Question:
Rolfe put down the little dog he had been holding, and went out into the hall. The dog accompanied him, frisking about him in friendly fashion. Rolfe first examined the bedroom that he had seen Inspector Chippenfield enter. It was a small room, containing a double bed. It was prettily furnished in white, with white curtains, and toilet-table articles in ivory to match. A glance round the room convinced Rolfe that it was impossible for a man to secrete himself in it. The door of the wardrobe had been flung open by the inspector, and the dresses and other articles of feminine apparel it contained flung out on the floor. There was no other hiding-place possible, except beneath the bed, and the ruthless hand of the inspector had torn off the white muslin bed hangings, revealing emptiness underneath. Rolfe went out into the hall again, and entered the room next the bedroom. This apartment was apparently used as a dining-room, for it contained a large table, a few chairs, a small sideboard, a spirit-stand, a case of books and ornaments, and two small oak presses. Plainly, there was no place in it where a man could hide himself. The next room was the bathroom, which was also empty. Opposite the bathroom was a small bedroom, very barely furnished, offering no possibility of concealment. Then the passage opened into a large roomy kitchen, the full width of the rooms on both sides of the hall, and the kitchen completed the flat. After reading the above, is "It was the restroom" the correct answer to the question "What was the room next to the bedroom used for?"? OPTIONS:
- no
- yes

Answer:
no

Question:
(CNN) -- Horror-meister, Stephen King calls George Pelecanos "perhaps the greatest living American crime writer." His stories are set in Pelecanos' hometown of Washington, D.C., but this is not the side of the U.S. capitol that you see portrayed on TV with white marble monuments, lawyers and lobbyists. Pelecanos is more interested in working families struggling to get by, the racial tensions in its ethnic neighborhoods and the low-lifes on the edges. His crime-writing peers call Pelecanos the "undisputed poet" of Washington's gritty side. The best-selling and award-winning author is out this week with his 17th and latest novel, "The Cut." It's the first in a new series featuring Iraq war veteran and private investigator Spero Lucas. When he's not working for a Washington defense attorney, Lucas recovers stolen property for a 40% cut. Now, a high-profile crime boss hires Lucas to find out who's been stealing from him, and it could turn out to be Lucas' biggest payday or an untimely end. While Pelecanos made his bones in the noir tradition, there's a definite "Western" feel to "The Cut." The new novel takes place in a morally gray and often violent world. It's peppered with pitch-perfect dialogue and captures the sights, sounds and taste of Washington in rich detail. In short, Pelecanos reads like the real deal. Pelecanos knows a thing or two about capturing the authenticity of urban America with an ethnically and socially diverse cast. In addition to his success as a novelist, Pelecanos is a producer and writer for HBO's New Orleans-set, "Treme." He was previously a producer and Emmy-nominated writer on the hit series "The Wire" and the miniseries "The Pacific." Read an excerpt from "The Cut" CNN recently spoke to Pelecanos about his new novel. The following is an edited transcript. CNN: Tell me more about your new character, Spero Lucas. After reading the above, is "Washington, DC" the correct answer to the question "Pelecanos writes about working families struggling to get by, racial tensions in ethnic neighborhoods, and the low-lifes on the edges of what U.S. city?"? OPTIONS:
- no
- yes

Answer:
yes

Question:
Not until 1998 did al Qaeda undertake a major terrorist operation of its own, in large part because Bin Laden lost his base in Sudan. Ever since the Islamist regime came to power in Khartoum, the United States and other Western governments had pressed it to stop providing a haven for terrorist organizations. Other governments in the region, such as those of Egypt, Syria, Jordan, and even Libya, which were targets of some of these groups, added their own pressure. At the same time, the Sudanese regime began to change. Though Turabi had been its inspirational leader, General Omar al Bashir, president since 1989, had never been entirely under his thumb. Thus as outside pressures mounted, Bashir's supporters began to displace those of Turabi. The attempted assassination in Ethiopia of Egyptian President Hosni Mubarak in June 1995 appears to have been a tipping point. The would-be killers, who came from the Egyptian Islamic Group, had been sheltered in Sudan and helped by Bin Laden. When the Sudanese refused to hand over three individuals identified as involved in the assassination plot, the UN Security Council passed a resolution criticizing their inaction and eventually sanctioned Khartoum in April 1996. A clear signal to Bin Laden that his days in Sudan were numbered came when the government advised him that it intended to yield to Libya's demands to stop giving sanctuary to its enemies. Bin Laden had to tell the Libyans who had been part of his Islamic army that he could no longer protect them and that they had to leave the country. Outraged, several Libyan members of al Qaeda and the Islamic Army Shura renounced all connections with him. Bin Laden also began to have serious money problems. International pressure on Sudan, together with strains in the world economy, hurt Sudan's currency. Some of Bin Laden's companies ran short of funds. As Sudanese authorities became less obliging, normal costs of doing business increased. Saudi pressures on the Bin Laden family also probably took some toll. In any case, Bin Laden found it necessary both to cut back his spending and to control his outlays more closely. After reading the above, is "He organised a terroristic attach in Libyia" the correct answer to the question "Why did several Libyan members of al Qaeda renounce all connections with Bin Laden?"? OPTIONS:
- no
- yes

Answer:
no