Word: drifters
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...Frisch) is a Yippie turned corporate executive. Founder of The Advocate, a left-wing newspaper, he is headed to the West Coast in order to sell its current mainstream incarnation. Busily writing out proposals, he is joined rudely by Spence (George Saulnier), a self-proclaimed, 17-year-old "romantic drifter." What Time charts three hours of their relationship, and falls straight into the one-act trap of revealing every silly detail about the pair...
ALSO IN THE HOUSE is Moe Axelrod, the boarder, a small time drifter laden with a heart of coal. His leg was shot off in the Great War, and he is as bitter as we expect him to be: he clumps about the apartment in his double-breasted pinstripe suit and porkpie hat, spouting off a ridiculous agglomeration of cynical street idiom: "You ain't sunburned. You hoid...
Serial killers are the folklore monsters of the media age. And to hear him tell it, Henry Lee Lucas was the most monstrous of them all. After his arrest in 1983 on a weapons charge, the one-eyed drifter startled Texas police by confessing to scores of aimless murders in 27 states. Soon lawmen from around the country were converging on Texas to see if Lucas might lay claim to unsolved killings in their jurisdictions. He was jetted to murder locations, and as he spoke impassively of stranglings and dismemberments, police gave him meals, gifts and national notoriety...
Prosecutors presented 52 witnesses who painted Steven as an improvident drifter whose business failures apparently led him to misappropriate some of his mother's fortune. Only days before the explosions, Margaret Benson asked a family lawyer to investigate. Steven, the prosecutor argued, feared disinheritance. Experts testified that his handprints were found on receipts for a length of 4-in.-diameter pipe ($36.08, including tax) and two pipe endpieces ($28.05 total) of the kind used in the fatal bombs. Steven's sister, her face bearing ugly burn scars from the bombing, told the court that he left the car just before...
Many of the people in these pictures do hard physical labor, working in mines, on ranches and in slaughterhouses. Some have tumbled into the abyss: prisoners, mental patients or that hapless segment that Avedon labels simply as "drifter." All of them, from secretaries to millworkers, live in a very different West from the pristine territories of the landscape photographers. Theirs is a place of trials and disappointments, and their faces specify every cent of the cost...