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.

Passage: The attribution of the panel reflects the progression and trends of 19th and 20th-century scholarship on Early Netherlandish art. It is now thought to have been completed c. 1438–40, but there are still arguments for dates as early as 1424–29. As with the pages ascribed to Hand G in the Turin-Milan Hours manuscript, the panel was attributed to Jan's brother Hubert van Eyck in the 1875 Gemäldegalerie catalogue, and by a 1911 claim by art historian Georges Hulin de Loo. This is no longer considered credible and Hubert, today, is credited with very few works. By 1912 the painting had been definitively attributed to Jan in the museum catalogue.Attempts to date it have undergone similar shifts of opinion. In the 19th century the panel was believed to be an early work by Jan completed as early as c. 1410, although this view changed as scholarship progressed. In the early 20th century, Ludwig von Baldass placed it around 1424–29, then for a long period it was seen as originating from the early 1430s. Erwin Panofsky provided the first detailed treatise on the work and placed it around 1432–34. However, following research from Meyer Schapiro, he revised his opinion to the late 1430s in the 1953 edition of his Early Netherlandish Painting. A 1970s comparative study of van Eyck's 1437 Saint Barbara concluded that Madonna in the Church was completed after c. 1437. In the 1990s, Otto Pächt judged the work as probably a late van Eyck, given the similar treatment of an interior in the 1434 Arnolfini Portrait. In the early 21st century, Jeffrey Chipps Smith and John Oliver Hand placed it between 1426 and 1428, claiming it as perhaps the earliest extant signed work confirmed as by Jan. 
Question: What is the full name of the person who is credited with very few works?
Hubert van Eyck.

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?
Filmmaker.

Passage: Zohan Dvir is a superhuman Israeli counter-terrorist for the IDF who has grown tired of the everlasting conflicts in his country and dreams of becoming a hairstylist at Paul Mitchell's. During his next mission against an Palestinian terrorist group led by his arch-enemy, superhuman Fatoush "Phantom" Hakbarah, Zohan fakes his own death and smuggles himself onto a plane to New York City, cuts his hair, and adopts the alias "Scrappy Coco". Following his "success" at killing Zohan, Phantom opens a muchentuchen restaurant chain.
After his arrival in America, Zohan befriends Michael by helping him against a bullying motorist, and is taken in by him and his mother, Gail. He also meets a fellow Israeli named Oori, who owns an electronics store, at a disco; Oori recognizes Zohan but vows to keep his identity a secret. After being refused by Paul Mitchell's and other hairstyling salons due to his lack of experience, Zohan is taken by Oori to an area in lower Manhattan populated with Middle Eastern immigrants, including Palestinians and Israelis. Zohan attempts to land a job in a struggling salon of a Palestinian woman named Dalia. Dalia initially allows Zohan to sweep the floors, but after losing one of her employees, she allows him to be a stylist when he pleases a senior lady with an exceptional haircut and back room sexual service. Zohan's reputation spreads rapidly among the elderly women of lower Manhattan, causing Dalia's business to prosper, which upsets Grant Walbridge, a corporate magnate who has been trying to buy out all the local tenants on the block so that he can build a rollercoaster mall. 
Question: What is the real first name of the superhuman that opens a restaurant chain?

Fatoush.