• 251. Wouldn’t Starsky,
Hutch and Dobey, when hatching the plan to catch the
vigilantes, to bring the guy from top in on it from the
beginning? Yet they don’t, staging the “show” in Dobey’s
office seemingly for Fargo’s sole benefit, showing they
didn’t trust him even from the beginning. Why, then, does
Dobey feel no compunction about telling Fargo later some
details about the undercover case, but still doesn’t give
him the details? He precedes it with the statement “No
secrets between friends.” What changes his mind?
(Committee)
• 252. Hutch tells Kate he finds it hard to understand that
she would hire someone to kill her before she dies of
natural causes. “I don’t know how you could even consider
death before it comes. Life is all we got, whatever the
circumstances.” How much of this does Hutch feel strongly
about and how much is he saying it for Kate’s sake? (Cover
Girl)
• 253. English Major Visual: The Angel with outspread arms,
fluffy feathers falling all around. (Cover Girl)
• 254. The first thing Stryker says to Nick, “I like your
jacket.” The last thing Styrker says about Nick is to tell
his thug to keep Nick’s jacket nice after killing him;
Stryker wants to give it to his own nephew. (Starsky’s
Brother)
• 255. Three old women are in charge of their own criminal
enterprises: Stella and her “Women’s Guild,” Olga and her
prostitution-plus business and Ethel and her brothel. What
are the differences and similarities in these three women?
How do they appear to run their businesses? How do they
treat their customers and employees? How do they react to
Starsky and Hutch? What are Starsky and Hutch’s reactions
to each woman?? (Golden Angel, Gillian, Captain Dobey,
You’re Dead)
• 256. One possible speculation: If Hutch were paying the
attention to what Camille was saying, like he did with
Simon Marcus, rather than focusing on what a “space
chicken” she was, he might have picked up the clues in her
repeated words. The first half of them appear to be giving
Hutch her motivation, the second half of them are more of a
soothing verse for herself. Combine them with her other
telling doozies in English Major Moment #257, and Camille
looks more than just a little unbalanced. Here, in order,
are all of Camille’s repeated words: “years, change, me,
lines, years,, change, him, hold onto, here, today,
tomorrow, understood, still friends.” (Golden Angel)
• 257. Camille tells Hutch, “”Can you predict the path of a
vine?...The light and the dark are deceptions, by one we
are shadows, by the other, ghosts… but in love we are
solid, in love we are true, in love there is reason for all
that we do.” Compare her answers to the ones Simon Marcus
gives Hutch. (Golden Angel, Bloodbath)
• 258. “Wrestler Claims Victory in Unscheduled Bout with
Dummy” is headline on page three. Is this where Hutch
hatches his plan to have Starsky portray the Golden Angel,
Hutch focusing in on the key word, “dummy”? And does Hutch
think up this plan, putting Starsky at risk of some injury,
because of his disgruntlement at Starsky’s preoccupation
with his inheritance? Hutch reveals some animosity when he
tells Huggy Starsky is “spending more time talking about
the will than he is on this case”? (Golden Angel)
• 259. One week from today, Starsky says, he is going to be
a free man. Hutch has to hold Starsky back from telling
Dobey he quits, telling him to at least wait until the will
is read. What is Hutch feeling when he sees Starsky so
ready to quit his job due to becoming rich? Especially
without even talking to Hutch about it? Is Hutch worried
about Starsky’s self-proclaimed Emancipation Proclamation?
Or does Hutch truly believe Starsky’s fortune isn’t going
to pan out? (Golden Angel)
• 260. Comment on the seemingly very fine line between the
David Starsky who, when faced with sudden riches, seems to
be very eager to give up his job, buy a lot of flashy
stuff, show off and abandon his partnership with Hutch to
Nick Starsky who desires the same material goods. (Golden
Angel, Starsky’s Brother)
• 261. Starsky seems nothing but excited by his uncle’s
death. Hutch says somewhat sympathetically, “Sorry Starsk,
about your uncle.” Starsky looks embarrassed and has a
momentary, fakey moment of mourning. Does Starsky
karmically deserve his fate when he gets such a small
amount from his uncle’s estate? (Golden Angel)
• 262. When Hutch tells Starsky, “It takes all makes and
models to fill that four-lane highway we call life,“ does
Hutch consider himself in the upper echelon and Starsky
not? Or is he just harassing Starsky? (Golden Angel)
• 263. Starsky says he, “Would walk a mile for a Camel” at
the 4th
Street Gym. Actually they are
going to walk a lot further than “a mile for Camille”
later, making this a pretty lame attempt at foreshadowing
by your compendium-er. (Golden Angel)
• 264. Tommy Reese says to Starsky and Hutch, “Wrestling
isn’t all sport now. You know that and we know that.”
Starsky acknowledges with, “Yeah.” Cue the next scene’s
circus music as people go into arena…So what had changed
between the time Starsky and Hutch deal with Eddie Bell and
now? At that time, Hutch was fully in the know about
wrestling not being a sport with Starsky a full denier.
Starsky has no argument about it now, laughing along with
Hutch, dressing up in the outfit and with no mention of his
previous belief. (Omaha Tiger, Golden Angel)
• 265. Compare and contrast the two characters Lillian
Spenser and Camille Boone, both wives/ex-wives that didn’t
like the violence in their husbands’ “sports” job.
(Heavyweight, Golden Angel)
• 266. Compare and contrast these two scenes: Eddie Bell
nearly suffocates Hutch in the wrestling ring, Starsky
sharply calls it off, saving Hutch. Dobey nearly strangles
Hutch in wrestling ring by pulling him through two twisted
ropes, Starsky sharply calls it off, saving Hutch. (Omaha
Tiger, Golden Angel)
• 267. Speculate on the outcome of these three cage
matches: Russian Mummy versus Hammerlock Grange, Omaha
Tiger versus Golden Angel, Terrible Tessie versus Starsky.
(Golden Angel)
• 268. Tommy Reese’s assertion that wrestling is the
“goss-i-pull truth” is both far from the truth and yet
truth condensed. (Golden Angel)
• 269. Edith and Harold are left in the dust. Dobey tells
Starsky and Hutch the old ballrooms Edith and he like to
visit have turned into discos. Hutch reminds Buzzy the
“Nightclubs have turned into discos.” Not only have Dobey
and Edith not done enough dancing, it appears the Dobey’s
have missed the entire nightclub link. (Discomania, Golden
Angel)
• 270. Comment on this touching scene: Hammerlock and
Angel, supposed enemies, are shown helping each other get
ready for a bout. Hammerlock helps Angel with his outfit
and straightens out his halo. (Golden Angel)
• 271. Basil Monk tells Starsky and Hutch, “Violence
appalls me. I’m a devout coward.” Are either, both, or none
of these two statements true? Tie in Starsky’s rejoinder,
that the hit man “Was invented because a lot of people are
cowards.” Extra credit for mentioning Camille, the “violent
pacifist” in your answer. (Photo Finish, Golden Angel)
• 272. When Nicole Monk makes her sexual come-on to Starsky
and Hutch, suggesting the desirability of their knees and
openness to a threesome, Starsky and Hutch glance at each
other’s knees. Tie this moment in with Starsky and Hutch’s
willingness to both go over to Sally Hagen’s place for what
could be a threesome. Extra credit for mentioning going to
the Boston Symphony with Allison May. (Photo Finish,
Specialist, Targets Without a Badge 2)
• 273. Starsky and Hutch are always promising and providing
police protection. Like the wily phone trace, this service
is most often of no help. Spotlight three times “police
protection” was effective. And what are the three most
glaring police protection disasters? (Photo Finish, Captain
Dobey, You’re Dead, Bounty Hunter, Nightmare, Heavyweight,
Targets Without a Badge 2, Set-Up, Cover Girl, Ballad for a
Blue Lady, Jojo)
• 274. Why don’t Starsky and Hutch radio ahead and tell
Officer Batson to keep Kate from turning on the lights?
Don’t they trust him to do a good job? Can’t they get a
hold of him? And isn’t there another squad there who can
get there sooner than Starsky and Hutch? Did they try
calling Kate on the phone? (Cover Girl)
• 275. Would Starsky have been so shook up about his
shooting of Emily if she hadn’t been young, female and
beautiful? (Blindfold)
• 276. Work with the Sunday theme: Starsky thanks Dispatch
for the Sunday Sermonette, Starsky and Hutch’s discuss
crime occurring on Sundays, Starsky invoking God in his
plea/prayer over Emily and tie them all into the theme of
religious redemption. (Blindfold)
• 277. Hutch tells Starsky the “bad guys are all in church”
on Sunday mornings. How far can one take the irony of
Hutch’s light comment? (Blindfold)
• 278. Marcie Fletcher says, “Oh terrific,” to Starsky and
Hutch when they are putting two and two together about
“Greta Wren” and Dora Pruitt. She says it precisely the
same way Denise Girard does when she learns Starsky and
Hutch know Bo Rile. Compare and contrast these two women
and their situations. (Bounty Hunter, Photo Finish)
• 279. Brazen Dora: she puts gun in holster on upper right
thigh, spreads out on bed in front of Starsky and Hutch,
hiking her robe up to what could be an inch from disclosure
and doesn’t even appear to break a sweat. What is going
through her head? (Photo Finish)
• 280. Marcie complains when Hutch asks her to make an
enlargement in her darkroom from the negative. Why in the
heck does she still have the negative in her possession?
Starsky made it clear it was police evidence and should be
at the police lab. If nothing else, there are safer places
to keep it than Marcie’s bra, high cost of “high
polycontact paper be damned.” (Photo Finish)
• 281. Hutch tells Al on the phone the description of
“Greta Wren”/Dora Pruitt ’s car, a dark green sedan, but
says he didn’t get the license plate. Your compendium-er
did, it is 938 LYN, and is in fact the same plate that is
on Dobey’s car. (Sweet Revenge, Photo Finish)
• 282. Perhaps if Basil Monk’s and the Angel’s energy and
interest in toys were harnessed together, it would have
been enough to keep them off the street and out of trouble?
(Cover Girl, Photo Finish)
• 283. Basil Monk doesn’t drive, it scares him “to death.”
He has no problem driving the police remote control car all
over the table. Comment on possible symbolism of Monk’s
manipulation of squad car from above, with Starsky and
Hutch looking on. (Photo Finish)
• 293. Hutch tells Dobey about Basil Monk, “We ran a bank
check on him. We had a warrant, don’t worry.” Dobey gripes,
“You always say you have a warrant.” Do Starsky and Hutch
have a history of getting information without warrants? Has
this caused the obvious problems later in court? Or is
Dobey crabbing for the sake of crabbing? (Photo Finish)
• 294. Actress Fran Ryan was in three episodes. In two of
them, she mispronounces similar words in the same way,
“meringue” as “meer-ang-gew” and “vogue” as “vog-gew.”
Think of a word, possibly a medical one, Nurse Bycroft
could have said that would complete the “tria juncta in
uno.” (Jojo, Murder Ward, Photo Finish)
• 295. Dobey seems very surprised that Starsky and Hutch
got a warrant and checked Monk’s bank account. What was he
surprised about, the bank check or the warrant? Monk’s
account seems to be a great place to start an
investigation. And as for the warrant, Dobey asks Hutch if
he and Starsky got one, the answer being an affirmative
one. “You always say that,” Dobey says to Hutch, crankily.
Do Starsky and Hutch “always say that”? And is it true?
Wouldn’t NOT getting a warrant be counter-productive later
in court? Wouldn’t Dobey know what Starsky and Hutch would
be doing in this case, especially with Dobey’s concern
about no rich people getting their feathers ruffled? Or is
Dobey just blowing off steam? (Photo Finish)
• 296. Starsky complains to Hutch about having to work on
Sunday. Starsky has a whole list of faulty statements and
statistics. “Only cops work on Sundays’, which he knows is
untrue. “95% of crimes committed are committed between
Monday and Saturday,” which may or may not be true, but
doesn’t line up with Starsky’s last magic number that “only
2% of crimes are committed on Sundays.” Try 5%, Starsk.
Hutch lets him babble on, perhaps remembering another one
of Starsky’s creative statistic exercises when he and
Starsky were in the desert on the way to Las Vegas. Starsky
said then, “100 cars cross the desert with 23.6 of them
having engine trouble.” Why might, aside from the dubious
math, Hutch not believe Starsky’s statistics. (Blindfold,
Las Vegas Strangler)
• 297. Four times Starsky grabs a woman’s upper arms and
tells her to “shut up”/ be quiet. One he even threatens to
“bust in the chops.” The women are Sharman, Emily, Fifi and
Rosey Malone. All four times are with women he cares
something about. All four times he does it to make them do
something for their own good. Three times Hutch isn’t in
the room with him. Would Starsky have done this with Terry?
Is Starsky’s action jarring or in character? Comment.
(Running, Blindfold, Rosey Malone, Deadly Imposter,
Starsky’s Lady)
• 298. The bedside manner, at least to those in the waiting
room, of Emily’s doctor is atrocious. He is rude, doesn’t
know the facts but is nasty to Starsky, hostile to
questions, gives off-the-cuff, non-helpful answers, is
sarcastic about required paperwork (which you know a nurse
is going to do 98% of anyway) and thoroughly
unprofessional. Compare and contrast him to some other
doctors in some other episodes. (Blindfold)
• 299. All Starsky wants is for it “to be okay,” just as he
tells Emily. Starsky’s entire relationship with Emily is
based on making him feel less guilty. It is also thoroughly
unprofessional. Starsky shuts Hutch and Dobey down, lies to
Emily about who he is, manhandles her, gets inappropriately
sexual with her, and uses her blindness to beat himself up.
Do his behavior and decisions compare with any other
character in the series, major or minor? (Blindfold)
• 300. Starsky may get some points for trying to empathize
with “being blind,” however sitting in one’s house
blindfolded as he did for an hour, or blindfolding Hutch
for 30 minutes, isn’t even close. It doesn’t give credit to
how a person does cope and learn, over a period of time,
just like any other personal situation. Starsky tells Hutch
being blind isn’t all about seeing eye dogs and Helen
Keller, but Starsky gains no insight (pun intended) into a
very complicated situation. (Blindfold)