In this task, you're expected to write answers to questions involving multiple references to the same entity. The answer to the question should be unambiguous and a phrase in the paragraph. Most questions can have only one correct answer.

Q: Passage: Richie Donovan works as a professional thief for Groznyi, a wealthy businessman, to pay off his debt for being smuggled into the U.S. as a child. He pulls off an initially successful diamond heist, but it is botched when he is involved in two separate car accidents. He is given one last chance to pay off his debt by going to Russia to steal a priceless antique cross, locked in a safe in a Moscow penthouse apartment. Richie and his Russian accomplices, brothers Peter and Yuri, recover the cross; but their elevator becomes stuck on the uncompleted 13th floor. Believing the police have stopped the elevator, the thieves take their fellow passengers hostage to negotiate an escape. They agree to send one hostage down; but, when the elevator doors open on the ground floor, the hostage has mysteriously been beheaded. 
The remaining hostages quickly divide into two groups: a Christian group consisting of Sonya, Helena and Katerina, who are later joined by Yuri, and another group consisting of nerdy Dmitry, beautiful Anna, and incompetent security guard Boris.
In the confusion, the Christian group seizes firearms and takes control, shooting Peter. Katerina is sent to stand guard over Richie and the remainder of the hostages, while Sonya takes Yuri to a chamber where he is to sacrificed by a wild man in armor named Alex. Yuri escapes, but he is impaled by one of Alex's traps, complete with disco music and lighting. In his rage, Alex kills Katerina, allowing Richie and the hostages to escape. They discover Alex's lair, where he has been watching everyone using security cameras. A photo reveals that Alex is the twin brother of Sonya, and they both believe themselves to be descendants of Ivan the Terrible. The group splits when Richie and Anna decide to chase after Alex, while Boris and Dmitry prefer to rig the room with various traps they have constructed and wait for Alex to come to them. 
Question: Who are the people who think the authorities are responsible for the elevator stopping, leading them to take hostages?

A: Richie.
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Q: Passage: Frank Chambers a drifter, stops at a depression-era rural California diner for a meal and ends up working there. The diner is operated by a young, beautiful woman, Cora Smith, and her much older husband, Nick Papadakis, a hardworking but unimaginative immigrant from Greece.
Frank and Cora start to have an affair soon after they meet. Cora is tired of her situation, married to an older man she does not love, and working at a diner that she wishes to own and improve. She and Frank scheme to murder Nick to start a new life together without her losing the diner. Their first attempt at the murder is a failure, but Nick is not even aware they tried to kill him, so goes about living his life as usual. Frank and Cora succeed with their next attempt.
The local prosecutor suspects what has actually occurred but does not have enough evidence to prove it. As a tactic intended to get Cora and Frank to turn on one another, he tries only Cora for the crime.
Although they turn against each other, a clever ploy from Cora's lawyer, Katz, prevents Cora's full confession from coming into the hands of the prosecutor. With the tactic having failed to generate any new evidence for the prosecution, Cora benefits from a deal in which she pleads guilty to manslaughter and is sentenced to probation.
Months later, Frank has an affair with Madge Gorland while Cora is out of town. When Cora returns, she tells Frank she is pregnant. That night, Katz's assistant, Kennedy, appears at their door and threatens to expose them unless they give him $10,000. Enraged, Frank beats Kennedy up and strong-arms him into giving up the evidence against them. 
Question: What are the last names of the people who are planning to murder Nick?

A: Smith.
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Q: Passage: Orenstein and Zank both comment that, although Ravel's post-war output was small, averaging only one composition a year, it included some of his finest works. In 1920 he completed La valse, in response to a commission from Diaghilev. He had worked on it intermittently for some years, planning a concert piece, "a sort of apotheosis of the Viennese waltz, mingled with, in my mind, the impression of a fantastic, fatal whirling". It was rejected by Diaghilev, who said, "It's a masterpiece, but it's not a ballet. It's the portrait of a ballet". Ravel heard Diaghilev's verdict without protest or argument, left, and had no further dealings with him. Nichols comments that Ravel had the satisfaction of seeing the ballet staged twice by other managements before Diaghilev died. A ballet danced to the orchestral version of Le tombeau de Couperin was given at the Théâtre des Champs-Elysées in November 1920, and the premiere of La valse followed in December. The following year Daphnis et Chloé and  L'heure espagnole were successfully revived at the Paris Opéra.In the post-war era there was a reaction against the large-scale music of composers such as Gustav Mahler and Richard Strauss. Stravinsky, whose Rite of Spring was written for a huge orchestra, began to work on a much smaller scale. His 1923 ballet score Les noces is composed for voices and twenty-one instruments. Ravel did not like the work (his opinion caused a cooling in Stravinsky's friendship with him) but he was in sympathy with the fashion for "dépouillement" – the "stripping away" of pre-war extravagance to reveal the essentials. Many of his works from the 1920s are noticeably sparer in texture than earlier pieces. Other influences on him in this period were jazz and atonality. Jazz was popular in Parisian cafés, and French composers such as Darius Milhaud incorporated elements of it in their work. Ravel commented that he preferred jazz to grand opera, and its influence is heard in his later music. Arnold Schönberg's abandonment of conventional tonality also had echoes in some of Ravel's music such as the Chansons madécasses (1926), which Ravel doubted he could have written without the example of Pierrot Lunaire. His other major works from the 1920s include the orchestral arrangement of Mussorgsky's piano suite Pictures at an Exhibition (1922), the opera L'enfant et les sortilèges to a libretto by Colette (1926), Tzigane (1924) and the Violin Sonata (1927).Finding city life fatiguing, Ravel moved to the countryside. In May 1921 he took up residence at Le Belvédère, a small house on the fringe of Montfort-l'Amaury, 88 kilometres (55 mi) west of Paris, in the Yvelines département. Looked after by a devoted housekeeper, Mme Revelot, he lived there for the rest of his life. At Le Belvédère Ravel composed and gardened, when not performing in Paris or abroad. His touring schedule increased considerably in the 1920s, with concerts in Britain, Sweden, Denmark, the US, Canada, Spain, Austria and Italy. 
Question: What was the name of the 1924 work by the man who had a work rejected by Diaghilev?

A:
Tzigane.
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