Ticket 2 Ride

Columbo is regular viewing at our house, as is discussing interesting and odd things about the television series.

What separates Columbo from other series, aside from the rumpled raincoat, and the man wearing it, is the writing. The mystery, is in how Lt. Columbo will peel away the clues, of the perfect crime. The mind of the criminal against the mind of the cop.

David Koenig’s new book, Unshot Columbo (Bonaventure Press, 2024), reveals the many attempts to get ideas to the screen, but for some reason, were shelved or not approved for development. Sometimes the story ideas were too far outside the “formula” or were too familiar to past scripts. Some of the best minds in Hollywood pitched spec scripts or treatments, only to fail. Koenig discusses several scripts that kept inching closer to “green-lit” status, but stalled for various reasons with the writers essentially giving up.

A total of 66 Columbo episodes (and TV movies) were filmed, spread over a 35-year period. Producers, studio and network executives, story editors and writers came and went, many returned for a season or two, yet the only constant was Peter Falk. Although he was uncredited in the NBC run of the show, he wielded incredible power over scripts, the number of episodes per season, and the hiring of writers, producers, directors and actors. In the final ABC seasons, Falk was officially the executive producer, and occasional director.

The series began in 1968 with a TV movie, introducing Lt. Columbo as more of a traditional police detective. That was followed by a second TV movie in 1971, with more of the familiar Columbo character traits on display. The first movie was written by Richard Levinson & William Link, the second by Dean Hargrove, from a story by Levinson & Link, who went on the write/produce such shows as Ellery Queen, Mannix, Blacke’s Magic and Murder She Wrote.

All three of those writer/producers would leave their mark on the show and the Columbo formula. They set the bar very high, and difficult to reach, protecting the quality of the show, but making it nearly impossible to run the gauntlet to the green-light.

The actual series began in September 1971 with “Murder by the Book” directed by Steven Spielberg. The series ran NBC from 1971 to 1978, then was revived on ABC from 1989 to 2003.

Koenig’s goes through the treatments and available scripts, following up with why each of those stories failed to reach the screen. Some were worked on by producers or other writers, some undergoing intensive rewrites, and a few were reworked into scripts for other series. An intriguing idea did not always result in a spellbinding mystery. Some scripts languished in development hell, before being tossed aside.

Every year or so, the executive producer (EP) job seemed to change, with each person bringing in their own writers and script editor/consultant to hone or write scripts. The new EP, as Koenig relates, often wiped the slate clean of ideas, preferring to solicit story ideas or create their own. Columbo swept creative people in and out with regularity, often at the behest of Universal Studios management.

Even creators Levinson & Link moved on after two seasons, Hargrove (Diagnosis Murder, Matlock) left after three seasons. Levinson & Link would get either story or script credit for five episodes, Jackson Gillis (Perry Mason, Lassie) would have 11 credits, the most of any writer. Steven Bochco (L.A. Law, NYPD Blue) six credits, Peter S. Fischer (Murder She Wrote) six credits, and Hargrove four credits. Thirty-five other writers would have one or two credits.

When Falk moved formally to executive producer, he not only the power, he was in charge. That meant actually running the show, hiring his producer staff, and most importantly, getting the scripts.

Columbo was always a show about the writing – even more than Falk, who was essential to the show’s success. The writing set the show apart from other mystery series. Now, Falk, a non-writer, had to hire his story editor/consultant, approve the development of ideas to scripts, and decide which scripts actually got filmed. Falk knew the character and the show’s formula, but he didn’t make his living as a writer.

According to Koenig, Falk bumped heads with ABC executives, who seemed to make decisions without notifying the network. Falk and the network had multiple disagreements over scripts and guest stars, as the show wound-down. Koenig not only read and summarizes the script/treatments, but he interviewed writers, producers and others associated with the shows, to provide the inside perspective.

I always wished for more Columbo episodes, but after reading the book, its quality over quantity. I don’t think every filmed Columbo was great, but they certainly scripts that were dissected and underwent a thorough review for logic, realism and genuine human motivation. Unlike most other programs, Columbo episodes world be talked about, debated and used as a measure of quality and originality.