Bin Laden reportedly discussed the planes operation with KSM and Atef in a series of meetings in the spring of 1999 at the al Matar complex near Kandahar. KSM's original concept of using one of the hijacked planes to make a media statement was scrapped, but Bin Laden considered the basic idea feasible. Bin Laden, Atef, and KSM developed an initial list of targets. These included the White House, the U.S. Capitol, the Pentagon, and the World Trade Center. According to KSM, Bin Laden wanted to destroy the White House and the Pentagon, KSM wanted to strike the World Trade Center, and all of them wanted to hit the Capitol. No one else was involved in the initial selection of targets. Bin Laden also soon selected four individuals to serve as suicide operatives: Khalid al Mihdhar, Nawaf al Hazmi, Khallad, and Abu Bara al Yemeni. During the al Matar meetings, Bin Laden told KSM that Mihdhar and Hazmi were so eager to participate in an operation against the United States that they had already obtained U.S. visas. KSM states that they had done so on their own after the suicide of their friend Azzam (Nashiri's cousin) in carrying out the Nairobi bombing. KSM had not met them. His only guidance from Bin Laden was that the two should eventually go to the United States for pilot training. Hazmi and Mihdhar were Saudi nationals, born in Mecca. Like the others in this initial group of selectees, they were already experienced mujahideen. They had traveled together to fight in Bosnia in a group that journeyed to the Balkans in 1995. By the time Hazmi and Mihdhar were assigned to the planes operation in early 1999, they had visited Afghanistan on several occasions. Khallad was another veteran mujahid, like much of his family. His father had been expelled from Yemen because of his extremist views. Khallad had grown up in Saudi Arabia, where his father knew Bin Laden, Abdullah Azzam, and Omar Abdel Rahman (the "Blind Sheikh").
What question would one ask from this paragraph?
Answer: Did Bin Laden's selectees know one another?

The movie is a powerful story that deals with feminism and patriarchy in the middle class of India . It is shot in the present and past tense showing lives of the characters Mahender and Sudha as they lived together as well as separately . The movie starts with Mahender getting down at the railway station and making his way to the waiting room just as it starts to rain heavily . A woman , Sudha , is already sitting in the waiting room . On seeing him , she tries to hide her face from him but later they confront each other . Mahender has an accomplished business dealing with photography . He respects his grandfather immensely . Incidentally , he had been engaged to Sudha for 5 years but always made some excuse to delay their wedding . However , this time his grandfather has fixed the wedding on the first week of the following month . He reveals to Sudha that he is having an affair with one of the most radical representations of feminism in a girl called Maya . He returns to tell Maya , but Maya has disappeared , leaving him some poetry . Mahender then marries Sudha and is quite happy , but the sudden return of Maya causes tensions in their married life . Mahender frequently tells Sudha about all the beautifully poignant , loving and authentic things Maya did over the years that they lived together . Later , Maya tries to commit suicide , and this leads to Mahender spending time with her over a few weeks . Sudha , not knowing about Maya 's suicide attempt and therefore believing that Mahender is being unfaithful to her , feels that her marriage was a mistake , and questions Mahender about his intentions .
What question would one ask from this paragraph?
Answer: Did Mahender know the women he met at the train station?

Juzo Murasaki arrives at a work construction area to take on his new job as a construction worker . To his quiet dismay , his supervising boss turns out to be Toru Akai , who with his gang had made Juzo's middle school life a living hell . Akai , however , does n't recognize Juzo . Juzo's more disconcerted when he discovers that Akai lives with his wife , Nozomi Akai and their toddler son above Juzo's new apartment . As Juzo emotionally struggles to handle these unexpected developments , a mysterious and seemingly malicious hooded figure appears . It calls itself Number 13 . As Juzo attempts to control increasing number of flashbacks and a spiral fall into psychological darkness , Akai constantly picks on Juzo and other work colleagues including Seki Hajime , a former middle school student who becomes Juzo's casual friend in spite of Juzo's anti-social tendencies , at work . Meanwhile Akai's wife , Nozomi , attempts to make friends with Juzo and entrusting the care of her toddler son to Juzo . She proudly shows Juzo her husband's school photos . In one class photo , Juzo's space is marked with an X to show he was absent . Juzo suffers a severe flashback to explain his absence that day : in their school's science room , Akai and his friends have thrown acid at Juzo's face . Seki becomes suspicious about Juzo's increasingly odd behavior and goes to inform Arai at the work site , but Arai dismisses him without giving him a chance to speak . During this incident , Seki does n't realize he's being watched by Number 13 , but as soon as he does , Number 13 kills him .
What question would one ask from this paragraph?
Answer: What is Juzo's new job and will his supervisor be a school mate?

Albrecht Durer (/'dU@r@r, 'djU@r@r/; German: ['albRect 'dy:Ra]; 21 May 1471 - 6 April 1528) was a painter, printmaker and theorist of the German Renaissance. Born in Nuremberg, Durer established his reputation and influence across Europe when he was still in his twenties, due to his high-quality woodcut prints. He was in communication with the major Italian artists of his time, including Raphael, Giovanni Bellini and Leonardo da Vinci, and from 1512 he was patronized by emperor Maximilian I. His vast body of work includes engravings, his preferred technique in his later prints, altarpieces, portraits and self-portraits, watercolours and books. The woodcuts, such as the Apocalypse series (1498), retain a more Gothic flavour than the rest of his work. His well-known engravings include the Knight, Death, and the Devil (1513), Saint Jerome in his Study (1514) and Melencolia I (1514), which has been the subject of extensive analysis and interpretation. His watercolours also mark him as one of the first European landscape artists, while his ambitious woodcuts revolutionized the potential of that medium. Durer's introduction of classical motifs into Northern art, through his knowledge of Italian artists and German humanists, has secured his reputation as one of the most important figures of the Northern Renaissance. This is reinforced by his theoretical treatises, which involve principles of mathematics, perspective and ideal proportions.
What question would one ask from this paragraph?
Answer:
How old was Durer when he was patronized by emperor Maximilian I?