[Q]: What is the full name of the person who feels that there is more to the story than police evidence?  Answer the above question based on the context below:  Phillip Bellamy, a leading barrister, tells his wife, psychiatrist Anne Dyson, about his most recent case defending a young man, Harry Jukes, who has apparently shot a policeman on a country road and been found by police still holding the gun. Bellamy is convinced of his guilt but Anne is less sure. Much of her practice is with troubled young people and she feels there is more to the story than the police evidence. Anne visits Harry in prison. He is depressed and distrustful but finally agrees to talk to her. Harry's story is that he took a Bentley Continental car to impress a girl but when she went off with another boy decided to take the car for a spin before dumping it. Swerving to avoid another car he burst a tyre but could not find any tools in the boot to change the wheel. He asked the driver of a car parked in the copse nearby for help but he was occupied with his girl and refused. Harry was spotted by a policeman on a bike who stopped to help. He flagged down a lorry to ask to borrow a jack. The lorry stopped but the passenger immediately produced a gun and shot the policeman. Harry managed to grab the gun off the killer as the lorry drove away. Shortly after, a police car arrived and Harry was arrested. Anne believes Harry's story and tries to persuade Bellamy of Harry's innocence. She interviews Harry several times and begins to follow up some aspects of his story. She visits the gang that Harry hung out with in a café in Battersea and they agree to help her by trying to find the couple in the parked car. She also visits Taplow, the man whose car was stolen, several times and finds his account unconvincing. One of the boys from the cafe agrees to take a job at Taplow's frozen food depot to do some investigating there.
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[A]: Anne Dyson


[Q]: Which women does Henry Jekyll help?  Answer the above question based on the context below:  Dr. Henry Jekyll, a kind English doctor in Victorian London, is certain that within each man lurks impulses for both good and evil. He is desperately in love with his fiancée Muriel Carew and wants to marry her immediately. But her father, Brigadier General Sir Danvers Carew, orders them to wait. One night, while walking home with his colleague, Dr. John Lanyon, Jekyll spots a bar singer, Ivy Pierson, being attacked by a man outside her boarding house. Jekyll drives the man away and carries Ivy up to her room to attend to her. Ivy tries to seduce Jekyll but, though he is tempted, he leaves with Lanyon. When Sir Danvers takes Muriel to Bath, Jekyll begins to experiment with drugs that he believes will unleash his evil side. After imbibing a concoction of these drugs, he transforms into Edward Hyde—an impulsive, violent, amoral man who indulges his every desire. Hyde finds Ivy in the music hall where she works. He offers to financially support her in return for her company. They stay at her boarding house where Hyde sexually abuses and psychologically manipulates her. When Hyde reads in the paper that Sir Danvers and Muriel are planning to return to London, Hyde leaves Ivy but threatens her that he'll return when she least expects it. Overcome with guilt, Jekyll sends £50 to Ivy. On the advice of her landlady, Ivy goes to see Dr. Jekyll and recognizes him as the man who saved her from abuse that night. She tearfully tells him about her situation with Hyde, and Jekyll reassures her that she will never see Hyde again. But the next night, while walking to a party at Muriel's where the wedding date is to be announced, Jekyll spontaneously changes into Hyde. Rather than attend the party, Hyde goes to Ivy's room and murders her.
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[A]: Ivy Pierson


[Q]: What is the name of the best known non-vocal piece by Massenet?  Answer the above question based on the context below:  Massenet was a fluent and skilful orchestrator, and willingly provided ballet episodes for his operas, incidental music for plays, and a one-act stand-alone ballet for Vienna (Le carillon, 1892). Macdonald remarks that Massenet's orchestral style resembled that of Delibes, "with its graceful movement and bewitching colour", which was highly suited to classical French ballet. The Méditation for solo violin and orchestra, from Thaïs, is possibly the best known non-vocal piece by Massenet, and appears on many recordings. Another popular stand-alone orchestral piece from the operas is Le dernier sommeil de la Vierge from La Vierge, which has featured on numerous discs since the middle of the 20th century.A Parisian critic, after seeing La grand' tante, declared that Massenet was a symphonist rather than a theatre composer. At the time of the British premiere of Manon in 1885, the critic in The Manchester Guardian, reviewing the work enthusiastically, nevertheless echoed his French confrère's view that the composer was really a symphonist, whose music was at its best when purely orchestral.  Massenet took a wholly opposite view of his talents. He was temperamentally unsuited to writing symphonically: the constraints of sonata form bored him. He wrote, in the early 1870s, "What I have to say, musically, I have to say rapidly, forcefully, concisely; my discourse is tight and nervous, and if I wanted to express myself otherwise I would not be myself." His efforts in the concertante field made little mark, but his orchestral suites, colourful and picturesque according to Grove, have survived on the fringes of the repertoire.  Other works for orchestra are a symphonic poem, Visions (1891), an Ouverture de Concert (1863) and Ouverture de Phèdre (1873). After early attempts at chamber music as a student, he wrote little more in the genre. Most of his early chamber pieces are now lost; three pieces for cello and piano survive.
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[A]:
The Méditation