Question: I was about 14 and lived near a large tract of undeveloped land where people would go and park to fool around. There was a dirt road through the tract, but further down, it crossed two huge concrete pipes. The dirt was washed out between them, and the deep gulch made it impossible to cross in a car. Sometimes, eight or ten of us would go looking for parked cars. If we found one or more, we would go move this incredibly heavy stump onto the road and lay a telephone pole across it. It took all of us and it was incredibly heavy. It was impossible to drive around it because of the ditches and there was no way two or three people could move it. We'd go back to the car and set off a big string of fire crackers or shake the cat and slap on it and run like crazy. We'd watch from the woods as they drove like heck and come to a screeching stop at our roadblock. The guy would get out and try to lift the pole. Never happen. Then the car would drive the other way. That wouldn't happen because of the pipes. We'd go home leaving them in there. This was before cell phones, and it was miles to a pay phone. We'd go back the next day and find the stump and pole moved. We thought it was real funny until one night we set it up and beat on the trunk of a car. A couple was inside, getting it on. We hadn't noticed a guy sitting on the hood with a bottle of booze and a pistol. As we ran, he was shooting and we could hear bullets going through the underbrush. No one was hit, thank goodness. That was the end of that stunt. According to the above context, answer the following question. Who shot the gun?
OPTIONS:
- the man who was doing a prank
- The man who the pranksters knocked on his trunk
- not enough information
- the man who was riding a bike
Answer: The man who the pranksters knocked on his trunk

Question: I have been the brunt of cruelty from a doctor a number of times but I will relate one that has always stayed with me since I was a child. I was approximately 8 years and it happened to be summer. Baseball was a true love and my brothers and friends played daily. In the summer, all we wore were cut off jeans and nothing else. I had stepped on a rusty nail and it became infected. Time for a Tetanus shot! This was a typical occurrence for us during the summer. There was only one doctor within a one hundred square mile area and his name was Doctor Brandenbury. He was a very unpleasant, elderly man that my brothers and I did not care for since he was just a mean, old bastard. So I am shuffled off to his office and of course after hearing what had a occurred and examining my foot agreed I needed the Tetanus shot. I make a very innocent request as he is about to give me the shot. Since I knew the shot would stiffen my arm and essentially cause pain I would take it in my left arm so my throwing arm would not be affected. I tried to request this from the doctor but he did not wish to hear anything from me. He said "I don't give a fuck what arm you get it in." He grabbed me roughly by the right arm and used the needle like a dart and just slammed it into my arm. I had never had a problem with shots before but that REALLY hurt. I started crying. He instructed my mother "To get me the Hell out of his office." Needless to say my mother never took any of us to see this old, miserable bastard again. She found another doctor that actually treated us like we were human. According to the above context, answer the following question. how long did the doctor's visit take?
OPTIONS:
- 2 minutes
- 10 minutes
- not enough information
- 5 minutes
Answer: 10 minutes

Question: The Getty Villa is a museum unlike any in the world. It offers an experience of ancient Greek and Roman art in a setting that replicates that in which it would originally have been displayed, a Roman villa of the first century AD. On April 18, after three years of work, the galleries of the Villa reopen with an entirely new arrangement of the collection, one that situates art in its cultural and historical context. Since 2006, when the Getty Villa opened as a museum dedicated to the cultures of the ancient Mediterranean, the collection has been presented along thematic lines, with galleries dedicated to subjects such as ancient theater, athletes and competition, and gods and goddesses. This approach was useful in illuminating social life in the ancient classical world, but it prioritized objects' subject matter over their stature as works of art and removed them from their broader artistic and cultural context. Reenvisioning how the antiquities were displayed at the Villa was one of my top priorities when I joined the J. Paul Getty Museum as director in 2012. As a specialist in ancient art, my priority is to help visitors to see these great treasures as beautiful and fascinating works of art, and sparking their curiosity to understand them in the context of their place in human culture. Starting April 18 our Villa galleries offer a new journey through ancient Greek, Roman, and Etruscan art. The visitor's path begins on the first-floor rooms devoted to Neolithic and Bronze Age (Cycladic, Minoan, and Mycenaean) Greek art. The journey continues through the Archaic, Classical, and Hellenistic periods, when the Greeks developed the first fully naturalistic vision of the human figure. And it culminates in the dramatic skylit halls of ancient Roman sculpture. In all there are 33 spaces on two floors, with 3,000 more square feet of gallery space than before. The visitor's path winds through the galleries, gardens, and fountains, offering views onto the spectacular landscape and Pacific Ocean. According to the above context, answer the following question. After the story the writer probably:
OPTIONS:
- dedicated new gallery subjects
- relaxeed by the ocean
- not enough information
- had a long career at the Villa
Answer:
had a long career at the Villa