Episode 13: Deadly Imposter

Starsky and Hutch help an old friend from their Academy days find his ex-wife, unaware that he’s a hit-man looking for her husband, a grand-jury witness.

John Colby: Art Hindle, Karen: Suzan Gailey, Warren Karpel: Peter Brandon, Jackie: Jana Bellan, Parouch: Raymond Singer, Agt. Buckland: Ned Wertimer, Superintendant: Bern Hoffman, Fifi: Louise Hoven, Nate Garvin: Gene Darcy, Cook: Wally Taylor, Abigail: Ann Foster, Maggie: Georgia Schmidt, Vinnie: Gordon Jump, Russo: Luke Andreas. Written By: Michael Fisher, Parke Perine & Mann Rubin, Directed By: Dick Moder.


The whole point of this particular episode (and others) is the fact that, when the chips are down – and they often are – Starsky and Hutch can rely on no one but themselves. Old friends, apparent allies, authority figures, and victims-in-need are all capable of deceit, manipulation, and abuse of trust.

Some viewers may have difficulty with the storyline, as heavily dependent on coincidence as it is, but I buy it. Karen’s ex-husband John (perhaps the most common name in the United States at the time) is killed in Vietnam, and John Colby is hired to find her, and by extension her new husband Warren Karpel, now in the witness protection program. Karpel is set to testify against mobster Nate Garvin, and Garvin has hired Colby to kill him before he does. Colby is a brilliant strategist and thinks long and hard about how he is going to accomplish this near-impossible task. He does careful research on Warren, his girlfriend Karen, and Karen’s son. He sees her ex-husband’s name is John, and that he’s still officially missing, although presumed dead. He guesses they’re being hidden somewhere around Los Angeles. The witness protection program is a big wall to breach. He doesn’t have a lot of time. He’ll need resources, but very special resources. People who have the investigative know-how and are powerfully motivated to help, but will not demand a share of the take, or put him at risk. Therefore, these people must help him without knowing they’re helping him. He must have jumped up and high-fived himself when the answer came to him. Then the “John” connection comes to mind, and he has it. His evil plot is probably the most intelligent concoction in the entire four years of the series, far better than anything devised by other so-called masterminds, such as Lola Turkel’s extortion scheme in “Bounty Hunter”, Sharon Freemont’s plan to discredit the detectives in “Starsky and Hutch are Guilty”, or even the brain trust responsible for Terry Nash in “The Set-Up”. Colby’s plan is clever, and best of all it’s simple. The only weak points are these: will his old pals really go to the wall for him, and will Karen say the wrong thing? These points, however, are nullified because John Colby is relying on the fundamentals of human nature. One: He knows Starsky and Hutch are not only extremely loyal, but will become even more protective and determined if Colby gently pushes them away from helping, claiming he’s too much trouble. And, when confronted, he knows Karen is only going to repeat “John?!” and not “you mean my husband, John Willoughby?” (or whatever name it is). See? Foolproof.

Opening scene: Starsky is flirting with an elderly lady, using his flirtation-default, a rather vague Bogey impression, which always seems to work for some reason. You can see Hutch in the background, grinning, enjoying his partner’s ways.

Notice how it’s gym manager Vinnie who calls Hutch to tell him Colby’s in town rather than Colby himself. Hutch is delighted and doesn’t seem to notice this oversight, but I think it reveals something important about Colby’s indifference and manipulative nature.

When Dobey complains about the lack of cooperation between the feds and the civic departments on the big case Starsky gives him one of his philosophical rationales for how things could be worse if everybody actually got along. It’s a neat glimpse into Starsky’s nature: go with the flow and deal with whatever happens, no matter what, and always look on the bright side. He must have the lowest blood pressure of any cop in the LAPD.

Is brushing your teeth in the shower is a sign of a rushed, chaotic mind, or merely a practical one? Maybe a bit of both?

Colby sees Hutch and immediately asks where “the other one” is, meaning Starsky. I wonder why Hutch didn’t have a moment of wondering how Colby knew they were partners, that the other one would be close by at all times. Of course we learn later that Colby had been researching them thoroughly for his own nefarious purposes, but in this scene he should not not have known Starsky and Hutch were partners, unless blabbermouth Vinnie told him. Five years is a long time, after all, to be out of the loop. Hutch doesn’t say, “how’d you know Starsky would be here?” but perhaps he should have. Both Starsky and Hutch have shown, in this and other episodes, that they can be far too trusting when nostalgia is a factor, a perfectly understandable and even endearing trait and one most of us are familiar with.

If Vinnie did talk about them, he most likely went on and on about how the guys are inseparable and loyal-unto-death, all the things that would no doubt fuel a certain amount of jealousy in Colby. Also, maybe in the back of his mind he’s thinking, “good, I get two for the price of one!”

On the side of the laundry bin at Vinnie’s, the one Colby falls in, has “SDPO” on it. Perhaps this is a mail bin, borrowed from San Diego Post Office?

Hutch does a very good German accent. Soul was partially raised there, where his diplomat father ran a sanctuary for East Germans.

The whole conversation about nicknames is a very interesting moment. Starsky, intending to lighten the mood, remarks that they were either called the Three Musketeers or the Three Corsicans, which he amends to the Corsican Brothers with Hutch’s help. Starsky is very off-hand about this detail. He doesn’t even know the phrase “Corsican” – he seems to be saying “Corkscrew”. He definitely isn’t as rosy about the legendary threesome as Hutch is. (Hutch, after all, comes up with “Corsican” right away.)

Starsky mixes up two Alexander Dumas novels. The Three Muskateers is the more well-known book, but he really means The Corsican Brothers, a novel about identical twins who are psychically joined. Which, of course, leaves Colby out in the cold, presuming he’s the third one. There’s no such thing as “The Three Corsicans”. It could only be Two, a fact Colby knows all too well.

Hutch calls Colby “Bum,” refers to him as “Colby,” but calls him “John” seventeen times. Starsky calls Colby “John” once, but calls him a variety of nicknames, all fairly derogatory (“Dumbo”). How does this support Hutch’s knowing/feeling closer to Colby than Starsky did? Or the other way around?

Colby says, “when I was in that prison camp I guess everybody back here thought I was dead.”  Starsky and Hutch exchange looks at this point: obviously they knew nothing about this unpleasant chapter in Colby’s life.

“If you change your mind,” Hutch says to Colby’s refusal of their help in finding his ex-wife, “you could always find us at my place.” Assumptive, yet Starsky doesn’t seem at all surprised by this.

At the party Starsky and Hutch treat Fifi  like crap, and have obviously invited her over because they know she’s going to help out and not because they like her. Fifi, for her part, has such crippling low self-esteem she chooses to ignore being treated little better than a slave and stubbornly interprets it as a triumph, of sorts, to even be invited to a party hosted by the handsomest guys in town. Don’t you just want to slap her a little? Sadly, she’s the best-dressed girl there, in her psychedelic muumuu and flowers in her hair, and she deserves better than what she gets. Contrast this to later in the series when Hutch gently tells a cancer-stricken friend how people who are suffering and disadvantaged “are no less beautiful as you and me” (“Cover Girl”), although I find myself rather enjoying the fact that the writers have made Starsky and Hutch flawed human beings capable of mistakes as well as greatness. It would be boring if they never stumbled, especially if those stumbles are the result of youthful ignorance rather than real cruelty.

I love how Starsky watches Hutch berate the manager of the apartment building. He waits, relaxed, eyes narrowed against the light (which looks super cool, but is probably because Glaser reportedly has an extreme light sensitivity) and with a slight smile. There’s no outward acknowledgement, it’s simple enjoyment.

The rail-thin blonde Starsky feels obliged to ogle on the street has her own thing going with a man Starsky doesn’t expect or endorse; it’s a nice moment of showing love doesn’t always follow the rules. If I were to make some sweeping generalizations, I would venture that Hutch approves because he likes the quirky surprises of romance and Starsky doesn’t because it violates his orthodoxy.

Larry Warwick Realty is a joke on the art/production supervisor.

Huggy’s endless story has some parallels to John Colby (and also, strangely, parallels the UK series “Life on Mars”, an ironic take on cops of the seventies based in part on Starsky and Hutch). Huggy tells Colby: “Guy ends up on the other side of the time warp” he “was in a parallel dimension where all things are the same, only different, like cops are all rogues.” “Guy has a pet called a “parfel.” “He tries to fit in by saying he has been away for a while.” “Then he falls in love, but all the girls are the same, only different” and “he can’t marry a girl because on the other time of the time warp, he’s already married!”

Hutch gets called to the phone at Huggy’s, and it turns out to be Dobey, getting all off-duty officers to report to work.  So Dobey knew to call Huggy’s, and knew enough to assume the Corsican Brothers would both be there. How many times does Dobey assume the guys are together? Also, on  minor note, why does he ask for Hutch in this instance, rather than Starsky? This goes to my (largely unproven) theory that Dobey is more comfortable with Hutch than Starsky, for a variety of reasons. He views Starsky (rightly, if superficially) as iconoclastic, internally-motivated, and self-assured to the point of having contempt for authority. He views Hutch (rightly, if superficially) as predictable, externally-motivated, tractable and logical.

It’s fascinating how so much of Starsky and Hutch’s police work is dependent on sudden flashes of memory or intuition. “I got a feeling we’ve seen her somewhere before,” says Hutch, holding a photograph of Jackie. “Huggy’s?” says Starsky, shooting in the dark. Both of them have extraordinary memories – it’s this that seems to propel them forward in most of their cases.

John Colby tells Huggy, “You know, I was the first one ever to call them that.” Referring to “Husky and Starch” – obviously the blurring of identity goes a long way back, although I don’t recall anybody calling them that, not even poor Eddie, who has all kinds of variations on their names. But when Colby says this, why do I get the feeling this is more bitter than funny?

Now there’s a scene worth seeing: the one where Starsky and Hutch meet for the first time. Would they have been randomly paired for an assignment, or at the shooting range, or in class (“Break up into groups of two and stage a hostage-negotiating scene. You have one hour”)? What would be the initial spark? They have nothing obviously in common, coming from different backgrounds, different experiences. And as well, very different reasons for joining the force in the first place, if we accept the supposition that Hutch joined up as a reaction against growing up in an atmosphere of stifling conformity and Starsky as a way of finding closure for his father’s murder. It would have to be, then, a certain shared youthful idealism. A we’re-gonna-change-the-system sort of attitude, in this post-Serpico world of social and political upheaval. Perhaps both found themselves on the same side during a classroom argument, the crewcut up-tights versus the new wave of street-level liberalism. I can just picture it: both of them sticking up for the hookers and the junkies, saying there were laws worth breaking and laws worth ignoring. Imagine what the teachers had to say on that subject, the nasty “now, that’s an interesting argument, mister Starsky” sort of thing. One gets a picture of what it might have been like during next season’s “Class in Crime” when Hutch becomes an object of intimidation and hostility by the professor.

In a later episodes Dobey remarks on Starsky returning to the academy as a decorated detective only to tell the young recruits to forget everything they just learned.  I can’t imagine that went down well with the brass, although I’m sure the kids got a big kick out of it. Goes to show even then Starsky – and Hutch – have no respect for their elders, for the status quo, for the rules and regulations routinely drilled into young recruits at the academy.

The guys come into the bar and ask Hymie, the cook, where Huggy is. Hymie says, “he’s out back with your friend, Colby.” Yet earlier Hymie claimed not to know who was waiting for Huggy in the alley, only that he seemed “under the weather”. This is script proof-reading 101, people, jeez, unless Hymie is one complicated fellow.

What is that burning can those bookies have? Emil has one and so does Ray Shelby, in Rosey Malone.

Also, in this scene, Starsky raps “SOS” on the doorframe, in parody of the “come in” knock Parouch understands. How would Starsky know this nautical code, when it was Hutch who was in the sea scouts?

Idly, one wonders why it’s necessary to have Starsky read a skin mag – “Ahoy”, charmingly enough – at the apex of this case. Is this to show Middle America what tough guys are all about?

“You ever think of opening up an escort service?” Starsky is needling Hutch after Hutch was sucker-punched by Colby. Macho posturing, sure, but isn’t Starsky subtly reminding Hutch of the dangers of interfering in people’s personal lives?

Colby must know he’s only knocked Hutch out, that Starsky is due any moment. He knows the two of them will put everything together in a matter of seconds. Two questions: why doesn’t he kill Hutch when he has the means and opportunity, and why is he so calm and slow when it comes to organizing the hit on Karpel?

It’s great when Dobey tries to shift the blame to the FBI when he complains their secrecy was the problem all along. Lame, yes, but you have to admire his loyalty.

Hutch tells Starsky, “That’s Colby, I want him.” Is Hutch more eager to collar Colby than Starsky because Colby slugged him in the parking lot or because Hutch was closer to Colby and feels his betrayal more intensely? Or is he more likely of the two to feel the sharp sting of betrayal? Starsky already has an easy approach to life, the shrugging acceptance that people go wrong, as well as a much tougher exterior. The man seems to have a Teflon skin. Hutch, on the other hand, for all his carefully-honed aloofness, can be credulous and trusting, and extraordinarily sensitive.

Later, on the beach, Colby says, “I don’t kill anybody I’m not paid to kill.” Oh yeah? What about poor Jackie?

The final fight between Colby and Hutch: Hutch equips himself admirably, kicking Colby’s ass. There’s an elegiac quality to the fight – Hutch looks resigned, almost existential. Finishing the fight neatly, laying Colby on his back in the sand, in a sort of wonderful reference to Colby’s first scene in the gym. Starsky comes out of nowhere, nipping Hutch’s handcuffs out of his back pocket. Saying laconically, “Forgot something?” Handing him the gun. The whole scene has a quiet, melancholic air to it. The two of them doing what they have to do, all thoughts of payback gone.

Tag: essential Hutch, clever and faintly malicious. If he didn’t know Starsky as well as he did, it wouldn’t work, but he does. He knows exactly the right thing to say to manipulate the situation to his own advantage. “I am David’s partner,” he says to Abby. “I’m more than happy to substitute for him.” It seems to work out for the best: they go on to have what passes for a long-term relationship (weeks, even) and besides, she’s so more Hutch’s type: blonde, tidy, crisply turned out in her suit.

Clothing notes: Hutch wears his black and white athletic jacket throughout, with a grey wide-ribbed turtleneck and no jewelry to speak of, while Starsky is unremarkably attired in a cloth jacket and jeans, but he wears a great powder-blue hoodie, and the iconic Adidas, and at the party wears the loud black, red and yellow sweater he’s been seen in once or twice. In the final scene he shows up in his excellent brown leather jacket and black turtleneck.


10 Responses to “Episode 13: Deadly Imposter”

  1. Kit Sullivan Says:

    Colby’s remark that he was the “first one to call them “Husky and Starch”‘, may be a subtle reference to a very-popular nickname the US press affected for the show very quickly once it became a big hit on TV.
    The basic plot of this episode has always seemd to have a huge, gaping lack-of-logic to me:
    Colby is clearly a known friend of both Starsky and Hutch, as demeonstrated at the beginning of the episode.
    His name clearly is John Colby, and it is also established that Mrs, Carpell had an ex-husband who was suposedly killed in military duty, just as the histrory of S&H’s friend John Colby has.
    When it is discovered that Mrs. Carpell has never seen Colby and that he was duping them all along, well it strains believability that her ex-husband would be named John Colby, was lost in war and that a different person (S&H’s friend John Colby) with the same name and past history is coincidentally the hired assasin looking to kill her husband.

  2. King David Says:

    I have a lot of issues with this one, and Colby’s military history could easily be fake, mocked up to give credibility to the lie that he’s the former husband. The names issue is a bit dodgy. (John as a name crops up often. Unimaginative writing?)
    I really have issues with the insipid Mrs Karpel, however. All that time at the carpark, the car ride, the beach. Have some backbone love! Don’t just stand there!!
    Things to love: Hutch leans on Starsky’s legs in the bar. He’s standing close, and uses Starsky’s legs as a prop. Starsky is not in the least bothered.

  3. Anna Says:

    The ending tag here, while delightfully hilarious in a mean kind of way when taken all on its own, always annoyed me with its placement here. It doesn’t have much to do with the rest of the episode, which is okay in lighter and less personal episodes but kind of a blow-off in an episode with such emotionally touchy material, particularly since they had that understated melancholy reaction to Colby’s betrayal rather than any kind of explosive decompression of emotions. I think a better and more meaningful tag would be Starsky and Hutch checking in with their good and sincere friend Huggy to see how he’s doing after getting beaten up, in parallel and contrast with their concern over their massive-failure-of-a-friend Colby throughout the body of the episode, with something in their interaction to act as a reminder that older and more sentimental friends are not necessarily better friends.

  4. stybz Says:

    In reference to the question about Starsky knowing SOS. That’s the one Morse Code sequence we all learned as kids. SOS was used quite a bit on films and TV in the 60’s and 70’s. We all knew that one. 🙂

  5. Patricia Ackor Says:

    I agree with stybz, regarding SOS. I was never any type of scout but I was a history buff and especially the sinking of the Titanic. As many people know, that was the first “official” use of the Morse code for “Help,” ditditdit, da da da, ditditdit. SOS.

  6. stybz Says:

    Quote: “Brushing your teeth in the shower is a sign of a rushed, chaotic mind.”

    LOL! I love it. 🙂

    I am a fan of Art Hindle. I think he’s a great actor and was thrilled when I found out he was in this episode. The reason I bring this up is that scene in the locker room always bugged me when he greets Hutch, then Starsky (I think either Vinnie told him they were partners, or he assumed they would have both come to the gym when Hutch found out Colby was there). It sounds so forced. There’s no real enthusiasm. At first I thought the scene was not performed well, but then considering that I have seen Art Hindle play other roles effectively, and does the rest of the episode pretty well, then the bad acting is somewhat intentional (perhaps too obvious towards the audience) so that we would have a seed of doubt planted in our heads from the beginning. Which is a shame, because why make us doubt the friendship from the outset when we see the truth reveal itself eventually, unless the writers thought the fans wouldn’t want a third wheel (or a 5th if you count Dobey and Huggy in the equation) in the relationship even for a short while. 🙂

    It took me a while to really grasp what kind of person Colby was, how he was ever in the academy and how he could once be such close friends with Starsky and Hutch then turn on them. Then I realized he had misled them from day one. I figure that when he joined the academy he knew he was good at one thing: manipulating people to get them to do what he wanted. He also had a cold heart.

    So I thought, “Why the police academy?” What better place to understand a cop’s mind and learn how to use a gun and to fight. Maybe after a while he figured the academy wasn’t doing it for him. After all he had to learn how to be a “good” cop, and he wasn’t interested in that. He probably stayed long enough to know how a cop ticks, especially hanging out with two who had a strong moral code. 🙂

    Then once he tired of the police academy he joined the army to learn more about weapons and tactics. He probably was never in a prisoner of war camp. He might have served for a time, but probably got out as soon as he could to put his skills to what he felt was more useful to his cold heart.

    And that’s my take on Colby. 🙂 I’m sure you all had that figured out already, but it was a fun journey for me to come to this conclusion. 🙂

    As for poor Fifi, I think no matter what, Fifi would have done exactly what she did at the party without any input from Starsky and Hutch. It’s possible they didn’t plan on inviting her, but they couldn’t keep it a secret from her, so they had to invite her. She might know one or two of the other party goers, or maybe she lives nearby and makes a point of going out of her way to talk to Hutch on a daily basis. OR maybe Starsky, knowing she liked Hutch, told her about the party just to needle Hutch? LOL!

    Her serving food was her way of getting closer to Hutch. Then she asks if she could stay after the party and help him clean up. 🙂 She knows of no other way to act out her attraction to him than to mother him. He probably tried to reason with her nicely a few times, then gave up because she didn’t get the hint. After a while he probably felt he had to be a bit cold to her just so she’d back off and realize that he wasn’t interested. She seemed to take Hutch’s rejection well, but whether she got the message is left unanswered.

    Then later when she’s in hysterics I imagine it would have looked too cruel to have Starsky slap her, which is what we’re told to do when someone is hysterical. So he resorts to shouting at her harshly instead, which gets the desired result. Then when he sees that she has come to her senses, he does the best thing for her, asks for her help. She jumps to it. The pat on the bum could be taken different ways, but I think it’s intended to be a positive response from Starsky sort of like a pat on back that all was well. He swipes at Hutch in a similar fashion on occasion. 🙂

    I loved the scene at Huggy’s with Starsky’s feet up on Hutch’s chair and then when they’re called in, Hutch puts his hands on Starsky’s legs. Both are so comfortable with each other that this is just so natural.

    So why didn’t Colby kill Hutch? Of course the true answer is easy. As Patricia has said in other threads, we’re just supposed to accept it as the way the writers wrote it. 🙂 But if we were to suspend reality and think about the episode in its context, it’s a difficult question to answer, especially since – as Merle reminds us – he kills Jackie who is as much a loose-end as Hutch and Starsky are. The problem is reconciling his explanation to Hutch, which makes no sense. And that’s what ruins any theories we can have about the whys and wherefores.

    However, if we ignore his explanation and just look at the situation at hand, one theory is that Mrs. Karpel was not restrained in any way, and Colby had no time to do so and take care of Hutch. He probably could have, but the delay meant he might have to deal with Starsky. So the quickest thing to do was to grab her and go. And since he’s more skilled with a blade, maybe he misjudged the clubbing he gave Hutch in the head and thought Hutch would be out cold for far longer, giving him enough time to kill Karpel, and maybe the wife as well, then go back for the two cops before Hutch had a chance to come to his senses and explain things to Starsky. Maybe Colby hoped Hutch wouldn’t make much sense and it would take some time for Starsky to figure it out. After all, what are the chances that the person you’re looking for happens to be in the parking lot the same time you are, and that the person you thought was a close friend was a hit-man? Hutch’s head injury might cause him to be a bit groggy, causing him have trouble explaining it and then once he did, Starsky would have to digest it. How long would Colby had hoped it would take before both men put it all together? A lot less time than he anticipated, of course.

    Maybe Colby hoped Starsky would have a shred of doubt, despite the strong faith and trust the pair had for each other. Maybe Colby probably got a kick out of pitting them against each other in the academy, despite the fact that any disagreements probably didn’t last long, considering how in synch they are with each other. It’s something people like him would get their jollies doing. It’s a stretch, but it’s the best explanation I can come up with.

    Another thing to consider is that maybe Colby’s successes were making him more and more cocky, especially reuniting with Starsky and Hutch and fooling them so well. Every time he led them into believing he needed their help (playing into their sympathies by pretending to be the victim multiple times and then hurting Huggy) he would grin triumphantly. He knew he was good at what he did, but he was getting cocky, and cockiness leads to sloppiness. He had to act fast to kill Karpel, so he didn’t have the luxury to plan it out the way he normally would. He also seems to prefer to fly solo, so having all these additional variables to work with were putting holes in his plans.

    I wonder what he would have done if Mrs. Karpel hadn’t been in the parking lot. What if Starsky came out of the post office with the address and they headed up the beach? It probably wouldn’t have happened, since the Karpels were being protected, and given the fact that Starsky was in the Post Office for quite a long time, he probably was getting nowhere. At worst, Dobey would have contacted Hutch via the radio (as he did in the episode) and told him that Karpel was protected witness. This could have caused a lot of problems. Colby could have stabbed Hutch in the car before Hutch would have pieced it together. But then what? Make a break for it before Starsky returned? Or wait for Starsky to return to the car, frustrated, find Hutch unconscious, probably dead then before he could react get stabbed himself? It’s likely.

    But this is a TV show and the leads can’t die, so they had to come up with something. 🙂 Sadly, it didn’t work very well, although the fight on the beach is very nice and we all cheer Hutch for getting back at Colby. 🙂 If Colby had said the reason he didn’t kill Hutch was because he couldn’t. If they had shown that Colby did have a conscience, and that he was once really good friends with our heroes, it might have worked, but they didn’t do that, and I’m glad, because that would have needed longer than one episode to truly play this whole scenario out.

    Perhaps this should have been two episodes. Consider the dramatic possibilities. 🙂

    I think if Starsky had been the one sucker-punched, he would have wanted to go after Colby and Hutch would have let him. I’m guessing it’s a form of the eye-for-an-eye idea. Hutch got taken down, he deserves to nail Colby. 🙂 Starsky gets his chance when he cuffs Colby, practically snapping his wrist pulling him onto his feet and escorting him off the beach.

    • merltheearl Says:

      Nice speculation! I love how you’ve thought through all the inconsistencies and conundrums of this wonderful episode. For my two cents, check “Character Studies 27” for a few more thoughts on the matter of the mysterious John Colby.

    • Anna Says:

      This is a really great comment, stybz! You’ve given me a lot of food for thought. I wish that the tag in this episode had been more like the tag to “Iron Mike”, letting Starsky and Hutch take a quiet few moments to muse about and unpack the episode together, and try to understand the motivations and implications of the case’s events. I’m sure they would have been stewing for quite a while afterwards over how Colby tricked them and how he went bad and their feelings of betrayal and trying to figure out if they missed something in the academy, whether he was sour even back then. It’s a real shame we couldn’t get even a tag’s worth of reflection on such a thought-provoking incident.

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