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: The impetus for creating the Ham Wall reserve was the plight of the bittern, with only 11 males present in the UK in the 1997 breeding season. Much of its reed bed habitat was deteriorating, and key coastal sites in eastern England were at risk of salt-water flooding, so an opportunity to create a new inland site was attractive to the RSPB. The peat excavations already had bund walls that allowed the water levels on the reserve to be easily managed in sections, and the workings had removed peat down to the underlying marine clay, a depth of 2 metres (6.6 ft) in this area.Water levels were managed using sluices, pipes and wind-pumps to create reed beds with about 20% open water, and the ditches were deepened and widened to restrict reed encroachment and provide a habitat for fish, particularly common rudd, introduced to provide food for the bitterns. By the completion of major works in 2013, the 260 hectares (640 acres) reserve contained 220 hectares (540 acres) of reed bed, including 75 hectares (190 acres) of deep water channels and ditches, 10 hectares (25 acres) of wet woodland and 30 hectares (74 acres) of grass, the latter being mainly on the bunds and some higher ground.Ham Wall, along with Lakenheath Fen in Suffolk, has been a key part of a bittern recovery programme initiated in 1994 as part of the United Kingdom Biodiversity Action Plan. Both reserves created extensive new reed beds, thereby adding significant additional breeding habitat. Initial funding for the recovery scheme was £60,000 from English Nature in 1994, augmented by two rounds of EU funding in 1996-2000 and 2002-2006. 
Question: In what reserves were new reed beds created?
[A]: Lakenheath Fen.


[Q]: Passage: With the piece set to open on 26 December, Gilbert first read the libretto to the cast on 14 December, but Toole, who was playing the central role of Thespis, did not return from a tour of the British provinces until 18 December. He then appeared in nine performances at the Gaiety in the six days immediately after his return, and other actors had similar commitments. In addition, Hollingshead had committed the company to perform a pantomime at The Crystal Palace on 21 December, which included many of the performers who would be in Thespis. Lastly, Thespis was to play as the afterpiece to an H. J. Byron comedy, Dearer than Life, which shared many of its actors, including Toole and Fred Sullivan, and had to be rehearsed at the same time.Despite the short time available for rehearsals, Sullivan recalled that Gilbert insisted that the chorus play a major role, as it would do in their later Savoy operas:
Until Gilbert took the matter in hand choruses were dummy concerns, and were practically nothing more than a part of the stage setting. It was in 'Thespis' that Gilbert began to carry out his expressed determination to get the chorus to play its proper part in the performance. At this moment it seems difficult to realise that the idea of the chorus being anything more than a sort of stage audience was, at that time, a tremendous novelty. In consequence of this innovation, some of the incidents at the rehearsal of 'Thespis' were rather amusing. I remember that, on one occasion, one of the principals became quite indignant and said, 'Really, Mr. Gilbert, why should I stand here? I am not a chorus-girl!' to which Gilbert replied curtly, 'No, madam, your voice is not strong enough, or no doubt you would be.'. 
Question: What is the last name of the person who had an expressed determination to get the chorus to play its proper part in the performance?
[A]: Gilbert.


[Q]: Passage: Elliot Hopper is a workaholic widower who is about to land the deal of a lifetime at work, which he hopes will win him a promotion and a company car. After he forgets his daughter Diane's birthday, he attempts to make it up to her by promising her she can have his car when he secures the deal at work on the coming Thursday. After being persuaded to give the car to his daughter early, Elliot must hail a taxi from work, which is driven by Satanist Curtis Burch, who drives erratically and is of control. Attempting to get the taxi stopped, Elliot announces that he is Satan and commands him to stop the taxi, and also attempts to give him his wallet. Shocked to see his "Evil Master", Burch drives off a bridge and into the river.
Elliot emerges from the accident scene, only to learn that he is a ghost when a police officer fails to notice him and a speeding bus goes straight through him. When he gets home he discovers that his three children can see him, but only in a totally dark room, and they can't hear him at times. He struggles to tell them what happened when he is whisked away to London by paranormal researcher Sir Edith, who tells him he is a ghost who has yet to enter the afterlife because "they screwed up"; his soul will not cross over until Thursday.
The pressures of work and family life lead to many comedic events, as Elliot attempts to renew his life insurance policy and complete his company's merger, so his family will be provided for once he crosses over. One day, he must choose between staying in an important work meeting and helping his son with a magic trick at school. He eventually decides that his family's happiness is more important and walks out on his furious boss, Mr. Collins, who later smugly fires him. Dejected, Elliot reveals himself as a ghost to his love interest, Joan, whose initial shock soon turns to sympathy. 
Question: What is the first name of the man that claims he is Satan to the taxi driver?
[A]:
Elliot.