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.

[EX Q]: Passage: When Boston Blackie performs magic tricks at a Thanksgiving Day party for the inmates of a women's prison, Dinah Moran volunteers to enter a booth. She disappears after he draws the curtain, but as a former magician's assistant, uses the opportunity to escape. Police Inspector Farraday takes Blackie into custody as an accomplice, but Blackie easily gets away himself.
A trip to the library reveals that Dinah was sent to prison for three years for a robbery that netted $100,000 (which was never recovered) and a dead victim. Her magician former husband, John Lampau, was acquitted. Blackie tracks Lampau down, still performing magic, but now under the name of Jani, to warn him. Dinah shows up minutes later, having heard that Jani intends to marry his new assistant, Irene. Dinah has come to make sure she gets her half of the loot. In a scuffle, she grazes Jani's right hand with a gunshot before fleeing. Blackie arranges to impersonate Jani, while the magician hides in Blackie's absent friend's apartment.
That night, Blackie is awoken by sounds in Jani's apartment. When he investigates, a woman runs out of the unlit room. 
Blackie eventually locates the money in Jani's safety deposit box and takes it, still disguised as Jani. Outside, Dinah forces him at gunpoint to give her the envelope containing the loot, but when she opens it, it is empty. Blackie had taken the precaution of pocketing the money. In the meantime, Blackie's friend returns home from a trip early and finds Jani's body in the closet. Farraday corners and arrests Blackie and his sidekick, "the Runt" (George E. Stone), for murder. Blackie easily escapes from his cell.
[EX A]: What is the full name of the person whom police suspect aided Dinah in her escape?

[EX Q]: Passage: Located within the Klamath–Siskiyou region, known for its high biodiversity, the monument supports 391 vascular plant species as well as many species of bryophyte, lichen, and macrofungi. Trees in the monument include Douglas fir, oak, white fir, and alder. Among the oldest trees is Big Tree, thought to be the widest Douglas fir in the state. It is 41 feet (12 m) in circumference near the base. Its age is estimated at 600 to 800 years, and it was described in the 1930s as 14 feet (4.3 m) in diameter. The monument contains no plants with special conservation status.Species lists for the park include about 50 mammals, 86 birds, 11 reptiles and amphibians, 8 bats, more than 200 arthropods, 8 snails and slugs, 75 butterflies, more than 55 moths, and 8 aquatic macroinvertebrates. Of these species, 160 are found inside the cave. Outside the cave, the black-tailed deer, Steller's jay, the common raven, and Townsend's chipmunk are among animals often seen in the park. Less commonly sighted are the black bear, cougar, northern flying squirrel, and Pacific giant salamander. Springs and other wet places support flatworms, frogs, and snails.Animal species in the park with special conservation status are the northern spotted owl, California mountain kingsnake, tailed frog, Del Norte salamander, northern goshawk, olive-sided flycatcher, little willow flycatcher, Siskiyou gazelle beetle, and Pacific fisher. Five at-risk bat species are found in the cave: Townsend's big-eared bat, and the long-eared, fringed, long-legged, and Yuma myotis.
[EX A]: What are the names of the at-risk bat species in the park with 50 mammals?

[EX Q]: Passage: By 1970, Takemitsu's reputation as a leading member of avant-garde community was well established, and during his involvement with Expo '70 in Osaka, he was at last able to meet more of his Western colleagues, including Karlheinz Stockhausen. Also, during a contemporary music festival in April 1970, produced by the Japanese composer himself ("Iron and Steel Pavilion"), Takemitsu met among the participants Lukas Foss, Peter Sculthorpe, and Vinko Globokar. Later that year, as part of a commission from Paul Sacher and the Zurich Collegium Musicum, Takemitsu incorporated into his Eucalypts I parts for international performers: flautist Aurèle Nicolet, oboist Heinz Holliger, and harpist Ursula Holliger.Critical examination of the complex instrumental works written during this period for the new generation of "contemporary soloists" reveals the level of his high-profile engagement with the Western avant-garde, in works such as Voice for solo flute (1971), Waves for clarinet, horn, two trombones and bass drum (1976), Quatrain for clarinet, violin, cello, piano and orchestra (1977). Experiments and works that incorporated traditional Japanese musical ideas and language continued to appear in his output, and an increased interest in the traditional Japanese garden began to reflect itself in works such as In an Autumn Garden for gagaku orchestra (1973), and A Flock Descends into the Pentagonal Garden for orchestra (1977).Throughout this apogee of avant-garde work, Takemitsu's musical style seems to have undergone a series of stylistic changes. Comparison of Green (for orchestra, 1967) and A Flock Descends into the Pentagonal Garden (1977) quickly reveals the seeds of this change. The latter was composed according to a pre-compositional scheme, in which pentatonic modes were superimposed over one central pentatonic scale (the so-called "black-key pentatonic") around a central sustained central pitch (F-sharp), and an approach that is highly indicative of the sort of "pantonal" and modal pitch material seen gradually emerging in his works throughout the 1970s. The former, Green (or November Steps II) written 10 years earlier, is heavily influenced by Debussy, and is, in spite of its very dissonant language (including momentary quarter-tone clusters), largely constructed through a complex web of modal forms. These modal forms are largely audible, particularly in the momentary repose toward the end of the work. Thus in these works, it is possible to see both a continuity of approach, and the emergence of a simpler harmonic language that was to characterise the work of his later period.
His friend and colleague Jō Kondō said, "If his later works sound different from earlier pieces, it is due to his gradual refining of his basic style rather than any real alteration of it.".
[EX A]:
What was the name of the person whose experiments and works that incorporated traditional Japanese musical ideas and language continued to appear in their output?