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divisions shape the action."},{"text":"The play opens in spring 1945 in industrial Brumley.","correct":false,"explanation":"1945 is when the play was first performed, not when its events occur. The action is set in Brumley in 1912, creating dramatic irony for a post-war audience."},{"text":"The play opens in spring 1912 in industrial London.","correct":false,"explanation":"London may seem plausible because the Crofts have business connections there, but the play takes place in the fictional industrial town of Brumley in spring 1912."},{"text":"The play opens in spring 1945 in industrial Birmingham.","correct":false,"explanation":"This confuses the performance year with the setting and mistakes the fictional location for a real industrial city. Priestley sets the action in Brumley in 1912."}]},{"id":"37ee58b7-54b0-4827-a40f-e50cf2c0aafd","cardType":"basic","points":1,"front":"What event are the Birlings celebrating at the start?","back":"Sheila Birling's engagement to Gerald Croft.","mcqOptions":[{"text":"Sheila Birling's engagement to Gerald Croft.","correct":true,"explanation":"The family dinner celebrates Sheila Birling's engagement to Gerald Croft, a marriage that could also strengthen the commercial and social connection between their wealthy families."},{"text":"Eric Birling's promotion at the family firm.","correct":false,"explanation":"Eric works for his father's business, but no promotion is being celebrated. The dinner marks Sheila Birling's engagement to Gerald Croft."},{"text":"Arthur Birling's knighthood from the local council.","correct":false,"explanation":"Arthur hopes that he may receive a knighthood, but it has not yet been awarded. The immediate celebration is Sheila's engagement to Gerald Croft."},{"text":"Sybil Birling's appointment to the charity committee.","correct":false,"explanation":"Sybil already holds an influential position in a charitable organisation, so her appointment is not the occasion. The family is celebrating Sheila's engagement to Gerald."}]},{"id":"be92841f-cd89-4c61-b2b9-79d3e28aaed0","cardType":"basic","points":1,"front":"What interrupts Mr Birling's individualistic speech?","back":"A sharp doorbell.","mcqOptions":[{"text":"A sharp doorbell.","correct":true,"explanation":"The sharp doorbell announces Inspector Goole immediately after Birling promotes individualism, dramatically interrupting his speech and introducing the challenge to his selfish beliefs."},{"text":"A sharp telephone.","correct":false,"explanation":"The telephone becomes important at the play's ending, which makes it a tempting confusion. Birling's speech is interrupted by the sharp ringing of the doorbell."},{"text":"A sharp knock.","correct":false,"explanation":"Although the Inspector is arriving at the house, Priestley's stage direction specifies a sharp doorbell rather than a knock, making the interruption sudden and theatrical."},{"text":"A sharp dinner gong.","correct":false,"explanation":"The family is dining, so a gong may sound plausible, but no dinner signal interrupts Birling. A sharp doorbell announces the Inspector's arrival."}]},{"id":"50418023-cf6c-4739-86c9-e4a92b953692","cardType":"basic","points":1,"front":"What death is Inspector Goole investigating?","back":"Eva Smith's suicide after drinking disinfectant.","mcqOptions":[{"text":"Eva Smith's suicide after drinking disinfectant.","correct":true,"explanation":"Inspector Goole investigates Eva Smith's suicide after she swallowed disinfectant. He reveals how each character's selfish actions contributed to her suffering and death."},{"text":"Eva Smith's murder after being strangled.","correct":false,"explanation":"Eva is not murdered by a direct physical attacker. She dies by suicide after drinking disinfectant, although the Inspector argues that the Birlings collectively helped destroy her."},{"text":"Eva Smith's accident after falling downstairs.","correct":false,"explanation":"No fatal fall occurs in Eva's story. The Inspector is investigating her suicide after she drank disinfectant, linking her death to the family's treatment of her."},{"text":"Eva Smith's illness after catching pneumonia.","correct":false,"explanation":"Poverty and illness are relevant social dangers, but Eva does not die from disease. She takes her own life by swallowing disinfectant after becoming desperate."}]},{"id":"d568aadf-6de3-407b-a61a-fa7818b03ee4","cardType":"basic","points":1,"front":"Why did Arthur Birling sack Eva Smith?","back":"She led a strike for a small wage rise.","mcqOptions":[{"text":"She led a strike for a small wage rise.","correct":true,"explanation":"Eva helped organise a strike demanding a modest wage increase. Birling dismissed her as a supposed troublemaker, demonstrating his hostility towards workers who challenge his authority."},{"text":"She stole some money from the factory office.","correct":false,"explanation":"Birling does not accuse Eva of theft. He sacks her for leading workers in a strike for a small wage rise, revealing his harsh capitalist priorities."},{"text":"She insulted a customer during a factory visit.","correct":false,"explanation":"This confuses Eva's factory employment with her later shop work at Milwards. Birling dismisses her because she led a strike seeking slightly higher wages."},{"text":"She refused a promotion at the family factory.","correct":false,"explanation":"Eva is not offered a promotion by Birling. She is dismissed after leading a strike for a small wage increase on behalf of the factory workers."}]},{"id":"9e826815-cc13-4164-8870-461643aedc63","cardType":"basic","points":2,"front":"What does Sheila confess about Milwards?","back":"She got Eva fired through petty jealousy.","mcqOptions":[{"text":"She got Eva fired through petty jealousy.","correct":true,"explanation":"Sheila admits using her family's influence to have Eva dismissed from Milwards because jealousy and wounded pride made her react vindictively to Eva's appearance."},{"text":"She accused Eva of theft through genuine suspicion.","correct":false,"explanation":"Sheila does not genuinely believe Eva has stolen anything. She uses her influence to get Eva fired because she feels jealous and humiliated in the shop."},{"text":"She gave Eva a job through family influence.","correct":false,"explanation":"Sheila uses her social power against Eva rather than helping her. She threatens to close the family account unless Milwards dismisses Eva, motivated by petty jealousy."},{"text":"She got Eva promoted through guilty sympathy.","correct":false,"explanation":"Eva receives no promotion at Milwards. Sheila instead causes her dismissal after becoming jealous of how attractive Eva looks when holding up a dress."}]},{"id":"35f33b47-fcbf-4219-9dfb-0081bc7db281","cardType":"basic","points":1,"front":"What name triggers Gerald's guilty reaction?","back":"Daisy Renton.","mcqOptions":[{"text":"Daisy Renton.","correct":true,"explanation":"Gerald reacts guiltily when the Inspector mentions Daisy Renton, the name Eva used when Gerald met her and began an affair with her."},{"text":"Eva Smith.","correct":false,"explanation":"Eva Smith is her original name, but Gerald's revealing reaction comes when the Inspector mentions Daisy Renton, the identity under which Gerald knew her."},{"text":"Daisy Smith.","correct":false,"explanation":"This incorrectly combines Eva's surname with her later first name. The name that exposes Gerald's connection to the young woman is Daisy Renton."},{"text":"Millie Renton.","correct":false,"explanation":"The surname is correct, but the first name is not. Gerald recognises Daisy Renton as the young woman he met at the Palace bar."}]},{"id":"53aa19d6-0727-4092-a001-e1afb823c7a2","cardType":"cloze","points":null,"front":"Act Two begins [ ], preserving [ ].","back":"Act Two begins immediately after Act One, preserving continuous dramatic time.","mcqOptions":[{"text":"Act Two begins immediately after Act One, preserving continuous dramatic time.","correct":true,"explanation":"Act Two resumes at the exact point where Act One ended, so the investigation unfolds without an interval and maintains continuous dramatic time."},{"text":"Act Two begins one week after Act One, preserving continuous dramatic time.","correct":false,"explanation":"A one-week gap would break the play's continuous dramatic time. Act Two begins immediately after Act One, keeping the Inspector's interrogation unbroken."},{"text":"Act Two begins immediately after Act One, preserving a fragmented chronology.","correct":false,"explanation":"Beginning immediately after the previous act creates continuity rather than fragmentation. Priestley preserves continuous dramatic time as the interrogation proceeds through the same evening."},{"text":"Act Two begins the following morning, preserving a compressed narrative timescale.","correct":false,"explanation":"The action does not move to the following morning or introduce a time gap. Act Two follows Act One immediately, preserving continuous dramatic time."}]},{"id":"d06dc631-834d-4aff-95b9-40343cfee9fc","cardType":"basic","points":1,"front":"What relationship does Gerald admit having with Daisy Renton?","back":"A summer affair.","mcqOptions":[{"text":"A summer affair.","correct":true,"explanation":"Gerald admits that Daisy became his mistress during the previous summer. Their relationship ended when he left for several weeks and provided her with money."},{"text":"A business arrangement.","correct":false,"explanation":"Gerald initially helped Daisy by giving her accommodation, but their relationship became romantic and sexual. He admits that they had a summer affair."},{"text":"A secret engagement.","correct":false,"explanation":"Gerald never became engaged to Daisy; he is engaged to Sheila. He confesses that his relationship with Daisy was a summer affair."},{"text":"A brief friendship.","correct":false,"explanation":"Describing the relationship as friendship understates Gerald’s confession that Daisy became his mistress. He admits to having a summer affair with her."}]},{"id":"0ce2afcc-3c9d-47d6-9be8-fb56f0ad9c7f","cardType":"basic","points":1,"front":"What does Sheila return after Gerald's confession?","back":"Her engagement ring.","mcqOptions":[{"text":"Her engagement ring.","correct":true,"explanation":"Sheila returns her engagement ring because Gerald’s confession has damaged her trust in him. She suggests that their relationship cannot simply continue unchanged."},{"text":"Her evening dress.","correct":false,"explanation":"Sheila’s dress is not a symbol of her commitment to Gerald. She returns her engagement ring after learning about his affair with Daisy Renton."},{"text":"Her family necklace.","correct":false,"explanation":"No family necklace is exchanged during Gerald’s confession. Sheila returns her engagement ring, signalling uncertainty about their future together."},{"text":"Her birthday bracelet.","correct":false,"explanation":"The returned object is not a birthday gift or bracelet. Sheila gives back her engagement ring because Gerald’s affair has undermined their engagement."}]},{"id":"c3af35ea-595c-4250-8469-30b7b10e0d4f","cardType":"basic","points":1,"front":"What help did Mrs Birling refuse Eva?","back":"Financial support from the charity.","mcqOptions":[{"text":"Financial support from the charity.","correct":true,"explanation":"Eva, calling herself Mrs Birling, applied to Mrs Birling’s charitable committee for financial help. Mrs Birling used her influence to have the request refused."},{"text":"Medical treatment from the charity.","correct":false,"explanation":"Eva did not approach the committee to obtain medical care. She requested financial support, which Mrs Birling persuaded the charity to deny."},{"text":"Legal advice from the charity.","correct":false,"explanation":"The charity was not asked to provide Eva with legal representation or advice. Eva sought financial support while pregnant and destitute."},{"text":"Temporary employment from the charity.","correct":false,"explanation":"Confusing the charity with Birling’s factory leads to this error. Eva approached Mrs Birling’s committee for financial support, not employment."}]},{"id":"fa21fdef-aa54-4fba-b0e5-38a430f2c527","cardType":"cloze","points":null,"front":"Mrs Birling blames the [ ], not realising he is [ ].","back":"Mrs Birling blames the father of the unborn child, not realising he is Eric.","mcqOptions":[{"text":"Mrs Birling blames the father of the unborn child, not realising he is Eric.","correct":true,"explanation":"Mrs Birling insists that the unborn child’s father should accept responsibility. The dramatic irony is that this man is her own son, Eric."},{"text":"Mrs Birling blames the father of the unborn child, not realising he is Gerald.","correct":false,"explanation":"Gerald had an affair with Eva earlier, but he is not the father of her unborn child. Mrs Birling unknowingly condemns her own son, Eric."},{"text":"Mrs Birling blames the mother of the unborn child, not realising he is Eric.","correct":false,"explanation":"Mrs Birling is harsh towards Eva, but her explicit demand is that the child’s father take responsibility. The father is revealed to be Eric."},{"text":"Mrs Birling blames the Inspector investigating the family, not realising he is Mr Birling.","correct":false,"explanation":"Mrs Birling does not identify the Inspector as responsible for Eva’s pregnancy. She blames the unborn child’s father, unaware that he is Eric."}]},{"id":"9a53f7c4-5e50-4eef-b369-cdf7d30ff0e4","cardType":"basic","points":1,"front":"How much money does Eric steal from his father's office?","back":"£50.","mcqOptions":[{"text":"£50.","correct":true,"explanation":"Eric admits stealing about £50 from his father’s office to support Eva. This was a substantial sum in 1912 and exposes his desperation and dishonesty."},{"text":"£5.","correct":false,"explanation":"This understates the amount by a factor of ten, making Eric’s theft seem much less serious. He admits taking about £50 from his father’s office."},{"text":"£100.","correct":false,"explanation":"This doubles the stated amount, perhaps through exaggerating the scale of Eric’s crime. The sum he admits stealing is approximately £50."},{"text":"£500.","correct":false,"explanation":"This adds an extra zero and greatly exaggerates Eric’s theft. He took about £50 from his father’s office to give to Eva."}]},{"id":"ed740b92-4703-44f8-9072-0a0d9689810e","cardType":"basic","points":1,"front":"Why does Eva refuse Eric's money?","back":"She realises it was stolen.","mcqOptions":[{"text":"She realises it was stolen.","correct":true,"explanation":"Eva stops accepting Eric’s money when she discovers that he has stolen it from his father’s business, showing her moral integrity despite her poverty."},{"text":"She realises it was borrowed.","correct":false,"explanation":"Eric did not obtain the money through an agreed loan that he intended to repay. Eva refuses it after discovering that it was stolen."},{"text":"She realises it was gifted.","correct":false,"explanation":"Eva had previously accepted money from Eric, so its being a gift was not the problem. She refuses it when she realises it was stolen."},{"text":"She realises it was earned.","correct":false,"explanation":"The money was not Eric’s legitimate pay or income. Eva recognises that he stole it from his father’s office and therefore refuses further help."}]},{"id":"b661c6fc-b360-4c6f-8702-1ba175eb7980","cardType":"cloze","points":null,"front":"The Inspector warns: “We don't live alone. We are members of [ ]. We are responsible for [ ].”","back":"The Inspector warns: “We don't live alone. We are members of one body. We are responsible for each other.”","mcqOptions":[{"text":"The Inspector warns: “We don't live alone. We are members of one body. We are responsible for each other.”","correct":true,"explanation":"The Inspector’s final speech presents society as one interconnected body. Its members therefore have a collective moral responsibility to care for one another."},{"text":"The Inspector warns: “We don't live alone. We are members of one body. We are responsible for ourselves.”","correct":false,"explanation":"Responsibility for ourselves reflects Mr Birling’s individualism, not the Inspector’s message. The Inspector says that members of one body are responsible for each other."},{"text":"The Inspector warns: “We don't live alone. We are members of one family. We are responsible for each other.”","correct":false,"explanation":"Although the Inspector promotes mutual care, the quotation uses the metaphor of one body, not one family. This emphasises society’s interdependence."},{"text":"The Inspector warns: “We don't live alone. We are members of one nation. We are responsible for our families.”","correct":false,"explanation":"The Inspector’s message extends beyond national or family loyalty. He describes humanity as one body whose members are responsible for each other."}]},{"id":"576c62c0-f274-4e87-92b9-7b3a7217bc21","cardType":"cloze","points":null,"front":"The possible hoax rests on two checks: no [ ] on the force and no [ ] reported that day.","back":"The possible hoax rests on two checks: no Inspector Goole on the force and no suicide reported that day.","mcqOptions":[{"text":"The possible hoax rests on two checks: no Inspector Goole on the force and no suicide reported that day.","correct":true,"explanation":"Gerald and Mr Birling discover that the local police employ no Inspector Goole and that the infirmary has received no recent suicide case."},{"text":"The possible hoax rests on two checks: no Inspector Smith on the force and no suicide reported that day.","correct":false,"explanation":"The family checks whether Inspector Goole exists, not an Inspector Smith. The police deny knowing Goole, while the infirmary reports no suicide that day."},{"text":"The possible hoax rests on two checks: no Inspector Goole on the force and no arrest reported that day.","correct":false,"explanation":"The second check concerns whether a suicide victim reached the infirmary, not whether anyone was arrested. No suicide had been reported that day."},{"text":"The possible hoax rests on two checks: no Sergeant Goole on the force and no murder reported that day.","correct":false,"explanation":"Goole presents himself as an Inspector, and Eva’s supposed death is described as suicide rather than murder. Both checks initially suggest a possible hoax."}]},{"id":"30c8c14c-1736-4425-ba4e-ba117add3fb0","cardType":"basic","points":3,"front":"How does the hoax reveal a generational divide?","back":"

Mr and Mrs Birling/Gerald: relieved, dismiss it.
Sheila and Eric: shaken, accept guilt remains.

","mcqOptions":[{"text":"

Mr and Mrs Birling/Gerald: relieved, dismiss it.
Sheila and Eric: shaken, accept guilt remains.

","correct":true,"explanation":"The older characters treat the apparent hoax as an escape from consequences, whereas Sheila and Eric understand that their harmful actions and moral responsibility remain unchanged."},{"text":"

Mr and Mrs Birling/Gerald: shaken, accept guilt remains.
Sheila and Eric: relieved, dismiss it.

","correct":false,"explanation":"This reverses the generations’ reactions. Mr and Mrs Birling and Gerald dismiss the evening once they suspect a hoax, while Sheila and Eric remain disturbed and accept their guilt."},{"text":"

Mr Birling and Eric: relieved, dismiss it.
Mrs Birling and Sheila: shaken, accept guilt remains.

","correct":false,"explanation":"This incorrectly divides the characters by gender and family role. The real divide is generational: the older Birlings and Gerald dismiss the lesson, while Sheila and Eric accept it."},{"text":"

Mr and Mrs Birling/Gerald: ashamed, confess publicly.
Sheila and Eric: unmoved, reject all blame.

","correct":false,"explanation":"Neither response matches the ending. The older characters feel relieved and dismiss the hoax, while Sheila and Eric are shaken because they recognise that their guilt still remains."}]},{"id":"80085a19-1e7a-4d08-a766-37ed59f59a2b","cardType":"cloze","points":null,"front":"The final phone call reports a girl has died after swallowing [ ] and a [ ] is coming.","back":"The final phone call reports a girl has died after swallowing disinfectant and a police inspector is coming.","mcqOptions":[{"text":"The final phone call reports a girl has died after swallowing disinfectant and a police inspector is coming.","correct":true,"explanation":"The call confirms that a girl has died from swallowing disinfectant and that a real police inspector is on the way, turning the earlier interrogation into a warning."},{"text":"The final phone call reports a girl has died after swallowing cyanide and a police inspector is coming.","correct":false,"explanation":"Cyanide is a mistaken substitution for the specific poison in the play. The caller reports that the girl swallowed disinfectant and that a police inspector is coming."},{"text":"The final phone call reports a girl has died after swallowing disinfectant and a medical examiner is coming.","correct":false,"explanation":"A medical examiner is not announced in the final call. The message states that the girl swallowed disinfectant and that a police inspector is coming to question the family."},{"text":"The final phone call reports a girl has died after swallowing sleeping pills and a newspaper reporter is coming.","correct":false,"explanation":"This replaces both crucial details with invented ones. The girl has died after swallowing disinfectant, and a police inspector is coming, signalling that the interrogation will occur again."}]},{"id":"52253522-4d13-473d-93b5-969049e14ee4","cardType":"basic","points":1,"front":"Which structural genre does Priestley adapt?","back":"The well-made play.","mcqOptions":[{"text":"The well-made play.","correct":true,"explanation":"Priestley adapts the well-made play, using carefully revealed secrets, connected events and mounting tension before subverting its conventional restoration of social stability."},{"text":"The revenge tragedy.","correct":false,"explanation":"Revenge tragedy centres on retaliation, violence and a protagonist pursuing vengeance, which does not structure this play. Priestley instead adapts the tightly constructed well-made play."},{"text":"The kitchen-sink drama.","correct":false,"explanation":"Kitchen-sink drama is associated with later realistic depictions of working-class domestic life. Priestley’s investigation structure instead adapts the well-made play and its gradual revelations."},{"text":"The theatre of the absurd.","correct":false,"explanation":"Theatre of the absurd typically rejects logical plotting and stable meaning. Priestley uses a highly controlled chain of revelations derived from the well-made play instead."}]},{"id":"e89efdfb-78b4-4d50-a9f7-41c9eed6b0f3","cardType":"basic","points":2,"front":"How does Priestley overturn the well-made play's normal resolution?","back":"He shatters social order instead of restoring capitalist comfort.","mcqOptions":[{"text":"He shatters social order instead of restoring capitalist comfort.","correct":true,"explanation":"A conventional well-made play restores stability after its complications, but Priestley ends with renewed crisis, exposing the fragility and moral failure of the Birlings’ capitalist world."},{"text":"He restores social order by confirming capitalist comfort.","correct":false,"explanation":"Restoring order would follow the genre’s normal resolution rather than overturn it. Priestley shatters social order through the final call, denying the family lasting capitalist comfort."},{"text":"He rewards social status instead of challenging capitalist power.","correct":false,"explanation":"The ending does not securely reward the Birlings’ status. The final phone call shatters their restored confidence and ensures that their capitalist complacency is challenged again."},{"text":"He resolves family conflict by preserving capitalist security.","correct":false,"explanation":"The family conflict remains unresolved, particularly between the generations. Priestley’s final twist shatters social order rather than preserving the security expected in a conventional well-made play."}]},{"id":"cef86def-10c2-4789-b588-631753c03bf1","cardType":"basic","points":2,"front":"What does the Inspector's one line at a time inquiry create?","back":"A chain of events linking wealthy actions to working-class lives.","mcqOptions":[{"text":"A chain of events linking wealthy actions to working-class lives.","correct":true,"explanation":"The Inspector reveals each contribution separately, constructing a chain in which the privileged characters’ apparently individual choices combine to destroy a vulnerable working-class woman."},{"text":"A series of accidents separating wealthy actions from working-class lives.","correct":false,"explanation":"Calling the events accidents removes the responsibility Priestley emphasises. The Inspector constructs a chain of events showing how wealthy people’s deliberate actions affect working-class lives."},{"text":"A set of contrasts proving wealthy actions protect working-class lives.","correct":false,"explanation":"The inquiry does not show that privilege protects workers. Each revelation adds another link in a chain demonstrating how wealthy actions harmed Eva Smith’s working-class life."},{"text":"A collection of secrets hiding wealthy actions from working-class lives.","correct":false,"explanation":"Although secrets are exposed, their structural purpose is not continued concealment. The one-line-at-a-time method creates a chain of events linking privileged behaviour to working-class suffering."}]},{"id":"053ff5b8-95d1-4b3a-aac9-6806593c458c","cardType":"basic","points":3,"front":"What dialogue contrast builds tension before Eric enters?","back":"

Mrs Birling: long, self-righteous declarations.
Sheila: short, panicked interruptions.

","mcqOptions":[{"text":"

Mrs Birling: long, self-righteous declarations.
Sheila: short, panicked interruptions.

","correct":true,"explanation":"Mrs Birling’s lengthy, confident declarations display her complacency, while Sheila’s brief interruptions signal alarm because she anticipates that Eric will be exposed next."},{"text":"

Mrs Birling: short, panicked interruptions.
Sheila: long, self-righteous declarations.

","correct":false,"explanation":"This reverses the speakers’ dialogue styles. Mrs Birling dominates with long, self-righteous declarations, while Sheila’s short, panicked interruptions reveal her growing fear about Eric."},{"text":"

Mrs Birling: brief, apologetic admissions.
Sheila: long, confident reassurances.

","correct":false,"explanation":"Mrs Birling neither apologises nor admits fault, and Sheila is not reassuring. Mrs Birling speaks in long, self-righteous declarations while Sheila interrupts briefly and anxiously."},{"text":"

Mrs Birling: short, hesitant questions.
Sheila: long, cheerful explanations.

","correct":false,"explanation":"These invented tones remove the scene’s tension. Mrs Birling makes long, self-righteous declarations, while Sheila’s short, panicked interruptions suggest she understands the danger before Eric enters."}]},{"id":"18d584c1-6685-4ef2-8608-68c55e74ffb6","cardType":"basic","points":2,"front":"What does the final phone call suggest about the family's second chance?","back":"They lost it; the interrogation will happen again.","mcqOptions":[{"text":"They lost it; the interrogation will happen again.","correct":true,"explanation":"The family wastes its opportunity to accept responsibility after believing the Inspector was a hoax. The final call announces a real investigation, so the interrogation will recur."},{"text":"They earned it; the interrogation has ended permanently.","correct":false,"explanation":"The final call proves that the family has not escaped permanently. By dismissing the moral lesson, they lose their second chance and face another interrogation."},{"text":"They accepted it; the interrogation is no longer necessary.","correct":false,"explanation":"Only Sheila and Eric accept the lesson, while the older characters return to complacency. Consequently, the final call shows that the family loses its chance and will be interrogated again."},{"text":"They postponed it; the interrogation may never take place.","correct":false,"explanation":"The call does not leave the investigation uncertain: a girl has died and an inspector is coming. The family has lost its second chance, and another interrogation is imminent."}]}]}],"examCountdown":{"examDate":"2027-05-12","paperLabel":"Paper 1"},"heading":"Plot Summary","title":"Plot Summary Flashcards","topbar":{"backHref":"/gcse/english-literature/aqa/flashcards"},"topicSidebar":"$L37"}]}],"topicId":"979a6231-9418-50ff-8a40-9e3c2db4e429","walled":"$L38"}],"$L39","$L3a"]