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.

Passage: Enter Nowhere opens with Jody and her boyfriend Kevin robbing a convenience store. Jody holds a gun to the cashier demanding he open the safe. Cryptically, he tells her that he will do so but doesn't believe she can handle what's inside. Clearly not amused, she shoots and kills him.
With money in her vest, she jumps in her car and drives only to end up at the cabin which is in the middle of nowhere. She doesn't know how she got there but it is there she meets two other people who arrived in a similar fashion. Samantha is a quiet reserved woman who is quite unnerved about being lost.
Tom is more vocal and more sarcastic about the situation. Soon, however he like the women becomes frantic over their inability to leave. They even venture into the woods to escape only to return to the cabin. Jody makes the observation that it's like Pac-Man. You go out one door only to arrive on the same board. Tom then questions how to get to the next level.
Things become stranger when the three are convinced they are in different states. Odder still they each believe the year is different. When Samantha tells Jody that it is 1962, she has to catch her breath before stating its 1985. Tom comes in and they both run over to ask him what year it is, he answers 2011.
Who drives to a cabin?

Passage: In early 1900s Cincinnati, young and beautiful Ray Schmidt works in her father's shop by day and stays out late drinking beer and dancing with various men by night, although her stepmother disapproves. Ray dates for fun, mostly going out with traveling salesmen passing through town, and neither she nor her dates are interested in any permanent attachment. An exception is Kurt Shendler, who owns a bicycle shop near Mr. Schmidt's shop and aspires to get into the automobile business. Kurt is in love with Ray and asks her to marry him, but she refuses because while she likes Kurt, she doesn't return his romantic feelings.
While visiting the train station with Kurt, Ray meets Walter Saxel and the two fall for each other at first sight. Walter soon confesses to Ray that he is actually engaged to another woman in town, Corinne, who comes from a wealthy background and whose mother is friends with his own mother. Nevertheless he has fallen in love with Ray, and asks her to meet him at a local band concert that he will be attending with his mother. Walter hopes to introduce Ray to his mother and perhaps get her approval of the relationship. On the day of the concert, Ray is late arriving because her younger half-sister Freda is suicidal over her boyfriend, Hugo, leaving town. Freda begs Ray to go after Hugo and stop him, threatening to throw herself out a window if Ray does not help. By the time Ray has dealt with Freda's situation and gotten to the concert, it is over, and Ray cannot find Walter or his mother in the departing crowds. Walter, thinking she stood him up, writes her an angry letter and marries Corinne.
What is the first name of the person who tends to her suicidal sister after her sister's boyfriend leaves town?

Passage: The vocals were taped in Britannia Row and Protocol studios between May and June 1991, the first time vocalist Bilinda Butcher was involved in the recording. Shields and Butcher hung curtains on the window between the studio control room and the vocal booth, and only communicated with the engineers when they would acknowledge a good take by opening the curtain and waving. According to engineer Guy Fixsen, "We weren't allowed to listen while either of them were doing a vocal. You'd have to watch the meters on the tape machine to see if anyone was singing. If it stopped, you knew you had to stop the tape and take it back to the top." On most days, the couple arrived without having written the lyrics for the song they were to record. Dutt recalled: "Kevin would sing a track, and then Bilinda would get the tape and write down words she thought he might have sung".In July 1991, Creation agreed to relocate the production to Eastcote studio, following unexplained complaints from Shields. However, the cash-poor Creation Records was unable to pay the bill for their time at Britannia Row, and the studio refused to return the band's equipment. Dutt recalled, "I don't know what excuse Kevin gave them for leaving. He had to raise the money himself to get the gear out." Shields' unpredictable behaviour, the constant delays, and studio changes were having a material effect on Creation's finances and the health of their staff. Dutt later said he had been desperate to leave the project, while Creation's second-in-command Dick Green had a nervous breakdown. Green recalled, "It was two years into the album, and I phoned Shields up in tears. I was going 'You have to deliver me this record'."Shields and Butcher became afflicted with tinnitus, and had to delay recording for further weeks while they recovered. Concerned friends and band members suggested this was a result of the unusually loud volumes the group played at their shows, which Shields dismissed as "Ill-informed hysteria." Although Alan McGee was still positive about his investment, the 29-year-old Green, who by this time was opening the label's morning post "shaking with fear," became a concern to his co-workers. Publicist Laurence Verfaillie, aware of the label's inability to cover further studio bills, recalled Green's hair turning grey overnight, which she attributed to the album.With the vocal tracks completed, a final mix of the album was undertaken with engineers Dick Meaney (the Jesus and Mary Chain) and Darren Allison (Spiritualized) at the Church in Crouch End, the nineteenth studio in which Loveless had been worked on. The album was edited on an aged machine that had been used to cut together dialog for movies in the 1970s; its computer threw the entire album out of phase. Shields was able to put it back together from memory, but took thirteen days to master the album rather than the usual one, to Creation's dismay.As the previously prolific band were unusually quiet, the British music press began to speculate. Melody Maker calculated that the total recording cost had come close to 250,000; however, McGee, Green, and Shields dispute this. Shields argued that the estimated cost and Creation's near-bankruptcy were a myth exaggerated by McGee. According to Shields, "the amount we spent nobody knows because we never counted. But we worked it out ourselves just by working out how much the studios cost and how much all the engineers cost. 160 thousand pounds was the most we could come to as the actual money that was spent." In Green's opinion, the estimate made by Melody Maker was understated by 20,000, and that "once you'd even got it recorded and mixed, the very act of compiling, EQ-ing, etcetera took weeks on its own." In December 1991, Shields said that most of the money claimed to have been spent on the album was simply "money to live on" over three years, with the album itself only costing "a few thousand". He also claimed that the album represented only four months' work over two years. He said that most of the money spent came from the band's own funds, while "Creation probably spent fifteen to twenty thousand pounds of their own money on it, and that's it. They never showed us any accounts, and then they got bought out by Sony.".
What are the first names of the two individuals that Guy Fixsen states they were not allowed to listen to while either were doing a vocal?