In this task, you're given a context passage, followed by a question that needs to be answered. Based on the paragraph, you must write unambiguous answers to the questions and your answer must refer to a specific phrase from the paragraph. If multiple answers seem to exist, write the answer that is the most plausible.

Q: I was walking to my car last night from work and was ready to drive home . I started the car up , but I noticed that I left my phone at work , so I turned the ignition back off , locked the car doors , and shut the driver door . Unfortunately for me , I shut the door WITH my keys still in the ignition . That 's right ; I was locked out of my own car . Flustered and embarrassed , I pulled at the handles of the doors and attempted to open the trunk off the car - no luck at all . I walked back to my office , got my phone , and contemplated what I would do next . There was no one there with me , so my only hope was riding the public bus -LRB- I did n't have money for a cab -RRB- . I waited for the bus , the last one of the night , at the bus stop . The bus driver opened the door for me and I came aboard . I paid the two dollar bus fare so that I could ride and asked him for a transfer so that I could get on the next bus at the terminal . I took my seat , and the bus took me to the terminal at the plaza . I got off the bus and hopped on the bus that would take me home . I handed the transfer to the driver and took my seat . As I approached my apartment , I pushed the button to request for the bus to stop . The driver pulled over , and I thanked them and got off . When I got in the apartment , I immediately jumped into my bed . I was dead-tired , and though I had the dilemma of having my keys locked in the car , I would figure that out in the morning . 
Question: Who did they go to the bus stop with?

A: Nobody
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Q: A substantial proportion of Ravel's output was vocal. His early works in that sphere include cantatas written for his unsuccessful attempts at the Prix de Rome. His other vocal music from that period shows Debussy's influence, in what Kelly describes as "a static, recitative-like vocal style", prominent piano parts and rhythmic flexibility. By 1906 Ravel was taking even further than Debussy the natural, sometimes colloquial, setting of the French language in Histoires naturelles. The same technique is highlighted in Trois poèmes de Mallarmé (1913); Debussy set two of the three poems at the same time as Ravel, and the former's word-setting is noticeably more formal than the latter's, in which syllables are often elided. In the cycles Shéhérazade and Chansons madécasses, Ravel gives vent to his taste for the exotic, even the sensual, in both the vocal line and the accompaniment.Ravel's songs often draw on vernacular styles, using elements of many folk traditions in such works as Cinq mélodies populaires grecques, Deux mélodies hébraïques and Chants populaires. Among the poets on whose lyrics he drew were Marot, Léon-Paul Fargue, Leconte de Lisle and Verlaine. For three songs dating from 1914–15, he wrote his own texts.Although Ravel wrote for mixed choirs and male solo voices, he is chiefly associated, in his songs, with the soprano and mezzo-soprano voices. Even when setting lyrics clearly narrated by a man, he often favoured a female voice, and he seems to have preferred his best-known cycle, Shéhérazade, to be sung by a woman, although a tenor voice is a permitted alternative in the score. 
Question: What is the name of the person who drew upon the lyrics of poets that included Marot, Léon-Paul Fargue, Leconte de Lisle, and Verlaine?

A: Ravel
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Q: Casey brought the truth to light about where they went last night. 
Question: How would Casey feel afterwards?

A:
honest
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