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: Richard "Dick" Purcell, a taxi driver, aspires to achieve his dream of becoming a singer. After a couple of theatre critics discover him while riding in his cab, one of them recommends him to a radio producer. The producer's secretary, Alice Hughes, hears him sing and falls in love with him. She sets up an audition for Dick to sing for the sponsor, Mrs. Flaggenheim. He's late for his audition and blows his big chance. 
Convinced she must go to Italy to find a good enough singer, with enough "romance" to represent her fine cheese products, Mrs. Flaggenheim takes Alice with her to find one in Venice. Dick watches as Alice boards the ship and manages to get on board and work for his passage to Italy. When in Venice, he looks up his friend and mentor from New York City, professor de Vinci, who had gone ahead to use his old connections to help Dick's singing career. They manage to score a couple of jobs as gondoliers for an upcoming event.
Dick uses the opportunity to showcase his voice. Mrs. Flaggenheim hears him and wants to sign him to a contract immediately, thinking he's an authentic Italian named "Ricardo Purcelli". Alice recognizes him, but they continue to hide his true identity and they all go back to New York, where he quickly becomes a radio sensation. Alice's jilted boyfriend finds out Ricardo Purcelli is actually just Dick and gives him an ultimatum. Dick must decide if he wants to continue masquerading as Ricardo and finally attain the fame and fortune he'd always dreamed of....or give it all up for Alice, the one he loves. 
Question: In order to be with the radio producer's secretary, who must he stop pretending to be?
[EX A]: Ricardo Purcelli.

[EX Q]: Passage: Hundreds of songs and performers have entered Melodifestivalen since its debut. Although songwriters living outside Sweden were once not allowed to enter Melodifestivalen, the 2012 contest marked the first time foreign songwriters could submit entries, provided that they collaborated with a Swedish songwriter. To be eligible, songwriters and performers must be at least sixteen years of age on the day of the first Eurovision semi-final.Until 2001, participation in the festival was limited to a single night. The number of contestants ranged from five to twelve. A two-round system was used intermittently between 1981 and 1998, in which all but five of the contestants were eliminated in a first round of voting. Failure to reach the second round under this system was seen as a major failure for a prominent artist; when Elisabeth Andreassen failed to qualify in 1984, it almost ended her career. The introduction of weekly semi-finals in 2002 increased the number of contestants to thirty-two. At least ten of the contestants must perform in Swedish. A CD of each year's competing songs has been released since 2001, and a DVD of the semi-finals and final since 2003.
Melodifestivalen has been the launch-pad for the success of popular local acts, such as Anne-Lie Rydé, Tommy Körberg, and Lisa Nilsson. The competition has played host to performers from outside Sweden, including Baccara, Alannah Myles, Katrina Leskanich, and Cornelis Vreeswijk. Melodifestivalen participants have also represented—and unsuccessfully tried to represent—other countries at Eurovision. While local success for Melodifestivalen winners is common, most contestants return to obscurity and few have major international success. The impact that the competition makes on the Swedish charts means an artist need not win the competition to earn significant domestic record sales. For example, the song which finished last at Melodifestivalen 1990, "Symfonin" by Loa Falkman, topped the Swedish singles chart. The most recent occurrence was 2016 with Samir & Viktor's song "Bada Nakna". In 2007, twenty-one participants reached Sverigetopplistan. The week after the 2008 final, songs from the festival made up the entire top fifteen on the domestic singles chart. 
Question: In what year did the Swedish domestic singles chart have 15 songs from the festival that recently allowed foreign entrants in 2012?
[EX A]: 2008.

[EX Q]: Passage: The film is structured around ten acts with a prologue and epilogue.It opens with the camera on Marianne standing by a table covered with photographs. It is a well-lit room, and she addresses the viewer. She picks one picture up after another; they are in no particular order, being just heaped all over the table. Some make her smile, or elicit a comment or a sigh. But then she picks up a photograph of her husband, prompting her to reminisce about how they had been more or less happy, and how they'd broken up. She goes on to recall how his second marriage failed, while she was already married to a second husband herself, and then when her second husband died (by flying a glider off somewhere and disappearing), she reflects that it would be nice to see her first husband again.
Marianne travels into the country to the home of her ex-husband, and father of her daughters Martha and Sara, Johan. Johan is undergoing a family crisis with his insolvent and needy son, Henrik, and granddaughter, Karin. Karin is 19, and Henrik asks Johan for an advance on his inheritance so that Henrik can buy Karin an old Fagnola cello, to make a better impression at the audition for the European music conservatory. The elderly Johan decides to consider the offer and to contact the cello dealer himself. While Henrik is away tending to the orchestra he conducts in Uppsala, Johan has a private meeting with Karin, informing her of a proposal from Ivan Chablov, head conductor in the St. Petersburg orchestra and an old friend of Johan, that Karin join him at the prestigious Sibelius Academy in Helsinki. 
Question: Who would like to see her first husband again?
[EX A]:
Marianne.