Columbus's main idea is deceptively simple: there was a murder, and the case was the murder and friendly Columbus Columbus of the Los Angeles Police Department, always settling the case immediately at the end of the episode. The turnaround is how almost every episode takes place, because the audience reveals who the killer is before Columbus even appears. Most episodes of Columbus are about 75 minutes long, and the first 15 or more of those minutes are dedicated to us to learn the situation and understand why someone would commit murder before doing a dirty act. In essence, the uncertainty of each episode wonders how Columbus will capture its quarry, so the play does not belong to the sub-genre of "Whodunit" of mysteries, but rather "Howcatchem".

Another miracle of Columbus history is that the first two episodes are considered separate one-time TV films, basically two separate pilot episodes, one of which was broadcast in 1968 and the other aired in the spring of 1971. But when Steven Spielberg stepped behind the age of 24, he directed what would serve as Columbus's first regular episode. Although the show was created by Richard Levinson and William Link, "The Murder of the Book" was written by Steven Boccho. If that name rings bellvon, you should; Boccho will continue to write or create shows such as "LA Law", "Nyujork Blue" and "Hill Street Blues". So, in essence, the "killing of the book" was catching lightning in a bottle, even if he did not realize it. While no one would say (without being a loud contradiction) that "the killing of the book" descends as the greatest thing of these Stevens, it is very easy to see the episode and see the seed of greatness, especially in the direction of Spielberg.

The "Murder of the Book" plot revolves around a couple of authors, Ken Franklin and Jimim Ferris (shown by Jackec Cassidi and Martin Miller, respectively). They have been successfully co-wrapping a series of novels to Miss Marple-ESK for years, but Jimim has been ready to work on his own projects without Ken. Ken is disappointed with this primarily because he enjoyed a certain sort of lifestyle that gives the success of books ... for which he really didn't write for a very long time. So, to move away with a beautiful insurance policy, he attracts Jimim into a quiet cabin from where he kills his partner and tries to set him up on some unprecedented gangsters, which means Jimim conducted research on a book that criminals loved unpublished. Of course, things like this are not easy. Ken should soon kill the owner of a local store, which a) has a big crush on him and b) realizes that Ken has killed his co-writer and wants to blackmail him for the privilege of being his Lubisher.

The basic elements of almost every episode of Columbus are present in "Murder from the Book", and the way Spielbergian and an effective template are visually felt about what the show would look like in future episodes and seasons. One of the critical, but often unnoticeable aspects of Columbus is that almost every episode serves as a comment to the class in the 1970s. Columbus himself, played so masterfully by Peter Folk, is the living embodiment of the word "dumped", with a coat that looks like it has been done several times, a naked hairstyle and a seemingly inability to remember what his pocket on his. (The incredible performance of folk is increasingly noticeable when you realize He was not the first choice either to play the character.) Conversely, his suspects are among the narrowest members of society in Los Angeles. Here, it is the author of the resolution, but future episodes will appear at Columbus facing NHL's CEO, a world -renowned orchestral conductor (featured by Folk's longtime friend Johnon Cassetsets) and deputy police chief. Along with that, the appearance and feeling of episodes, the tension of the building between the suspect and the capital and the epic, a large scale of how Columbus is represented against the background of Los Angeles, all arise from how Spielberg so confidently uses these pieces in this first episode.