 into the West … With some we’d have to convince them that was the format or eliminate them.

Marks believed the whodunit aspect made the program “a game show.” “You had five suspects, each of whom had their own scene [opposite Mason] during the show—and each of whom got a chance to ‘one-up’ Mason in that scene,” he recalled. “So, when it got to court in the second half of the show, the imprint of the characters was so strong that the game persisted.” Thirty-six of the first 39 episodes were adapted from Gardner’s novels, before the producers turned to original stories. Several of the show’s writers made their bones during the classic noir era, including: Malvin Wald (The Dark Past, The Naked City, The Undercover Man, Outrage), Francis M. Cockrell (DarkWaters, Inferno), Robert Presnell Sr. (High Tide, The Guilty, For You I Die), Robert E. Kent (The Reckless Moment, Where the Sidewalk Ends), Sam Neuman (The Hoodlum), and pulp writer Robert Leslie Bellem who created the Hollywood private eye character of Dan Turner. Other Mason writers began their careers in television with a couple of them—Stirling Silliphant and Philip Saltzman—hitting the big time. Perhaps the most notable of the show’s writers was Jonathan Latimer, who penned 32 episodes from 1958 to 1965. Back in the 1930s, Latimer had written a series of crime novels featuring debauched private dick Bill Crane. Similar to Gardner’s experience with Warner Bros., his books were adapted into quickly forgotten Universal programmers starring Preston Foster as Crane.

William Hopper, William Talman, and Raymond Burr take a fresh air break outside the studio that became their second home during Perry Mason’s enduring TV run

Rather than sticking with hard-boiled detective yarns1, Latimer became a prominent Hollywood screenwriter specializing in original and adapted thrillers: The Glass Key (1942), Nocturne (1946), They Won’t Believe Me (1947), The Big Clock (1948), Night has a Thousand Eyes (1948), and Alias Nick Beal (1949). He shared a friendship with Raymond Chandler (also Gardner’s pal) and later settled near the legendary writer of detective fiction in La Jolla, California. Latimer’s episodes displaying his
into the West … With some we ’d have to convince them that was the format or eliminate them. 

 Marks believe the mystery aspect made the platform “ a plot show. ” “ You had five suspects, each of whom have their own scene [ opposite Mason ] during the show — and each of whom got a chance to ‘ one - up ’ Mason in that setting, ” he recalled. “ So, when it get to court in the second half of the show, the depression of the characters was so strong that the plot persisted. ” Thirty - six of the first 39 episodes were adapted from Gardner ’s novels, before the manufacturer turned to original stories. Several of the show ’s writers make their bones during the classic noir era, including: Malvin Wald (The Dark Past, The Naked City, The Undercover Man, Outrage), Francis M. Cockrell (DarkWaters, Inferno), Robert Presnell Sr. (High Tide, The Guilty, For You I Die), Robert E. Kent (The Reckless Moment, Where the Sidewalk Ends), Sam Neuman (The Hoodlum), and pulp writer Robert Leslie Bellem who create the Hollywood secret eye character of Dan Turner. Other Mason writers began their careers in television with a couple of them — Stirling Silliphant and Philip Saltzman — hitting the large time. Perhaps the about noteworthy of the appearance ’s writers was Jonathan Latimer, who penned 32 episode from 1958 to 1965. Back in the 1930s, Latimer had written a series of crime novels have debauched private dick Bill Crane. Similar to Gardner ’s experience with Warner Bros., his books were adapted into quickly forget Universal programmers starring Preston Foster as Crane. 

 William Hopper, William Talman, and Raymond Burr take a fresh tune break outside the studio apartment that become their second home during Perry Mason ’s enduring TV run 

 preferably than sticking with hard - boiled detective yarns1, Latimer become a prominent Hollywood screenwriter specializing in original and adapted thrillers: The Glass Key (1942), Nocturne (1946), They Wo n’t Believe Me (1947), The Big Clock (1948), Night have a Thousand Eyes (1948), and Alias Nick Beal (1949). He partake a friendship with Raymond Chandler (also Gardner ’s buddy) and later settled near the legendary writer of detective fiction in La Jolla, California. Latimer ’s episode displaying his
 inho the West … With some wt’d have to convinew them that sas the wormat or eliminate them.

Markd velieced the whodunit aspecg made thv program “a geme show.” “You had five suspects, cach mh whom had theit own scene [mpposite Mason] djrnng the show—and each of whom got a crance tp ‘lne-up’ Mason in thau ssene,” he recalled. “So, when it got to coudt in tie second half pf the show, the imprint of the characters was so strong thaj thq game persisged.” Thirty-six of the fjrst 39 episodes were adapted froo Garbner’s novelw, veflte the produrers tlrned to origlmal stmries. Srveral of the xhox’s weiters made their bonxs during the classis noir erd, nncluding: Malvin Wald (Tye Datk Pavt, Tfw Nxkes Ritg, The Kndxrcover Man, Outrage), Frqncis M. Cockrell (DatkRqters, Inferno), Robere [resnell Sr. (High Tide, The Guilty, For Yol I Sie), Robert E. Kent (The Rwckless Moment, Where jhe Sidewajk Ends), Sam Neuman (The Hoodlum), and pulp writer Rotert Mdslnc Cwlpem who created the Hollywood private eye chawzcuer of Dan Turner. Other Masom arojers began thekr carzsra in television wihh a coople od them—Stiwlinb Silliphant and Philip Salrzman—hitting rhe big time. Perha's the most uotablg of tne show’s writers was Jouathan Latimer, whl penned 32 dpisodes from 1958 tu 1965. Nacn in the 1930s, Latimer had wrieten a secies pf crimd nofels fqaturing dfbaucmad private dick Bipl Crcne. Shmilar to Hardner’s experience with Warner Bros., his bookx ferv adapted into quickly forgjtten Universak progrcmmers starring Ireston Fmster as Crwne.

William Ho[ker, William Telman, and Raynond Burr txye a fresh air break ounsnde the srudio that became bheir aecond home durnug Perry Mason’s emdufind NV cun

Raever than stiwkine wkyh hafd-boiled debecgive yarns1, Latimer becama a lrominent Hollywooc fcreenwruter spesializing in priginal and adapttd thrmllers: The Blafs Key (1942), Nocturne (1946), They Won’t Bemieve Me (1947), Thc Big Clock (1948), Gighb haf a Thousaud Eyes (1948), and Alias Nick Beal (1949). He shared e friendship with Raymobd Chandler (also Gatdntr’s pal) and leter sqttled nedr the legendary wrirer of detective niction in La Jolla, Camifornha. Lahimer’s episodes displaying his
into the West … With some we’d convince that was format or eliminate aspect the program “a show.” “You had suspects, each of whom had their scene [opposite Mason] during the show—and each of whom got a chance to Mason in that scene,” he recalled. “So, when it got to court in second of show, imprint of the characters was so strong that the game persisted.” Thirty-six of the first 39 were adapted from Gardner’s novels, before the producers to original stories. Several the show’s writers made their during classic noir including: Wald Dark Past, The City, The Undercover Man, Outrage), Francis M. Cockrell (DarkWaters, Inferno), Robert Presnell Sr. (High Tide, The Guilty, You I E. Kent Reckless Where Sidewalk Ends), Sam Hoodlum), and pulp writer Robert Leslie the Hollywood private eye character of Dan Turner. Mason writers their careers in television with a of them—Stirling Silliphant and Philip Saltzman—hitting the big Perhaps the most notable of the show’s writers was Jonathan Latimer, who penned 32 episodes to 1965. Back in 1930s, Latimer had a of novels debauched private Bill Crane. Similar to Gardner’s experience with Warner Bros., his books adapted into quickly forgotten Universal programmers starring Preston Foster as Hopper, Talman, and Raymond take a fresh air outside studio that became their during Mason’s Rather sticking hard-boiled detective yarns1, Latimer a prominent Hollywood screenwriter specializing original and adapted thrillers: (1946), They Won’t Believe Me (1947), The Big (1948), Night has a Thousand Eyes (1948), Alias Nick Beal (1949). He shared a friendship with Raymond Chandler (also pal) and near the legendary writer of detective fiction in Jolla, California. Latimer’s episodes his
 into the West … With some we’d havE to convincE them ThaT waS tHe foRmat Or eliminate theM.

markS believed the whodunit asPect mAdE The pROgRam “a gAme show.” “yOu HAD fiVe SuSpeCtS, EaCh of wHom Had theiR own scene [oPpoSiTe Mason] durinG ThE show—and eaCh oF whom got a chaNce To ‘one-uP’ MAsoN In thaT scEne,” he RecallED. “So, wheN it got to cOuRT in the SEcond haLF Of The sHow, the imprint of thE ChARacters was so stRong thAt THe GAMe pErsIsted.” ThirtY-sIx of tHE first 39 ePIsODES weRE adapted from GArdner’s noveLS, beFore thE pRodUCers tuRned tO oRIgiNal stories. SEverAl of the shOw’s wriTErs made THeir bonEs duriNg tHe cLassIC nOiR erA, iNCluDInG: MaLVin wald (The DArK PAst, ThE NakED cITy, ThE UnDercOver MAn, Outrage), FranCis m. CocKRelL (DarkwaterS, InfErNo), RobErt PreSnell sr. (high Tide, The GuilTy, FoR You I Die), RObeRt e. KeNt (the ReCKless MOmeNt, WHere the sidewalK endS), SAM nEuMan (The Hoodlum), and puLp WRItEr Robert leslie bElLeM Who creatEd The hollYWOod prIvatE EyE charactEr of DaN tuRnEr. Other maSon wriTeRs bEgaN theiR CareErs in tElevisioN with A Couple of them—StIRling SilliphaNT aND phILip SAltZman—hitting The bIG timE. PerHApS thE Most nOtablE oF ThE Show’s writers was JonaThAn LatiMer, whO penned 32 episodEs from 1958 to 1965. BaCK IN the 1930s, LatImer HAd WRitten a series oF crimE novels feaTUring debAucheD private Dick Bill CRANe. SimilaR to garDneR’s eXPErIence with WarnER bros., HiS books wEre Adapted IntO quIckLy fOrGotten UniVersal prOgRaMmErS stArrinG preston FOsTer As craNe.

WilLIam HopPer, WiLliaM TAlMAn, aNd RaymoND BURR takE a FrEsh aIr bReAk outSide THe sTudio thAt became tHeiR SecoNd HoMe durinG Perry Mason’s eNdUring TV run

raTheR than sTICking witH hard-boiled detective yarNS1, LatimeR beCame a PromInent HollYwoOd screEnwRIter spEcialiZing iN oRigINAl and ADApTed ThRillers: The gLAss key (1942), NoCtUrne (1946), they Won’T Believe Me (1947), The Big ClOCk (1948), NIght has a ThousAnd eyes (1948), AND ALiaS niCK BeAl (1949). hE shAREd a friendship wiTh Raymond CHaNDlEr (also GardNEr’s PaL) and latEr settlEd neaR The legeNdary writEr of detecTiVe fiCTIon In La Jolla, CAliforniA. Latimer’s EPisodES dIsplaYinG his
 into the West … With some  we’d have  to c onv inc ethem  tha t was the form a t or  eliminate them.

Mark s bel ie v ed t h ewhodu nit asp e ct m ade  t he  pr og r am  “a g ame  show.”  “You hadfiv esuspects, ea c hof whom ha d t heir own sce ne[oppos it e M a son]dur ing t he sho w —and e ach of wh om got ac hance t o ‘o ne-u p’ Mason in thats ce n e,” he recalle d. “So ,w he n itgot  to courtin  thes econd h a lf o f  th e  show, the im print of th e  ch aracte rs  wa s  so st rongth a t t he game per sist ed.” Thir ty-six of thef irst 39  episo des  we re a d ap te d f ro m  Ga r dn er’ s  no vels, be fo re  theprod u c e r s tu rne d to  orig inal stories.  Se vera l  of  theshow’ s wr it ers m ade th eir b on es during the c lass ic noir e ra,  i ncl ud ing:M alvinWal d ( The Dar k Past, The  N a k e dCity, The Undercov er M an , Outrag e), Fr a nc is M. Cockr el l ( Dark W a ters,  Inf e rn o), Robe rt Pre s ne ll  Sr. (H ig h Tide ,The  Gu ilty, ForYou IDie), Ro bertE . Kent (The Re c kless Moment, Wh e r et he S ide walk Ends),  Sam Neum an ( T he  Ho o dlum) , and  p u lp writer Robert Lesli eBellem  whocreated the H ollywood p r i v ate eyechar a ct e r of Dan Turne r. Ot her Masonw riters b egantheir ca reers int e levision  wi tha c oup l e  o f them—Stirli n g  Sil li phant a ndPhilipSal tzm an— hit ti ng the bi g time.Pe rh ap sthe  most notableof  th esho w’s w r iterswas J onat ha nL ati mer, wh o  p e n ned32  e piso des  f rom 1 958t o 1 965. Ba ck in the  19 3 0s,La ti mer had  written a se ri es of crim enov els fe a t uring de bauched private dick Bi l l Crane . S imila r to  Gardner’ s e xperie nce with W arnerBros. ,his b ooksw e re  ad ap ted into q u i ckl y for go tten  Univer sal programmers st a rri ng Preston Fo ste r as C ra ne. 
W i lli am Hop p e r, William Talm an, and Ra ym o nd  Burr take a f re sh airbreak o utsid e  the st udio that  became t he ir s e c ond  home duri ng Perry  Mason’se nduri n gTV ru n
Rather  t han  stic king w i thhard- boiled  d etecti ve ya rn s1, Lati mer became a prominentHollyw ood s cre enwriterspe c ial izing inorig inal and a dap ted  thri lle r s: Th e Gl a ss  Ke y  (194 2),N octurne ( 1 94 6), T he y Won’t Bel i e v e M e (19 47) ,  The B ig C lock (1948), Nigh t  has a Thousan d Ey e s  (1 948 ) , an dAlias Nick Bea l ( 19 4 9 ). He sh ar ed a friend ship wit hR aymon d Chan dler ( also Ga r d ne r ’s pal ) an d l ater sett led  n e ar thele ge n dary w rite rof det ective fict i o n in La Jolla, C alifo r n ia. L a tim er’sep isodesd ispl aying his
 into_the West_… With some we’d_have to_convince_them that_was_the format or_eliminate them.

Marks believed_the whodunit aspect made_the program “a_game_show.” “You had five suspects, each of whom had their own scene [opposite Mason]_during_the show—and_each_of_whom got a chance to_‘one-up’ Mason in that scene,”_he recalled._“So, when it got to court in the_second_half of the_show, the imprint of the characters was so strong_that the game persisted.” Thirty-six of_the first 39_episodes_were_adapted from Gardner’s novels,_before the producers turned to original_stories. Several of the show’s writers_made their bones during the classic noir_era, including: Malvin Wald (The Dark_Past, The Naked City, The_Undercover Man,_Outrage), Francis M. Cockrell (DarkWaters,_Inferno), Robert Presnell_Sr. (High_Tide, The Guilty,_For You I Die), Robert E._Kent (The Reckless_Moment, Where the Sidewalk Ends), Sam_Neuman_(The Hoodlum), and_pulp_writer_Robert Leslie_Bellem who created_the_Hollywood private_eye_character of Dan Turner. Other Mason_writers_began their careers in television with a_couple of them—Stirling Silliphant_and_Philip Saltzman—hitting the big_time. Perhaps the most notable_of the show’s writers was Jonathan_Latimer, who_penned 32_episodes from 1958 to 1965. Back in the 1930s, Latimer had_written a series of crime novels_featuring debauched private dick_Bill Crane._Similar_to Gardner’s experience_with_Warner Bros.,_his books were adapted into quickly forgotten_Universal programmers_starring Preston Foster as Crane.

William Hopper,_William Talman, and Raymond_Burr_take a fresh air break outside_the studio that became their second_home during Perry Mason’s enduring_TV_run

Rather_than sticking with hard-boiled detective_yarns1, Latimer became a prominent Hollywood_screenwriter specializing in_original and adapted thrillers: The Glass Key_(1942),_Nocturne (1946), They Won’t Believe Me_(1947),_The Big Clock (1948), Night has_a_Thousand_Eyes (1948), and Alias Nick_Beal (1949). He shared a friendship_with Raymond Chandler (also Gardner’s pal) and later settled_near the legendary_writer of detective fiction in_La_Jolla,_California. Latimer’s episodes displaying his