instruction:
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: Filmmaker Adam Green begins a documentary about artwork that features monsters.  Green is surprised when William Dekker, a retired police officer, contacts him and claims to have proof of the existence of monsters.  Green's wife reacts skeptically, but he reworks his documentary to focus on Dekker and his efforts to expose the monsters' underground home, which he calls "The Marrow". Green interviews Dekker at his house, who claims that he has seen many monsters and identified some of them through sketches. Dekker mentions his son once but diverts from the topic when Green inquires. The shooting crew of Green and his cameraman wait at the Marrow's entrance; a dug-up hole in the cemetery in the woods. On the first night they do not see anything although Dekker keeps claiming that he could see one of the monsters. 
Question: What does the person contacted by the police officer do for a living?
answer:
Filmmaker.


question:
Passage: Amos reflects back on his early childhood in then British Mandate of Palestine (now Israel) with his mother Fania and father Arieh. His parents are Eastern European Jews living in Jerusalem, which his mother finds difficult as her sisters and family live in Tel Aviv and communication between them is difficult. Amos, an only child, is particularly close with his mother, who frequently tells him stories based on her childhood that often have unhappy or violent endings.
Amos' parents regularly lend him out to a childless couple they are friends with. On one occasion this couple take him to visit a friend of theirs, a Palestinian Arab. They warn Amos to be quiet and not make much fuss lest he offend their hosts, but while playing with a swing he accidentally injures a child.
On November 29, 1947, Amos' family and others from the neighbourhood gather around a radio in the street to hear the passing of United Nations General Assembly Resolution 181, which adopted a plan to partition Mandatory Palestine into independent Arab and Jewish states. Amos' parents are overwhelmed with joy. Soon afterwards, civil war erupts in Palestine. Amos' father enlists to fight in the 1948 Arab–Israeli War, while Amos and other children are recruited to the war effort. One of his mother's friends is killed while hanging up laundry during the war.
Fania falls into a depression and becomes unable to sleep or eat. Amos and Arieh try their best to hide her depression from their friends and family. After a change in pills Fania abruptly becomes her old more lively self and tries to act normally for her husband and child. A short time later she relapses once more and goes to visit her sisters in Tel Aviv, where she kills herself by overdose.
Amos goes to live on a kibbutz. Reuniting with his father as a teenager, he shows him his new life but admits that despite his attempts at being a strong and healthy farmer he is still a pale and weak intellectual. 
Question: Who is Fania with before her death?
answer:
her sisters.


question:
Passage: Stefan Lochner (the Dombild Master or Master Stefan; c. 1410 – late 1451) was a German painter working in the late "soft style" of the International Gothic. His paintings combine that era's tendency toward long flowing lines and brilliant colours with the realism, virtuoso surface textures and innovative iconography of the early Northern Renaissance. Based in Cologne, a commercial and artistic hub of northern Europe, Lochner was one of the most important German painters before Albrecht Dürer. Extant works include single-panel oil paintings, devotional polyptychs and illuminated manuscripts, which often feature fanciful and blue-winged angels. Today some thirty-seven individual panels are attributed to him with confidence.
Less is known of his life. Art historians associating the Dombild Master with the historical Stefan Lochner believe he was born in Meersburg in south-west Germany around 1410, and that he spent some of his apprenticeship in the Low Countries. Records further indicate that his career developed quickly but was cut short by an early death. We know that he was commissioned around 1442 by the Cologne council to provide decorations for the visit of Emperor Frederick III, a major occasion for the city. Records from the following years indicate growing wealth and the purchase of a number of properties around the city. Thereafter he seems to have over-extended his finances and fallen into debt. Plague hit Cologne in 1451 and there, apart from the records of creditors, mention of Stephan Lochner ends; it is presumed he died that year, aged around 40.
Lochner's identity and reputation were lost until a revival of 15th-century art during the early 19th-century romantic period. Despite extensive historical research, attribution remains difficult; for centuries a number of associated works were grouped and loosely attributed to the Dombild Master, a notname taken from the Dombild Altarpiece (in English cathedral picture, also known as the Altarpiece of the City's Patron Saints) still in Cologne Cathedral. One of Dürer's diary entries became key, 400 years later, in the 20th-century establishment of Lochner's identity. Only two attributed works are dated, and none are signed. His influence on successive generations of northern artists was substantial. Apart from the many direct copies made in the later 15th century, echoes of his panels can be seen in works by Rogier van der Weyden and Hans Memling. Lochner's work was praised by Friedrich Schlegel and Goethe for its qualities, especially the "sweetness and grace" of his Madonnas. 
Question: What is the first name of the person for whom echos of his panels can be seen in works by Rogier van der Weyden?
answer:

Stefan.