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.

[EX Q]: Passage: Rotten, meanwhile, suffering from flu and coughing up blood, felt increasingly isolated from Cook and Jones, and disgusted by Vicious. On 14 January 1978, during the tour's final date at the Winterland Ballroom in San Francisco, a disillusioned Rotten introduced the band's encore saying, "You'll get one number and one number only 'cause I'm a lazy bastard." That one number was a Stooges cover, "No Fun". At the end of the song, Rotten, kneeling on the stage, chanted an unambiguous declaration, "This is no fun. No fun. This is no fun—at all. No fun." As the final cymbal crash died away, Rotten addressed the audience directly—"Ah-ha-ha. Ever get the feeling you've been cheated? Good night"—before throwing down his microphone and walking offstage. He later observed, "I felt cheated, and I wasn't going on with it any longer; it was a ridiculous farce. Sid was completely out of his brains—just a waste of space. The whole thing was a joke at that point.... [Malcolm] wouldn't speak to me.... He would not discuss anything with me. But then he would turn around and tell Paul and Steve that the tension was all my fault because I wouldn't agree to anything."On 17 January, the band split, making their ways separately to Los Angeles. McLaren, Cook and Jones prepared to fly to Rio de Janeiro for a working vacation. Vicious, in increasingly bad shape, was taken to Los Angeles by a friend, who then brought him to New York, where he was immediately hospitalised. Rotten flew to New York, where he announced the band's break-up in a newspaper interview on 18 January. Virtually broke, he telephoned the head of Virgin Records, Richard Branson, who agreed to pay for his flight back to London, via Jamaica. In Jamaica, Branson met with members of the band Devo, and tried to install Rotten as their lead singer. Devo declined the offer, which Rotten also found unappealing.Cook, Jones and Vicious never performed together again live after Rotten's departure. Over the next several months, McLaren arranged for recordings in Brazil (with Jones and Cook), Paris (with Vicious) and London; each of the three and others stepped in as lead vocalists on tracks that in some cases were far from what punk was expected to sound like. These recordings were to make up the musical soundtrack for the reconceived Pistols feature film project, directed by Julien Temple, to which McLaren was now devoting himself. On 30 June, a single credited to the Sex Pistols was released: on one side, notorious criminal Ronnie Biggs sang "No One Is Innocent" accompanied by Jones and Cook; on the other, Vicious sang the classic "My Way", over both a Jones–Cook backing track and a string orchestra. The single reached number seven on the charts, eventually outselling all the singles with which Rotten was involved. McLaren was seeking to reconstitute the band with a permanent new frontman, but Vicious—McLaren's first choice—had sickened of him. In return for agreeing to record "My Way", Vicious had demanded that McLaren sign a sheet of paper declaring that he was no longer Vicious's manager. In August, Vicious, back in London, delivered his final performances as a nominal Sex Pistol: recording and filming cover versions of two Eddie Cochran songs. The bassist's return to New York in September put paid to McLaren's dreaming. 
Question: What is the name of the person to whom Malcom wouldn't speak?
[EX A]: Rotten.

[EX Q]: Passage: After their HIV positive mother's death, Derick and Margaret collect wood and construct a human-length box with wheels. Then, they journey with it from Kampala to Kasangombe in a heartbreaking bid to overcome poverty and experience hope. The journey throws them dangerous experiences on unpredictable Ugandan roads. Their mother's dying wish had set them off on a seemingly impossible journey to find a relative they do not even know.
Before her death, she leaves them an envelope addressed to her sister (their auntie) who is married to a hard-working man living in a distant village called Kasangombe with their kids. Ingeniously, Derick creates a coffin using wood he collected from a rubbish dump and adds luggage bag rollers brought by Margaret. On their journey from Kampala City to their aunt's place, they are offered a lift by a seemingly kind man (played by Joel Okuyo Atiku) in a truck who is amazed by their "box". He introduces them to a kid he had taken under his wings relaxing at the back and shows them a photo of a house they can possess if they work for him. At night though, Margaret sees a scary dream where their helper is not exactly as kind as he seemed so she runs out of the truck. Derick follows and the boy throws out their coffin before waving. They walk the rest of the distance.
Initially, their uncle (played by Isaac Muwawu) did not want them in his house because he thought they were HIV-infected. Derick overheard him quarrel with his aunt at night and shook Margaret in the morning from another dream (this time beautiful, where both siblings were smiling and enjoying a picnic in a glorious garden with their aunt, uncle, cousins, dead parents and some whites). Derick convinced her to walk away from the home with him but without a reason. 
Question: How do the pair of siblings finish the last leg of their journey?
[EX A]: They walk.

[EX Q]: Passage: After the Great War, Moore received an ex-serviceman's grant to continue his education and in 1919 he became a student at the Leeds School of Art (now Leeds College of Art), which set up a sculpture studio especially for him. At the college, he met Barbara Hepworth, a fellow student who would also become a well-known British sculptor, and began a friendship and gentle professional rivalry that lasted for many years. In Leeds, Moore also had access to the modernist works in the collection of Sir Michael Sadler, the University Vice-Chancellor, which had a pronounced effect on his development. In 1921, Moore won a scholarship to study at the Royal College of Art in London, along with Hepworth and other Yorkshire contemporaries. While in London, Moore extended his knowledge of primitive art and sculpture, studying the ethnographic collections at the Victoria and Albert Museum and the British Museum.
The student sculptures of both Moore and Hepworth followed the standard romantic Victorian style, and included natural forms, landscapes and figurative modelling of animals. Moore later became uncomfortable with classically derived ideals; his later familiarity with primitivism and the influence of sculptors such as Constantin Brâncuși, Jacob Epstein, Henri Gaudier-Brzeska and Frank Dobson led him to the method of direct carving, in which imperfections in the material and marks left by tools became part of the finished sculpture. Having adopted this technique, Moore was in conflict with academic tutors who did not appreciate such a modern approach. During one exercise set by Derwent Wood (the professor of sculpture at the Royal College), Moore was asked to reproduce a marble relief of Domenico Rosselli's The Virgin and Child by first modelling the relief in plaster, then reproducing it in marble using the mechanical aid known as a "pointing machine", a technique called "pointing". Instead, he carved the relief directly, even marking the surface to simulate the prick marks that would have been left by the pointing machine.In 1924, Moore won a six-month travelling scholarship which he spent in Northern Italy studying the great works of Michelangelo, Giotto di Bondone, Giovanni Pisano and several other Old Masters. During this period he also visited Paris, took advantage of the timed-sketching classes at the Académie Colarossi, and viewed, in the Trocadero, a plaster cast of a Toltec-Maya sculptural form, the Chac Mool, which he had previously seen in book illustrations. The reclining figure was to have a profound effect upon Moore's work, becoming the primary motif of his sculpture. 
Question: What form became the primary motif of Moore's sculpture?
[EX A]:
the Chac Mool.