Question: What is the full name of the person whose friend visits her one day? Answer the above question based on the context below: Madison "Maddie" Young is a deaf-mute woman who temporarily lost her ability to hear and speak after a bout of bacterial meningitis at the age of 13 and lost both permanently after a corrective surgery gone wrong. She lives in a house, isolated in the woods with her cat. Her friend and neighbor Sarah visits her one day to return a copy of her book. In discussing Maddie's writing, she describes with excitement how her stories play out in her head like a film and she can see all the possible endings. That night, a masked killer chases Sarah to Maddie's house. A bloodied Sarah bangs on the door begging and shouting for help, but Maddie cannot hear her, and the man stabs her to death. The man quickly learns of Maddie's infirmity and sneaks into the house through the main door, steals her phone, takes photos of her and sends them to her. Realizing this, she locks herself inside the house. The man cuts the power and sabotages her car. Maddie writes on the glass-paneled front door "won't tell, didn't see face, boyfriend coming home" with her lipstick. However, the man responds by taking off his mask and showing off his face. Maddie unsuccessfully tries to distract him with her car alarm to get Sarah's phone from her body, but she manages to stab his arm with a hammer's claw. He mocks Maddie, revealing he has the phone as well. He takes one of Sarah's earrings out and puts it in his pocket.
Answer: Madison "Maddie" Young
[Q]: What two areas lie on either side of Marble Hall? Answer the above question based on the context below: The final large reception room on the first floor is the Hondecoeter Room (16), so named because of the three huge oil paintings by Melchior d'Hondecoeter (16361695), depicting scenes of birds in courtyards, which are fitted into the neo-Carolean panelling. The panelling was introduced to the room by the 3rd Earl Brownlow in 1876, when it was furnished as the principal dining room of the mansion. The room was initially created as a library in 1808 from the upper part of the earlier kitchen which had originally risen two stories. The West staircase (14) was originally a service stairs, and would have been plainer in decor, but by the late nineteenth century it was in regular use by the family.Either side of the Marble Hall, lie the Great Staircase (2) and the Tapestry Room (11), which contains a collection of early eighteenth century Mortlake tapestries. The Great Staircase to the east of the Marble Hall is unusually placed at Belton, as in a house of this period one would expect to find the staircase in the hall. The stairs rise in three flights around the west, north, and east walls to the former Great Dining Room above the Marble Hall. Thus the staircase served as an important state procession link between the three principal reception rooms of the house. The Great Dining Room, now the Library, has been greatly altered and all traces of Carolean decoration removed, first by James Wyatt in 1778 when it was transformed into a drawing room with a vaulted ceiling, and again in 1876, when its use was again changed, this time to a library. The room contains some 6000 volumes, a superb example of book collecting over 350 years. When Lord Tyrconnel died in 1754 a catalogue of his library identified almost 2,300 books. Almost all of these remain in the Belton library today. Rupert Gunnis attributed the carved marble chimneypiece depicting two Roman goddesses to Sir Richard Westmacott.Leading from the Library is the Queen's Room, the former "Best Bed Chamber". This panelled room was redecorated in 1841 for the visit...
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[A]: the Great Staircase
input: Please answer the following: What is the name of the person that would like an advance on their inheritance? Answer the above question based on the context below: The film is structured around ten acts with a prologue and epilogue.It opens with the camera on Marianne standing by a table covered with photographs. It is a well-lit room, and she addresses the viewer. She picks one picture up after another; they are in no particular order, being just heaped all over the table. Some make her smile, or elicit a comment or a sigh. But then she picks up a photograph of her husband, prompting her to reminisce about how they had been more or less happy, and how they'd broken up. She goes on to recall how his second marriage failed, while she was already married to a second husband herself, and then when her second husband died (by flying a glider off somewhere and disappearing), she reflects that it would be nice to see her first husband again. Marianne travels into the country to the home of her ex-husband, and father of her daughters Martha and Sara, Johan. Johan is undergoing a family crisis with his insolvent and needy son, Henrik, and granddaughter, Karin. Karin is 19, and Henrik asks Johan for an advance on his inheritance so that Henrik can buy Karin an old Fagnola cello, to make a better impression at the audition for the European music conservatory. The elderly Johan decides to consider the offer and to contact the cello dealer himself. While Henrik is away tending to the orchestra he conducts in Uppsala, Johan has a private meeting with Karin, informing her of a proposal from Ivan Chablov, head conductor in the St. Petersburg orchestra and an old friend of Johan, that Karin join him at the prestigious Sibelius Academy in Helsinki.
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output: Henrik
input: Please answer the following: What is the first name of the person who's key to success was that artists felt that he was interested in them personally? Answer the above question based on the context below: Upon returning to Toronto, Jackson published an article about his and Thomson's experience in the Park in the Toronto Sunday World, included in which were several illustrations. After this initial experience, Thomson and another colleague, William Broadhead, went on a two-month expedition, going up the Spanish River and into Mississagi Forest Reserve (today Mississagi Provincial Park). Thomson's transition from commercial art towards his own original style of painting became apparent around this time. Much of his artwork from this trip, mainly oil sketches and photographs, was lost during two canoe spills; the first was on Green Lake in a rain squall and the second in a series of rapids.In fall 1912, Albert Robson, Grip's art director, moved to the design firm Rous & Mann. A month after returning to Toronto, Thomson followed Robson and left Grip to join Rous & Mann too. They were soon joined by Varley, Carmichael and Lismer. Robson later spoke favourably of Thomson's loyalty, calling him "a most diligent, reliable and capable craftsman". Robson's success in attracting great talent was well understood. Employee Leonard Rossell believed that the key to Robson's success "was that the artists felt that he was interested in them personally and did all he could to further their progress. Those who worked there were all allowed time off to pursue their studies ... Tom Thomson, so far as I know, never took definite lessons from anyone, yet he progressed quicker than any of us. But what he did was probably of more advantage to him. He took several months off in the summer and spent them in Algonquin Park."
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output:
Albert