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.

Input: Consider Input: Passage: In 1981 Afghanistan, a Soviet tank unit viciously attacks a Pashtun village harboring a group of mujahideen fighters. Following the assault, one of the tanks—commanded by ruthless commander Daskal (George Dzundza)—takes a wrong turn through a mountain pass and enters a blind valley. Taj returns to discover the village destroyed, his father killed, and his brother martyred by being crushed under Daskal's tank. As the new khan following his brother's death, Taj is spurred to seek revenge by his cousin Moustafa, an opportunistic scavenger. Together they lead a band of mujahideen fighters into the valley to pursue Daskal's tank (which they call "The Beast"), counting on their captured RPG-7 anti-tank weapon to destroy it.
Lost, isolated, and with their radio damaged in the attack, the tank crew set out to find Kandahar Road and return to Soviet lines. While camping for the night, Afghan communist crewman Samad educates the reluctant tank driver, Konstantin Koverchenko, about the Pashtun people's code of honour, Pashtunwali; particularly nanawatai, which requires that an enemy is to be given sanctuary if he asks.

Output: What is the name of the crewman who educates the reluctant tank driver?


Input: Consider Input: Passage: A five-movement ballet occurred somewhere in Act II, staged by W. H. Payne. A heading in the libretto, "Chorus and Ballet", attaches it to the last section of the finale but does not indicate how it figured in the plot. Most press accounts placed it at about this point, although some placed it slightly earlier in the act. At some performances, the ballet was performed in Act I, but it was certainly in Act II on opening night, and it seems finally to have settled there.In 1990, Roderick Spencer and Selwyn Tillett discovered the ballet from Act II of Thespis. Two of the five movements, in the same hand that had copied the score of "Climbing over rocky mountain", were found together with the surviving performance materials for Sullivan's 1864 ballet, L'Île Enchantée. Another section was found in the material for his 1897 ballet, Victoria and Merrie England. The page numbering of the surviving three sections gave approximate lengths for the missing pieces, and a contemporary engraving, seen at left, along with other circumstantial evidence, allowed plausible identifications of the two remaining movements: a dragon costume, used nowhere in the libretto, is presumably from the ballet, and the harp visible in the orchestra pit was an unusual instrument for the Gaiety's orchestra. Movements of appropriate length that made sense of these oddities were found in Sullivan's other ballets, and the reconstructed ballet has been recorded twice on CD.
Sullivan tended to re-use his ballet music. Of the five movements that Tillett and Spencer identified, only one (the Waltz, No. 3) is not known to have been used in any other work. Three of the movements had previously been used in L'Île Enchantée. Two of those, and one other, were eventually re-used in Victoria and Merrie England. One was also used in his incidental music to Macbeth. Sullivan was asked in 1889 to supply a ballet for a French-language production of The Mikado in Brussels, which he duly did. Tillett suggests that the Thespis ballet was almost certainly the music that Sullivan provided, given that it was the only ballet that he wrote for use in an opera, and that three weeks after producing The Gondoliers he is unlikely to have written something original.

Output: What were the name of the two movements discovered by Spencer and Tillett?


Input: Consider Input: Passage: The neck guard, flared outward to protect the shoulders, is covered with a decorative plate consisting of three horizontal designs. At the top, over the base of the skull, a large torus of ivy leaves is bordered by cords; the ivy is gilded, though the cords are not. In the middle, a smooth and concave transitional zone corresponds to the hollow of the neck. At the bottom, an acanthus rinceau, or scroll, is interspersed with birds and butterflies. Portions of the bottom ornamentation are gilded, giving the helmet, with all its silver, gold, and iron components, a polychrome appearance. The ear guards encroach slightly on the bottom design, suggesting that it was not created specifically for the helmet.The face mask is made of iron, and covered with a sheet of silver. The central hinge from which it hangs is made of three parts: an iron tube welded to the interior head piece with an exterior silver tube, a notched silver tube fixed to the face mask that envelops the first part, and a pin which passes through both and has a silver knob at each end. The mask is shaped in the form of a human face. Holes are drilled between the lips and as nostrils; the eyes each have a narrow slit, with three holes in a trefoil design, two round holes outside and a heart-shaped hole in the middle, underneath each eye to allow for a greater range of vision. These apparently were not enough, for a small and rudimentary notch was carved into each of the heart-shaped holes to increase the wearer's vision. The mask is approximately 2 millimetres thick, of which the silver, which is folded around both the edges and each hole to hold it to the iron, accounts for between .25 and .5 millimetres.Distinctive features cover the face mask. The nose is long and fleshy with a prominent bump, and extends high between the eyes. The cheekbones are low yet prominent, and the small mouth, which droops toward the sinister side, shows a thick lower lip. Other features—the eyes and eyebrows, and the chin—are more conventional. The distinctive features suggest that the maker of the Emesa helmet attempted to translate some of the individual characteristics of the wearer's face into the helmet.


Output: What is the name of the helmet given a polychrome appearance by portions of the gilded bottom ornamentation as well as all its silver, gold, and iron components?