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.

Q: Passage: The film opens with "The Super Fan", an avid Chiefs fan, making his 3rd belt. The film depicts the lives of 5 Chiefs players: Mike Bajurny (brother of producer David Bajurny), Brady Austin, Mike Henderson and Cory Holland.
With the exception of Henderson, all of these players live in an abandoned storage area on the second story of Colisée de Laval, affectionately known as "The Rat's Nest". Several players discuss the living conditions. Some don't mind it, while other say that since the room is near an exit, the apartments will not be used for a fire exit. Henderson mentions that the living situation isn't bad for a young single guy.
Henderson discusses his role with the team. He doesn't think he is limited to being a fighter, but considers himself to have an Owen Nolan-type of role with the team, where he could be tough as needed.
The Super Fan shows how he prepares for a big game: which involves the shining of one of his championship belts.  A shot of the arena is shown with fans mock-fighting each other with security surrounding the ice. Craig Martin discusses a line brawl and how it originated. At the end of the second, the team was trailing 3-0, but the Chiefs would score 7 goals to come back and win.
Families of the players discuss their son's and boyfriend's role with the team. Bajurny's mother does not approve of her son's role as a fighter. Henderson's fiancé discusses how they met and how she feels about him playing professional hockey.
A 6'5", 265 lbs ex-military strong man by the name of Tim Leveque comes to play for the Chiefs. The players discuss Tim coming to the team, and some players are concerned about not knowing his background. He immediately establishes himself as an enforcer. He is shown fighting 6'7", 320 lb Dominic "The Giant" Forcier and beats him. 
Question: What is the first name of the person who says that the living situation isn't bad for a young single guy?

A: Mike.
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Q: Passage: The unnamed Narrator is an automobile recall specialist who is unfulfilled by his job and possessions, and has developed severe insomnia. He finds catharsis by posing as a sufferer of testicular cancer and other afflictions in support groups, remedying his insomnia. His bliss is disturbed by another impostor, Marla Singer, whose presence reminds him he is attending these groups dishonestly. The two agree to split which groups they attend, but not before they exchange contact details on the premise of switching groups at short notice.
On a flight home from a business trip, the Narrator meets and interacts with soap salesman Tyler Durden. The Narrator returns home to find that his apartment has been destroyed by an explosion. Deciding against asking Marla for help, he calls Tyler, and they meet at a bar. Tyler says the Narrator is beholden to consumerism. In the parking lot, he asks the Narrator to hit him, and they begin a fistfight.
The Narrator is invited to move into Tyler's home: a large, dilapidated house in an industrial area. They have further fights outside the bar, which attract growing crowds of men. The fights move to the bar's basement where the men form Fight Club, which routinely meets for the men to fight recreationally.
Marla overdoses on pills and telephones the Narrator for help; he ignores her, but Tyler picks up the phone and goes to her apartment to save her. Tyler and Marla get sexually involved, and Tyler warns the Narrator never to talk to Marla about him. The Narrator blackmails his boss and quits his job. 
Question: What is the last name of the person who fistfights with the Narrator?

A: Durden.
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Q: Passage: At the turn of the 17th century, Monteverdi found himself the target of musical controversy. The influential Bolognese theorist Giovanni Maria Artusi attacked Monteverdi's music (without naming the composer) in his work L'Artusi, overo Delle imperfettioni della moderna musica (Artusi, or On the imperfections of modern music) of 1600, followed by a sequel in 1603. Artusi cited extracts from Monteverdi's works not yet published (they later formed parts of his fourth and fifth books of madrigals of 1603 and 1605), condemning their use of harmony and their innovations in use of musical modes, compared to orthodox polyphonic practice of the sixteenth century. Artusi attempted to correspond with Monteverdi on these issues; the composer refused to respond, but found a champion in a pseudonymous supporter, "L'Ottuso Academico" ("The Obtuse Academic"). Eventually Monteverdi replied in the preface to the fifth book of madrigals that his duties at court prevented him from a detailed reply; but in a note to "the studious reader", he claimed that he would shortly publish a response, Seconda Pratica, overo Perfettione della Moderna Musica (The Second Style, or Perfection of Modern Music). This work never appeared, but a later publication by Claudio's brother Giulio Cesare made it clear that the seconda pratica which Monteverdi defended was not seen by him as radical change or his own invention, but was an evolution from previous styles (prima pratica) which was complementary to them.This debate seems in any case to have raised the composer's profile, leading to reprints of his earlier books of madrigals. Some of his madrigals were published in Copenhagen in 1605 and 1606, and the poet Tommaso Stigliani published a eulogy of him in his 1605 poem "O sirene de' fiumi". The composer of madrigal comedies and theorist Adriano Banchieri wrote in 1609: "I must not neglect to mention the most noble of composers, Monteverdi ... his expressive qualities are truly deserving of the highest commendation, and we find in them countless examples of matchless declamation ... enhanced by comparable harmonies." The modern music historian Massimo Ossi has placed the Artusi issue in the context of Monteverdi's artistic development: "If the controversy seems to define Monteverdi's historical position, it also seems to have been about stylistic developments that by 1600 Monteverdi had already outgrown".The non-appearance of Monteverdi's promised explanatory treatise may have been a deliberate ploy, since by 1608, by Monteverdi's reckoning, Artusi had become fully reconciled to modern trends in music, and the seconda pratica was by then well established; Monteverdi had no need to revisit the issue. On the other hand, letters to Giovanni Battista Doni of 1632 show that Monteverdi was still preparing a defence of the seconda practica, in a treatise entitled Melodia; he may still have been working on this at the time of his death ten years later. 
Question: What was Monteverdi likely working on at his time of death?

A:
Melodia.
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