You will be given a summary of a story. You need to create a question that can be answered from the story. You can create a question about characters, events, facts and beliefs, etc. Your question should be specific, try not to use pronouns instead of full names. As the stories are sometimes movie plots, they will contain actor names in parentheses. You should not use those names. Only use character names. Try to ask a question about all parts of the plot, not just the beginning.

[EX Q]:  Chance (Peter Sellers) is a middle-aged man who lives in the townhouse of an old, wealthy man in Washington, D.C. He is simple-minded and has lived there his whole life, tending the garden. Other than gardening, his knowledge is derived entirely from what he sees on television. When his benefactor dies, Chance naively says to the estate attorney that he has no claim against the estate, and is ordered to move out. Thus he discovers the outside world for the first time.
Chance wanders aimlessly. He passes by a TV shop and sees himself captured by a camera in the shop window. Entranced, he steps backward off the sidewalk and is struck by a chauffeured car owned by Ben Rand (Melvyn Douglas), an elderly business mogul. In the back seat of the car sits Rand's much younger wife, Eve (Shirley MacLaine).
Eve brings Chance to their home to recover. Drinking alcohol for the first time during the car ride home, Chance coughs as he tells Eve his name. Eve mishears "Chance, the gardener" as "Chauncey Gardiner". Chauncey is wearing expensive tailored clothes from the 1920s and '30s, which his benefactor had allowed him to take from the attic, and his manners are old-fashioned and courtly. When Ben Rand meets him, he assumes from these signs that Chauncey is an upper-class, highly educated businessman. Chauncey's simple words, spoken often due to confusion or to a stating of the obvious, are repeatedly misunderstood as profound; in particular, his simplistic utterances about gardens and the weather are interpreted as allegorical statements about business and the state of the economy. Rand admires him, finding him direct and insightful.
Rand is also a confidant and adviser to the President of the United States (Jack Warden), whom he introduces to "Chauncey". The President likewise interprets Chauncey's remarks about the "garden" as economic and political advice. Chance, as Chauncey Gardiner, quickly rises to national public prominence. After his appearance on a television talk show, he becomes a celebrity and soon rises to the top of Washington society. He remains very mysterious, as the Secret Service is unable to find any background information about him. Public opinion polls start to reflect just how much his "simple brand of wisdom" resonates with the jaded American public.
Rand, who is dying of aplastic anemia, encourages Eve to become close to Chauncey. She is already attracted to him and makes a sexual advance. Chauncey has no interest in or knowledge of sex, but mimics a kissing scene from the 1968 film The Thomas Crown Affair, which happens to be on the TV at the moment. When the TV scene ends, Chauncey stops suddenly and Eve is confused. She asks what he likes, meaning sexually; he replies "I like to watch", meaning television. She is momentarily taken aback, but decides she is willing to masturbate for his voyeuristic pleasure. As she becomes involved in the act, she does not notice that he has turned back to the TV and is watching it, not her.
Chauncey is present at Rand's death, after which he talks briefly with Rand's physician, Dr. Allenby. During their conversation, Allenby realizes the truth   that Chauncey is merely a simpleminded gardener who knows nothing of finance or politics   but does not appear bothered by it. At Rand's funeral, while the President delivers a speech, the pall-bearers hold a whispered discussion over potential replacements for the President in the next term of office. As Rand's coffin is about to be interred in the family mausoleum, they unanimously agree on "Chauncey Gardiner".
Oblivious to all this, Chauncey wanders through Rand's wintry estate. He straightens out a pine sapling and then walks off across the surface of a small lake. He pauses, dips his umbrella into the deep water under his feet as if testing its depth, turns, and then continues to walk on the water as the President quotes Rand: "Life is a state of mind."
[EX A]: What causes Chance to become famous?

[EX Q]:  Marius, a sensitive only child of a patrician family, growing up near Luna in rural Etruria, is impressed by the traditions and rituals of the ancestral religion of the Lares, by his natural surroundings, and by a boyhood visit to a sanctuary of Aesculapius. His childhood ends with the death of his mother (he had early lost his father) and with his departure for boarding school in Pisae. As a youth he is befriended by and falls under the influence of a brilliant, hedonistic older boy, Flavianus, who awakens in him a love of literature (the two read with delight the story of Cupid and Psyche in Apuleius, and Pater in due course makes Flavian, who is "an ardent student of words, of the literary art", the author of the Pervigilium Veneris). Flavian falls ill during the Festival of Isis and Marius tends him during his long death-agony (end of 'Part the First'). Grown to manhood, Marius now embraces the philosophy of the 'flux' of Heraclitus and the Epicureanism (or Cyrenaicism) of Aristippus. He journeys to Rome (166 AD), encountering by chance on the way a blithesome young knight, Cornelius, who becomes a friend. Marius explores Rome in awe, and, "as a youth of great attainments in Greek letters and philosophy", is appointed amanuensis to the Emperor Marcus Aurelius. Aurelius's Meditations on Stoicism and on Plato, and the public lectures of the rhetorician Fronto, open Marius' eyes to the narrowness of Epicureanism. Aurelius's indifference, however, to the cruelty to animals in the amphitheatre, and later to the torments inflicted on people there, causes Marius to question the values of Stoicism (end of 'Part the Second'). Disillusioned with Rome and the imperial court which seem "like some stifling forest of bronze-work, transformed as if by malign enchantment out of the living trees", puzzled by the source of Cornelius's serenity, still Epicurean by temperament but seeking a more satisfying life-philosophy, Marius makes repeated visits alone to the Campagna and Alban Hills, on one occasion experiencing in the Sabine Hills a sort of spiritual "epiphany" on a perfect day of peace and beauty (end of 'Part the Third'). Later he is taken by Cornelius to a household in the Campagna centred on a charismatic young widow, Cecilia, where prevails an atmosphere of peace and love, gradually revealing itself as a new religion with liturgy and rituals that appeal aesthetically and emotionally to Marius. The sense of purposeful community there, set against the persecution of Christians by the authorities and the competing philosophical systems in Rome, contributes to Marius' mood of isolation and emotional failure. Overshadowed by thoughts of mortality he revisits home and pays his respects to the family dead, burying their funerary urns, and sets out again for Rome in Cornelius's company. On the way the two are arrested as part of a sweep of suspected Christians. It emerges that only one of the young men is of this sect, and Marius, unbeknown to Cornelius, makes their captors believe it is he. Cornelius is set free, deceived into thinking that Marius will follow shortly. The latter endures hardship and exhaustion as he journeys captive towards Rome, falls ill, and dying is abandoned by his captors. "Had there been one to listen just then," Pater comments, "there would have come, from the very depth of his desolation, an eloquent utterance at last, on the irony of men's fates, on the singular accidents of life and death."  Marius is tended in his last days by some poor country people, secret believers who take him to be one of their own. Though he has shown little interest in the doctrines of the new faith and dies more or less in ignorance of them, he is nevertheless, Pater implies, "a soul naturally Christian" (anima naturaliter christiana ) and he finds peace in his final hours as he reviews his life: "He would try to fix his mind on all the persons he had loved in life, dead or living, grateful for his love or not. In the bare sense of having loved he seemed to find that on which his soul might 'assuredly rest and depend'. ... And again, as of old, the sense of gratitude seemed to bring with it the sense also of a living person at his side" (end of 'Part the Fourth').
[EX A]: Who makes Marius love literature?

[EX Q]:  Pierre Delacroix (whose real name is Peerless Dothan), is an uptight, Harvard University-educated black man, working for the television network CNS. At work, he has to endure torment from his boss Thomas Dunwitty, a tactless, boorish white man. Not only does Dunwitty use AAVE, and use the word "nigger" repeatedly in conversations, he also proudly proclaims that he is more black than Delacroix and that he can use nigger since he is married to a black woman and has two mixed-race children. Dunwitty frequently rejects Delacroix's scripts for television series that portray black people in positive, intelligent scenarios, dismissing them as "Cosby clones".
In an effort to escape his contract through being fired, Delacroix develops a minstrel show with the help of his personal assistant Sloane Hopkins. Mantan: The New Millennium Minstrel Show features black actors in blackface, extremely racist jokes and puns, and offensively stereotyped CGI-animated cartoons that caricature the leading stars of the new show. Delacroix and Hopkins recruit two impoverished street performers   Manray, named after American artist Man Ray, and Womack   to star in the show. While Womack is horrified when Delacroix tells him details about the show, Manray sees it as his big chance to become rich and famous for his tap-dancing skills.
To Delacroix's horror, not only does Dunwitty enthusiastically endorse the show, it also becomes hugely successful. As soon as the show premieres, Manray and Womack become big stars, while Delacroix, contrary to his original stated intent, defends the show as being satirical. Delacroix quickly embraces the show, his newfound fame and awards while Hopkins becomes horrified at the racist nightmare she has helped to unleash. Meanwhile, an underground, militant rap group called the Mau Maus, led by Hopkins' older brother Julius, becomes increasingly angry at the content of the show. Though they had earlier unsuccessfully auditioned for the program's live band position, the group plans to bring the show down using violence.
Eventually, Womack quits, fed up with the show and Manray's increasing ego. Manray and Hopkins grow closer, which angers Delacroix. When he attempts to sabotage their relationship, they only grow closer. Delacroix confronts Hopkins, and when she lashes back at him, he fires her. Then she shows him a videotape she created of racist footage culled from assorted media to shame Delacroix into stopping production of the show, but he refuses to watch it. After an argument with Delacroix, Manray realizes he is being exploited and defiantly announces that he will no longer wear blackface. He appears in front of the studio audience, who are all in blackface, during a TV taping and does his dance number in his regular clothing. The network executives immediately turn against Manray, and Dunwitty (who is also wearing blackface) fires him.
The Mau Maus kidnap Manray and announce his public execution via live webcast. The authorities work feverishly to track down the source of the internet feed, but Manray is nevertheless assassinated while doing his famous tap dancing. At his office, Delacroix (now in blackface make-up himself, mourning Manray's death) fantasizes that the various coon-themed antique collectibles in his office are staring him down and coming to life; in a rage, he destroys many of the racist collectibles. The police kill all the members of The Mau Maus except for a white member known as "One-Sixteenth Black", who tearfully proclaims that he is "black" and demands to die with the rest of his group.
Furious, Hopkins confronts Delacroix at gunpoint with her brother's revolver and demands that he play her tape. As the tape plays, Hopkins reminds him of the lives that were ruined because of his actions. Then Delacroix tries to get the gun from her, but is shot in the stomach. Hopkins, horrified, flees while proclaiming that it was Delacroix's own fault that he got shot. Delacroix, holding the gun in his hands to make his gunshot wound appear self-inflicted, watches the tape as he lies dying on the floor. The film concludes with a long montage of racially insensitive and demeaning clips of black characters from Hollywood films of the first half of the 20th century. After the montage, as the cameras point to Delacroix's dead body on the floor, the camera then shows Manray doing his last Mantan sequence on stage.
[EX A]:
Why does Manray refuse to wear blackface?