input: Please answer the following: What is the first name of the youngest son of the FBI agent?  Answer the above question based on the context below:  Every year, 12-year old Samuel, 10-year old Jeffrey and 8-year old Michael Douglas visit their grandfather, Mori Tanaka at his cabin. Mori trains his grandchildren in the art of Ninjutsu. As the summer comes to an end, Mori gives each of them a new "ninja" name based on their personalities: 'Rocky', 'Colt', and 'Tum-Tum'.  Meanwhile, the boys' father, Sam Douglas, is an FBI agent who stages a sting operation to entrap Hugo Snyder in the sale of warheads. Snyder escapes the trap with the use of his own ninja henchmen. Snyder decides to test Mori's fighting skill. The boys ignore Mori's orders to stay in the house and aid by defeating two ninjas on their own. Snyder threatens Mori's family if he doesn't get Douglas off his back, and Mori chides the boys briefly for interfering in his personal affairs. When they return home, they find their father unenthusiastic to see what they had learned during their visit and more annoyed at their new names. Emily, a friend of Rocky's, compliments his new name and agrees to ride with them to school the next day. Snyder develops a plan to kidnap the boys to use them as leverage to get Douglas to back off. Since the FBI watches them, his assistant Brown contacts his nephew Fester and his buddies Hammer and Marcus to kidnap the boys. Due to Douglas and his FBI crew's presence, they are unable to capture the boys.
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output: Michael


input: Please answer the following: What does Greely use to beat Wayne Thomas on the back of his head?  Answer the above question based on the context below:  Norman Sterns and Leela Sterns are newlyweds who are driving from their home in New York City to Los Angeles. They become lost and run out of gas, stranding them in the rural Ozark countryside. They meet a friendly paleontologist named Wayne Thomas. Wayne suggests that they visit the nearest farm that could provide gas. The farm is run by a strange man named Greely, who tells them that the gasoline truck was supposed to arrive the previous day, but since it didn't, he expects it there any minute. Greely suggests that they go inside to the parlor, where it's cooler. On the way up to the house, he asks if they know anybody out here, in case they may be waiting for them. They say no, and when they get inside, Greely goes off to tell his "housekeeper", Bella to make some iced tea. She argues with him on what he will "do with them", but Greely smacks her, and threatens that she will "take their place" if she doesn't serve them some tea. Thomas arrives and Greely goes outside. He tells them that their car won't start. Wayne decides to take a look at the engine and tells Greely to go back to his truck and get a tool. Greely instead beats him on the back of the head with it and drags his body off. Meanwhile, Leela appears to be worried about Greely, because he is acting strange and his eyes don't look right. She then compares his eyes to a stuffed lizard across the room. Greely comes back inside and tells them that he had to do a chore. Leela wants to go back outside, but Greely tells them that they could check out his "collection" while waiting for the truck.
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output: a tool


input: Please answer the following: What is the name of the 1872 large-scale stage work that was a failure?  Answer the above question based on the context below:  Massenet returned to Paris in 1866. He made a living by teaching the piano and publishing songs, piano pieces and orchestral suites, all in the popular style of the day. Prix de Rome winners were sometimes invited by the Opéra-Comique in Paris to compose a work for performance there. At Thomas's instigation, Massenet was commissioned to write a one-act opéra comique, La grand'tante,  presented in April 1867. At around the same time he composed a Requiem, which has not survived. In 1868 he met Georges Hartmann, who became his publisher and was his mentor for twenty-five years; Hartmann's journalistic contacts did much to promote his protégé's reputation.In October 1866 Massenet and Ninon were married; their only child, Juliette, was born in 1868. Massenet's musical career was briefly interrupted by the Franco-Prussian War of 1870–71, during which he served as a volunteer in the National Guard alongside his friend Bizet. He found the war so "utterly terrible" that he refused to write about it in his memoirs. He and his family were trapped in the Siege of Paris but managed to get out before the horrors of the Paris Commune began; the family stayed for some months in Bayonne, in southwestern France.After order was restored, Massenet returned to Paris where he completed his first large-scale stage work, an opéra comique in four acts, Don César de Bazan (Paris, 1872). It was a failure, but in 1873 he succeeded with his incidental music to Leconte de Lisle's tragedy  Les Érinnyes and with the dramatic oratorio, Marie-Magdeleine, both of which were performed at the Théâtre de l'Odéon. His reputation as a composer was growing, but at this stage he earned most of his income from teaching, giving lessons for six hours a day.
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output: Don César de Bazan


input: Please answer the following: What was the last name of the person who was impressed with Deal's ability to move from bass to guitar?  Answer the above question based on the context below:  The album was generally well received. Several music critics favorably compared the album to Deal's work with the Pixies, among which were William Van Meter, Rob Sheffield, and Steve Kandell of Spin. Kandell and Sheffield mentioned tracks including "Fortunately Gone" as superior to songs by that group. Kandell noted Pod appealed to fans of the Pixies' "Gigantic", which was written and sung by Deal. In AllMusic, Heather Phares described Pod as a "vibrantly creative debut" that was better than the Pixies' 1990 album Bossanova, and argued that the Pixies should have recorded more of Deal's compositions.The Rough Guide to Rock's Piers Clifton and Melody Maker's Simon Reynolds viewed Pod as lacking energy in comparison to the Pixies' work. To Clifton, it was "plodding", while Reynolds felt it sounded "inhibited, moribund, stilted" and "never [let] it rip like the Pixies". Reynolds added that "Whenever a song gathers momentum or thrust, [the Breeders] throw in a weird bit, a gear change or an abrupt stop. They seem unhappy with the idea of simple rock exuberance." Steve Taylor of The A to X of Alternative Music also found Pod inferior to music of the Pixies, but was impressed with Deal's ability to move from bass to guitar.Some reviews found Pod under-developed or insubstantial. Jon Dolan in Blender likened it to a poorly-constructed building. Robert Christgau of The Village Voice described it unfavorably as more "art project" than the work of a band, and Greg Sandow in Entertainment Weekly felt the lyrics were sometimes forced.Wif Stenger of Trouser Press called the first side "a bit shaky" but considered side 2 to be "damn near perfect". NME's Steve Lamacq described the album as "a tight-ish piece of tantalising rock", and said that listeners who found it too minimalist would soon warm to it. Karen Schoemer of The New York Times praised Pod's intelligence and originality.
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output:
Taylor