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.
--------
Question: Passage: Phyllis Tredman is shocked when husband Lloyd, a decorated Korean War pilot, sends word to her after his discharge from military service requesting a divorce.
She tracks him down in Madrid, Spain, where it turns out Lloyd is drinking and gambling heavily. He is tormented by having ordered so many Air Force pilots to their death on dangerous missions. He also is strangely attracted to Paquita, the wife of his friend and fellow pilot Jimmy Heldon.
A mysterious man named Bert Smith, aware that Lloyd is down on his luck, offers him $25,000 to do something illegal and dangerous—transport currency from Cairo to Madrid, dropping the box of cash in mid-air. Lloyd has wagered his last $1,000 on a horse race. He says if the horse wins, he won't need Smith's offer, but the race ends tragically with the jockey killed. Lloyd suspects foul play.
Jimmy takes the job after Lloyd refuses. He ends up missing and Paquita blames Lloyd, calling him a coward. It turns out to be a test run from which Jimmy returns late but safely. He intends to go through with the crime, risking everything, but Lloyd knocks him out and pilots the plane himself.
Steadying himself after first being paralyzed with fear, Lloyd's flight goes badly when a propellor is damaged. Authorities are put on alert and Interpol agents begin tracking the plane. Lloyd tries to hide the money, only to discover narcotics are being smuggled by Bert as well.
He drops the box from the sky as planned, but notifies Interpol and gets Bert arrested at the scene of the crime. The thankful authorities elect not to punish Lloyd, who returns to Phyllis' open arms. 
Question: Who is tormented by having ordered Air Force pilots to their death on dangerous missions?

Answer: Lloyd.


Question: 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 is the first name of the person that received letters in 1632 showing that the man who was a target of musical controversy was still preparing a defence of the seconda practica?

Answer: Giovanni.


Question: Passage: Valley View is a mid-19th-century Greek Revival residence and farm overlooking the South Branch Potomac River northwest of Romney, West Virginia. Valley View is atop a promontory where Depot Valley joins the South Branch Potomac River valley.
The Valley View property was part of the South Branch Survey of the Northern Neck Proprietary, a large tract that was inherited by Thomas Fairfax, 6th Lord Fairfax of Cameron, in 1719. It was settled by John Collins and his family in 1749, and acquired by the Parsons family before 1772. The Valley View house was built by James Parsons Jr. in 1855. After the Civil War, Parsons' widow sold the farm to Charles Harmison. His wife, Elizabeth Harmison, inspired by her childhood Virginia home, Western View, and the scenic South Branch Potomac River views, named the farm Valley View. The most recent of a series of owners, the Mayhew family, bought the property in 1979. Valley View's current proprietors, Robert and Kim Mayhew, have restored the historic residence and grounds.
The house at Valley View is a two-story brick structure with a rectangular architectural plan. The front entrance is covered by a small portico, topped with a pediment supported by wooden Doric columns. The rear of the house, with a two-story wood porch stretching across it, faces the South Branch Potomac River valley and Mill Creek Mountain. Each of the original eight large rooms of the 1855 structure contains a fireplace framed by a wooden trabeated mantelpiece with classical elements. The original windows, wooden trim, and materials in the main section of the house are intact. The house was listed on the National Register of Historic Places in 2012 as a locally significant example of Greek Revival architecture. 
Question: What is the name of the property that was acquired by the Parsons family before 1772?

Answer:
Valley View.