tosca's contemptuous "E avanti a lui tremava tutta Roma!" ("All Rome trembled before him"), sung on a middle C♯ monotone  (sometimes spoken), the music gradually fades, ending what Newman calls "the most impressively macabre scene in all opera." The final notes in the act are those of the Scarpia motif, softly, in a minor key.

Question: What is the name of the aria Puccini considered eliminating because it held up the action?
Answer: Vissi d'arte
In the second act of Tosca, according to Newman, Puccini rises to his greatest height as a master of the musical macabre. The act begins quietly, with Scarpia musing on the forthcoming downfall of Angelotti and Cavaradossi, while in the background a gavotte is played in a distant quarter of the Farnese Palace. For this music Puccini adapted a fifteen-year-old student exercise by his late brother, Michele, stating that in this way his brother could live again through him. In the dialogue with Spoletta, the "torture" motif—an "ideogram of suffering", according to Budden—is heard for the first time as a foretaste of what is to come. As Cavaradossi is brought in for interrogation, Tosca's voice is heard with the offstage chorus singing a cantata, "[its] suave strains contrast[ing] dramatically with the increasing tension and ever-darkening colour of the stage action". The cantata is most likely the Cantata a Giove, in the literature referred to as a lost work of Puccini's from 1897.Osborne describes the scenes that follow—Cavaradossi's interrogation, his torture, Scarpia's sadistic tormenting of Tosca—as Puccini's musical equivalent of grand guignol to which Cavaradossi's brief "Vittoria! Vittoria!" on the news of Napoleon's victory gives only partial relief. Scarpia's aria "Già, mi dicon venal" ("Yes, they say I am venal") is closely followed by Tosca's "Vissi d'arte". A lyrical andante based on Tosca's act 1 motif, this is perhaps the opera's best-known aria, yet was regarded by Puccini as a mistake; he considered eliminating it since it held up the action. Fisher calls it "a Job-like prayer questioning God for punishing a woman who has lived unselfishly and righteously". In the act's finale, Newman likens the orchestral turmoil which follows Tosca's stabbing of Scarpia to the sudden outburst after the slow movement of Beethoven's Ninth Symphony. After Tosca's contemptuous "E avanti a lui tremava tutta Roma!" ("All Rome trembled before him"), sung on a middle C♯ monotone  (sometimes spoken), the music gradually fades, ending what Newman calls "the most impressively macabre scene in all opera." The final notes in the act are those of the Scarpia motif, softly, in a minor key.

Question: What is the name of the aria Fisher describes as, "a Job-like prayer questioning God for punishing a woman who has lived unselfishly and righteously"?
Answer: Vissi d'arte
Aspiring filmmaker Sean is working as a freelance driver to make ends meet. He's assigned to deliver an expensive Mercedes-Benz from Los Angeles all the way to its owner in Miami, which will also allow him to attend the wedding of his sister. He's given strict instructions not to damage the vehicle or pick up any hitchhikers.
Sean is driving cross country when he picks up Nick, a hitchhiker who happens to be a vampire hunter hunting a group of vampires led by one of the Forsaken--a group of knights who made a pact with the fallen angel Abaddon to live forever. Two of the Forsaken are located in the United States (including the one Nick is tracking, Kit). Nick was bitten and infected by a vampire but, thanks to an antiviral drug cocktail, the vampire virus is kept at bay. Each of the Forsaken carry a unique strain of vampirism; killing a Forsaken kills his entire bloodline and reverses the condition of anyone infected. Nick believes that if he kills Kit, he will be cured before he turns (as the drug cocktail eventually will lose effect). At first Sean is less than willing to indulge his new acquaintance; however, he is convinced after the two come across a disoriented young woman, Megan, at a diner, who was bitten by the vampires and left for dead. Nick also proves he is telling the truth by killing a vampire, Teddy, with exposure to sunlight.
Sean and Nick take Megan to their motel room, but she goes into a rage and bites Sean; they realize they must kill the Forsaken responsible to prevent Sean from turning. Forsaken can only be slain on hallowed ground, so the three head for a Spanish mission 60 miles away. They stop at a gas station where an old woman, Ina, lets them in. She shows them a newspaper connecting Megan to a bloodbath in Arizona; when Megan wakes up and is coherent enough to talk, she explains she was a victim of the vampires' bloodbath. Kit catches up to them and lays siege to the gas station.

Question: What's the name of the person the hitchhiker is hunting?
Answer: Kit
Aspiring filmmaker Sean is working as a freelance driver to make ends meet. He's assigned to deliver an expensive Mercedes-Benz from Los Angeles all the way to its owner in Miami, which will also allow him to attend the wedding of his sister. He's given strict instructions not to damage the vehicle or pick up any hitchhikers.
Sean is driving cross country when he picks up Nick, a hitchhiker who happens to be a vampire hunter hunting a group of vampires led by one of the Forsaken--a group of knights who made a pact with the fallen angel Abaddon to live forever. Two of the Forsaken are located in the United States (including the one Nick is tracking, Kit). Nick was bitten and infected by a vampire but, thanks to an antiviral drug cocktail, the vampire virus is kept at bay. Each of the Forsaken carry a unique strain of vampirism; killing a Forsaken kills his entire bloodline and reverses the condition of anyone infected. Nick believes that if he kills Kit, he will be cured before he turns (as the drug cocktail eventually will lose effect). At first Sean is less than willing to indulge his new acquaintance; however, he is convinced after the two come across a disoriented young woman, Megan, at a diner, who was bitten by the vampires and left for dead. Nick also proves he is telling the truth by killing a vampire, Teddy, with exposure to sunlight.
Sean and Nick take Megan to their motel room, but she goes into a rage and bites Sean; they realize they must kill the Forsaken responsible to prevent Sean from turning. Forsaken can only be slain on hallowed ground, so the three head for a Spanish mission 60 miles away. They stop at a gas station where an old woman, Ina, lets them in. She shows them a newspaper connecting Megan to a bloodbath in Arizona; when Megan wakes up and is coherent enough to talk, she explains she was a victim of the vampires' bloodbath. Kit catches up to them and lays siege to the gas station.

Question: How does the vampire used to make the filmmaker believe Nick die?
Answer: exposure to sunlight
Aspiring filmmaker Sean is working as a freelance driver to make ends meet. He's assigned to deliver an expensive Mercedes-Benz from Los Angeles all the way to its owner in Miami, which will also allow him to attend the wedding of his sister. He's given strict instructions not to damage the vehicle or pick up any hitchhikers.
Sean is driving cross country when he picks up Nick, a hitchhiker who happens to be a vampire hunter hunting a group of vampires led by one of the Forsaken--a group of knights who made a pact with the fallen angel Abaddon to live forever. Two of the Forsaken are located in the United States (including the one Nick is tracking, Kit). Nick was bitten and infected by a vampire but, thanks to an antiviral drug cocktail, the vampire virus is kept at bay. Each of the Forsaken carry a unique strain of vampirism; killing a Forsaken kills his entire bloodline and reverses the condition of anyone infected. Nick believes that if he kills Kit, he will be cured before he turns (as the drug cocktail eventually will lose effect). At first Sean is less than willing to indulge his new acquaintance; however, he is convinced after the two come across a disoriented young woman, Megan, at a diner, who was bitten by the vampires and left for dead. Nick also proves he is telling the truth by killing a vampire, Teddy, with exposure to sunlight.
Sean and Nick take Megan to their motel room, but she goes into a rage and bites Sean; they realize they must kill the Forsaken responsible to prevent Sean from turning. Forsaken can only be slain on hallowed ground, so the three head for a Spanish mission 60 miles away. They stop at a gas station where an old woman, Ina, lets them in. She shows them a newspaper connecting Megan to a bloodbath in Arizona; when Megan wakes up and is coherent enough to talk, she explains she was a victim of the vampires' bloodbath. Kit catches up to them and lays siege to the gas station.

Question: Where do Sean and Nick plan to kill Kit?
Answer: a Spanish mission
Aspiring filmmaker Sean is working as a freelance driver to make ends meet. He's assigned to deliver an expensive Mercedes-Benz from Los Angeles all the way to its owner in Miami, which will also allow him to attend the wedding of his sister. He's given strict instructions not to damage the vehicle or pick up any hitchhikers.
Sean is driving cross country when he picks up Nick, a hitchhiker who happens to be a vampire hunter hunting a group of vampires led by one of the Forsaken--a group of knights who made a pact with the fallen angel Abaddon to live forever. Two of the Forsaken are located in the United States (including the one Nick is tracking, Kit). Nick was bitten and infected by a vampire but, thanks to an antiviral drug cocktail, the vampire virus is kept at bay. Each of the Forsaken carry a unique strain of vampirism; killing a Forsaken kills his entire bloodline and reverses the condition of anyone infected. Nick believes that if he kills Kit, he will be cured before he turns (as the drug cocktail eventually will lose effect). At first Sean is less than willing to indulge his new acquaintance; however, he is convinced after the two come across a disoriented young woman, Megan, at a diner, who was bitten by the vampires and left for dead. Nick also proves he is telling the truth by killing a vampire, Teddy, with exposure to sunlight.
Sean and Nick take Megan to their motel room, but she goes into a rage and bites Sean; they realize they must kill the Forsaken responsible to prevent Sean from turning. Forsaken can only be slain on hallowed ground, so the three head for a Spanish mission 60 miles away. They stop at a gas station where an old woman, Ina, lets them in. She shows them a newspaper connecting Megan to a bloodbath in Arizona; when Megan wakes up and is coherent enough to talk, she explains she was a victim of the vampires' bloodbath. Kit catches up to them and lays siege to the gas station.

Question: Whose bloodline does the vampire hunter need to end to remain human?
Answer: Kit
Aspiring filmmaker Sean is working as a freelance driver to make ends meet. He's assigned to deliver an expensive Mercedes-Benz from Los Angeles all the way to its owner in Miami, which will also allow him to attend the wedding of his sister. He's given strict instructions not to damage the vehicle or pick up any hitchhikers.
Sean is driving cross country when he picks up Nick, a hitchhiker who happens to be a vampire hunter hunting a group of vampires led by one of the Forsaken--a group of knights who made a pact with the fallen angel Abaddon to live forever. Two of the Forsaken are located in the United States (including the one Nick is tracking, Kit). Nick was bitten and infected by a vampire but, thanks to an antiviral drug cocktail, the vampire virus is kept at bay. Each of the Forsaken carry a unique strain of vampirism; killing a Forsaken kills his entire bloodline and reverses the condition of anyone infected. Nick believes that if he kills Kit, he will be cured before he turns (as the drug cocktail eventually will lose effect). At first Sean is less than willing to indulge his new acquaintance; however, he is convinced after the two come across a disoriented young woman, Megan, at a diner, who was bitten by the vampires and left for dead. Nick also proves he is telling the truth by killing a vampire, Teddy, with exposure to sunlight.
Sean and Nick take Megan to their motel room, but she goes into a rage and bites Sean; they realize they must kill the Forsaken responsible to prevent Sean from turning. Forsaken can only be slain on hallowed ground, so the three head for a Spanish mission 60 miles away. They stop at a gas station where an old woman, Ina, lets them in. She shows them a newspaper connecting Megan to a bloodbath in Arizona; when Megan wakes up and is coherent enough to talk, she explains she was a victim of the vampires' bloodbath. Kit catches up to them and lays siege to the gas station.

Question: What is the name of the two people who come across a disoriented young woman at a diner who was bitten by the vampires?
Answer: Sean, Nick
Aspiring filmmaker Sean is working as a freelance driver to make ends meet. He's assigned to deliver an expensive Mercedes-Benz from Los Angeles all the way to its owner in Miami, which will also allow him to attend the wedding of his sister. He's given strict instructions not to damage the vehicle or pick up any hitchhikers.
Sean is driving cross country when he picks up Nick, a hitchhiker who happens to be a vampire hunter hunting a group of vampires led by one of the Forsaken--a group of knights who made a pact with the fallen angel Abaddon to live forever. Two of the Forsaken are located in the United States (including the one Nick is tracking, Kit). Nick was bitten and infected by a vampire but, thanks to an antiviral drug cocktail, the vampire virus is kept at bay. Each of the Forsaken carry a unique strain of vampirism; killing a Forsaken kills his entire bloodline and reverses the condition of anyone infected. Nick believes that if he kills Kit, he will be cured before he turns (as the drug cocktail eventually will lose effect). At first Sean is less than willing to indulge his new acquaintance; however, he is convinced after the two come across a disoriented young woman, Megan, at a diner, who was bitten by the vampires and left for dead. Nick also proves he is telling the truth by killing a vampire, Teddy, with exposure to sunlight.
Sean and Nick take Megan to their motel room, but she goes into a rage and bites Sean; they realize they must kill the Forsaken responsible to prevent Sean from turning. Forsaken can only be slain on hallowed ground, so the three head for a Spanish mission 60 miles away. They stop at a gas station where an old woman, Ina, lets them in. She shows them a newspaper connecting Megan to a bloodbath in Arizona; when Megan wakes up and is coherent enough to talk, she explains she was a victim of the vampires' bloodbath. Kit catches up to them and lays siege to the gas station.

Question: What are the names of the three people that head to the Spanish Mission?
Answer: Sean, Nick, Megan
Aspiring filmmaker Sean is working as a freelance driver to make ends meet. He's assigned to deliver an expensive Mercedes-Benz from Los Angeles all the way to its owner in Miami, which will also allow him to attend the wedding of his sister. He's given strict instructions not to damage the vehicle or pick up any hitchhikers.
Sean is driving cross country when he picks up Nick, a hitchhiker who happens to be a vampire hunter hunting a group of vampires led by one of the Forsaken--a group of knights who made a pact with the fallen angel Abaddon to live forever. Two of the Forsaken are located in the United States (including the one Nick is tracking, Kit). Nick was bitten and infected by a vampire but, thanks to an antiviral drug cocktail, the vampire virus is kept at bay. Each of the Forsaken carry a unique strain of vampirism; killing a Forsaken kills his entire bloodline and reverses the condition of anyone infected. Nick believes that if he kills Kit, he will be cured before he turns (as the drug cocktail eventually will lose effect). At first Sean is less than willing to indulge his new acquaintance; however, he is convinced after the two come across a disoriented young woman, Megan, at a diner, who was bitten by the vampires and left for dead. Nick also proves he is telling the truth by killing a vampire, Teddy, with exposure to sunlight.
Sean and Nick take Megan to their motel room, but she goes into a rage and bites Sean; they realize they must kill the Forsaken responsible to prevent Sean from turning. Forsaken can only be slain on hallowed ground, so the three head for a Spanish mission 60 miles away. They stop at a gas station where an old woman, Ina, lets them in. She shows them a newspaper connecting Megan to a bloodbath in Arizona; when Megan wakes up and is coherent enough to talk, she explains she was a victim of the vampires' bloodbath. Kit catches up to them and lays siege to the gas station.

Question: Who is the vampire hunter that the driver picks up hunting?
Answer: Kit
Aspiring filmmaker Sean is working as a freelance driver to make ends meet. He's assigned to deliver an expensive Mercedes-Benz from Los Angeles all the way to its owner in Miami, which will also allow him to attend the wedding of his sister. He's given strict instructions not to damage the vehicle or pick up any hitchhikers.
Sean is driving cross country when he picks up Nick, a hitchhiker who happens to be a vampire hunter hunting a group of vampires led by one of the Forsaken--a group of knights who made a pact with the fallen angel Abaddon to live forever. Two of the Forsaken are located in the United States (including the one Nick is tracking, Kit). Nick was bitten and infected by a vampire but, thanks to an antiviral drug cocktail, the vampire virus is kept at bay. Each of the Forsaken carry a unique strain of vampirism; killing a Forsaken kills his entire bloodline and reverses the condition of anyone infected. Nick believes that if he kills Kit, he will be cured before he turns (as the drug cocktail eventually will lose effect). At first Sean is less than willing to indulge his new acquaintance; however, he is convinced after the two come across a disoriented young woman, Megan, at a diner, who was bitten by the vampires and left for dead. Nick also proves he is telling the truth by killing a vampire, Teddy, with exposure to sunlight.
Sean and Nick take Megan to their motel room, but she goes into a rage and bites Sean; they realize they must kill the Forsaken responsible to prevent Sean from turning. Forsaken can only be slain on hallowed ground, so the three head for a Spanish mission 60 miles away. They stop at a gas station where an old woman, Ina, lets them in. She shows them a newspaper connecting Megan to a bloodbath in Arizona; when Megan wakes up and is coherent enough to talk, she explains she was a victim of the vampires' bloodbath. Kit catches up to them and lays siege to the gas station.

Question: Who does the hitchhiker kill to prove that vampires are real to the aspiring filmmaker?
Answer: Teddy
Aspiring filmmaker Sean is working as a freelance driver to make ends meet. He's assigned to deliver an expensive Mercedes-Benz from Los Angeles all the way to its owner in Miami, which will also allow him to attend the wedding of his sister. He's given strict instructions not to damage the vehicle or pick up any hitchhikers.
Sean is driving cross country when he picks up Nick, a hitchhiker who happens to be a vampire hunter hunting a group of vampires led by one of the Forsaken--a group of knights who made a pact with the fallen angel Abaddon to live forever. Two of the Forsaken are located in the United States (including the one Nick is tracking, Kit). Nick was bitten and infected by a vampire but, thanks to an antiviral drug cocktail, the vampire virus is kept at bay. Each of the Forsaken carry a unique strain of vampirism; killing a Forsaken kills his entire bloodline and reverses the condition of anyone infected. Nick believes that if he kills Kit, he will be cured before he turns (as the drug cocktail eventually will lose effect). At first Sean is less than willing to indulge his new acquaintance; however, he is convinced after the two come across a disoriented young woman, Megan, at a diner, who was bitten by the vampires and left for dead. Nick also proves he is telling the truth by killing a vampire, Teddy, with exposure to sunlight.
Sean and Nick take Megan to their motel room, but she goes into a rage and bites Sean; they realize they must kill the Forsaken responsible to prevent Sean from turning. Forsaken can only be slain on hallowed ground, so the three head for a Spanish mission 60 miles away. They stop at a gas station where an old woman, Ina, lets them in. She shows them a newspaper connecting Megan to a bloodbath in Arizona; when Megan wakes up and is coherent enough to talk, she explains she was a victim of the vampires' bloodbath. Kit catches up to them and lays siege to the gas station.

Question: Who is the aspiring filmmaker bitten by?
Answer: Megan
Aspiring filmmaker Sean is working as a freelance driver to make ends meet. He's assigned to deliver an expensive Mercedes-Benz from Los Angeles all the way to its owner in Miami, which will also allow him to attend the wedding of his sister. He's given strict instructions not to damage the vehicle or pick up any hitchhikers.
Sean is driving cross country when he picks up Nick, a hitchhiker who happens to be a vampire hunter hunting a group of vampires led by one of the Forsaken--a group of knights who made a pact with the fallen angel Abaddon to live forever. Two of the Forsaken are located in the United States (including the one Nick is tracking, Kit). Nick was bitten and infected by a vampire but, thanks to an antiviral drug cocktail, the vampire virus is kept at bay. Each of the Forsaken carry a unique strain of vampirism; killing a Forsaken kills his entire bloodline and reverses the condition of anyone infected. Nick believes that if he kills Kit, he will be cured before he turns (as the drug cocktail eventually will lose effect). At first Sean is less than willing to indulge his new acquaintance; however, he is convinced after the two come across a disoriented young woman, Megan, at a diner, who was bitten by the vampires and left for dead. Nick also proves he is telling the truth by killing a vampire, Teddy, with exposure to sunlight.
Sean and Nick take Megan to their motel room, but she goes into a rage and bites Sean; they realize they must kill the Forsaken responsible to prevent Sean from turning. Forsaken can only be slain on hallowed ground, so the three head for a Spanish mission 60 miles away. They stop at a gas station where an old woman, Ina, lets them in. She shows them a newspaper connecting Megan to a bloodbath in Arizona; when Megan wakes up and is coherent enough to talk, she explains she was a victim of the vampires' bloodbath. Kit catches up to them and lays siege to the gas station.

Question: Who catches up to the group at the gas station?
Answer: Kit