Write the right answer to the question based on the context passage.
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Question: Angela Hammerly dedicated her life to becoming District Attorney. At 42, she had never been married, or even seriously dated. All she could think about, night and day, was her ultimate goal. And her dream finally came true, thanks to the death of 74-year-old Porter Strickley.
She could not deny that she had learned the job well, working for that old pain-in-the-butt. He was 57 when she interviewed for the position of Assistant District Attorney. At the time, she thought he was 70.
Two months ago, she had become the District Attorney. She loved seeing her name on the door. And she felt a rush of adrenaline every time a judge referred to her as 'The District Attorney' in open court. The D.A.'s office would be better than ever--now that she was running the show.
There was a soft knock, and Andrea Newly opened the door just enough to peek in.
"Come in, Andrea." Angela sometimes wondered if she had made a mistake two weeks ago when she hired this timid young lady as her assistant. Angela had been impressed with her resume. But in person, Andrea was quiet, and seemed to be rather intimidated by Angela.
But Andrea was enthralled with every word Angela spoke. And the new D.A. couldn't resist the prospect of being god to her assistant. She had hired her on the spot, even though she knew Andrea would stress her patience.
But Angela was confident the 25-year-old could be molded into her mentor's image. And thereby, become a powerful force for justice in the D.A.'s office.
Andrea took a chair across from the D.A. The furniture in the District Attorney's office was similar to that found in most old government offices-largely unchanged since the 1950s. Yet the hardwood chairs and desks were of such good quality that an exact replacement would be cost prohibitive in today's market. Angela planned to upsize her diminutive desk as soon as possible, even if the money came out of her own pocket. Question: Who was 57 when she interviewed for the position of district attorney?

Answer: Porter

Question: I woke at dawn when Digger climbed over me to get out of bed, and I woke again an hour later when Pa called, "Everyone up who wants breakfast!" Across the room, Little Bit was dressing in a T-shirt and jeans that had been mine a year before. Ma had put a stack of clean clothes at the foot of the bed for me. I dressed without caring what I put on. The only important items were my cowboy boots and my Roy Rogers belt with two holsters for cap guns, even though I only had one cap gun left, and its trigger was broken.
When I used the toilet, I sat on the front edge of the seat, watching the water beneath me, and scooted off as soon as I was done. I had seen a cartoon in a book at Grandpa Abner's that showed a fish leaping out of a toilet bowl and a woman staring at it with big eyes. I thought that was funny and I knew it was impossible, but I didn't think there was any reason to take chances.
Ma called, "Little Bit has to use the bathroom."
I yelled, "I'm almost done."
Ma called, "Are you off the toilet?"
I yelled, "Yes!" Ma opened the door and brought Little Bit in. Squeezing toothpaste onto my toothbrush, I said, "I wasn't done yet."
Ma said, "Your father's making breakfast in the restaurant." That meant we should hurry, so I slid the brush over my teeth while Little Bit sat next to the sink, and then I ran out of the house.
Stepping into the sunlight was stepping into Florida. I didn't smell oranges -- Ma had explained that oranges grew further south -- but I smelled a humid pinelands that was not like the New Orleans suburb I had known. Question: Who needed to hurry in the bathroom?

Answer: The narrator and Little Bit.

Question: Bryan C. Keene and Alexandra Kaczenski of the Getty Museum's Manuscripts Department have spent the last few years preparing for an exhibition and publication titled Sacred Landscapes: Nature in Renaissance Manuscripts that aims to examine representations of "green spaces" such as gardens, vistas, and their relation to the divine.
In particular, Bryan and Alexandra focus on the ways in which artists during the European Middle Ages and Renaissance embedded the pages of illuminated manuscripts with depictions of the natural world so that nature could guide prayer, chant, and meditation.
For Bryan, this project represents a continuation of his interest in sacred gardens that began with his graduate work on the garden imagery that influenced Botticelli's Agony in the Garden painting. In 2013 he curated the exhibition and authored the accompanying book Gardens of the Renaissance.
For Alexandra, interest in this subject stems from her scholarly focus on Flemish manuscripts and their relation to Flemish landscape paintings. She brought to the project a complementary interest in issues of environmental and landscape destruction, which also were themes of the exhibition and publication.
Though floral and nature studies of the Renaissance and Early Modern periods have been extensively investigatedthe scientific notebooks of Leonardo da Vinci, for example, are well documentedthis exhibition turns its focus on landscape and the divine. Curatorial research has shed new light on subjects such as the seemingly "scattered" floral arrangements represented within the pages of these books and their relationship to humoral theory and religion. Bryan adds, "The tension that we find in these borders is, on the one hand, intricately rendered leaf and petal structures of plants or flowers, and on the other, hidden whimsical elements, all of which combine to create a rich tapestry of meaning, both symbolic and scientific. Alex and I will continue to explore the potential meaning within this botanical and arboreal chaos."
Sacred Landscapes opens on October 10, 2017, at the Getty Museum, where it complements the exhibition Giovanni Bellini: Landscapes of Faith in Renaissance Venice. The exhibition catalog is available online now. Question: Who spent the last few years preparing for an exhibition titled Sacred Landscapes?

Answer:
Bryan C. Keene and Alexandra Kaczenski