Episode 64: Foxy Lady

Flighty murder witness Lisa Kendrick tries to outwit both gangsters and Starsky and Hutch to keep some stolen cash.

Lisa Kendrick: Priscilla Barnes, Clay Zachary: Morgan Woodward, Grover: John J Fox, John Carelli: Mark Gordon, Kevin Mackey: Chris Lofton, Stu Basset: Darryl Zwerling, Maggie: Maida Severn, Mr. Cavanaugh: Ed Vasgersian, Cabbie: Jaime Tirelli. Written By: Robert Swanson, Directed By: Nicholas Sgarro.

QUESTIONS AND NOTES:

Sometimes (all right, most times) I would dearly love to whisk back in time and sit in on those writers meetings in which the various pros and cons of a shooting script are discussed. In this case, I would like to know what the “pros” can possibly be. There are many times during the run of the series in which Starsky and Hutch are not at their best; often they misunderstand or misread a situation, and can be guilty of procedural or even moral lapses. But very rarely are they made to look deliberately ridiculous from a policing standpoint. They are here. (An exception is “Dandruff”, but that episode is in a separate category, a flat-out farcical caper with nothing really do with detective work, and yes there are plenty of times when both detectives aren’t at their best when judged from the ruthlessly acute lens of today.) It’s enough to wonder whether there was passive-aggression at work here, Mr. Swanson lashing out at the show’s fan base, at the idea of heroism, or at the dignity of the stars themselves. Whatever happened, I want to witness to the moment when the cast and crew said, “this is great! Let’s do it,” if only to cry out, spectre-like, “this is the voice from the twenty-first century. Don’t do it.”

The victim of the shooting lies brutally murdered on the sidewalk, not yet covered by a sheet and so is visible to every passerby, which seems awfully cavalier to me.

When they guys roust the sleazy crime reporter (our old friend Darryl Zwerling, late of “The Set-Up” and “Huggy Bear and the Turkey”), don’t you think they’re wishing they could do that to the paparazzi, who more than likely made their lives a misery in real life? Later, in what seems to be a bit risqué for the time, Starsky calls him “that bastard.”

Notice that the initial lengthy scene in the squad room is notable for the amount of whispering. Starsky, Hutch and Dobey are all speaking in remarkably muted tones. I know they’re trying to shield their witness from much of the content of their conversation, but still the hush seems remarkable. Another television show is being filmed next door? A crew member has brought a newborn baby to set? What?

Hutch goes to the water, leans down to get a cup. When he stands to answer Dobey’s question, he’s wearing an entirely different jacket. Originally it’s his usual green leather, but now it’s a brown leather jacket with faux fur collar. Now, normally errors in clothing aren’t really my main focus. I’m much more interested in content critique, but here it’s so blatant it bears mentioning. Continuity person, where are you?

Hutch wears his bathrobe even though he has yet to take a shower. Theoretically he’s just gotten off work, and is about to take a shower. Most people would wear their clothes, ditch them for a shower, then get into a bathrobe for the rest of the night. Why the extra step? Does he just really, really like his bathrobe?

How does Lisa know Hutch’s address? How do Zachary and Carelli know it?

Fun to hear the typically 70s fat, sexy saxophone start burbling when Hutch opens the door to the beautiful Lisa.

I know the guys act like idiots around gorgeous women. We all know it. It’s a comedic mainstay of the series and one of the most enduring charming/irritating aspects of the show. But one is still compelled to ask the question. Why would a professional, seasoned detective like Hutch not ask himself why Lisa appears out of the blue to ask to stay at his apartment? Doesn’t he wonder about her nefarious ways of getting information? He’s already suffered the indignity of his ex-wife using the same ruse, with disastrous results. He should have been on his guard. He should have known.

You’d think the guys would do better than to leave their keys on the door frame, especially since Hutch, at least, has been broken into numerous times.

It’s amusing that Hutch says he has pizza to offer Lisa, but it’s only one stale piece, and it’s the piece he just dropped onto the floor.

Starsky and Hutch both have “a bottle of Chianti here someplace” and locate an unopened one under the sink. They have other similar aspects to their apartments lots of plants, lots of art, a vaguely southwestern flair. Both like pillows and Mexican blankets. Both have sports posters on their wall. Both have wood paneling and ceramics. Starsky has cool modernist touches Hutch doesn’t have, like the orange lamp and Nixie clock, and Hutch has a more southwest or tribal look, with extra blankets and driftwood.

First sign Lisa isn’t all she claims to be: she says she “didn’t hear” Starsky come in and yet they’re talking right in front of the bathroom door, having a spirited argument about pizza not ten steps from her.

That is an extraordinarily presumptuous teeny tiny teddy Lisa slips into. I realize Hutch makes no move to change from his bathrobe when she arrives – signaling possible intimacy – but still. Like Diana from “Fatal Charm”, Lisa seems to think Hutch is easy.

Denying Starsky to use the bathroom when he’s in obvious pain shows Hutch at his meanest. “I’ll be about ten minutes” he sneers at his poor partner. Even though he’s obviously in the wrong, having an important witness in his apartment during a case, Hutch seems unable to admit his culpability. As usual, he takes it out on Starsky.

When Starsky is doing his flirtatious best to lure Lisa from Hutch’s apartment, Hutch is ostensibly taking a shower. And yet you can see him very clearly watching from the open door of the bathroom. In my opinion this is a staging error and a wonderfully unguarded moment for the two actors. I say this because there is no way Hutch would allow Starsky to seduce Lisa into going to his place. He’d intervene, cause a scene. He hates to lose. The fact that Starsky and Lisa are able to walk out like that shows that Hutch, all along, is supposed to have been unaware of the events. Plus he’s an awfully subtle background blur, a no-no in a show that could never be accused of subtlety.

Interesting to note also, the only actual mention of Hutch’s bad back, a given in fandom, although nutty Melinda notes a scar there in “The Groupie”.

It’s a great fight for the door at Starsky’s place, both glaring at each other, fighting for the note; and another instance of Starsky cramming something in Hutch’s mouth.

Why didn’t Starsky and Hutch notice they were being tailed to Lisa’s hotel hideaway? They must be vigilant knowing she’s an important witness, and that’s a particularly big black car right behind them.

There is a nicely choreographed phone scene, in which both Starsky and Hutch find information about the crime simultaneously, and come to the same unnerving conclusion.

What do you suppose Dobey got his trophies for? He has two large ones in his office.

The joy of tiny moments: Hutch, arriving home and unaware of two thugs in his apartment, looks into his bag of groceries and says with undisguised disappointment, “no carrots!”

This is the worst case of “I’m Hutch, he’s Starsky” in the whole series. And nobody does outrage better than Soul does. Tied to his rolling office chair, Hutch’s disgust and embarrassment when he’s not only kidnapped but mistaken for Starsky is so pungent it’s comical. As usual David Soul takes a negative and turns it into a positive, something he has done throughout the series, crushing the black carbons of anger, jealousy, irritation and outrage into sparkling and precious moments.

Hutch really wants to say something when Lisa talks about the money in Starsky’s laundry basket – raise an objection, maybe clarify – but he’s not allowed to.

It’s easier, says Zachary, to “use the telephone”? Lisa has apparently hidden the loot in Starsky’s closet. They have an exact location, and since they found Hutch’s place pretty easily, chances are they know where Starsky lives too. They had no compunction about tearing up the Venice Place apartment in pursuit of something hidden there, so why not break into Starsky’s place and grab the bag they know is there? It would take only a few seconds. It’s definitely not easier to organize a dangerous, complicated hostage situation. Somehow I wonder if this means Zachary has a death wish, because he’s a little too excited about this cat-and-mouse game. Is he bored into taking insane risks? Money not working any more as an aphrodisiac? He wants to see how much he can get away with? Is this suicide-by-cop he’s contemplating?

I like how Starsky says “(they’ve got) Hutch and the girl”. She’s been relegated to nameless status in the intensity of the situation. It’s almost as if he can’t, in that moment, remember her name.

What is Starsky doing with Hutch’s handcuffs? Is it a ploy to make John Carelli get him closer to Hutch and Lisa? Or something else?

It is a pretty smart move by Lisa to go to the bank’s insurance company and return the money for the reward, thereby laundering her take very nicely. This proves she’s no dummy, even though she has the dummy act down pat. I wonder, though, how she had the nerve to lie about hiding the money at Starsky’s place. Playing that game with Zachary seems like a really crazy thing to do. She’s lying to him about where the money is, fully intending to steal it herself, even though she’s already seen Mackey gunned down right in front of her. She couldn’t be sure the police would cover for her, with Starsky showing up to the hostage scene with his own dirty laundry in the suitcase. Maybe that’s what Hutch was trying to say when tied to a chair: “Starsky doesn’t have a laundry basket!”.

Why is Lisa still going to Algiers when she doesn’t have to? She has legitimate money on her now, there’s no need to go to a place with no extradition, except if she’s planning never to come back and worries she may be compelled to. “See you at the trial,” she says cheerfully, but of course that’s not going to happen. Still, though, she might as well fly somewhere like Paris or New York, rather than north Africa, and disappear from there. An explanation could be that she’s so cheap she’s going to use that previously-purchased, non-refundable ticket, come hell or high water.

More laundry images as the guys root through her lingerie. There was a time in the past when just seeing a brassiere was naughty, and the one hanging around Hutch’s neck would have prompted audience laughter.

“Now you wouldn’t want me to tell all a girl’s secrets now, would you?” Lisa says sweetly when Starsky asks where she hid the money. This brings up a problem I frankly have no answer or explanation for, namely the idea that feminine creativity (and Lisa is extraordinarily “feminine” in every cliched sense of the word) is the only thing that can regularly trump Male Logic. This sets up an us-and-them dichotomy that is one of the most common (one might say well-worn) and frustrating narrative devices in the history of storytelling. Ostensibly this is a female triumph. Lisa wins, doesn’t she? Isn’t that a good thing? Well, no, not really. It only means Lisa is able to trick Starsky and Hutch because is she unpredictable and devious. This is success through manipulation rather than intelligence. Women, therefore, are “other”, strange creatures men will always be troubled and irked by. Since Starsky and Hutch are the heroes here, and Lisa is the not-quite-but-close-enough villain, the feminine is therefore troubling, maddening, obstructive, irksome and counterproductive. There are strong parallels to “The Heroes” (note the title) in which similarly ultra-feminine Christine is doubly troublesome because she is both creative and powerful – she can literally humiliate them both publicly and personally. Lisa’s actions are figuratively emasculating, as she leaves them draped in her underthings, but it’s the same thing: it feels uneasy, unethical, and cheap. However, Starsky and Hutch are able to reclaim their power in “The Heroes” by persevering to victory and here they are robbed of that possibility, as Lisa merely laughs and walks away.

Clothing notes: Both Hutch and Starsky wear wonderful leather jackets. Starsky also wears a nice pair of knit boxers. Both have hair that is extra long and curly. Hutch wears his green leather jacket and an expensive-looking pair of teal cords with extras, like leather belt loops. He wears his iconic orange velveteen bathrobe. Starsky wears an unusual striped turtleneck and a suede jacket we never see again.

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20 Responses to “Episode 64: Foxy Lady”

  1. Daniela Says:

    I am surprised you didn’t say anything about the swift change of jacket Hutch did at min 5:48 in the police station… He wears the light color leather jacket, and goes to the water cooler, bends over to get a cup of water for the girl, Dobey comes by to ask about the case and when Hutch gets up he is wearing a dark brown jacket with fur collar!!
    (I take no credit for noticing it, somebody mentioned it on Youtube… Maybe it was you??)
    Also, I think this is among one of the funniest episodes, their interactions while trying to get the girl are great.
    As usual they lose all policeman abilities when a pretty girl is around… If only criminals had known that, their careers would be over….
    One more thing, in the whole series, the only times these two went to the bathroom it was for good luck ritual reason, and this time, where Starsky really really has to go… what does Hutch do? That was not nice!

    BTW I didn’t notice him looking from the bathroom door before, but when I looked at it after your post, I don’t think it was an error, he looks like he is trying to see what Starsky is doing with the girl and listen in… It could be staged….
    Thanks for another good post!!

  2. Daniela Says:

    one more thing… How many times did Hutch’s apartment get ripped up in the series? I wonder if he has special insurance for cases like that, and if not, how much money did he spend to redo his apartment every time? And always with similar things?
    And did it ever happen to Starsky’s apartment?

    • merltheearl Says:

      Yes I published an earlier version of my commentary and not a later one with more details in it, including that glaring continuity error with Hutch’s jacket. Later when I’m not as lazy I may re-publish the more complete version.

      I must have watched that scene with Hutch “hiding” behind the bathroom door about thirty times and every time I become more and more convinced it was an error and not a deliberate staging decision with Hutch listening in. Soul’s face seems … natural somehow. Blank, in a way he is never blank when he’s acting. But I could be wrong. Maybe it’s more fun to think it’s an error!

      As far as I know Hutch’s apartment was wrecked 4 times, and Starsky’s never was. I always think of Starsky’s apartment as a supremely private place while Hutch’s is a busy intersection of all sorts of meetings. But then Hutch is more sociable by nature, and more generous with his things, generally.

  3. Shelley Says:

    I was thinking that now I’ve seen Hutch’s place get wrecked three times, and that he must be getting very tired of it.

    I’m with you, merl, about the scene where Hutch appears to be watching from behind the bathroom door. That makes no sense to me — why would he have allowed Starsky to just leave with Lisa?

    • merltheearl Says:

      Thanks for the comment – I also wonder why Hutch doesn’t hide his keys somewhere less obvious. Starsky, on the other hand, manages to keep his place safe for the entire series.

  4. Lynn Says:

    Starsky does have an intruder problem in “A Coffin for Starsky.” Thank God Vic Bellamy only injects him with a deadly poison and doesn’t mess the place up.
    Does anyone out there other than me worry about their mental health because of the number of times they watch a 38 yr. old series??? I still love it.

    • merltheearl Says:

      you’re right about the intruder in “Coffin”. I forgot about that. I believe it is the only time Starsky’s place is breached by malevolent forces. And as for mental health issues, well, I respefully decline to comment …but I did laugh.

    • Sharon Marie Says:

      I look at it this way…. as we age, our short term memory declines while our long term memory thrives. Watching 38 year old episodes is like occupational therapy for my future nursing home address.

  5. King David Says:

    Reviewing thirty-eight year-old episodes is beneficial to our mental health as it keeps our faculties alert, and helps with our written expression skills. Should be mandatory for everyone.
    Starsky’s place as private sanctuary, Hutch’s place as open house – nice concept. Any crim worth the name should’ve been able to break in unobtrusively through locks of the day, where electronickery wasn’t so prevalent. The fact that Bellamy did get in speaks of his skills. Lucky Starsky had no company that night, hey. I can never understand the thinking behind Hutch’s leaving his key above the doorframe. Madness!
    Starsky has gone to the bathroom in Shootout, Bloodbath (nerves upsetting him), and here, but to deny him the use of the facilities when he’s so cleary in need of them is cruel. How many times might Hutch do that out in the working day? No wonder Starsky drives more often…
    Lisa drives me nuts; I have to hope her plane is waylaid somewhere and she hasn’t got a change of clothes. And how did she explain how she came by the money legitimately, in order to claim the reward?
    Just a point on the clothes: are knit shorts a common item of clothing for 1970s men? In lots of episodes I notice what definitely appear to be elastic lines on Starsky’s rear end, as though he has ordinary briefs on (I’ve paid close attention to those skintight jeans…) so perhaps the knit shorts for sleeping comfort? No young Australian man in the 70s would’ve worn a pair, and it’s only in recent years that ‘boyleg’ or ‘trunk’ leg briefs are in the cool mainstream arena. (Digressing, I know, but if I can’t digress here, where can I?)

  6. Dianna Says:

    This was the first new-to-me episode I’ve watched in a while, so I was really hoping it might be something special. But instead, I just wanted to slap some sense into both partners to stop their juvenile behavior in the first part. What a couple of morons. Their brains must become very deprived of oxygen when there is a pretty woman present, as their entire blood supply is diverted to their nether regions. In my comments about the previous episode (Hutchinson for Murder One) I suggested that Hutch should always be chaperoned by Starsky when he is with a woman… I take it back. They both need chaperones.

    Luckily, the idiotic behavior in the first part of the episode didn’t bother me quite as much when I watched the show a second time.

    Hutch may have changed to his robe when he got home because his clothes were wet from the earlier spill. Lisa shows up with a neckline down to *there* and tries to claim she didn’t have “that” in mind?

    As appalled as I was by the guys’ behavior, though, Starsky’s flying leap onto the bed to try to grab Lisa’s note was extremely funny. Maybe I was okay with their behavior by this point because they had descended all the way to the level of 6-year-olds.

    Hutch blocking the bathroom door is mean, but why would he leave Starsky alone with the beautiful lady he was trying to woo? Serious tactical error in the wooing department. And I have to mention that Starsky spiriting Lisa out of the apartment is mean too. (I agree that Hutch listening from the bathroom is an error.)

    Even a janitor in a police station should know better than to voluntarily swap clothes with someone. And Grover should have known enough to stand facing the restroom door while he was waiting.

    Hutch must spend almost as much on reupholstering or replacing his furniture after thugs tear it up as Starsky spends on bodywork for his car. There is another break-in at Starsky’s apartment that nobody mentioned; I can’t remember which episode, but in the tag, the guys walk into Starsky’s apartment and Starsky is looking forward to playing some music that just arrived in the mail that day, but it’s been stolen, along with, I think, Playboy magazines.

    How did Zachary and Carelli get Hutch out of his apartment in broad daylight? Wouldn’t anyone notice two guys carrying a trussed-up unconscious guy across the sidewalk and stuffing him in their car?

    They don’t need any further research to tell them where Starsky lives, because they followed Hutch there earlier — which makes the hostage setup even more peculiar. Why does Dobey want the “wire” taped to Starksy’s body? Why not put it in his pocket? Why was Zachary satisfied when Starsky held up the “wire” and dumped it in the trash? Starsky did nothing to demonstrate that there wasn’t a second bug or a tracking device on his person or in the satchel. Come to think of it, why wasn’t there a homing device in the satchel?

    Why does Starsky think it’s an advantage to have the bag of supposed money handcuffed to his arm? Zachary and Carelli can just shoot him along with their hostages, and open up the bag to get its contents. Well, and then be furious because it’s just dirty laundry, but he’d still be dead.

    As for repeatedly watching and writing about 38-year-old episodes? Let’s call it a film appreciation seminar, a cultural experience! Continuing education! Always a healthy thing!

    • merltheearl Says:

      I agree with all of this, especially your point about the silly janitor exchanging clothes with a stranger. I mean really! The break-in episode you refer to is “Starsky and Hutch Are Guilty”, and I’m glad you are recommending we file all this under “continuing education”. The name of the course? May I suggest: “Critical Analysis and the Compassionate Critic: New Ways of Seeing.” (You can probably tell I have more than a passing familiarity with the university syllabus)

  7. Dianna Says:

    Thanks. I knew it wasn’t one of the ones I watch over and over, or I would know it immediately.

    Wouldn’t it be cool to have an actual course? Or people we could discuss this with face to face?

    Oh, and I forgot to gently rib King David for being so aware of Starksy’s jeans… 😉

  8. King David Says:

    I consider myself gently ribbed. I laughed when I read this. Thanks for the feedback.

    I wonder why writers back then thought it would go down well to make what they were trying to present as serious characters go so goofy so easily? In the real world that would be grounds for a disciplinary hearing at best.
    It is irksome in the extreme to see such unprofessional behaviour when on duty.
    When you see Starsky’s so very serious face when driving the Torino through the old zoo in (is it) Pariah, it is hard to stomach the shenanigans of Foxy Lady.
    See, in my defence, I needed a distraction from the absurdity…

    • merltheearl Says:

      King David, your musing on the downward spiral into goofiness will be answered next week in a new Character Studies.

    • Dianna Says:

      Oh yay! A new character study! I would like to also suggest comparisons of the different directors’ episodes & styles, especially, of course, the episodes directed by Glaser and Soul. Comparisons of the writers might be interesting too.

      King David, I seem to recall that you also needed Starsky’s jeans to distract you from the lovely ocean view in A Class in Crime. 😉

    • Grevy's Zebra Says:

      The goofiness-dissonance you talk about (like the brain-ache that is caused by trying to reconcile “Foxy Lady” and “Pariah” as taking place with the same characters in the same fictional universe) is something I refer to as “Futurama Syndrome” — it hurts the brain to try to suspend your disbelief to accept that the incredibly sincere, complex, serious, full-realized, dignified characters from one episode can be seen engaging in something that feels like an amnesiac improv skit that seems almost irreconcilable with the intellectual and emotional depth they have displayed in a previous episode, and the only solution is to theorize that from an in-universe perspective, explanatory events and context that were never seen onscreen have been occurring.

      (Most episodic shows have this to some degree, since all shows have some episodes that are just kinda lousy, but Futurama was a show that embodied this dissonance to incredible and extra-noticeable extremes).

  9. King David Says:

    Oh the shame of being shallow…

    What ocen view?

  10. Sharon Marie Says:

    Did Hutch just put a cardboard pizza box into a gas oven? Really?

    My theory on the Soul/Hutch looking through the crack of the bathroom door – I think it was staged but just didn’t film properly.

    When Priscilla Barnes walks out of Starsky’s bathroom on the way to make the phone call she looks straight at the camera. Kind of broke the ‘wall’.

    Keys are still over the doors. These two suck at home protection.

    Another hit over the head with a gun butt. Poor Hutch by now has TBI from repeated concussions, like football players. To be fair, I think getting hit on the head with a gun was SOP for detective shows in the 70s and 80s. Amazing how they regain consciousness almost like nothing happened. I had a couple bangs to the head in my life that knocked me out and functioning for a couple days was difficult at best!

    Loved Dobey using masking tape to put the wire on Starsky. Seeing Dobey and Detective Captain Kangaroo in that car together looked like it could have been it’s own show!

    A moment of vain fashion police… she is wearing panty house with sandals. Cannot. Deal. With. This.

  11. stybz Says:

    Not a favorite, but an example of how all men turn to mush around a pretty woman. Still the holes are just too ridiculous, especially since the guys miss an opportunity to spend time with Lisa (or try to) at the hotel, where it would be logical to have some sort of protection detail watching over her. Instead they both leave her there and have no problem with her roaming the streets. Nor do either one caution her about being out alone.

    I didn’t mind the hushed tones in the squad room. They probably didn’t want her to hear their conversation. It would have been rude to talk loudly about her in her presence. If she had been in Dobey’s office, and they in the squad room, that would have been different.

    Merl, nice catch with the wardrobe change. My guess is that something happened to the other jacket and they had to replace it mid-stream, because Hutch is still wearing the one with the fur collar when they switch back to the other angle with the pair heading back to Lisa. Their mistake was not refilming the shot prior to him getting up to go to the water cooler.

    That whole situation of leaving Lisa alone at the hotel and her finding out where Hutch lives is just ridiculous, especially since she didn’t know he was Hutch and couldn’t remember Starsky’s name. The only viable explanation is that he gave her his address when they dropped her off, but didn’t write his name on the paper. But then his surprise that she chose to come to him implies that he thought she chose him over Starsky.

    Stale pizza doesn’t seem to be Hutch’s style.

    I wonder if Hutch hadn’t intended on taking a shower all along. My guess he only said it for Starsky’s benefit to prevent him from using the bathroom. Yes, it was mean for him to do that, but maybe he was hoping that Starsky’s bladder would overrule everything else and he’d rush off to find another toilet, leaving Lisa and he alone.

    I agree that it was odd that Hutch let them leave when he saw the whole conversation from the opening of the bathroom door. Not well executed. I think that was scripted. There was no reason for David to peer through the door unless it was in character. He knew where the camera was.

    As to why Starsky had Hutch’s handcuffs, I think all handcuff keys are the same, and Starsky made sure he wasn’t carrying any, so that would stall them since he didn’t have any money in the suitcase. I agree that in reality Corelli would have just shot him.

    I thought it was odd that the flight announcement had three cities listed including New York and Algiers. Maybe she used the ticket, but stayed in one of the other locales rather than go on to Algiers.

    Starsky’s place has been breached a few times in this series: Coffin for Starsky, Running and Starsky and Hutch are Guilty.

    I would have handled this episode a bit better if it focused more on the opportunity to spend time with Lisa at the hotel where they could have protected her. The thugs needed a brain implant as well.

    As I get closer to the much discussed Starsky vs Hutch episode, I wonder if the writers had that one in mind when they crafted this one. So far the guys are very competitive when the girl hasn’t chosen one over the other. But that episode has them sparring on a whole new level. I can’t say anymore as I’ve been avoiding the temptation of skipping right to it. 🙂 I can’t wait to watch it, though. I hope I’m not disappointed. 🙂

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