Given the following context:  The paintings depict isolated figures enclosed in spaces that are undefined, overwhelmingly claustrophobic, reductive and eerie. Coming early in Bacon's career, they are uneven in quality, but show a clear progression especially in how they utilise and present ideas he was still clearly developing and coming to terms with. Head I (actually begun in the winter of 1948) and Head II show formless pieces of flesh that broadly resemble human heads; they have half-open eyes and a pharynx, though it is positioned much higher than would be expected in a human. Heads III, IV and V show fully formed busts recognisable as men, and are characterised by a haunted atmosphere. These two broad ideas coalesce in Head VI, which is as physiologically tortured as the first two paintings, and as spectral as the middle three. In Head VI the figure has developed and is now shown wearing vestments, the first indication in Bacon's work of the influence of Velázquez, while the focus has become the open mouth and the study of the human scream.Bacon said that chance played a significant role in his work, and that he often approached a canvas without having a clear idea of what might emerge. This was especially the case in the mid- to late 1940s, a period when he was drinking heavily and spending most nights in Soho casinos and poker rooms. The following morning he would often approach his canvas "in a bad mood of drinking ... under tremendous hangovers and drink; I sometimes hardly knew what I was doing." He incorporated his appetite for chance into his work: an image often would morph midway through into something quite different from what he had first intended. He actively sought out this freedom and felt it crucial to his progression as an artist. To him, lifestyle and art were intertwined; he said that "perhaps the drink helped me to be a bit freer." This is very evident in the 1949 series, which began as a rather morbid study of a collapsed head, but evolved over the six surviving panels into a reworking of Velázquez masterpieces,...  answer the following question:  What is the last name of the person for whom lifestyle and art were intertwined?
----
Answer: Bacon


Given the following context:  In an undercover mission, Major Sloane kills Professor Ragheeb, an ancient hieroglyphics expert at Oxford University and steals a hieroglyph-encrypted message. Sloane then asks Professor David Pollock, who has taken over Ragheeb's class on Hieroglyphics, to meet with shipping magnate Nejim Beshraavi on a business matter. David declines but changes his mind after being forced to enter a Rolls-Royce Phantom IV, where he meets Middle Eastern Prime Minister Hassan Jena and his Ambassador to Great Britain, Mohammed Lufti. Jena asks David to accept Beshraavi's offer of employment. David meets Beshraavi, who asks him to decode the inscription on the piece of paper Sloane stole. David is attracted to Beshraavi's girlfriend Yasmin Azir, who tells him that Beshraavi had Ragheeb killed and will do the same to him once he decodes the message. Their conversation is interrupted by Beshraavi. David keeps hidden until Sloane brings it to Beshraavi's attention that David and the cipher are missing. Overhearing the conversation, David wraps the cipher in a candy in his pocket, among others, a red one with the number "9". As Beshraavi's men search for David, Beshraavi demonstrates to one of Yasmin's employees, Hemsley, that he can buy people for their loyalty or else exact extreme revenge.  Forced to show himself, David seemingly abducts Yasmin. They flee from one of Beshraavi's henchmen, Mustapha. In the course of the chase, Mustapha and David struggle at the zoological gardens, when another man intervenes and kills Mustapha. He identifies himself as Inspector Webster with CID. When a guard approaches, Webster kills him before revealing that he is working with Yasmin. Webster knocks David unconscious.  answer the following question:  Who is Inspector Webster working with?
----
Answer: Yasmin Azir


Given the following context:  Down-on-his-luck Los Angeles architect and builder Edward Shaw is approached by Doris Hillman with a business proposal: buying land together, on which he would build houses that she would then sell, using her experience as a former real estate broker. Her husband, Gus Hillman, a wealthy businessman, would be willing to contribute half a million dollars as capital for the venture. Doris quickly seems interested in more than a purely professional relationship. Shaw starts an affair with her and accepts the business offer. However, an accidental discovery leaves him convinced that the Hillmans' interest lies less in the long-term profits of the venture than in the $175,000 key man insurance policy he took on himself as a precondition for the deal, and that an attempt on his life is imminent. Madge, the younger sister of Doris, develops a romantic interest in Shaw as well. Without knowing what Doris has planned, she reveals to Shaw that her sister was married previously to a man who died in Wyoming when his car crashed over a bridge. Shaw ends up drugged by Gus Hillman and barely keeps his car from going off a cliff. The police are skeptical about his story and the insurance company refuses to cancel the policy, Hillman having portrayed Shaw as a man who is trying to steal his wife. Madge teams with Shaw to try to foil her sister's scheme, but Doris lures him to a mountain cabin and shoots him with a gun. A wounded Shaw sees both Hillmans struggle then fall to their deaths through a clifftop doorway, just minutes before Madge and the cops arrive.  answer the following question:  Whose husband is a wealthy businessman?
----
Answer:
Doris Hillman