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.

[Q]: Passage: En route to California to prospect for gold, ex-sheriff Hooker, professional gambler Fiske, and bounty hunter Luke Daly are forced to stop over in a tiny Mexican village by engine trouble on the ship they are taking. A desperate Leah Fuller hires the three men and local Vicente Madariaga, to rescue her husband, John, who is pinned under debris from a gold mine cave-in in hostile Apache territory.
During the harrowing journey, Luke tries to force himself on Leah late one night, forcing Hooker to intervene. Leah tells Hooker that where her husband is trapped, once was a boom town, but a volcano eruption wiped it out, leaving only a church steeple and the mine uncovered by lava. The resident priest called it the "garden of evil". The Indians now consider the volcano sacred. The group then arrives at the mine. They find John unconscious, and they free him.
Before John wakes up, Hooker sets the man's broken leg. When John regains consciousness, he accuses Leah of using him to get gold. Hooker talks to Leah later, about what her husband said; after he tells her that he has spotted signs of Apaches nearby, she offers him and the others all the gold they have dug up to take her husband away that night, while she remains behind to make it look like they are all still there. The cynical Fiske unexpectedly offers to stay with her, but when he asks her what he is to her, she tells him, "you're nothing at all, just nothing.".
[A]: What are the full names of the two people that travel with the ex-sheriff?

[Q]: Passage: Van der Weyden's depiction of the Magdalen is based on Mary of Bethany, identified by the time of Pope Gregory I as the repentant prostitute of Luke 7:3650. She then became associated with weeping and reading: Christ's mercy causes the eyes of the sinner to be contrite or tearful. Early Renaissance artists often conveyed this idea by portraying contemplative eyes, associating tears with words, and in turn weeping with reading. Examples can be seen in 16th-century works by Tintoretto and Titian which show the Magdalen reading, often with her eyes averted towards her book (and presumably away from a male gaze), or looking up to the heavens or, sometimes, glancing coyly towards the viewer. Writing in "The Crying Face", Mosche Barasch explains that in van der Weyden's time the gesture of averting or concealing the eyes became a "pictorial formula for crying".
By the medieval period, reading became synonymous with devotion, which involved withdrawal from public view. Van der Weyden's placement of the Magdalen in an interior scene reflects the increasing literacy of domestic or laywomen in the mid-15th century. The increased production of devotional texts showed that noble women of the period routinely read texts such as a psalter or book of hours in the privacy of their homes. Whether the Magdalen herself was a reader, by the 17th century she was firmly established as such in the visual arts. Because the Magdalen was present at Christ's death and subsequent resurrection, she was seen as the bearer of newsa witnessand hence directly associated with the text.The Magdalen imagery further draws on the idea of Christ as the word, represented by a book, with the Magdalen as the reader learning of her own life story in a moment of reflection and repentance. Her devotion to reading reflects her traditional status as the piously repentant harlot, as well as a prophetess or seer. According to legend, the Magdalen lived the last 30 years of her life as a hermit in Sainte-Baume and is often shown with a book, reading or writing, symbolizing her later years of contemplation and repentance. By the 13th century she acquired the imagery of a once-shamed woman who, clothed in long hair, now hid her nakedness in exile and "borne by angels, floats between heaven and earth".The Magdalen's ointment jar was common in the lexicon of art in van der Weyden's period. Mary of Bethany may have used a jar when she repented of her sins at Christ's feet in her home; by the Renaissance, the image of the Magdalen was of the woman who bathed Christ's feet with her tears and dried them with her hair. She signified the "sacrament of anointing (Chrism and Unction)" by pouring precious spikenard on Christ's feet at his tomb.
[A]: What is the first name of the Magdalen who became associated with weeping and reading?

[Q]: Passage: The film tells of two very different individuals who share a prison cell in Brazil during the Brazilian military government: Valentin Arregui, who is imprisoned (and has been tortured) due to his activities on behalf of a leftist revolutionary group, and Luis Molina, a transgender woman in prison for having sex with an underage boy.
Molina, who self-identifies as "she," passes the time by recounting memories from one of her favorite films, a wartime romantic thriller that's also a Nazi propaganda film. She weaves the characters into a narrative meant to comfort Valentin and distract him from the harsh realities of political imprisonment and separation from his lover, Marta. Valentin encourages Molina to have self-respect and opens her up to political commitment. Despite Valentin's occasionally snapping at Molina over her shallow views of film watching and unrealistic romance, an unlikely friendship develops between the two.
As the story develops, it becomes clear that Valentin is being poisoned by his jailers to provide Molina with a chance to befriend him, and that Molina is spying on Valentin on behalf of the secret police. Molina has apparently been promised parole if she succeeds in obtaining information that will allow the secret police to break up the revolutionary group.
When Molina declares herself in love with Valentin, a physical consummation of that love occurs on Molina's last night in prison. Molina is granted parole in a surprise move by the secret police. Valentin provides Molina with a telephone number and a message for his comrades. Molina at first refuses to take the number, fearing the consequences of treason, but she relents, bidding Valentin farewell with a kiss.
[A]:
What are the first names of the people who share a prison cell?