The 21st chapter of a clockwork Orange by Anthony Burgess a clockwork Orange Resucked

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The 21st chapter of A Clockwork Orange

by Anthony Burgess



A Clockwork Orange Resucked

This essay is included in the 1987 Norton (US) edition, which
restores the book to its original published length.

I first published the novella A Clockwork Orange in 1962, which ought to be far enough in the past for it to be erased from the world's literary memory. It refuses to be erased, however, and for this the film version of the book made by Stanley Kubrick may be held chiefly responsible. I should myself be glad to disown it for various reasons, but this is not permitted. I receive mail from students who try to write theses about it, or requests from Japanese dramaturges to turn it into a sort of Noh play. It seems likely to survive, while other works of mine that I value more bite the dust. This is not an unusual experience for an artist. Rachmaninoff used to groan because he was known mainly for a Prelude in C Sharp Minor which he wrote as a boy, while the works of his maturity never got into the programs. Kids cut their pianistic teeth on a Minuet in G which Beethoven composed only so that he could detest it. I have to go on living with A Clockwork Orange, and this means I have a sort of authorial duty to it. I have a very special duty to it in the United States, and I had better now explain what that duty is.

Let me put the situation baldly. A Clockwork Orange has never been published entire in America. The book I wrote is divided into three sections of seven chapters each. Take out your pocket calculator and you will find that these add up to a total of twenty-one chapters. 21 is the symbol of human maturity, or used to be, since at 21 you got the vote and assumed adult responsibility. Whatever its symbology, the number 21 was the number I started out with. Novelists of my stamp are interested in what is called arithmology, meaning that [a] number has to mean something in human terms when they handle it. The number of chapters is never entirely arbitrary. Just as a musical composer starts off with a vague image of bulk and duration, so a novelist begins with an image of length, and this image is expressed in the number of sections and the number of chapters into which the work will be disposed. Those twenty one chapters were important to me.

But they were not important to my New York publisher. The book he brought out had only twenty chapters. He insisted on cutting out the twenty-first. I could, of course, have demurred at this and taken my book elsewhere, but it was considered that he was being charitable in accepting the work at all, and that all other New York, or Boston, publishers would kick out the manuscript on its dog-ear. I needed money back in 1961, even the pittance I was being offered as an advance, and if the condition of the book's acceptance was also its truncation - well, so be it. So there is a profound difference between A Clockwork Orange as Great Britain knows it and the somewhat slimmer volume that bears the same name in the United States of America.

Let us go further. The rest of the world was sold the book out of Great Britain, and so most versions... have the original twenty-one chapters. Now when Stanley Kubrick made his film - though he made it in England - he followed the American version and, so it seemed to his audiences outside America, ended the story somewhat prematurely. People wrote to me about this - indeed much of my later life has been expended on Xeroxing statements of intention and the frustration of intention - while both Kubrick and my New York publisher coolly bask in the rewards of their misdemeanor. Life is, of course, terrible.

What happens in that twenty-first chapter? You now have the chance to find out. Briefly, my young thuggish protagonist grows up. He grows bored with violence and recognizes that human energy is better expended on creation than destruction. Senseless violence is a prerogative of youth, which has much energy but little talent for the constructive. Its dynamism has to find an outlet in smashing telephone kiosks, derailing trains, stealing cars and smashing them and, of course, in the much more satisfactory activity of destroying human beings. There comes a time, however, when violence is seen as juvenile and boring. It is the repartee of the stupid and ignorant. My young hoodlum comes to the revelation of the need to get something done in life — to marry, to beget children, to keep the orange of the world turning in the rookers of Bog, or hands of God, and perhaps even create something — music, say. After all, Mozart and Mendelssohn were composing deathless music in their teens or nadsats, and all my hero was doing was razrezzing and giving the old in-out. It is with a kind of shame that this growing youth looks back on his devastating past. He wants a different kind of future.

There is no hint of this change of intention in the twentieth chapter. The boy is conditioned, then deconditioned, and he foresees with glee a resumption of the operation of free and violent will. ‘I was cured all right,’ he says, and so the American book ends. So the film ends too. The twenty-first chapter gives the novel the quality of genuine fiction, an art founded on the principle that human beings change. There is, in fact, not much point in writing a novel unless you can show the possibility of moral transformation, or an increase in wisdom, operating in your chief character or characters. Even trashy bestsellers show people changing. When a fictional work fails to show change, when it merely indicates that human character is set, stony, unregenerable, then you are out of the field of the novel and into that of the fable or the allegory. The American or Kubrickian Orange is a fable; the British or world one is a novel.

But my first New York publisher believed that my twenty-first chapter was a sellout. It was veddy veddy British, don’t you know. It was bland and showed a Pelagian unwillingness to accept that a human being could be a model of unregenerable evil. The Americans, he said in effect, were tougher than the British and could face up to reality. Soon they would be facing up to it in Vietnam. My book was Kennedyan and accepted the notion of moral progress. What was really was a Nixonian book with no shred of optimism in it. Let us have evil prancing on the page and, up to the very last line, sneering in the face of all the inherited beliefs, Jewish, Christian, Muslim and Holy Roller, about people being able to make themselves better. Such a book would be sensational, and so it is. But I do not think it is a fair picture of human life.



I do not think so because, by definition, a human being is endowed with free will. He can use this to choose between good and evil. If he can only perform good or only perform evil, then he is a clockwork orange — meaning that he has the appearance of an organism lovely with colour and juice but is in fact only a clockwork toy to be wound up by God or the Devil or (since this is increasingly replacing both) the Almighty State. It is as inhuman to be totally good as it is to be totally evil. The important thing is moral choice. Evil has to exist along with good, in order that moral choice may operate. Life is sustained by the grinding opposition of moral entities. This is what the television news is all about. Unfortunately there is so much original sin in us all that we find evil rather attractive. To devastate is easier and more spectacular than to create. We like to have the pants scared off us by visions of cosmic destruction. To sit down in a dull room and compose the Missa Solemnis or The Anatomy of Melancholy does not make headlines or news flashes. Unfortunately my little squib of a book was found attractive to many because it was as odorous as a crateful of bad eggs with the miasma of original sin.

It seems priggish or pollyannaish to deny that my intention in writing the work was to titillate the nastier propensities of my readers. My own healthy inheritance of original sin comes out in the book and I enjoy raping and ripping by proxy. It is the novelist’s innate cowardice that makes him depute to imaginary personalities the sins that he is too cautious to commit for himself. But the book does also have a moral lesson, and it is the weary traditional one of the fundamental importance of moral choice. It is because this lesson sticks out like a sore thumb that I tend to disparage A Clockwork Orange as a work too didactic to be artistic. It is not the novelist’s job to preach; it is his duty to show. I have shown enough, though the curtain of an invented lingo gets in the way — another aspect of my cowardice. Nadsat, a Russified version of English, was meant to muffle the raw response we expect from pornography. It turns the book into a linguistic adventure. People preferred the film because they are scared, rightly, of language.

I don’t think I have to remind readers what the title means. Clockwork oranges don’t exist, except in the speech of old Londoners. The image is a bizarre one, always used for a bizarre thing. “He’s as queer as a clockwork orange” meant he was queer to the limit of queerness. It did not primarily denote homosexuality, though a queer, before restrictive legislation came in, was the term used for a member of the inverted fraternity. Europeans who translated the title as Arancia a Orologeria or Orange Mécanique could not understand its Cockney resonance and they assumed that it meant a hand grenade, a cheaper kind of explosive pineapple. I mean it to stand for the application of a mechanistic morality to a living organism oozing with juice and sweetness.

Readers of the twenty-first chapter must decide for themselves whether it enhances the book they presumably know or is really a discardable limb. I meant the book to end in this way, but my aesthetic judgments may have been faulty. Writers are rarely their own best critics, nor are critics. “Quod scripsi scripsi” said Pontius Pilate when he made Jesus Christ the King of the Jews. “What I have written I have written.” We can destroy what we have written but we cannot unwrite it. I leave what I wrote with what Dr. Johnson called frigid indifference to the judgment of that .00000001 [percent] of the American population which cares about such things. Eat this sweetish segment or spit it out. You are free.

NOVEMBER 1986



'What's it going to be then, eh?'

There was me, Your Humble Narrator, and my three droogs, that is Len, Rick, and Bully, Bully being called Bully because of his bolshy big neck and very gromky goloss which was just like some bolshy great bull bellowing auuuuuuuuh. We were sitting in the Korova Milkbar making up our rassoodocks what to do with the evening, a flip dark chill winter bastard though dry. All round were chellovecks well away on milk plus vellocet and synthemesc and drencrom and other veshches which take you far far far away from this wicked and real world into the land to viddy Bog And All His Holy Angels And Saints in your left sabog with lights bursting and spurting all over your mozg. What we were peeting was the old moloko with knives in it, as we used to say, to sharpen you up and make you ready for a bit of dirty twenty-to-one, but I've told you all that before.

We were dressed in the height of fashion, which in those days was these very wide trousers and a very loose black shiny leather like jerkin over an open-necked shirt with a like scarf tucked in. At this time too it was the heighth of fashion to use the old britva on the gulliver, so that most of the gulliver was like bald and there was hair only on the sides. But it was always the same on the old nogas -- real horrorshow bolshy big boots for kicking litsos it.

'What's it going to be then, eh?'

I was like the oldest of we four, and they all looked up to me as their leader, but I got the idea sometimes that Bully had the thought in his gulliver that he would like to take over, this being because of his gibness and the gromky goloss that bellowed out of him when he was on the warpath. But all the ideas came from Your Humble, O my brothers, and also there was the veshch that I had been famous and had had my picture and articles and all that cal in the gazettas. Also I had by far the best job of all we four, being in the National Gramodisc Archives on the music side with a real horrorshow carman full of pretty polly at the week's end and a lot of nice free discs for my own malenky self on the side.

This evening in the Korova there was a fair number of vecks and ptitsas and devotchkas and malchicks smecking and peeting away, and cutting through their govoreeting and the burbling of the in-the-landers with their 'Gorgor fallatuke and the worm sprays in filltip slaughterballs' and all that cal you could slooshy a popdisc on the stereo, this being Ned Achimota singing 'That Day, Yeah, That Day'. At the counter were three devotchkas dressed in the heighth of nadsat fashion, that is to say long uncombed hair dyed white and false groodies sticking out a metre or more and very very tight short skirts with all like frothy white underneath, and Bully kept saying: 'Hey, get in there we could, three of us. Old Len is not like interested. Leave old Len alone with his God.' And Len kept saying: 'Yarbles yarbles. Where is the spirit of all for one and one for all, eh boy?' Suddenly I felt both very very tired and also full of tingly energy, and I said:

'Out out out out out.'

'Where to?' said Rick, who had a litso like a frog's.

'Oh, just to viddy what's doing in the great outside,' I said. But somehow, my brothers, I felt very bored and a bit hopeless, and I had been feeling that a lot these days. So I turned to the chelloveck nearest me on the big plush seat that ran right round the whole messto, a chelloveck, that is, who was burbling away under the influence, and I fisted him real skorry ack ack ack in the belly. But he felt it not, brothers, only burbling away with his 'Cart cart virtue, where in toptails lieth the poppoppicorns?' So we scatted out into the big winter nochy.

We walked down Marghanita Boulevard and there were no millicents patrolling that way, so when we met a starry veck coming away from a news-kiosk where he had been kupetting a gazetta I said to Bully: 'All right, Bully boy, thou canst if thou like wishest.' More and more these days I had been just giving the orders and standing back to viddy them being carried out. So Bully cracked into him er er er, and the other two tripped him and kicked at him, smecking away, while he was down and then let him crawl off to where he lived, like simpering to himself. Bully said:

'How about a nice yummy glass of something to keep out the cold, O Alex?' For we were not too far from the Duke of New York. The other two nodded yes yes yes but all looked at me to viddy whether that was all right. I nodded too and so off we ittied. Inside the snug there were these starry ptitsas or sharps or baboochkas you will remember from the beginning and they all started on their: 'Evening, lads, God bless you, boys, best lads living, that's what you are,' waiting for us to say: 'What's it going to be, girls?' Bully rang the collocoll and a waiter came in rubbing his rookers on his grazzy apron. 'Cutter on the table, droogies,' said Bully, pulling out his own rattling and chinking mound of deng. 'Scotchmen for us and the same for the old baboochkas, eh?' And then I said:

'Ah, to hell. Let them buy their own.' I didn't know what it was, but these last days I had become like mean. There had come into my gulliver a like desire to keep all my pretty polly to myself, to like hoard it all up for some reason. Bully said:

'What gives, bratty? What's coming over old Alex?'

'Ah, to hell,' I said. 'I don't know. I don't know. What it is is I don't like just throwing away my hard-earned pretty polly, that's what it is.'

'Earned?' said Rick. 'Earned? It doesn't have to be earned, as well thou knowest, old droogie. Took, that's all, just took, like.' And he smecked real gromky and I viddied one or two of his zoobies weren't all that horrorshow.

'Ah,' I said, 'I've got some thinking to do.' But viddying these baboochkas looking all eager like for some free alc, I like shrugged my pletchoes and pulled out my own cutter from my trouser carman, notes and coin all mixed together, and plonked it tinkle crackle on the table.

'Scotchmen all round, right,' said the waiter. But for some reason I said:

'No, boy, for me make it one small beer, right.' Len said:

'This I do not much go for,' and he began to put his rooker on my gulliver, like kidding I must have fever, but I like snarled doggy-wise for him to give over skorry. 'All right, all right, droog,' he said. 'As thou like sayest.' But Bully was having a smot with his rot open at something that had come out of my carman with the pretty polly I'd put on the table. He said:

'Well well well. And we never knew.'

'Give me that,' I snarled and grabbed it skorry. I couldn't explain how it had got there, brothers, but it was a photograph I had scissored out of the old gazetta and it was of a baby. It was of a baby gurgling goo goo goo with all like moloko dribbling from its rot and looking up and like smecking at everybody, and it was all nagoy and its flesh was like in all folds with being a very fat baby. There was then like a bit of haw haw haw struggling to get hold of this bit of paper from me, so I had to snarl again at them and I grabbed the photo and tore it up into tiny teeny pieces and let it fall like a bit of snow on to the floor. The whisky came in then and the starry baboochkas said: 'Good health, lads, God bless you, boys, the best lads living, that's what you are,' and all that cal. And one of them who was all lines and wrinkles and no zoobies in her shrunken old rot said: 'Don't tear up money, son. If you don't need it give it them as does,' which was very bold and forward of her. But Rick said:

'Money that was not, O baboochka. It was a picture of a dear little itsy witsy bitsy bit of a baby.' I said:

'I'm getting just that bit tired, that I am. It's you who's the babies, you lot. Scoffing and grinning and all you can do is smeck and give people bolshy cowardly tolchocks when they can't give them back.' Bully said:

'Well now, we always thought it was you who was the king of that and also the teacher. Not well, that's the trouble with thou, old droogie.'

I viddied this sloppy glass of beer I had on the table in front of me and felt like all vomity within, so I went 'Aaaaah' and poured all the frothy vonny cal all over the floor. One of the starry pitsas said:

'Waste not want not.' I said:

'Look, droogies. Listen. Tonight I am somehow just not in the mood. I know not why or how it is, but there it is. You three go your own ways this nightwise, leaving me out. Tomorrow we shall meet same place same time, me hoping to be like a lot better.'

'Oh,' said Bully, 'right sorry I am.' But you could viddy a like gleam in his glazzies, because now he would be taking over for this nochy. Power power, everybody like wants power. 'We can postpone till tomorrow,' said Bully, 'what we in mind had. Namely, that bit of shop-crasting in Gagarin Street. Flip horrorshow takings there, droog, for the having.'

'No,' I said. 'You postpone nothing. You just carry on in your own like style. Now,' I said, 'I itty off.' And I got up from my chair.

'Where to, then?' asked Rick.

'That know I not,' I said. 'Just to be on like my own and sort things out.' You could viddy the old baboochkas were real puzzled at me going out like that and like all morose and not the bright and smecking malchickiwick you will remember. But I said: 'Ah, to hell, to hell,' and scatted out all on my oddy knocky into the street.

It was dark and there was a wind sharp as a nozh getting up, and there were very very few lewdies about. There were these patrol cars with brutal rozzes inside them like cruising about, and now and then on the corner you would viddy a couple of very young millicents stamping against the bitchy cold and letting out steam breath on the winter air, O my brothers. I suppose really a lot of the old ultra-violence and crasting was dying out now, the rozzes being so brutal with who they caught, though it had become like a fight between naughty nadsats and the rozzes who could be more skorry with the nozh and the britva and the stick and even the gun. But what was the matter with me these days was that I didn't like care much. It was like something soft getting into me and I could not pony why. What I wanted these days I did not know. Even the music I liked to slooshy in my own malenky den was what I would have smecked at before, brothers. I was slooshying more like malenky romantic songs, what they call Lieder, just a goloss and a piano, very quiet and like yearny, different from when it had been all bolshy orchestras and me lying on the bed between the violins and the trombones and kettledrums. There was something happening inside me, and I wondered if it was like some disease or if it was what they had done to me that time upsetting my gulliver and perhaps going to make me real bezoomny.

So thinking like this with my gulliver bent and my rookers stuck in my trouser carmans I walked the town, brothers, and at last I began to feel very tired and also in great need of a nice bolshy chasha of milky chai. Thinking about this chai, I got a sudden like picture of me sitting before a bolshy fire in an armchair peeting away at this chai, and what was funny and very very strange was that I seemed to have turned into a very starry chelloveck, about seventy years old, because I could viddy my own voloss, which was very grey, and I also had whiskers, and these were very grey too. I could viddy myself as an old man, sitting by a fire, and then the like picture vanished. But it was very like strange.

I came to one of these tea-and-coffee mestos, brothers, and I could viddy through the long long window that it was full of very dull lewdies, like ordinary, who had these very patient and expressionless litsos and would do no harm to no one, all sitting there and govoreeting like quietly and peeting away at their nice harmless chai and coffee. I ittied inside and went up to the counter and bought me a nice hot chai with plenty of moloko, then I ittied to one of these tables and sat down to peet it. There was a like young couple at this table, peeting and smoking filter-tip cancers, and govoreeting and smecking very quietly between themselves, but I took no notice of them and just went on peeting away and like dreaming and wondering what was going to happen to me. But I viddied that the devotchka at this table who was with this chelloveck was real horrorshow, not the sort you would want to like throw down and give the old in-out in-out to, but with a horrorshow plott and litso and a smiling rot and very very fair voloss and all that cal. And then the veck with her, who had a hat on his gulliver and had his litso like turned away from me, swivelled round to viddy the boshy big clock they had on the wall in this mesto, and then I viddied who he was and then he viddied who I was. It was Pete, one of my three droogs from those days when it was Georgie and Dim and him and me. It was Pete like looking older though he could not now be more than nineteen and a bit, and he had a bit of a moustache and an ordinary day-suit and this hat on. I said:

'Well well well, droogie, what gives? Very very long time no viddy.' He said:

'It's little Alex, isn't it?'

'None other,' I said. 'A long long long time since those dead and gone good days. And now poor Georgie, they told me, is underground and old Dim is a brutal millicent, and here is thou and here is I, and what news hast thou, old droogie?'

'He talks funny, doesn't he?' said the devotchka, like giggling.

'This,' said Pete to the devotchka, 'is an old friend. His name is Alex. May I,' he said to me, 'introduce my wife?'

My rot fell wide open then. 'Wife?' I like gasped. 'Wife wife wife? Ah no, that cannot be. Too young art thou to be married, old droog. Impossible impossible.'

This devotchka who was like Pete's wife (impossible impossible) giggled again and said to Pete: 'Did you used to talk like that too?'

'Well,' said Pete, and he like smiled. 'I'm nearly twenty. Old enough to be hitched, and it's been two months already. You were very young and very forward, remember.'

'Well,' I like gaped still. 'Over this get can I not, old droogie. Pete married. Well well well.'

'We have a small flat,' said Pete. 'I am earning very small money at State Marine Insurance, but things will get better, that I know. And Georgina here-'

'What again is that name?' I said, rot still open like bezoomny. Pete's wife (wife, brothers) like giggled again.

'Georgina,' said Pete. 'Georgina works too. Typing, you know. We manage, we manage.' I could not, brothers, take my glazzies off him, really. He was like grown up now, with a grown-up goloss and all. 'You must,' said Pete, 'come and see us sometime. You still,' he said, 'look very young, despite all your terrible experiences. Yes yes yes, we've read all about them. But, of course, you are very young still.'

'Eighteen,' I said, 'just gone.'

'Eighteen, eh?' said Pete. 'As old as that. Well well well. Now,' he said, 'we have to be going.' And he like gave this Georgina of his a like loving look and pressed one of her rookers between his and she gave him one of these looks back, O my brothers. 'Yes,' said Pete, turning back to me, 'we're off to a little party at Greg's.'

'Greg?' I said.

'Oh, of course,' said Pete, 'you wouldn't know Greg, would you? Greg is after your time. While you were away Greg came into the picture. He runs little parties, you know. Mostly wine-cup and word-games. But very nice, very pleasant, you know. Harmless, if you see what I mean.'

'Yes,' I said. 'Harmless. Yes yes, I viddy that real horrorshow.' And this Georgina devotchka giggled again at my slovos. And then these two ittied off to their vonny word-games at this Greg's, whoever he was. I was left all on my oddy knocky with my milky chai, which was getting cold now, like thinking and wondering.

Perhaps that was it, I kept thinking. Perhaps I was getting too old for the sort of jeezny I had been leading, brothers. I was eighteen now, just gone. Eighteen was not a young age. At eighteen old Wolfgang Amadeus had written concertos and symphonies and operas and oratorios and all that cal, no, not cal, heavenly music. And then there was old Felix M. with his Midsummer Night's Dream Overture. And there were others. And there was this like French poet set by old Benjy Britt, who had done all his best poetry by the age of fifteen, O my brothers. Arthur, his first name. Eighteen was not all that young an age, then. But what was I going to do?

Walking the dark chill bastards of winter streets after ittying off from this chai and coffee mesto, I kept viddying like visions, like these cartoons in the gazettas. There was Your Humble Narrator Alex coming home from work to a good hot plate of dinner, and there was this ptitsa all welcoming and greeting like loving. But I could not viddy her all that horrorshow, brothers, I could not think who it might be. But I had this sudden very strong idea that if I walked into the room next to this room where the fire was burning away and my hot dinner laid on the table, there I should find what I really wanted, and now it all tied up, that picture scissored out of the gazetta and meeting old Pete like that. For in that other room in a cot was laying gurgling goo goo goo my son. Yes yes yes, brothers, my son. And now I felt this bolshy big hollow inside my plott, feeling very surprised too at myself. I knew what was happening, O my brothers. I was like growing up.

Yes yes yes, there it was. Youth must go, ah yes. But youth is only being in a way like it might be an animal. No, it is not just being an animal so much as being like one of these malenky toys you viddy being sold in the streets, like little chellovecks made out of tin and with a spring inside and then a winding handle on the outside and you wind it up grrr grrr grrr and off it itties, like walking, O my brothers. But it itties in a straight line and bangs straight into things bang bang and it cannot help what it is doing. Being young is like being like one of these malenky machines.

My son, my son. When I had my son I would explain all that to him when he was starry enough to like understand. But then I knew he would not understand or would not want to understand at all and would do all the veshches I had done, yes perhaps even killing some poor starry forella surrounded with mewing kots and koshkas, and I would not be able to really stop him. And nor would he be able to stop his own son, brothers. And so it would itty on to like the end of the world, round and round and round, like some bolshy gigantic like chelloveck, like old Bog Himself (by courtesy of Korova Milkbar) turning and turning and turning a vonny grahzny orange in his gigantic rookers.

But first of all, brothers, there was this veshch of finding some devotchka or other who would be a mother to this son. I would have to start on that tomorrow, I kept thinking. That was something like new to do. That was something I would have to get started on, a new like chapter beginning.

That's what it's going to be then, brothers, as I come to the like end of this tale. You have been everywhere with your little droog Alex, suffering with him, and you have viddied some of the most grahzny bratchnies old Bog ever made, all on to your old droog Alex. And all it was was that I was young. But now as I end this story, brothers, I am not young, not no longer, oh no. Alex like groweth up, oh yes.

But where I itty now, O my brothers, is all on my oddy knocky, where you cannot go. Tomorrow is all like sweet flowers and the turning vonny earth and the stars and the old Luna up there and your old droog Alex all on his oddy knocky seeking like a mate. And all that cal. A terrible grahzny vonny world, really, O my brothers. And so farewell from your little droog. And to all others in this story profound shooms of lip-music brrrrr. And they can kiss my sharries. But you, O my brothers, remember sometimes thy little Alex that was. Amen. And all that cal.




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