instruction:
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.
question:
Passage: The boar was an important symbol in prehistoric Europe, where, according to the archaeologist Jennifer Foster, it was "venerated, eulogised, hunted and eaten ... for millennia, until its virtual extinction in recent historical time." Anglo-Saxon boar symbols follow a thousand years of similar iconography, coming after La Tène examples in the fourth century BC, Gaulish specimens three centuries later, and Roman boars in the fourth century AD. They likely represent a fused tradition of European and Mediterranean cultures. The boar is said to have been sacred to a mother goddess figure among linguistically Celtic communities in Iron Age Europe, while the Roman historian Tacitus, writing around the first century AD, suggested that the Baltic Aesti wore boar symbols in battle to invoke her protection.Boar-crested helmets are depicted on the turn-of-the-millennium Gundestrup cauldron, discovered in Denmark, and on a Torslunda plate from Sweden, made some 500 years later. Though the Romans also included the boar in their stable of symbols—four legions, including the twentieth, adopted it as their emblem—it was only one among many. The boar nonetheless persisted in continental Germanic tradition during the nearly 400 years of Roman rule in Britain, such as in association with the Scandinavian gods Freyja and Freyr. Its return to prominence in the Anglo-Saxon period, as represented by the boars from Benty Grange, Wollaston, Guilden Morden, and Horncastle, may therefore suggest the post-Roman reintroduction of a Germanic tradition from Europe, rather than the continuation of a tradition in Britain through 400 years of Roman rule. Whatever its precise symbolism, the Anglo-Saxon boar appears to have been associated with protection; the Beowulf poet makes this clear, writing that boar symbols on helmets kept watch over the warriors wearing them. 
Question: What is the precise name of that which likely represents a fused tradition of European and Mediterranean cultures?
answer:
Anglo-Saxon boar symbols.


question:
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?
answer:
the Chac Mool.


question:
Passage: Meek California Fidelity Trust teller Johnny Dalton asks his boss J. L. McKissack for a raise so he can marry fellow teller Mildred "Mibs" Goodhue. Though Johnny is turned down, Mibs wants to get married anyway. Emile J. Keck, a friend and waiter at an Italian restaurant they frequent, also urges Johnny to take a chance, even facetiously suggesting he rob the bank where he works. When he insists on waiting, Mibs storms out.
While returning to work, Johnny intervenes when he spots two men beating up a third in an alley. The victim, "Hot Horse" Harris, turns out to be a bookie. To show his gratitude, Harris gives a stunned Johnny $1000, but Johnny refuses to accept it. To make it easier, Harris changes it to a "loan", then promptly bets the entire amount on a sure thing in a fixed race, making sure to place the bet at the bookie joint run by his competitor (the one who had him beaten up). From the winnings, Harris takes back the loan, and Johnny is left with $5000. Harris then makes two more bets for Johnny, both winners. Johnny now has won $60,000. Harris only has $40,000 on hand, so he tells Johnny he will send him the rest later. Johnny rushes off to share the good news with Emile, but Emile believes he took his advice about bank robbery.
As it turns out, the bank's auditors have discovered that there is $75,000 missing. Fearing that he will be suspected of the crime, Johnny enlists Emile's help in hiding the money. When he tells Mibs about his windfall, she does not believe his story either. She finds $20,000, the remainder of what Harris owes Johnny, and goes to see Bob Pulsifer, Jr., the lazy, lecherous son of the bank's founder. She offers it to him on condition that he not inform the police about Johnny, but he telephones them anyway. 
Question: Who phones the police?
answer:

Bob Pulsifer, Jr.