Question: Read the following context and answer the question. Context: Hello I have been chased by a couple of angry dogs. I was visiting one of my clients, when, suddenly, out of the bushes, two snarling dogs attacked me. They weren't necessarily mad, as in crazy, but they were very angry. They were large dogs, and they attacked my legs, knocking me down. I knew it was very dangerous to be down on the ground, as I was most vulnerable. I covered my genitalia, my neck and my face, as I struggled to regain my feet. Fortunately, during my fall, I saw a large tree branch on the ground near me. I grabbed it, and starting beating the dogs with it. I managed to land a few good hits. As I was hitting the dogs, their owner (my client) came outside, stood on her porch and laughed at me. When she saw me hitting her dogs with a stick, she called the dogs off of me. I asked her why her dogs attacked me, and why she laughed at me. She said that she had just given her dogs a big steak bone and they were upset when I came near and attacked me. I asked her why she would set me up in this way when she knew I was on the way over. She admitted that she wanted to see what happened, and she said that when she saw what happened she thought that it was funny. I did not keep the appointment with her. My trousers were torn, and my ankles, legs, and hands were bleeding. I told her that I would not be back, and left. Later that night, her husband called to apologize on her behalf. I told him that I appreciated the call, but he wasn't the one who needed to apologize. Peace Question: What is probably true about the client? Answer:
OPTIONS:
- The client is cruel.
- not enough information
- The client feels remorse.
- The client is having a bad day.
Answer: The client is cruel.

input with options: Read the following context and answer the question. Context: Paul knew that the plan was insane and probably illegal. Certainly the stuff he'd been helping Chloe and her gang of followers do for the last few hours was technically illegal. He'd asked them why they were helping him, what did they hope to gain? They'd told him that this is what they did for fun. Chloe assured him that they "lived for this kinda shit." Ok, fine. He could sort of see that. Once he was there, helping them come up with the plan and then actually carrying it out, it sure as hell was exciting - probably the most exciting thing he'd ever done. Now that he was home and alone with his misgivings and paranoia, it all seemed like a really stupid idea. If it weren't for Chloe and her mesmerizing enthusiasm, there's no doubt that he wouldn't be doing this at all. But it was too late now. Or was it? It was five in the morning when Paul got back to his apartment. He'd told Chloe that he wanted to get a few hours sleep before the big meeting, but he now realized that there was no way he was going to be able to relax. When he'd stepped out the door twenty-two hours earlier he'd still had his job and was looking forward to a showing the rest of the art team his new designs for some of the higher-level monsters he wanted to add to the game. Screw that, he thought, they're my monsters now. I'll use them somewhere else. It could never work. How could it? Right then and there Paul decided that he was going to call the whole thing off. It wasn't too late. They hadn't done anything yet that wasn't reversible. No one had been hurt. No money had changed hands. No one had been lied to. If he called it off right now he could just move on and try and put the whole, sorry state of affairs behind him. Question: What did Paul believe it wasn't too late for? Answer:
OPTIONS:
- To talk to Chloe.
- To get his job back.
- To call the whole thing off.
- not enough information
output: To call the whole thing off.

Q: Read the following context and answer the question. Context: One of the more surprising objects in the Getty Villa's newly reinstalled gallery of later Roman sculpture is a marble bust of a youth leaning out of a circular frame, mounted high on the gallery wall. J. Paul Getty originally acquired this particular sculpture in 1973, but it has been off view for many years. The recent reinstallation of the Getty Museum's antiquities collection at the Villa provided the opportunity to resurrect many such objects from storage and put them on display. Bringing this strange object back to the public eye enabled us to askand answerseveral questions about it. Whoif anyonedoes it represent? When was it carved? Where was it made, and how did it end up in Los Angeles? In preparation for its display, we researched and reinterpreted the object, exploring both its ancient function and modern history. In its new display, this object is fittingly surrounded by other examples of late Roman sculpture from the third and fourth centuries. Its inclusion in this gallery was not always a given, however, as the figure was long misidentified as a portrait of young Caracalla, who at ten years old became joint emperor with his father in A.D. 198.(1) But recent scholarship questioned the Caracalla identification and the object's date, suggesting it was carved at least a hundred years later.(2) In light of this research, curator Jens Daehner pushed to reexamine the sculpture and consider including it in the reinstallation. In early 2015, the Antiquities Department brought this tondo and many other potential objects for the new galleries out of storage for viewing, providing curators, conservators, mount makers, preps, and registrars a chance to approve and prepare artworks for possible display. After the storage viewing and subsequent research, we updated the object record to conform with what scholars had suggested: this is not a second-century portrait of Caracalla but a fourth-century bust of a youth or divinity. To answer our next question of who the tondo represents, we then had to take a... Question: What is the likely reason Getty kept the sculpture hidden? Answer:

OPTIONS:
- to research the artist
- to make it more profitable
- to view in private
- not enough information

A:
to view in private