Peter Falk didn't just play a detective; he invented a vibe. If you go back and watch Columbo Season 1 Episode 2, titled "Death Lends a Hand," you're seeing the moment the show stopped being a pilot and started being a cultural juggernaut. It’s weird to think about now, but in 1971, the "inverted detective story" was still a bit of a gamble. We see the murder happen in the first ten minutes. We know exactly who did it. There is no "whodunnit." Instead, the thrill comes from watching a rumpled man in a beige raincoat slowly dismantle a genius.
Robert Culp. That’s the name you need to remember here. He plays Brimmer, a high-end private investigator who runs a high-tech security firm. Culp was the perfect foil for Falk. He was sharp, arrogant, and physically imposing. In "Death Lends a Hand," Brimmer is hired by a media mogul named Arthur Kennicut to see if his wife is cheating. She isn't. But Brimmer lies and says she is, hoping to blackmail her into feeding him inside information from her husband's empire. It’s a classic setup that goes south when she refuses to play along, leading to a fatal moment of rage.
The Genius of the "Hand" Hook
Most shows of that era relied on a shocking twist at the end. Not this one. Columbo Season 1 Episode 2 doubles down on the psychological war. Brimmer thinks he’s the smartest guy in the room because he has the gadgets, the tailored suits, and the aggressive posture. Columbo walks in looking like he slept in a dumpster.
It’s hilarious. Honestly.
The contrast is where the magic happens. Brimmer is a "modern" investigator, using hidden cameras and psychological profiles. Columbo uses a beat-up Peugeot and a stubby pencil. One of the most fascinating things about this specific episode is how it highlights the class struggle. Brimmer looks down on Columbo. He treats him like a nuisance, a minor civil servant who can be swatted away. That’s his first mistake. His second is thinking that his technical expertise can outmatch Columbo's intuition.
Why Robert Culp was the Ultimate Villain
Culp returned to the series several times, but his performance in "Death Lends a Hand" is arguably his best. He plays Brimmer with this simmering, cold-blooded efficiency. When he accidentally kills Mrs. Kennicut, he doesn't panic. He calculates. He disposes of the body with a chilling lack of emotion.
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You’ve got to admire the writing by Richard Levinson and William Link here. They didn't make the killer a cartoon. Brimmer is a man of logic. He believes he can out-logic the police. He even helps the investigation! He offers his services to Kennicut to "find" the killer, which puts him in the same room as Columbo for most of the episode. It’s high-stakes poker where Columbo is the only one who knows he’s holding an ace.
Breaking Down the Clues in Columbo Season 1 Episode 2
The "gotcha" moment in a Columbo episode is what everyone waits for. In this installment, it’s all about the contact lens. If you’re a fan of the show, you know Columbo obsesses over the small stuff. A missing piece of jewelry. A scuff on a floor.
In this case, it's the fact that Mrs. Kennicut was missing a contact lens when her body was found.
Columbo’s persistence is legendary. He doesn't just ask once; he asks until you want to scream. He keeps circling back to the "minor" detail of how a woman could lose a lens in a struggle and where it might have ended up. The brilliance of the screenplay is how it uses Brimmer’s own vanity against him. Brimmer thinks he’s helping Columbo solve the case, but every "tip" he gives is actually a rope Columbo uses to hang him.
The Directorial Flair of Bernard Kowalski
We often talk about the actors, but the direction in Columbo Season 1 Episode 2 is surprisingly experimental for 70s television. There are these quick-cut montages—specifically during the murder and the disposal of the body—that feel very "New Hollywood." It wasn't just a standard procedural; it had style.
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The lighting in Brimmer’s office is sterile and bright, representing his supposed intellectual superiority. Columbo, by contrast, is often framed in shadows or messy environments. This visual storytelling reinforces the theme: the polished facade vs. the messy truth.
What Most People Get Wrong About This Episode
Some critics at the time thought the show was too slow. They wanted car chases. They wanted shootouts. But Columbo Season 1 Episode 2 proved that a conversation over a cup of bad coffee could be more intense than a high-speed pursuit.
People often think Columbo "tricks" people into confessing. That’s not quite right. He creates an environment where their own ego forces them to slip up. He makes them feel so superior that they become careless. Brimmer’s downfall isn't a lack of intelligence; it’s an excess of pride. He couldn't imagine that a man who couldn't find his own car keys could find a murderer.
Fun Trivia and Production Notes
- The Car: This episode features more of the iconic Peugeot 403. Did you know Peter Falk picked that car out himself? The studio wanted him in something sleek, but Falk insisted on the heap of junk because it matched the character's soul.
- The Guest Star: Ray Milland appears here as Arthur Kennicut. Milland was an Oscar winner (for The Lost Weekend), and his presence gave the show immediate prestige. He would actually return in the very next season as a killer himself!
- The Blueprint: This episode established the "Columbo likes the killer" trope. You can tell Columbo actually respects Brimmer’s intellect, which makes the inevitable arrest feel almost tragic.
The Lasting Legacy of Death Lends a Hand
Watching this episode in 2026 feels like a masterclass in pacing. We live in an era of "prestige TV" where episodes are 70 minutes long and often feel bloated. Columbo Season 1 Episode 2 clocks in at 75 minutes and every single second serves the plot. There is no "B-plot." There are no wasted characters.
It’s just a cat and a mouse. Except the mouse is wearing a trench coat and the cat is incredibly overconfident.
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If you're diving into the series for the first time, or if you're a long-time fan doing a rewatch, pay attention to the scene where Columbo is getting a haircut. It’s a throwaway moment on the surface, but it’s actually a brilliant piece of character building. It shows his frugality, his awkwardness in social situations, and his ability to extract information from anyone, even a barber.
How to Watch and What to Look For
If you want to truly appreciate the craftsmanship of Columbo Season 1 Episode 2, don't just watch it for the plot. Watch Peter Falk’s eyes. While his mouth is saying something self-deprecating like, "Oh, my wife would kill me if I forgot the groceries," his eyes are scanning the room. He’s taking mental Polaroids of everything.
The "One More Thing" moment in this episode is particularly satisfying because it ties back to a physical piece of evidence that was established in the first act. It’s fair play mystery writing at its absolute peak.
Actionable Insights for Mystery Fans:
- Study the Inverted Structure: If you’re a writer, analyze how the tension is maintained when the "who" is already known. It’s about the "how" and the "when."
- Focus on Character Foils: Notice how Brimmer’s high-tech world makes Columbo’s low-tech approach seem even more effective. Contrast is your best friend in storytelling.
- The Power of the Mundane: Learn how to use everyday objects (like a contact lens or a ring) to carry the weight of a narrative.
- Rewatch with Intent: Go back and look for the exact moment Columbo knows Brimmer is the guy. It happens earlier than you think.
The beauty of Columbo Season 1 Episode 2 is that it doesn't age. The tech in Brimmer's office looks like something out of a retro-futurist museum now, but the human psychology? That hasn't changed a bit. Ego is still the fastest way to ruin a "perfect" crime.
To get the most out of your Columbo journey, compare this episode to the pilot, "Prescription: Murder." You'll notice Falk refining the character, making him less aggressive and more the "bumbling" genius we all love. It's the transition from a character to an icon. Once you've finished "Death Lends a Hand," move directly to "S.W.A.L.K." (Murder by the Book), which was directed by a young Steven Spielberg. Seeing these two episodes back-to-back shows you exactly why this series changed television forever.