In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.

Example Input: Passage: Egypt first requested the return of the Rosetta Stone in July 2003, on the British Museum's 250th anniversary. Zahi Hawass, the chief of Egypt's Supreme Council of Antiquities, asked that the stele be repatriated to Egypt, commenting that it was the "icon of our Egyptian identity". He repeated the proposal two years later in Paris, listing the stone as one of several key items belonging to Egypt's cultural heritage, a list which also included: the iconic bust of Nefertiti in the Egyptian Museum of Berlin; a statue of the Great Pyramid architect Hemiunu in the Roemer-und-Pelizaeus-Museum in Hildesheim, Germany; the Dendara Temple Zodiac in the Louvre in Paris; and the bust of Ankhhaf from the Museum of Fine Arts, Boston.During 2005, the British Museum presented Egypt with a full-sized replica of the stele. This was initially displayed in the renovated Rashid National Museum, close to the site where the stone was found. In November 2005, Hawass suggested a three-month loan of the Rosetta Stone, while reiterating the eventual goal of a permanent return. In December 2009, he proposed to drop his claim for the permanent return of the Rosetta Stone if the British Museum lent the stone to Egypt for three months for the opening of the Grand Egyptian Museum at Giza in 2013. These requests were refused.
As John Ray has observed, "the day may come when the stone has spent longer in the British Museum than it ever did in Rosetta." There is strong opposition among national museums to the repatriation of objects of international cultural significance such as the Rosetta Stone. In response to repeated Greek requests for return of the Elgin Marbles from the Parthenon and similar requests to other museums around the world, in 2002 over 30 of the world's leading museums — including the British Museum, the Louvre, the Pergamon Museum in Berlin and the Metropolitan Museum in New York City — issued a joint statement declaring that "objects acquired in earlier times must be viewed in the light of different sensitivities and values reflective of that earlier era" and that "museums serve not just the citizens of one nation but the people of every nation".
Example Output: What replica was displayed in 2005 at the Rashid National Museum?

Example Input: Passage: At the turn of the 17th century, Monteverdi found himself the target of musical controversy. The influential Bolognese theorist Giovanni Maria Artusi attacked Monteverdi's music (without naming the composer) in his work L'Artusi, overo Delle imperfettioni della moderna musica (Artusi, or On the imperfections of modern music) of 1600, followed by a sequel in 1603. Artusi cited extracts from Monteverdi's works not yet published (they later formed parts of his fourth and fifth books of madrigals of 1603 and 1605), condemning their use of harmony and their innovations in use of musical modes, compared to orthodox polyphonic practice of the sixteenth century. Artusi attempted to correspond with Monteverdi on these issues; the composer refused to respond, but found a champion in a pseudonymous supporter, "L'Ottuso Academico" ("The Obtuse Academic"). Eventually Monteverdi replied in the preface to the fifth book of madrigals that his duties at court prevented him from a detailed reply; but in a note to "the studious reader", he claimed that he would shortly publish a response, Seconda Pratica, overo Perfettione della Moderna Musica (The Second Style, or Perfection of Modern Music). This work never appeared, but a later publication by Claudio's brother Giulio Cesare made it clear that the seconda pratica which Monteverdi defended was not seen by him as radical change or his own invention, but was an evolution from previous styles (prima pratica) which was complementary to them.This debate seems in any case to have raised the composer's profile, leading to reprints of his earlier books of madrigals. Some of his madrigals were published in Copenhagen in 1605 and 1606, and the poet Tommaso Stigliani published a eulogy of him in his 1605 poem "O sirene de' fiumi". The composer of madrigal comedies and theorist Adriano Banchieri wrote in 1609: "I must not neglect to mention the most noble of composers, Monteverdi ... his expressive qualities are truly deserving of the highest commendation, and we find in them countless examples of matchless declamation ... enhanced by comparable harmonies." The modern music historian Massimo Ossi has placed the Artusi issue in the context of Monteverdi's artistic development: "If the controversy seems to define Monteverdi's historical position, it also seems to have been about stylistic developments that by 1600 Monteverdi had already outgrown".The non-appearance of Monteverdi's promised explanatory treatise may have been a deliberate ploy, since by 1608, by Monteverdi's reckoning, Artusi had become fully reconciled to modern trends in music, and the seconda pratica was by then well established; Monteverdi had no need to revisit the issue. On the other hand, letters to Giovanni Battista Doni of 1632 show that Monteverdi was still preparing a defence of the seconda practica, in a treatise entitled Melodia; he may still have been working on this at the time of his death ten years later.
Example Output: What is the name of the person that never published a response, Seconda Pratica?

Example Input: Passage: Richard Gaddis is a small-time crook with a penchant for con games. To hook marks, he acts like a well-to-do businessman, dressing like one and driving a Mercedes-Benz S500, believing that one must look like a professional in order to be a successful conman.
Gaddis is searching for a new partner with whom he can perform more sophisticated cons.  He discovers Rodrigo after he sees the young man playing some minor con games in a casino-bar.  When Rodrigo is caught, Gaddis acts the part of a vice officer to save him from being arrested.  Rodrigo's contribution is a face and naive manner so trustable that he is able to con anyone, while Richard is both completely unprincipled and clever.  After several small tests to determine Rodrigo's trustworthiness, he suggests a partnership, to which Rodrigo quickly agrees.
Although Rodrigo distrusts Richard greatly, he agrees to partner him on a gigantic scam, provided he gets a percentage of the money gained to help his ailing father, who is in trouble because of his gambling debts.   Richard accepts, and they plan to sell a fraudulent version of a silver certificate currency note to William Hannigan, a rich collector who is in town.
Gyllenhaal plays Gaddis' sister Valerie, a concierge at a hotel.  When Hannigan takes a fancy to the uptight but very sexy Valerie, Gaddis is forced to pull her into the scam, the price of which is Richard's admission to their brother Michael that he has cheated him out of his share of their inheritance. The plot twists constantly as each of the characters becomes more deeply invested in the scam, and the ever-deceitful Richard tries to cheat Rodrigo, Valerie and Michael out of their share of the take.
In the twist ending, it is revealed that all the major players involved, including Rodrigo and Hannigan, were playing a confidence game against Gaddis from the very beginning, so that Valerie and Michael could rightfully take their share of their inheritance.
Example Output:
What is the last name of the person that is interested in the sister of the small-time crook?