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.

[EX Q]: Passage: Discounting his collaboration with Dukas in the completion of Guiraud's unfinished Frédégonde, Saint-Saëns wrote twelve operas, two of which are opéras comiques. During the composer's lifetime his Henry VIII became a repertory piece; since his death only Samson et Dalila has been regularly staged, although according to Schonberg, Ascanio (1890) is considered by experts to be a much finer work. The critic Ronald Crichton writes that for all his experience and musical skill, Saint-Saëns "lacked the 'nose' of the theatre animal granted, for example, to Massenet who in other forms of music was his inferior". In a 2005 study, the musical scholar Steven Huebner contrasts the two composers: "Saint-Saëns obviously had no time for Massenet's histrionics". Saint-Saëns's biographer James Harding comments that it is regrettable that the composer did not attempt more works of a light-hearted nature, on the lines of La princesse jaune, which Harding describes as like Sullivan "with a light French touch".Although most of Saint-Saëns's operas have remained neglected, Crichton rates them as important in the history of French opera, as "a bridge between Meyerbeer and the serious French operas of the early 1890s". In his view, the operatic scores of Saint-Saëns have, in general, the strengths and weaknesses of the rest of his music – "lucid Mozartian transparency, greater care for form than for content ... There is a certain emotional dryness; invention is sometimes thin, but the workmanship is impeccable." Stylistically, Saint-Saëns drew on a range of models. From Meyerbeer he drew the effective use of the chorus in the action of a piece; for Henry VIII he included Tudor music he had researched in London; in La princesse jaune he used an oriental pentatonic scale; from Wagner he derived the use of leitmotifs, which, like Massenet, he used sparingly. Huebner observes that Saint-Saëns was more conventional than Massenet so far as through composition is concerned, more often favouring discrete arias and ensembles, with less variety of tempo within individual numbers. In a survey of recorded opera Alan Blyth writes that Saint-Saëns "certainly learned much from Handel, Gluck, Berlioz, the Verdi of Aida, and Wagner, but from these excellent models he forged his own style.". 
Question: What were the names of the five models Saint-Saëns forged his own style from?
[EX A]: Handel.

[EX Q]: Passage: Avery, who wears a Confederate Army uniform even though he didn't serve in the Civil War, demands that the men who work for rancher John Rutherford avenge him after Rutherford is killed trying to remove a squatter, Corey Everett, from his land.
A passing family, the Ferbers, are traveling by wagon. They meet Corey, who explains that he is homesteading, not squatting, and entitled to the property. Corey defended himself alone with dynamite after Rutherford's men attacked, but Avery became convinced that Corey had many men fighting by his side. He insists his men, led by ranch foreman Hook, call him "General" and obey his orders to launch another attack.
Hannah Ferber doesn't trust Corey at all. Her husband Louis is taken captive by Avery, who tortures and kills him, refusing to believe the truth that Corey is alone. Avery's men realize he is insane and intend to leave, so Avery destroys their water supply. Corey's water is now the only one within hundreds of miles.
Hannah shoots Corey in the shoulder and flees with her son, but returns to nurse him back to health after Louis's body is found. Together they stave off Avery, whose men desert him. Avery dies, astounded to learn that Corey had no other men fighting with him. 
Question: Who meets someone that explains that they are homesteading?
[EX A]: Ferbers.

[EX Q]: Passage: The song was released on the Let It Be album on 8 May 1970. On 11 May, seven days before the album's North American release, Apple issued "The Long and Winding Road" as a single in the United States with "For You Blue" on the B-side. In the context of the recent news regarding the Beatles' split, the song captured the sadness that many listeners felt.On 13 June 1970, it became the Beatles' twentieth and final number-one single on the Billboard Hot 100 chart in America and held the top position for a second week. The band thereby set the all-time record for number of chart-topping singles on the Billboard Hot 100. The Beatles achieved this feat in the space of 74 months from their debut US number one, "I Want to Hold Your Hand", in February 1964 – an average of one chart-topping single per 3.7 months, another all-time record. The single's contemporary US sales were insufficient for gold accreditation by the Recording Industry Association of America (RIAA). In February 1999, the song was certified platinum by the RIAA for sales of 1,000,000.In 2011, Rolling Stone placed "The Long and Winding Road" at number 90 on its list of "The 100 Greatest Beatles Songs". On a similar list compiled by Mojo in 2006, the song appeared at number 27. In his commentary for the magazine, Brian Wilson described it as his "all time favourite Beatles track", saying that while the Beatles were "genius songwriters", this song was distinguished by a "heart-and-soul melody". Wilson concluded: "When they broke up I was heartbroken. I think they should have kept going.". 
Question: What is the name of the track Brian Wilson describes as his "all time favourite"?
[EX A]:
The Long and Winding Road.