Word: beachful
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Dates: during 1960-1969
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...first break in the case came when a West Palm Beach boat dealer reported that a man calling himself Arthur Horowitz had bought a 16-foot outboard, paying for it with $2,300 in $20 bills that he carried in a brown paper bag. Horowitz was, in fact, Krist, 23, the organizer of the Mackle kidnaping. Serial numbers proved that the money was part of the ransom raised by the girl's father, Millionaire Builder Robert Mackle...
...sunny and warm in the harbor of Nassau, it is a relaxed group that piles into the tender to be taken ashore. Herb, 40, a pudgy and amiable eyeglass distributor from Philadelphia, heads hand in hand with Beverly, 25, an industrial designer from Boston, for a day at Paradise Beach. Hannah, 52, a veteran of three singles weeks in the Catskills, has resignedly fallen in with a group of lady cribbage players from Westchester, and is on her way with them for a day of shopping. Tom, 27, a salesman from Cincinnati, has teamed with two other motorcycling enthusiasts...
...Sure, the guy pretends to put characters in. You've got your usual two, maybe four-five, hippy-type guys climbing into your old car and going off to a beach. To groove, you know, To screw around, scream we're free! to rocks and sand. You've got your passing array of loonies, the guys who carry around pomegranates and sleep with logs. The guy who counts all the punctuation marks ("the rivets") in Ecclesiastes. So you say "they got no depth," right? You say there's no plot, right? You didn't get the Civil War bits mixed...
Anyone who argues that medicine is an inexact science would have found proof positive at the American Medical Association's convention last week at Miami Beach. Nowhere was a conflict of viewpoints more obvious than in the lengthy debate over what to do about gallstones...
...even though his movies are full of beautiful images, their ideas tend to ride on the soundtrack. Truffaut's Jules and Jim was adapted from a novel, yet its moments of revelation (the morning scenes at the beach-house, for instance) are visual. When Bergman tries to escape the literary--in The Silence, with almost no dialogue--the result is a crude, sometimes ludicrous reliance on symbols...