By Franklin W. Dixon
Blood is as thick as thieves.
Frank and Joe Hardy are having fun with break day while the 2 new boys intown, Greg and Mike Rawley, persuade them to enquire their stepfather, Walter. Greg and Mike suspect him of plotting to kill their mom, Linda. yet there's a hitch: Walter Rawley is one in every of Fenton Hardy's oldest buddies and an upstanding citizen of Bayport.
With the Rawley boys' support, the Hardy brothers try out the contents of Linda Rawley's secure, trying to find the diary of Walter's first spouse, which incorporates the murderous proof. Then Linda is abducted. utilizing themselves as bait, the Hardy boys flush out the abductors -- in simple terms to discover they're mere pawns in an problematic scheme opposed to their father's previous buddy.
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Additional resources for Blood Relations (The Hardy Boys Casefiles, Book 15)
Porfirio, “No Way Out,” 83–86. 18. Hazel E. Barnes, The Literature of Possibility: A Study in Humanistic Existentialism (Lincoln: University of Nebraska Press, 1959). 28 Steven M. Sanders 19. Albert Camus, The Myth of Sisyphus, trans. Justin O’Brien (New York: Vintage Books, 1955), 90. 20. Thomas Nagel, “The Absurd” (1971), reprinted in Nagel’s Mortal Questions (Cambridge: Cambridge University Press, 1979), 23. 21. See the entry on Red Light by Bob Porfirio in Silver and Ward, Film Noir, 241. 22.
13. Quoted in Hayde, My Name’s Friday, 43. 14. Hallam and Marshment, Realism and Popular Cinema, 194. Naked City : The Relativist Turn in TV Noir Robert E. Fitzgibbons Film noir’s evolution from the silver screen to the television screen was untidy at best; and this is nowhere more evident than in the transition from the feature-length movie The Naked City (Jules Dassin, 1948) to the TV show of the same title some ten years later. Although the movie was not the best of the noir genre, it was good and had many of the unmistakable classic noir markings: high-contrast black-and-white photography, stark images, severe camera angles, brutality, (a bit of) suggested sexual promiscuity, mystery, a major touch of evil, and moral absolutes.
In his new incarnation, Martin terrorizes the city with a series of daring liquor store robberies. The man’s intimate knowledge of how the police work suggests that he is a rogue cop. His cunning duplicity revealed by police lab work (bullets fired from the cop killer’s gun are shown to match one fired from the robber’s), the killer is eventually, in a striking sequence, given a face by police artists, who assemble the robbery victims to construct a group portrait. The patient and time-consuming check of leads provides yet another breakthrough.