Porky is looking all over the big city for a hotel room , but due to a convention there are no vacancies . Porky takes the only available vacancy at one hotel , but will have to share with Daffy Duck , who is a very loud , obnoxious and annoying sort . Daffy introduces his invisible kangaroo friend '' Hymie '' , but Porky wo n't believe that . Daffy spends the rest of the night annoying Porky : pestering him with questions , shaking the bed , spilling water from a glass , hogging the blanket and finally literally sending the both of them flying off the bed when Daffy kicks , and startles , Porky with his literally frozen feet . Fed up with his antics , Porky stuffs Daffy in a pillow case and drops him out of the window . As Porky goes back to bed , Daffy returns bandaged , but shakes them off and prepares to get revenge . Daffy tricks the half-asleep pig into stepping out of a window thinking he 's boarding a train . Daffy hides the window saying it 's '' too gruesome '' to watch . Suddenly he hears train noises , and behind the shade , sees the still-drowsy Porky pulling away on an actual train and waving at Daffy . Daffy finds this silly . Then he bounces all around the room , '' Hoo-Hoo ! '' - ing wildly .
What question would one ask from this paragraph?
Answer: Who hears the train noises

The old vaulted church was stripped down: there was no cloth on the altar, just a DJ's toolkit and his beer. Through the dark, I could see three bolts left in the wall from where they'd taken down the crucifix. A confessional too beaten-up to have been sold was shaking in a way that suggested activity inside, and where the pews had been taken out, a couple hundred people were testifying to the DJ's moving sermon. Rachel stepped forward into the crowd while I took a moment to drink in the ceiling's blue-lit, shadowed vault and the light-catching haze from who-knows-what rising between the DJ and the crowd. There was a terrific echo, each beat reverberating inside of the next, and the old stained-glass windows rattled in their frames. On the dance floor, people moved with their eyes closed and their hands in the air. I danced with Rachel for a while, but then something by the bar seemed to be pulling her eyes. She told me that she was heading for a drink and slipped out of the crowd. When she hadn't come back halfway through the next song, I glanced over at the bar. It was just a little set-up where someone had stacked a few crates and brought something alcoholic to share, mostly beer. Rachel was standing with a plastic cup, looking like she was having a conversation, but I couldn't see anyone else there. The next time the crowd split, I saw him. He stood in front of a blue light, so I couldn't see him clearly, but what I saw was memorable. He wore a jacket of what might have been blue velvet, and his hair gleamed black against his white skin. The blue haze seemed to stop just shy of his pallor, setting off his striking face without illuminating its details, and his wrists flashed white in the darkness. He didn't move, just stared and held his drink. The next time I saw them, his mouth was moving. She nodded and he took her arm. I watched them through the crush of dancers as they squeezed along the wall, and the feeling came to me that something was very wrong. Saturday morning, I woke up and saw that she still hadn't come home.
What question would one ask from this paragraph?
Answer: What two images of color are used in this passage?

A married couple and their three young adult children , a son and two daughters , live in a large compound with a garden and a swimming pool . A tall fence surrounds the property and the children have never been on the other side of it , for their parents have kept them unaware of the outside world , even of the existence of the telephone . They are taught different meanings for everyday words . For example , they are told that a '' zombie '' is '' a small yellow flower , '' and that '' sea '' is a chair . The parents promise that each child will be ready to venture outside the compound once she or he has lost a dogtooth . Although the children are told they have a brother just on the other side of the barrier , he never appears . The only non-family member to come into the house is Christina , a young woman who works as a security guard at the father's factory . She is driven by the father to the compound traveling both ways blindfolded where she performs sexual favors for the son . Dissatisfied with his preference for intercourse , Christina seeks oral sex from the elder daughter in exchange for a headband. The elder daughter obliges but does not recognize the significance of performing cunnilingus . Later , she gives the headband to her younger sister , in exchange for being licked on the shoulder , Which is marked by an unexplained scar . The parents have tricked the children into believing that overhead planes are merely toys . They allow the children to search for toy planes that they have planted on the grounds , and the child that finds the toy owns it .
What question would one ask from this paragraph?
Answer: What are some of the things the children are taught?

"Femme" is an apt description of the depiction of Madame White Snake and all her incarnations. It refers to a woman who is dangerously attractive, and lures men to their downfall with her sexual attractiveness. In both incarnations of Madame White snake, the authors depict her as bewitchingly beautiful. Toyoo, her human lover in "Lust of the White Serpant" cannot shake the image of her beauty from his mind and dreams of her, and finds himself "disturbed and agitated" by her "ethereal beauty". In "Eternal Prisoner," Madame White Snake's bewitching beauty follows her lover Hsu into his dreams, and the next morning "he was so distracted that he could not concentrate on doing business." Both of these stories align negative connotations with her beauty, suggesting that her sexuality is the cause of their distraction. In addition to distracting sexuality, the irregular characterization of Madame White Snake might be another trait her character has in common with the archetypical noir femme fatale. In her essay analyzing the noir film from a feminist perspective, Christine Gledhill writes "Not only is the hero frequently not sure whether the woman is honest or a deceiver, but the heroine's characterisation is itself fractured so that it is not evident to the audience whether she fills the [femme fatale] stereotype or not".
What question would one ask from this paragraph?
Answer:
In this passage, "Femme" is referring to what kind of woman?