nc33/multispan_quoref huggingface dataset:
Doménikos Theotokópoulos (Greek: Δομήνικος Θεοτοκόπουλος [ðoˈminikos θeotoˈkopulos]; October 1541 –  7 April 1614), most widely known as El Greco ("The Greek"), was a Greek painter, sculptor and architect of the Spanish Renaissance. "El Greco" was a nickname, a reference to his Greek origin, and the artist normally signed his paintings with his full birth name in Greek letters, Δομήνικος Θεοτοκόπουλος, Doménikos Theotokópoulos, often adding the word Κρής Krēs, Cretan.
El Greco was born in the Kingdom of Candia, which was at that time part of the Republic of Venice, and the center of Post-Byzantine art. He trained and became a master within that tradition before traveling at age 26 to Venice, as other Greek artists had done. In 1570 he moved to Rome, where he opened a workshop and executed a series of works. During his stay in Italy, El Greco enriched his style with elements of Mannerism and of the Venetian Renaissance taken from a number of great artists of the time, notably Tintoretto. In 1577, he moved to Toledo, Spain, where he lived and worked until his death. In Toledo, El Greco received several major commissions and produced his best-known paintings.
El Greco's dramatic and expressionistic style was met with puzzlement by his contemporaries but found appreciation in the 20th century. El Greco is regarded as a precursor of both Expressionism and Cubism, while his personality and works were a source of inspiration for poets and writers such as Rainer Maria Rilke and Nikos Kazantzakis. El Greco has been characterized by modern scholars as an artist so individual that he belongs to no conventional school. He is best known for tortuously elongated figures and often fantastic or phantasmagorical pigmentation, marrying Byzantine traditions with those of Western painting.

Question: What is the first name of the person who has been characterized by modern scholars as an artist so individual that he belongs to no conventional school?
Answer: Doménikos
Doménikos Theotokópoulos (Greek: Δομήνικος Θεοτοκόπουλος [ðoˈminikos θeotoˈkopulos]; October 1541 –  7 April 1614), most widely known as El Greco ("The Greek"), was a Greek painter, sculptor and architect of the Spanish Renaissance. "El Greco" was a nickname, a reference to his Greek origin, and the artist normally signed his paintings with his full birth name in Greek letters, Δομήνικος Θεοτοκόπουλος, Doménikos Theotokópoulos, often adding the word Κρής Krēs, Cretan.
El Greco was born in the Kingdom of Candia, which was at that time part of the Republic of Venice, and the center of Post-Byzantine art. He trained and became a master within that tradition before traveling at age 26 to Venice, as other Greek artists had done. In 1570 he moved to Rome, where he opened a workshop and executed a series of works. During his stay in Italy, El Greco enriched his style with elements of Mannerism and of the Venetian Renaissance taken from a number of great artists of the time, notably Tintoretto. In 1577, he moved to Toledo, Spain, where he lived and worked until his death. In Toledo, El Greco received several major commissions and produced his best-known paintings.
El Greco's dramatic and expressionistic style was met with puzzlement by his contemporaries but found appreciation in the 20th century. El Greco is regarded as a precursor of both Expressionism and Cubism, while his personality and works were a source of inspiration for poets and writers such as Rainer Maria Rilke and Nikos Kazantzakis. El Greco has been characterized by modern scholars as an artist so individual that he belongs to no conventional school. He is best known for tortuously elongated figures and often fantastic or phantasmagorical pigmentation, marrying Byzantine traditions with those of Western painting.

Question: What is the first name of the person who is best known for tortuously elongated figures?
Answer: Doménikos
Doménikos Theotokópoulos (Greek: Δομήνικος Θεοτοκόπουλος [ðoˈminikos θeotoˈkopulos]; October 1541 –  7 April 1614), most widely known as El Greco ("The Greek"), was a Greek painter, sculptor and architect of the Spanish Renaissance. "El Greco" was a nickname, a reference to his Greek origin, and the artist normally signed his paintings with his full birth name in Greek letters, Δομήνικος Θεοτοκόπουλος, Doménikos Theotokópoulos, often adding the word Κρής Krēs, Cretan.
El Greco was born in the Kingdom of Candia, which was at that time part of the Republic of Venice, and the center of Post-Byzantine art. He trained and became a master within that tradition before traveling at age 26 to Venice, as other Greek artists had done. In 1570 he moved to Rome, where he opened a workshop and executed a series of works. During his stay in Italy, El Greco enriched his style with elements of Mannerism and of the Venetian Renaissance taken from a number of great artists of the time, notably Tintoretto. In 1577, he moved to Toledo, Spain, where he lived and worked until his death. In Toledo, El Greco received several major commissions and produced his best-known paintings.
El Greco's dramatic and expressionistic style was met with puzzlement by his contemporaries but found appreciation in the 20th century. El Greco is regarded as a precursor of both Expressionism and Cubism, while his personality and works were a source of inspiration for poets and writers such as Rainer Maria Rilke and Nikos Kazantzakis. El Greco has been characterized by modern scholars as an artist so individual that he belongs to no conventional school. He is best known for tortuously elongated figures and often fantastic or phantasmagorical pigmentation, marrying Byzantine traditions with those of Western painting.

Question: What is the last name of the person who is known for marrying Byzantine traditions with those of Western painting?
Answer: Theotokópoulos
By the time El Greco arrived in Rome, Michelangelo and Raphael were dead, but their example continued to be paramount, and somewhat overwhelming for young painters. El Greco was determined to make his own mark in Rome defending his personal artistic views, ideas and style. He singled out Correggio and Parmigianino for particular praise, but he did not hesitate to dismiss Michelangelo's Last Judgment in the Sistine Chapel; he extended an offer to Pope Pius V to paint over the whole work in accord with the new and stricter Catholic thinking. When he was later asked what he thought about Michelangelo, El Greco replied that "he was a good man, but he did not know how to paint". And thus we are confronted by a paradox: El Greco is said to have reacted most strongly or even condemned Michelangelo, but found it impossible to withstand his influence. Michelangelo's influence can be seen in later El Greco works such as the Allegory of the Holy League. By painting portraits of Michelangelo, Titian, Clovio and, presumably, Raphael in one of his works (The Purification of the Temple), El Greco not only expressed his gratitude but also advanced the claim to rival these masters. As his own commentaries indicate, El Greco viewed Titian, Michelangelo and Raphael as models to emulate. In his 17th century Chronicles, Giulio Mancini included El Greco among the painters who had initiated, in various ways, a re-evaluation of Michelangelo's teachings.Because of his unconventional artistic beliefs (such as his dismissal of Michelangelo's technique) and personality, El Greco soon acquired enemies in Rome. Architect and writer Pirro Ligorio called him a "foolish foreigner", and newly discovered archival material reveals a skirmish with Farnese, who obliged the young artist to leave his palace. On 6 July 1572, El Greco officially complained about this event. A few months later, on 18 September 1572, he paid his dues to the Guild of Saint Luke in Rome as a miniature painter. At the end of that year, El Greco opened his own workshop and hired as assistants the painters Lattanzio Bonastri de Lucignano and Francisco Preboste.

Question: What is the precise title of the work El Greco extended an offer to Pope Pius V to paint over?
Answer: Last Judgment
By the time El Greco arrived in Rome, Michelangelo and Raphael were dead, but their example continued to be paramount, and somewhat overwhelming for young painters. El Greco was determined to make his own mark in Rome defending his personal artistic views, ideas and style. He singled out Correggio and Parmigianino for particular praise, but he did not hesitate to dismiss Michelangelo's Last Judgment in the Sistine Chapel; he extended an offer to Pope Pius V to paint over the whole work in accord with the new and stricter Catholic thinking. When he was later asked what he thought about Michelangelo, El Greco replied that "he was a good man, but he did not know how to paint". And thus we are confronted by a paradox: El Greco is said to have reacted most strongly or even condemned Michelangelo, but found it impossible to withstand his influence. Michelangelo's influence can be seen in later El Greco works such as the Allegory of the Holy League. By painting portraits of Michelangelo, Titian, Clovio and, presumably, Raphael in one of his works (The Purification of the Temple), El Greco not only expressed his gratitude but also advanced the claim to rival these masters. As his own commentaries indicate, El Greco viewed Titian, Michelangelo and Raphael as models to emulate. In his 17th century Chronicles, Giulio Mancini included El Greco among the painters who had initiated, in various ways, a re-evaluation of Michelangelo's teachings.Because of his unconventional artistic beliefs (such as his dismissal of Michelangelo's technique) and personality, El Greco soon acquired enemies in Rome. Architect and writer Pirro Ligorio called him a "foolish foreigner", and newly discovered archival material reveals a skirmish with Farnese, who obliged the young artist to leave his palace. On 6 July 1572, El Greco officially complained about this event. A few months later, on 18 September 1572, he paid his dues to the Guild of Saint Luke in Rome as a miniature painter. At the end of that year, El Greco opened his own workshop and hired as assistants the painters Lattanzio Bonastri de Lucignano and Francisco Preboste.

Question: What is the name of the young artist who Farnese obliged to leave his palace?
Answer: El Greco
By the time El Greco arrived in Rome, Michelangelo and Raphael were dead, but their example continued to be paramount, and somewhat overwhelming for young painters. El Greco was determined to make his own mark in Rome defending his personal artistic views, ideas and style. He singled out Correggio and Parmigianino for particular praise, but he did not hesitate to dismiss Michelangelo's Last Judgment in the Sistine Chapel; he extended an offer to Pope Pius V to paint over the whole work in accord with the new and stricter Catholic thinking. When he was later asked what he thought about Michelangelo, El Greco replied that "he was a good man, but he did not know how to paint". And thus we are confronted by a paradox: El Greco is said to have reacted most strongly or even condemned Michelangelo, but found it impossible to withstand his influence. Michelangelo's influence can be seen in later El Greco works such as the Allegory of the Holy League. By painting portraits of Michelangelo, Titian, Clovio and, presumably, Raphael in one of his works (The Purification of the Temple), El Greco not only expressed his gratitude but also advanced the claim to rival these masters. As his own commentaries indicate, El Greco viewed Titian, Michelangelo and Raphael as models to emulate. In his 17th century Chronicles, Giulio Mancini included El Greco among the painters who had initiated, in various ways, a re-evaluation of Michelangelo's teachings.Because of his unconventional artistic beliefs (such as his dismissal of Michelangelo's technique) and personality, El Greco soon acquired enemies in Rome. Architect and writer Pirro Ligorio called him a "foolish foreigner", and newly discovered archival material reveals a skirmish with Farnese, who obliged the young artist to leave his palace. On 6 July 1572, El Greco officially complained about this event. A few months later, on 18 September 1572, he paid his dues to the Guild of Saint Luke in Rome as a miniature painter. At the end of that year, El Greco opened his own workshop and hired as assistants the painters Lattanzio Bonastri de Lucignano and Francisco Preboste.

Question: Whose palace was El Greco obliged to leave?
Answer: Farnese
By the time El Greco arrived in Rome, Michelangelo and Raphael were dead, but their example continued to be paramount, and somewhat overwhelming for young painters. El Greco was determined to make his own mark in Rome defending his personal artistic views, ideas and style. He singled out Correggio and Parmigianino for particular praise, but he did not hesitate to dismiss Michelangelo's Last Judgment in the Sistine Chapel; he extended an offer to Pope Pius V to paint over the whole work in accord with the new and stricter Catholic thinking. When he was later asked what he thought about Michelangelo, El Greco replied that "he was a good man, but he did not know how to paint". And thus we are confronted by a paradox: El Greco is said to have reacted most strongly or even condemned Michelangelo, but found it impossible to withstand his influence. Michelangelo's influence can be seen in later El Greco works such as the Allegory of the Holy League. By painting portraits of Michelangelo, Titian, Clovio and, presumably, Raphael in one of his works (The Purification of the Temple), El Greco not only expressed his gratitude but also advanced the claim to rival these masters. As his own commentaries indicate, El Greco viewed Titian, Michelangelo and Raphael as models to emulate. In his 17th century Chronicles, Giulio Mancini included El Greco among the painters who had initiated, in various ways, a re-evaluation of Michelangelo's teachings.Because of his unconventional artistic beliefs (such as his dismissal of Michelangelo's technique) and personality, El Greco soon acquired enemies in Rome. Architect and writer Pirro Ligorio called him a "foolish foreigner", and newly discovered archival material reveals a skirmish with Farnese, who obliged the young artist to leave his palace. On 6 July 1572, El Greco officially complained about this event. A few months later, on 18 September 1572, he paid his dues to the Guild of Saint Luke in Rome as a miniature painter. At the end of that year, El Greco opened his own workshop and hired as assistants the painters Lattanzio Bonastri de Lucignano and Francisco Preboste.

Question: Whose dues were paid to to the Guild of Saint Luke in Rome?
Answer: El Greco
El Greco was disdained by the immediate generations after his death because his work was opposed in many respects to the principles of the early baroque style which came to the fore near the beginning of the 17th century and soon supplanted the last surviving traits of the 16th-century Mannerism. El Greco was deemed incomprehensible and had no important followers. Only his son and a few unknown painters produced weak copies of his works. Late 17th- and early 18th-century Spanish commentators praised his skill but criticized his antinaturalistic style and his complex iconography. Some of these commentators, such as Antonio Palomino and Juan Agustín Ceán Bermúdez, described his mature work as "contemptible", "ridiculous" and "worthy of scorn". The views of Palomino and Bermúdez were frequently repeated in Spanish historiography, adorned with terms such as "strange", "queer", "original", "eccentric" and "odd". The phrase "sunk in eccentricity", often encountered in such texts, in time developed into "madness".With the arrival of Romantic sentiments in the late 18th century, El Greco's works were examined anew. To French writer Théophile Gautier, El Greco was the precursor of the European Romantic movement in all its craving for the strange and the extreme. Gautier regarded El Greco as the ideal romantic hero (the "gifted", the "misunderstood", the "mad"), and was the first who explicitly expressed his admiration for El Greco's later technique. French art critics Zacharie Astruc and Paul Lefort helped to promote a widespread revival of interest in his painting. In the 1890s, Spanish painters living in Paris adopted him as their guide and mentor. However, in the popular English-speaking imagination he remained the man who "painted horrors in the Escorial" in the words of Ephraim Chambers' Cyclopaedia in 1899.In 1908, Spanish art historian Manuel Bartolomé Cossío published the first comprehensive catalogue of El Greco's works; in this book El Greco was presented as the founder of the Spanish School. The same year Julius Meier-Graefe, a scholar of French Impressionism, traveled in Spain, expecting to study Velásquez, but instead becoming fascinated by El Greco; he recorded his experiences in Spanische Reise (Spanish Journey, published in English in 1926), the book which widely established El Greco as a great painter of the past "outside a somewhat narrow circle". In El Greco's work, Meier-Graefe found foreshadowing of modernity. These are the words Meier-Graefe used to describe El Greco's impact on the artistic movements of his time:

Question: What is the full name of the man who published the first catalogue of the works by the man who was disdained by the immediate generations after his death?
Answer: Manuel Bartolomé Cossío
El Greco was disdained by the immediate generations after his death because his work was opposed in many respects to the principles of the early baroque style which came to the fore near the beginning of the 17th century and soon supplanted the last surviving traits of the 16th-century Mannerism. El Greco was deemed incomprehensible and had no important followers. Only his son and a few unknown painters produced weak copies of his works. Late 17th- and early 18th-century Spanish commentators praised his skill but criticized his antinaturalistic style and his complex iconography. Some of these commentators, such as Antonio Palomino and Juan Agustín Ceán Bermúdez, described his mature work as "contemptible", "ridiculous" and "worthy of scorn". The views of Palomino and Bermúdez were frequently repeated in Spanish historiography, adorned with terms such as "strange", "queer", "original", "eccentric" and "odd". The phrase "sunk in eccentricity", often encountered in such texts, in time developed into "madness".With the arrival of Romantic sentiments in the late 18th century, El Greco's works were examined anew. To French writer Théophile Gautier, El Greco was the precursor of the European Romantic movement in all its craving for the strange and the extreme. Gautier regarded El Greco as the ideal romantic hero (the "gifted", the "misunderstood", the "mad"), and was the first who explicitly expressed his admiration for El Greco's later technique. French art critics Zacharie Astruc and Paul Lefort helped to promote a widespread revival of interest in his painting. In the 1890s, Spanish painters living in Paris adopted him as their guide and mentor. However, in the popular English-speaking imagination he remained the man who "painted horrors in the Escorial" in the words of Ephraim Chambers' Cyclopaedia in 1899.In 1908, Spanish art historian Manuel Bartolomé Cossío published the first comprehensive catalogue of El Greco's works; in this book El Greco was presented as the founder of the Spanish School. The same year Julius Meier-Graefe, a scholar of French Impressionism, traveled in Spain, expecting to study Velásquez, but instead becoming fascinated by El Greco; he recorded his experiences in Spanische Reise (Spanish Journey, published in English in 1926), the book which widely established El Greco as a great painter of the past "outside a somewhat narrow circle". In El Greco's work, Meier-Graefe found foreshadowing of modernity. These are the words Meier-Graefe used to describe El Greco's impact on the artistic movements of his time:

Question: What is the full name of the French impressionist scholar who was interested in the works of the artist was deemed incomprehensible?
Answer: Julius Meier-Graefe
El Greco was disdained by the immediate generations after his death because his work was opposed in many respects to the principles of the early baroque style which came to the fore near the beginning of the 17th century and soon supplanted the last surviving traits of the 16th-century Mannerism. El Greco was deemed incomprehensible and had no important followers. Only his son and a few unknown painters produced weak copies of his works. Late 17th- and early 18th-century Spanish commentators praised his skill but criticized his antinaturalistic style and his complex iconography. Some of these commentators, such as Antonio Palomino and Juan Agustín Ceán Bermúdez, described his mature work as "contemptible", "ridiculous" and "worthy of scorn". The views of Palomino and Bermúdez were frequently repeated in Spanish historiography, adorned with terms such as "strange", "queer", "original", "eccentric" and "odd". The phrase "sunk in eccentricity", often encountered in such texts, in time developed into "madness".With the arrival of Romantic sentiments in the late 18th century, El Greco's works were examined anew. To French writer Théophile Gautier, El Greco was the precursor of the European Romantic movement in all its craving for the strange and the extreme. Gautier regarded El Greco as the ideal romantic hero (the "gifted", the "misunderstood", the "mad"), and was the first who explicitly expressed his admiration for El Greco's later technique. French art critics Zacharie Astruc and Paul Lefort helped to promote a widespread revival of interest in his painting. In the 1890s, Spanish painters living in Paris adopted him as their guide and mentor. However, in the popular English-speaking imagination he remained the man who "painted horrors in the Escorial" in the words of Ephraim Chambers' Cyclopaedia in 1899.In 1908, Spanish art historian Manuel Bartolomé Cossío published the first comprehensive catalogue of El Greco's works; in this book El Greco was presented as the founder of the Spanish School. The same year Julius Meier-Graefe, a scholar of French Impressionism, traveled in Spain, expecting to study Velásquez, but instead becoming fascinated by El Greco; he recorded his experiences in Spanische Reise (Spanish Journey, published in English in 1926), the book which widely established El Greco as a great painter of the past "outside a somewhat narrow circle". In El Greco's work, Meier-Graefe found foreshadowing of modernity. These are the words Meier-Graefe used to describe El Greco's impact on the artistic movements of his time:

Question: What is the name of the book that established the artist with the antinaturalistic style as a great painter?
Answer: Spanische Reise
El Greco was disdained by the immediate generations after his death because his work was opposed in many respects to the principles of the early baroque style which came to the fore near the beginning of the 17th century and soon supplanted the last surviving traits of the 16th-century Mannerism. El Greco was deemed incomprehensible and had no important followers. Only his son and a few unknown painters produced weak copies of his works. Late 17th- and early 18th-century Spanish commentators praised his skill but criticized his antinaturalistic style and his complex iconography. Some of these commentators, such as Antonio Palomino and Juan Agustín Ceán Bermúdez, described his mature work as "contemptible", "ridiculous" and "worthy of scorn". The views of Palomino and Bermúdez were frequently repeated in Spanish historiography, adorned with terms such as "strange", "queer", "original", "eccentric" and "odd". The phrase "sunk in eccentricity", often encountered in such texts, in time developed into "madness".With the arrival of Romantic sentiments in the late 18th century, El Greco's works were examined anew. To French writer Théophile Gautier, El Greco was the precursor of the European Romantic movement in all its craving for the strange and the extreme. Gautier regarded El Greco as the ideal romantic hero (the "gifted", the "misunderstood", the "mad"), and was the first who explicitly expressed his admiration for El Greco's later technique. French art critics Zacharie Astruc and Paul Lefort helped to promote a widespread revival of interest in his painting. In the 1890s, Spanish painters living in Paris adopted him as their guide and mentor. However, in the popular English-speaking imagination he remained the man who "painted horrors in the Escorial" in the words of Ephraim Chambers' Cyclopaedia in 1899.In 1908, Spanish art historian Manuel Bartolomé Cossío published the first comprehensive catalogue of El Greco's works; in this book El Greco was presented as the founder of the Spanish School. The same year Julius Meier-Graefe, a scholar of French Impressionism, traveled in Spain, expecting to study Velásquez, but instead becoming fascinated by El Greco; he recorded his experiences in Spanische Reise (Spanish Journey, published in English in 1926), the book which widely established El Greco as a great painter of the past "outside a somewhat narrow circle". In El Greco's work, Meier-Graefe found foreshadowing of modernity. These are the words Meier-Graefe used to describe El Greco's impact on the artistic movements of his time:

Question: What are the last names of the French critics who promoted the painter who had only a few copies of his works produced?
Answer: Astruc, Lefort
El Greco was disdained by the immediate generations after his death because his work was opposed in many respects to the principles of the early baroque style which came to the fore near the beginning of the 17th century and soon supplanted the last surviving traits of the 16th-century Mannerism. El Greco was deemed incomprehensible and had no important followers. Only his son and a few unknown painters produced weak copies of his works. Late 17th- and early 18th-century Spanish commentators praised his skill but criticized his antinaturalistic style and his complex iconography. Some of these commentators, such as Antonio Palomino and Juan Agustín Ceán Bermúdez, described his mature work as "contemptible", "ridiculous" and "worthy of scorn". The views of Palomino and Bermúdez were frequently repeated in Spanish historiography, adorned with terms such as "strange", "queer", "original", "eccentric" and "odd". The phrase "sunk in eccentricity", often encountered in such texts, in time developed into "madness".With the arrival of Romantic sentiments in the late 18th century, El Greco's works were examined anew. To French writer Théophile Gautier, El Greco was the precursor of the European Romantic movement in all its craving for the strange and the extreme. Gautier regarded El Greco as the ideal romantic hero (the "gifted", the "misunderstood", the "mad"), and was the first who explicitly expressed his admiration for El Greco's later technique. French art critics Zacharie Astruc and Paul Lefort helped to promote a widespread revival of interest in his painting. In the 1890s, Spanish painters living in Paris adopted him as their guide and mentor. However, in the popular English-speaking imagination he remained the man who "painted horrors in the Escorial" in the words of Ephraim Chambers' Cyclopaedia in 1899.In 1908, Spanish art historian Manuel Bartolomé Cossío published the first comprehensive catalogue of El Greco's works; in this book El Greco was presented as the founder of the Spanish School. The same year Julius Meier-Graefe, a scholar of French Impressionism, traveled in Spain, expecting to study Velásquez, but instead becoming fascinated by El Greco; he recorded his experiences in Spanische Reise (Spanish Journey, published in English in 1926), the book which widely established El Greco as a great painter of the past "outside a somewhat narrow circle". In El Greco's work, Meier-Graefe found foreshadowing of modernity. These are the words Meier-Graefe used to describe El Greco's impact on the artistic movements of his time:

Question: What is the last name of the man who described the artist who had an antinaturalistic style as someone who "painted horrors in the Escorial"?
Answer: Chambers
Frank Moses, retired black-ops CIA agent, lives alone in Cleveland, Ohio. Lonely, Frank creates opportunities to talk to Sarah Ross, a worker at the General Services Administration's pension office in Kansas City, Missouri, by tearing up his pension checks and calling to say they haven't arrived.
One night, an assassination squad raids Frank's house and attempts to kill him but he easily wipes them out. Knowing they will have tapped his phone, he believes Sarah will be targeted. In Kansas City Sarah refuses to go with him so he kidnaps her. Meanwhile CIA agent William Cooper is assigned by his boss Cynthia Wilkes (Pidgeon) to hunt down and kill Frank.
To find out who is targeting him Frank tracks down his old associates for help. He goes to New Orleans, Louisiana, and visits his CIA mentor Joe Matheson, who tells him the same hit squad murdered a New York Times reporter. An agent posing as a police officer tries to abduct Sarah but Frank returns in time. Cooper chases them but Frank tricks the police into arresting Cooper and escapes with Sarah. The two head to New York City and find clues left by the reporter which lead them to a hit list.
They find Marvin Boggs, another old associate and a paranoid conspiracy theorist, who tells them the people on the list, including Frank and Marvin, are connected to a secret 1981 mission in Guatemala. A pilot on the list, Gabriel Singer, tells them the mission involved extracting a person from a Guatemalan village. Singer is shot by a helicopter-borne machine-gunner and the team escapes as Cooper closes in.

Question: What is the last name of the person who is lonely?
Answer: Moses
Frank Moses, retired black-ops CIA agent, lives alone in Cleveland, Ohio. Lonely, Frank creates opportunities to talk to Sarah Ross, a worker at the General Services Administration's pension office in Kansas City, Missouri, by tearing up his pension checks and calling to say they haven't arrived.
One night, an assassination squad raids Frank's house and attempts to kill him but he easily wipes them out. Knowing they will have tapped his phone, he believes Sarah will be targeted. In Kansas City Sarah refuses to go with him so he kidnaps her. Meanwhile CIA agent William Cooper is assigned by his boss Cynthia Wilkes (Pidgeon) to hunt down and kill Frank.
To find out who is targeting him Frank tracks down his old associates for help. He goes to New Orleans, Louisiana, and visits his CIA mentor Joe Matheson, who tells him the same hit squad murdered a New York Times reporter. An agent posing as a police officer tries to abduct Sarah but Frank returns in time. Cooper chases them but Frank tricks the police into arresting Cooper and escapes with Sarah. The two head to New York City and find clues left by the reporter which lead them to a hit list.
They find Marvin Boggs, another old associate and a paranoid conspiracy theorist, who tells them the people on the list, including Frank and Marvin, are connected to a secret 1981 mission in Guatemala. A pilot on the list, Gabriel Singer, tells them the mission involved extracting a person from a Guatemalan village. Singer is shot by a helicopter-borne machine-gunner and the team escapes as Cooper closes in.

Question: What is the last name of the person who tears up his pension checks?
Answer: Moses
Frank Moses, retired black-ops CIA agent, lives alone in Cleveland, Ohio. Lonely, Frank creates opportunities to talk to Sarah Ross, a worker at the General Services Administration's pension office in Kansas City, Missouri, by tearing up his pension checks and calling to say they haven't arrived.
One night, an assassination squad raids Frank's house and attempts to kill him but he easily wipes them out. Knowing they will have tapped his phone, he believes Sarah will be targeted. In Kansas City Sarah refuses to go with him so he kidnaps her. Meanwhile CIA agent William Cooper is assigned by his boss Cynthia Wilkes (Pidgeon) to hunt down and kill Frank.
To find out who is targeting him Frank tracks down his old associates for help. He goes to New Orleans, Louisiana, and visits his CIA mentor Joe Matheson, who tells him the same hit squad murdered a New York Times reporter. An agent posing as a police officer tries to abduct Sarah but Frank returns in time. Cooper chases them but Frank tricks the police into arresting Cooper and escapes with Sarah. The two head to New York City and find clues left by the reporter which lead them to a hit list.
They find Marvin Boggs, another old associate and a paranoid conspiracy theorist, who tells them the people on the list, including Frank and Marvin, are connected to a secret 1981 mission in Guatemala. A pilot on the list, Gabriel Singer, tells them the mission involved extracting a person from a Guatemalan village. Singer is shot by a helicopter-borne machine-gunner and the team escapes as Cooper closes in.

Question: What is the last name of the person whose house was raided?
Answer: Moses
Frank Moses, retired black-ops CIA agent, lives alone in Cleveland, Ohio. Lonely, Frank creates opportunities to talk to Sarah Ross, a worker at the General Services Administration's pension office in Kansas City, Missouri, by tearing up his pension checks and calling to say they haven't arrived.
One night, an assassination squad raids Frank's house and attempts to kill him but he easily wipes them out. Knowing they will have tapped his phone, he believes Sarah will be targeted. In Kansas City Sarah refuses to go with him so he kidnaps her. Meanwhile CIA agent William Cooper is assigned by his boss Cynthia Wilkes (Pidgeon) to hunt down and kill Frank.
To find out who is targeting him Frank tracks down his old associates for help. He goes to New Orleans, Louisiana, and visits his CIA mentor Joe Matheson, who tells him the same hit squad murdered a New York Times reporter. An agent posing as a police officer tries to abduct Sarah but Frank returns in time. Cooper chases them but Frank tricks the police into arresting Cooper and escapes with Sarah. The two head to New York City and find clues left by the reporter which lead them to a hit list.
They find Marvin Boggs, another old associate and a paranoid conspiracy theorist, who tells them the people on the list, including Frank and Marvin, are connected to a secret 1981 mission in Guatemala. A pilot on the list, Gabriel Singer, tells them the mission involved extracting a person from a Guatemalan village. Singer is shot by a helicopter-borne machine-gunner and the team escapes as Cooper closes in.

Question: What is the last name of the person Frank is worried will be targeted?
Answer: Ross
Frank Moses, retired black-ops CIA agent, lives alone in Cleveland, Ohio. Lonely, Frank creates opportunities to talk to Sarah Ross, a worker at the General Services Administration's pension office in Kansas City, Missouri, by tearing up his pension checks and calling to say they haven't arrived.
One night, an assassination squad raids Frank's house and attempts to kill him but he easily wipes them out. Knowing they will have tapped his phone, he believes Sarah will be targeted. In Kansas City Sarah refuses to go with him so he kidnaps her. Meanwhile CIA agent William Cooper is assigned by his boss Cynthia Wilkes (Pidgeon) to hunt down and kill Frank.
To find out who is targeting him Frank tracks down his old associates for help. He goes to New Orleans, Louisiana, and visits his CIA mentor Joe Matheson, who tells him the same hit squad murdered a New York Times reporter. An agent posing as a police officer tries to abduct Sarah but Frank returns in time. Cooper chases them but Frank tricks the police into arresting Cooper and escapes with Sarah. The two head to New York City and find clues left by the reporter which lead them to a hit list.
They find Marvin Boggs, another old associate and a paranoid conspiracy theorist, who tells them the people on the list, including Frank and Marvin, are connected to a secret 1981 mission in Guatemala. A pilot on the list, Gabriel Singer, tells them the mission involved extracting a person from a Guatemalan village. Singer is shot by a helicopter-borne machine-gunner and the team escapes as Cooper closes in.

Question: What is the last name of the person who Frank kidnaps?
Answer: Ross
The cartoon opens with the poet, who looks similar to William Shakespeare, trying to write and coming across a castle with a mailbox with "Macbeth" written on it. At this he begins to write a story based on this title. He hears the loud screeching laugh of Witch Hazel and watches her stir her cauldron. The witch has Bugs Bunny trapped, sleeping on a platter and wakes him up. He believes the cauldron to be a bath and readily climbs in, only realizing his mistake after reading her open recipe book. He quickly jumps out of the boiling cauldron and runs away from Witch Hazel, towards the castle, when she tries to attack him with a meat cleaver. Witch Hazel pursues Bugs Bunny on her flying broomstick. We then see the poet again trying to write after Bugs and the witch have departed.
At the castle, Witch Hazel and Bugs run into each other and they have a little laughing contest, then Bugs runs up a tall tower, saying "You hoo! Granny! Here I am!" and Witch Hazel says after that "And here I come!" while she is on her broomstick, but goes backwards, Witch Hazel says that she had the silly thing in reverse. Then she flies up to the tower, saying in baby talk "Hello," where Bugs gives her a heavy weight and says, "Good-bye!" As the witch falls down with it, she cries out "Good grief!" then Bugs says, "Good riddance!" She crashes to the ground with her broom destroyed and the chase continues and as Bugs Bunny acts as Romeo to try to trick Witch Hazel, who starts to quote Juliet's lines from the play but soon the two improvise. Witch Hazel jumps out of castle window as Bugs pretends that he will catch her and rapidly runs off.

Question: What is the full name of the character that runs from Witch Hazel?
Answer: Bugs Bunny
The cartoon opens with the poet, who looks similar to William Shakespeare, trying to write and coming across a castle with a mailbox with "Macbeth" written on it. At this he begins to write a story based on this title. He hears the loud screeching laugh of Witch Hazel and watches her stir her cauldron. The witch has Bugs Bunny trapped, sleeping on a platter and wakes him up. He believes the cauldron to be a bath and readily climbs in, only realizing his mistake after reading her open recipe book. He quickly jumps out of the boiling cauldron and runs away from Witch Hazel, towards the castle, when she tries to attack him with a meat cleaver. Witch Hazel pursues Bugs Bunny on her flying broomstick. We then see the poet again trying to write after Bugs and the witch have departed.
At the castle, Witch Hazel and Bugs run into each other and they have a little laughing contest, then Bugs runs up a tall tower, saying "You hoo! Granny! Here I am!" and Witch Hazel says after that "And here I come!" while she is on her broomstick, but goes backwards, Witch Hazel says that she had the silly thing in reverse. Then she flies up to the tower, saying in baby talk "Hello," where Bugs gives her a heavy weight and says, "Good-bye!" As the witch falls down with it, she cries out "Good grief!" then Bugs says, "Good riddance!" She crashes to the ground with her broom destroyed and the chase continues and as Bugs Bunny acts as Romeo to try to trick Witch Hazel, who starts to quote Juliet's lines from the play but soon the two improvise. Witch Hazel jumps out of castle window as Bugs pretends that he will catch her and rapidly runs off.

Question: What is the last name of the character that runs up the tower?
Answer: Bunny
The cartoon opens with the poet, who looks similar to William Shakespeare, trying to write and coming across a castle with a mailbox with "Macbeth" written on it. At this he begins to write a story based on this title. He hears the loud screeching laugh of Witch Hazel and watches her stir her cauldron. The witch has Bugs Bunny trapped, sleeping on a platter and wakes him up. He believes the cauldron to be a bath and readily climbs in, only realizing his mistake after reading her open recipe book. He quickly jumps out of the boiling cauldron and runs away from Witch Hazel, towards the castle, when she tries to attack him with a meat cleaver. Witch Hazel pursues Bugs Bunny on her flying broomstick. We then see the poet again trying to write after Bugs and the witch have departed.
At the castle, Witch Hazel and Bugs run into each other and they have a little laughing contest, then Bugs runs up a tall tower, saying "You hoo! Granny! Here I am!" and Witch Hazel says after that "And here I come!" while she is on her broomstick, but goes backwards, Witch Hazel says that she had the silly thing in reverse. Then she flies up to the tower, saying in baby talk "Hello," where Bugs gives her a heavy weight and says, "Good-bye!" As the witch falls down with it, she cries out "Good grief!" then Bugs says, "Good riddance!" She crashes to the ground with her broom destroyed and the chase continues and as Bugs Bunny acts as Romeo to try to trick Witch Hazel, who starts to quote Juliet's lines from the play but soon the two improvise. Witch Hazel jumps out of castle window as Bugs pretends that he will catch her and rapidly runs off.

Question: What did Witch Hazel say she had in reverse?
Answer: her broomstick
The cartoon opens with the poet, who looks similar to William Shakespeare, trying to write and coming across a castle with a mailbox with "Macbeth" written on it. At this he begins to write a story based on this title. He hears the loud screeching laugh of Witch Hazel and watches her stir her cauldron. The witch has Bugs Bunny trapped, sleeping on a platter and wakes him up. He believes the cauldron to be a bath and readily climbs in, only realizing his mistake after reading her open recipe book. He quickly jumps out of the boiling cauldron and runs away from Witch Hazel, towards the castle, when she tries to attack him with a meat cleaver. Witch Hazel pursues Bugs Bunny on her flying broomstick. We then see the poet again trying to write after Bugs and the witch have departed.
At the castle, Witch Hazel and Bugs run into each other and they have a little laughing contest, then Bugs runs up a tall tower, saying "You hoo! Granny! Here I am!" and Witch Hazel says after that "And here I come!" while she is on her broomstick, but goes backwards, Witch Hazel says that she had the silly thing in reverse. Then she flies up to the tower, saying in baby talk "Hello," where Bugs gives her a heavy weight and says, "Good-bye!" As the witch falls down with it, she cries out "Good grief!" then Bugs says, "Good riddance!" She crashes to the ground with her broom destroyed and the chase continues and as Bugs Bunny acts as Romeo to try to trick Witch Hazel, who starts to quote Juliet's lines from the play but soon the two improvise. Witch Hazel jumps out of castle window as Bugs pretends that he will catch her and rapidly runs off.

Question: What is the full name of the person who pretends to be Romeo?
Answer: Bugs Bunny
The cartoon opens with the poet, who looks similar to William Shakespeare, trying to write and coming across a castle with a mailbox with "Macbeth" written on it. At this he begins to write a story based on this title. He hears the loud screeching laugh of Witch Hazel and watches her stir her cauldron. The witch has Bugs Bunny trapped, sleeping on a platter and wakes him up. He believes the cauldron to be a bath and readily climbs in, only realizing his mistake after reading her open recipe book. He quickly jumps out of the boiling cauldron and runs away from Witch Hazel, towards the castle, when she tries to attack him with a meat cleaver. Witch Hazel pursues Bugs Bunny on her flying broomstick. We then see the poet again trying to write after Bugs and the witch have departed.
At the castle, Witch Hazel and Bugs run into each other and they have a little laughing contest, then Bugs runs up a tall tower, saying "You hoo! Granny! Here I am!" and Witch Hazel says after that "And here I come!" while she is on her broomstick, but goes backwards, Witch Hazel says that she had the silly thing in reverse. Then she flies up to the tower, saying in baby talk "Hello," where Bugs gives her a heavy weight and says, "Good-bye!" As the witch falls down with it, she cries out "Good grief!" then Bugs says, "Good riddance!" She crashes to the ground with her broom destroyed and the chase continues and as Bugs Bunny acts as Romeo to try to trick Witch Hazel, who starts to quote Juliet's lines from the play but soon the two improvise. Witch Hazel jumps out of castle window as Bugs pretends that he will catch her and rapidly runs off.

Question: What are the full names of the characters that improvise Romeo and Juliet?
Answer: Bugs Bunny, Witch Hazel
Nearing the end of the 18th century, Napoleon's vast army is sailing towards the Irish coast. The national poet and freedom fighter who goes by the name of "The O'Flynn" is traveling back to the castle where he was born, when he encounters a coach being robbed by rogues. The leader of the outlaws is a man named Hendrigg. The robbery fails thanks to O'Flynn's efforts. He invites the passenger, Lady Benedetta, to take refuge in his castle.
Lady Benedetta eventually agrees to take up the invitation from the elegant O'Flynn, who rode ahead to prepare the castle. When O'Flynn arrives at the castle, Dooley is waiting to arrest him for unpaid debts. O'Flynn gets off by telling the man of a treasure buried inside the castle.
O'Flynn is unaware that Lady Benedetta is really the daughter of the Viceroy of Ireland. She is in turn unaware that agents have been sent out by Napoleon to spy on her, disguised as travelers. They have been informed that Lady Benedetta has Napoleon's plans to invade Britain and is to deliver them to her father. Both Lady Benedetta and the agents arrive to the castle in the night.
Dooley fends off the agents and saves both Lady Benedetta and the unsuspecting O'Flynn. Napoleon's men attack them on their way to Dublin, but again they escape. They manage to give the plans to Lady Benedetta's father. Because of his leadership qualities, O'Flynn is made a captain in the Irish Army.
O'Flynn is attracted to Lady Benedetta, and when he finds out that her fiancé, Lord Sedgemouth, is in favor of Napoleon, he challenges his rival to a duel. Being a swordsman, he wins the duel quite easily, and decides to win Lady Benedetta's heart. The lord counters by letting Lady Benedetta believe that O'Flynn is involved with a courtesan named Fancy Free, which leads the lady to denounce him.

Question: What is the nickname of the person who encounters a coach being robbed?
Answer: The O'Flynn