[Q]: What is the answer for the question: Which person had to run for their life and get help from Harry? from the following article ? Notorious mob boss James "Lucky" Lombardi looks back upon his life and career on the night of his execution. The flashbacks picks up when Lucky, born and raised on the Balkan Peninsula, tries to marry into money and goes to the U.S. to find himself a wealthy bride. He has no luck, despite his name, and instead makes an attempt to bluff his way forward, pretending to be count De Kloven, a rich aristocrat. As De Kloven, Lucky gets hired to escort the prominent socialite Mrs. Lola Morgan, but quits when she wants him to be her lover. Instead he tries a new disguise, as Rudolph Von Hertsen, and gets involved in another racket with a Dr. J.M. Randall, performing abortions and selling unwanted babies. When the racket is disclosed, Lucky moves on to the business of pimping young women into prostitution. He goes as far as to trick naive young women into laying their lives in his hands, selling them as sex-slaves, thus entering into the business of white slavery. He soon becomes the head of such an organization. His right-arm man, Nick goes to lengths to get new merchandise for the business, and kidnaps Dorothy, a young, blonde schoolgirl. The election of a new ambitious district attorney causes Lucky problems, but he refuses to slow down. Lucky falls in love with a beautiful woman named Lois, but his affections are not returned, and she has to run for her life from his long lawless arms, with the help of one of Lucky's more goodhearted men, Harry. When Lucky discovers what Harry has done he has him killed, and is ultimately arrested and convicted of murder. The new district attorney manages to get him sentenced to death. We return from the flashbacks to present time, where Lucky has learned his lesson: that crime doesn't pay.
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[A]: Lois

[Q]: What is the answer for the question: Whose symphony was rejected by the Court? from the following article ? Dissatisfied with his first large-scale orchestral work, the D major Overture of 1848, Smetana studied passages from Beethoven, Mendelssohn, Weber and Berlioz before producing his Triumphal Symphony of 1853. Though this is dismissed by Rosa Newmarch as "an epithalamium for a Habsburg Prince", Smetana's biographer Brian Large identifies much in the piece that characterises the composer's more mature works. Despite the symphony's rejection by the Court and the lukewarm reception on its premiere, Smetana did not abandon the work. It was well received in Gothenburg in 1860, and a revised version was performed in Prague in 1882, without the "triumphal" tag, under Adolf Cech. The piece is now sometimes called the Festive Symphony. Smetana's visit to Liszt at Weimar in the summer of 1857, where he heard the latter's Faust Symphony and Die Ideale, caused a material reorientation of Smetana's orchestral music. These works gave Smetana answers to many compositional problems relating to the structure of orchestral music, and suggested a means for expressing literary subjects by a synthesis between music and text, rather than by simple musical illustration. These insights enabled Smetana to write the three Gothenburg symphonic poems, (Richard III, Wallenstein's Camp and Hakon Jarl), works that transformed Smetana from a composer primarily of salon pieces to a modern neo-Romantic, capable of handling large-scale forces and demonstrating the latest musical concepts. From 1862 Smetana was largely occupied with opera and, apart from a few short pieces, did not return to purely orchestral music before beginning Ma vlast in 1872. In his introduction to the Collected Edition Score, Frantisek Bartol brackets Ma vlast with the opera Libuse as "direct symbols of [the] consummating national struggle". Ma vlast is the first of Smetana's mature large-scale works that is independent of words, and its musical ideas are bolder than anything he had tried before. To musicologist John Clapham, the cycle presents "a cross-section of Czech...
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[A]: Smetana

[Q]: What is the answer for the question: What kingdom had a flourishing culture because of an economy dominated by agriculture and trade? from the following article ? The High Middle Ages of Scotland encompass Scotland in the era between the death of Domnall II in 900 AD and the death of King Alexander III in 1286, which was an indirect cause of the Scottish Wars of Independence. At the close of the ninth century, various competing kingdoms occupied the territory of modern Scotland. Scandinavian influence was dominant in the northern and western islands, Brythonic culture in the southwest, the Anglo-Saxon or English Kingdom of Northumbria in the southeast and the Pictish and Gaelic Kingdom of Alba in the east, north of the River Forth. By the tenth and eleventh centuries, northern Great Britain was increasingly dominated by Gaelic culture, and by the Gaelic regal lordship of Alba, known in Latin as either Albania or Scotia, and in English as "Scotland". From its base in the east, this kingdom acquired control of the lands lying to the south and ultimately the west and much of the north. It had a flourishing culture, comprising part of the larger Gaelic-speaking world and an economy dominated by agriculture and trade. After the twelfth-century reign of King David I, the Scottish monarchs are better described as Scoto-Norman than Gaelic, preferring French culture to native Scottish culture. A consequence was the spread of French institutions and social values including Canon law. The first towns, called burghs, appeared in the same era, and as they spread, so did the Middle English language. These developments were offset by the acquisition of the Norse-Gaelic west and the Gaelicisation of many of the noble families of French and Anglo-French origin. National cohesion was fostered with the creation of various unique religious and cultural practices. By the end of the period, Scotland experienced a "Gaelic revival", which created an integrated Scottish national identity. By 1286, these economic, institutional, cultural, religious and legal developments had brought Scotland closer to its neighbours in England and the Continent, although outsiders continued to view Scotland as...
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[A]:
Gaelic Kingdom of Alba