Former screen and television actress Kathleen Hughes (b. 1928) got noticed in 1953 as a blonde bombshell who appeared in a small part in Jack Arnold’s sci-fi cult classic “It Came From Outer Space.” To this day, the film is still screened on television and at film festivals.

Even though Ms. Hughes only played a small part in it, her appearance made her an icon in the eyes of many sci-fi fans. The supporting actress, who first appeared in films from 1948 until the mid-1950s and then mainly worked for television—while raising her four children she had with her husband, prolific film and TV writer and producer Stanley Rubin—is still alive and kickin’. At 96, she still answers her fan mail every day, gives interviews occasionally, and until recently attended Hollywood events from time to time.

Early 2023, she sold their house in the Hollywood Hills, at 8818 Rising Place, above the Sunset Strip, which they built in 1956. The couple got married in 1954; their union lasted sixty years, until Mr. Rubin died in 2014 at age 96.

Ms. Hughes’ uncle was F. Hugh Herbert (1897-1958), a very productive novelist, playwright, and highly successful screenwriter who started out in the silent era and wrote scripts for some of the most notable film directors such as Robert Z. Leonard, William Dieterle, Otto Preminger, Mark Robson, and Blake Edwards. He also wrote scripts for films with the biggest Hollywood stars like Norma Shearer, Marion Davies, Loretta Young, Myrna Loy, Barbara Stanwyck, Dolores del Rio, Jean Arthur, Deanna Durbin, Melvyn Douglas, John Wayne, Claire Trevor, Irene Dunne, Charles Boyer, Shirley Temple, Jeanne Crain, Maureen O’Hara, Natalie Wood, Claudette Colbert, Marilyn Monroe, Ava Gardner, Stewart Granger, and David Niven.

He was also President of the Screen Writers Guild from 1953-1954 and its chairman until 1957. The reason why he’s mentioned here in detail, is because he was instrumental when his niece Kathleen Hughes made her first steps in the film industry.

This interview with Ms. Hughes was conducted in 2004 in the garden of their Hollywood home. “Gone With the Wind” actress Ann Rutherford, a very dear and close friend of mine and a mutual friend, introduced me to the Rubins and drove me to their place where I got the chance to talk to both of them. Mr. Rubin’s interview will be published shortly; his long list of screen credits as a film producer includes “River of No Return” (1954), starring Robert Mitchum and Marilyn Monroe.

Ms. Hughes, you were born and raised right here in Hollywood, weren’t you?

Yes. I was born in Hollywood and grew up here. My uncle, F. Hugh Herbert, was a screenwriter, and he would take my two cousins and me to the sets of pictures he had written. It was so thrilling to be on a film set and to see what they were doing.

Thanks to him, you discovered your passion for film?

I’m sure he had something to do with it because he used to take us on the set of his movies when we were ten, eleven, or twelve. I loved that, it was just wonderful. I thought, ‘I want to be an actress.’ I remember one picture, I think it was at Republic, a picture called “Hit Parade of 1941” [1940]. Ann Miller and Patsy Kelly were in it; I remember that so well because I saw them working there. My uncle also had movie directors to dinner; I remember sitting across the table from Robert Siodmak. So I decided quite early on to be an actress. His daughter—my cousin Diana [Herbert]—became an actress on Broadway, while I became an actress in film. That reminds me how important my uncle was to my career, something I had completely forgotten. While I was going to college, I won a scholarship at a little drama school that was torn down many years ago; it was roughly across from the Museum on Wilshire Boulevard. Anyway, I won a scholarship, and in my second year, I won another scholarship and I got to be in plays. One night, I was appearing in a play, and there was a talent scout from Fox. He liked what I did and called me out to Fox. They wanted to test me, and since my uncle was at Fox and heard about it, he said, ‘Oh, I’ll write it and direct the test.’ So he did. It was what they called a personality test in those days. It was not a scene from anything, it was just talking. But it was so clever and he was such a wonderful writer. I was sitting at this table, looking at a mirror and blowing kisses. My uncle was off camera and said, ‘Oh, stop admiring yourself [laughs].’ I said, ‘No no, I’m not admiring myself. I’m looking at a picture of the most wonderful man in the world,’ and I was going on and on about this wonderful man, and so finally he said, ‘This is ridiculous, enough of this. Why don’t you show me what you’re looking at.’ I took this photograph, turned it around to the camera, and it was Darryl F. Zanuck, who signed me [laughs]. I got a seven-year contract at Fox; it only lasted three years, but that was still pretty good. Then I went on from Fox to Universal. So, my uncle really helped me with my career. If anyone else had directed me to an ordinary test or an interview test, it might have been terrible. I was at Fox for three years, but I didn’t meet Zanuck until a Christmas party, three months before I left.

Is it correct that you saw Marilyn Monroe at work when you were at 20th Century Fox?

My cousin Diana Herbert took acting lessons when I was already under contract at Fox, and she appeared in a show at the studio club. You see, in those days, every studio had a studio club for all the people who worked behind the scenes—the secretaries, the errand boys, the people who worked in the mailroom, etc.—meaning everybody but the actors. And every year, they’d put on a show, and Diana would be in one of those shows. The day before the show, she said, ‘They took my song number away from me, and they gave it to a girl named Marilyn Monroe who had been under contract at the studio for six months, but they had just dropped her, and now they’re giving her the song. I’m still in the show, so why don’t you come and see me?’ So I went to the show to see Diana and her number. She was very good. But then Marilyn came on, and she was so fantastic and looked like a star. I couldn’t believe they had dropped her. Her song was ‘I Never Took a Lesson in My Life.’ I thought, ‘If anyone at the studio would see the show, they’d realize they made a terrible mistake, and they would sign her right back.’ A little bit later, the casting office called me, and they asked, ‘Can you dance?’ They suggested I work with this poor, patient dance director. He tried for hours to teach me one simple step. At the end of the day, he said, ‘Forget it, we will get someone else.” That someone else was Marilyn, and that’s how she got a small part in “A Ticket to Tomahawk” [1950] and I didn’t. But she deserved it much more than I did; I was a terrible dancer. Years later, I was able to pick up that particular step, but I couldn’t learn it at the time. But Marilyn’s other films that same year were “The Asphalt Jungle” and “All About Eve”; they launched her career.

“It Came From Outer Space” (1953, trailer)

Were there films or roles that could have changed your career if you had gotten them?

Yes, I would like to mention two pictures that could have changed my life. One, they were going to make a picture at Fox called “Yellow Sky” with Gregory Peck. They wanted Paulette Goddard to play opposite him, but they wanted her to play it without makeup, and she said, ‘No way.’ And so they had me audition for it, but then all of a sudden Anne Baxter was available. Of course, they took her. But I wonder what would have happened to my career if I had gotten that part. Maybe my career would have been different, and I think this was a really big one that could have changed my career. With the other one, I was still under contract to Universal and I was in New York when I got a call from Universal, saying, ‘Come back immediately. You’re going to be right away into a picture called “Dawn at the Corral.”’ So I said, ‘Wonderful! I pack my bags and I get right back.’ The same day, I got a call from Sam Spiegel’s office; the wanted to test me for the Eva Marie Saint part in “On the Waterfront.” I said, ‘I can’t, I have to go back to Universal to do a picture.’ If I could have at least auditioned for it… But, of course, I had the security of a contract at Universal after I had been under contract at Fox where I had made eleven films. I ended up at Universal after they had seen “For Men Only” [1952], directed by Paul Henreid. Playing a bad girl was interesting because it gave me something to do; I liked those roles more than a straight girl. In “Three Bad Sisters” [1956], I was the baddest of the three bad sisters; that was a lot of fun because you can do something you would never do in real life. There was a scene where I had to horsewhip my sister’s character while I was actually whipping a pillow [laughs].

You also met Howard Hughes, the studio head of RKO, didn’t you?

Yes, but he was such a strange man, and he had this specific thing. When he wanted to see any of us, we all had to go to the same photographer and we had to wear a specific dress. We were photographed from every angle, and one day, they told me Mr. Hughes wanted to see me about a picture. I was told to go to Robert Sparks, who was the lead producer at RKO. So I went to his office at RKO, which was on a Sunday, and we just sat there, staring at each other, waiting for the phone to ring because I had to be in the office when Howard was ready. Finally, after what must have been like half a day, the phone rang, and yes, we were going to meet Howard Hughes. We went over to the Sunset Strip, there was a very famous photographer named Paul Hesse—the building still exists on the Sunset Strip—but the building was kind of divided, with a little outdoor patio. So we went out on this patio, and I was wearing knee-high stockings because the dress covered them. I was sitting with my legs crossed, and Howard never looked me in the eye. He was staring the whole time at the stockings. Weird. He asked me if I thought Universal would lend me to him for a picture called “Underwater!” [1955] with Jane Russell. He asked me if I could swim. ‘Yes, I can swim.’ I loved to do that picture, but I didn’t know if Universal would lend me out to do it. Well, they ended up with someone totally different from me, Lori Nelson, who was also under contract to Universal. I still see her from time to time; she lives out in the Valley. When I was signed by Universal, my first picture was “Sally and Saint Anne” [1952], directed by Rudolph Maté. He thought of Barbara Lawrence for my part, but the studio wanted me to play it. So I was having my wardrobe fitted, and Rudy was there to okay the outfit. He had this tick, so every outfit, dress after dress after dress, he was like going [makes a funny face]. I had never met him before, so I didn’t know. But I’m still friends with Barbara Lawrence [laughs].

“It Came from Outer Space” [1953] is the film that everybody remembers. How do you look back to this screen classic that’s still very popular among sci-fi fans?

I only played a small part, but I really wanted to be in that movie. Before Universal decided to make this 3-D movie—they were planning to do several 3-D pictures—they wanted to test their 3-D cameras; they put me in bathing suits, and I had to walk up and down on a runway while they tested the cameras. After we finished, I asked if I could be in the movie, but they said it had already been cast. Still, I hoped to see the script and I saw there was this small part that I loved to play. Finally, they gave in and I got the part. When the picture was finished, we were doing add stills and they asked me, ‘Why don’t you just throw up your hands and scream.’ That’s what I did, and it became the still I got associated with, although it had nothing to do with the part I played. Now they still use it—a cousin of mine was in Canada once, and she saw that picture on a birthday card.

Were there any roles you played that ended up on the cutting room floor?

Yes, there were a few. Jack Nicholson—I didn’t know him—recommended me to casting for a character in “Ironweed” [1987] that was named ‘The Hot Lady’ who liked to have sex in the basement with the junk man [laughs]. So I got the part, shot the scene, and saw it in the dailies with Meryl Streep and Jack Nicholson. But it was not included in the picture.

Finally, who was your favorite co-star?

Edward G. Robinson [“The Glass Web,” 1953].

Hollywood, California
April 9, 2004

FILMS

ROAD HOUSE (1948) DIR Jean Negulesco PROD Edward Chodorov SCR Edward Chodorov (story by Oscar Saul, Margaret Gruen) CAM Joseph LaShelle ED James B. Clark MUS Cyril J. Mockridge CAST Ida Lupino, Cornel Wilde, Celeste Holm, Richard Widmark, O.Z. Whitehead, Robert Karnes, George Beranger, Ian MacDonald, Grandon Rhodes, Kathleen Hughes (Bar Patron [uncredited])

MOTHER IS A FRESHMAN (1949) DIR Lloyd Bacon PROD Walter Morosco SCR Mary Loos, Richard Sale (story by Raphael Blau) CAM Arthur E. Arling ED William Reynolds MUS Alfred Newman CAST Loretta Young, Van Johnson, Rudy Vallee, Barbara Lawrence, Robert Arthur, Betty Lynn, Griff Barnett, Kathleen Hughes (Rhoda Adams), Debra Paget

MR. BELVEDERE GOES TO COLLEGE (1949) DIR Elliott Nugent PROD Samuel G. Engel SCR Mary Loos, Richard Sale, Mary C. McCall Jr. (characters created by Gwen Davenport) CAM Lloyd Ahern Sr. ED Harmon Jones MUS Alfred Newman CAST Clifton Webb, Shirley Temple, Tom Drake, Alan Young, Jessie Royce Landis, Kathleen Hughes (Kay Nelson), Taylor Holmes, Alvin Greenman, Paul Harvey, Barry Kelley, Jeff Chandler, Kathleen Freeman, Reginald Sheffield

IT HAPPENS EVERY SPRING (1949) DIR Lloyd Bacon PROD William Perlberg SCR Valentine Davies (story by Valentine Davies, Shirley W. Smith) CAM Joseph MacDonald ED Bruce B. Pierce MUS Leigh Harline CAST Ray Milland, Jean Peters, Paul Douglas, Ed Begley, Ted de Corsia, Ray Collins, Jessie Royce Landis, Alan Hale Jr., William Murphy, Kathleen Hughes (Sara, College Coed [uncredited]), Mae Marsh, Debra Paget

WHERE THE SIDEWALK ENDS (1950) DIR – PROD Otto Preminger SCR Ben Hecht (novel “Night Cry” [1948] by William L. Stuart; adaptation by Victor Trivas, Frank P. Rosenberg, Robert E. Kent) CAM Joseph LaShelle ED Louis R. Loeffler MUS Cyril J. Mockridge CAST Dana Andrews, Gene Tierney, Gary Merrill, Bert Freed, Tom Tully, Karl Malden, Ruth Donnelly, Craig Stevens, Kathleen Hughes (Secretary [uncredited])

MISTER 880 (1950) DIR Edmund Goulding PROD Julian Blaustein SCR Robert Riskin (article in The New Yorker by St. Clair McKelway) CAM Joseph LaShelle ED Sol Kaplan MUS  CAST Burt Lancaster, Dorothy McGuire, Edmund Gwenn, Miljard Mitchell, Minor Watson, Howard St. John, Hugh Sanders, James Millican, Kathleen Hughes (Secretary [uncredited])

I’LL GET BY (1950) DIR Richard Sale PROD William Perlberg SCR Richard Sale, Mary Loos (story by Helen Logan, Pamela Harris, Robert Ellis) CAM Charles G. Drake ED J. Watson Webb Jr. MUS Cyril J. Mockridge CAST June Haver, William Lundigan, Gloria DeHaven, Dennis Day, Harry James, Thelma Ritter, Steve Allen, Danny Davenport, Harry Antrim, Jeanne Crain, Victor Mature, Dan Dailey, Bess Flowers, Kathleen Hughes (Secretary [uncredited])

CALL ME MISTER (1951) DIR Lloyd Bacon PROD Fred Kohlmar SCR Burt Styler, Albert E. Lewin (Broadway musical revue “Call Me Mister” [1946] by Harold Rome, Arnold M. Auerbach) CAM Arthur E. Arling ED Louis R. Loeffler CAST Betty Grable, Dan Dailey, Danny Thomas, Dale Robertson, Benay Venuta, Frank Fontaine, Harry Von Zell, Richard Boone, Jeffrey Hunter, Kathleen Hughes (Waitress in Show [uncredited])

TAKE CARE OF MY LITTLE GIRL (1951) DIR Jean Negulesco PROD Julian Blaustein SCR Julius J. Epstein (novel “Take Care of My Little Girl” [1950] by Peggy Goodin) CAM Harry Jackson ED William Reynolds MUS Alfred Newman CAST Jeanne Crain, Dale Robertson, Mitzi Gaynor, Jean Peters, Jeffrey Hunter, Betty Lynn, Helen Westcott, Lenka Peterson, Kathleen Hughes (Jenny Barker), Natalie Schafer

I’LL SEE YOU IN MY DREAMS (1951) DIR Michael Curtiz PROD Louis F. Edelman SCR Melville Shavelson, Jack Rose (story “The Gus Kahn Story” by Grace Kahn, Louis F. Edelman) CAM Ted D. McCord ED Owen Marks MUS Ray Heindorf CAST Doris Day, Danny Thomas, Frank Lovejoy, Patrice Wymore, James Gleason, Mary Wickes, Julie Oshins, Jim Backus, Minna Gombell, Kathleen Hughes (Nurse [uncredited])

FOR MEN ONLY (1952) DIR Paul Henreid PROD Paul Henreid, Edward Nassour SCR Lou Morheim (story by Lou Morheim, Herb Margolis) CAM Paul Ivano ED Sherman A. Rose MUS Hoyt Curtin CAST Paul Henreid, Margaret Field, James Dobson, Douglas Kennedy, Kathleen Hughes (Tracy Norman), Robert Carson, Russell Johnson, Vera Miles, Virginia Mullen

SALLY AND SAINT ANNE (1952) DIR Rudolph Maté PROD Leonard Goldstein SCR James O’Hanlon, Herb Meadow (story by James O’Hanlon) CAM Irving Glassberg ED Edward Curtiss MUS Frank Skinner CAST Ann Blyth, Edmund Gwenn, John McIntire, Palmer Lee, Hugh O’Brien, Jack Kelly, Kathleen Hughes (Lois Foran), Lamont Johnson, Bess Flowers

IT CAME FROM OUTER SPACE (1953) DIR Jack Arnold PROD William Alland SCR Harry Essex (film treatment “Atomic Monster” by Ray Bradbury) CAM Clifford Stine ED Paul Weatherwax MUS Henri Mancini, Herman Stein, Irving Gertz CAST Richard Carlson, Barbara Rush, Charles Drake, Russell Johnson, Kathleen Hughes (Jane), Joe Sawyer, Robert Carson, Edgar Dearing

THE GOLDEN BLADE (1953) DIR Nathan Juran PROD Richard Wilson SCR John Rich (also story) CAM Maury Gertsman ED Ted J. Kent MUS Henri Mancini, Herman Stein, Irving Gertz CAST Rock Hudson, Piper Laurie, Gene Evans, Kathleen Hughes (Bakhamra), George Macready, Steven Geray, Edgar Barrier, Alice Kelley, Richard Carlson, Anita Ekberg, Dennis Weaver

THY NEIGHBOR’S WIFE (1953) DIR – PROD Hugo Haas SCR Hugo Haas (novel by Oskar Jelinek) CAM Paul Ivano ED Albert Shaff, Merrill G. White MUS Václav Divina CAST Cleo Moore, Hugo Haas, Ken Carlton, Kathleen Hughes (Anushka), Anthony Jochim, Tom Fadden, Darr Smith, Oscar O’Shea, Tom Wilson, Roy Engel

THE GLASS WEB (1953) DIR Jack Arnold PROD Albert J. Cohen SCR Leonard Lee, Robert Blees (novel “Spin the Glass Web” [1952] by Max Simon Ehrlich) CAM Maury Gertsman ED Ted J. Kent MUS Frank Skinner, Herman Stein, Milton Rosen CAST Edward G. Robinson, John Forsythe, Marcia Henderson, Kathleen Hughes (Paula Ranier), Richard Denning, Hugh Sanders, Jean Willes, Eve McVeagh, Harry Tyler, Kathleen Freeman, Beverly Garland

DAWN AT SOCORRO (1954) DIR George Sherman PROD William Alland SCR George Zuckerman CAM Carl E. Guthrie ED Edward Curtiss MUS Frank Skinner, Herman Stein CAST Rory Calhoun, Piper Laurie, David Brian, Kathleen Hughes (Clare), Alex Nicol, Edgar Buchanan, Mara Corday, Roy Roberts, Skip Homeier, Lee Van Cleef, James Millican

CULT OF THE COBRA (1955) DIR Francis D. Lyon PROD Howard Pine SCR Jerry Davis, Richard Collins, Cecil Maiden (story by Jerry Davis) CAM Russell Metty ED Milton Carruth MUS Stanley Wilson, Irving Gertz, William Lava, Lou Maury CAST Faith Domergue, Richard Long, Marshall Thompson, Kathleen Hughes (Julia), William Reynolds, Jack Kelly, Myrna Hansen, David Janssen

THREE BAD SISTERS (1956) DIR Gilbert Kay PROD Howard W. Koch SCR Gerald Drayson Adams (story by Devery Freeman) CAM Lester Shorr ED John F. Schreyer MUS Paul Dunlap CAST Marla English, Kathleen Hughes (Valerie Craig), Sara Shane, John Bromfield, Jess Barker, Madge Kennedy, Anthony George, Marlene Felton, Bess Flowers

UNWED MOTHER (1958) DIR Walter Doniger PROD Joseph Justman SCR Anson Bond, Alden Nash (story by Anson Bond) CAM Lothrop B. Worth ED Neil Brunnenkant MUS Emil Newman CAST Norma Moore, Robert Vaughn, Billie Bird, Diana Darrin, Jeanne Cooper, Ron Hargrave, Kathleen Hughes (Linda), Sam Buffington, Claire Carleton, Colette Jackson

PROMISE HER ANYTHING (1966) DIR Arthur Hiller PROD Stanley Rubin SCR William Peter Blatty (original story by Arne Sultan, Marvin Worth; screen story by William Peter Blatty) CAM Douglas Slocombe ED John Shirley MUS Lyn Murray CAST Warren Beatty, Leslie Caron, Bob Cummings, Keenan Wynn, Hermione Gingold, Lionel Stander, Cathleen Nesbitt, Kathleen Hughes (Bit [uncredited]), Donald Sutherland

THE PRESIDENT’S ANALYST (1967) DIR – SCR Theodore J. Flicker PROD Stanley Rubin CAM William A. Fraker ED Stuart H. Pappé MUS Lalo Schifrin CAST James Coburn, Godfrey Cambridge, Severn Darden, Joan Delaney, Pat Harrington Jr., Barry McGuire, Jill Banner, Eduard Franz, Will Geer, Joan Darling, Kathleen Hughes (White House Tourist), Dyanne Thorne

THE LATE LIZ (1971) DIR – PROD Dick Ross SCR Bill Rega (novel “The Late Liz” [1957] by Gertrude Behanna) CAM Harry Stradling Jr. ED Michael Pozen MUS Ralph Carmichael CAST Anne Baxter, Steve Forrest, James Gregory, Coleen Gray, John Hotchkis, Jack Albertson, Eloise Hardt, Don Lamond, Buck Young, Lee Delano, Kathleen Hughes (Elaine Rich)

PETE ‘N’ TILLIE (1972) DIR Martin Ritt PROD Julius J. Epstein SCR Julius J. Epstein (novella “Witch’s Milk” [1968] by Peter De Vries) CAM John A. Alonzo ED Frank Bracht MUS John Williams CAST Walter Matthau, Carol Burnett, Geraldine Page, Barry Nelson, Rene Auberjonois, Lee Montgomery, Henry Jones, Kent Smith, Philip Bourneuf, Whit Bissell, Kathleen Hughes (Party Guest [uncredited])

THE TAKE (1974) DIR Robert Hartford-Davis PROD Howard Brandy SCR Franklin Coen, Del Reisman (novel “Sir, You Bastard” [1970] by G.F. Newman) CAM Duke Callaghan ED Aaron Stell MUS Fred Karlin CAST Eddie Albert, Frankie Avalon, Sorrell Brooke, Albert Salmi, Vic Morrow, Tracy Reed, James Luisi, John Davis Chandler, Robert Miller Driscoll, Kathleen Hughes (School Nurse)

REVENGE (1990) DIR Tony Scott PROD Stanley Rubin, Hunt Lowry SCR Jim Harrison, Jeffrey Alan Fiskin (novella “Revenge” [1990] by Jim Harrison) CAM Jeffrey L. Kimball ED Chris Lebenzon, Michael Tronick MUS Jack Nitzsche CAST Kevin Costner, Anthony Quinn, Madeleine Stowe, Tomas Milian, Joaquin Martínez, James Gammon, Jesse Corti, Sally Kirkland, Kathleen Hughes (Mother Superior)

WELCOME TO HOLLYWOOD (1998) DIR Tony Markes, Adam Rifkin PROD Tony Markes, Zachary Matz SCR Tony Markes, Sean Ryan (story by Tony Markes, Adam Rifkin, Sean Ryan) CAM Rob Bennett, Nick Mendoza, Kramer Morgenthau, Howard Wexler ED Jane Kurson MUS Justin Reinhardt CAST Adam Rifkin, Angie Everhart, Tony Markes, Scott Wolf, Peter Facinelli, Jou Jou Papiller, David Andriole, Tony Markes, Joan Roberts Wiles, Kathleen Hughes (Woman in Curles), Halle Berry, Sandra Bullock, Glenn Close, Wes Craven, Cameron Crowe, Cameron Diaz, Roger Ebert, Carmen Elektra, Laurence Fishburne, Peter Fonda, Jeff Goldblum, Cuba Gooding Jr., Woody Harrelson, David Hasselhoff, Salma Hayek, Evander Holyfield, Dennis Hopper, Ron Howard, Mike Leigh, Matthew McConaughey, Ewan McGregor, Anthony Minghella, Julianne Moore, Cathy Moriarty, Pat O’Brien, Jada Pinkett Smith, Kelly Preston, Joel Schumacher, Ron Shelton, Will Smith, Mira Sorvino, John Travolta, John Waters, Irwin Winkler

TV MOVIES

BABE (1975) DIR Buzz Kulik PROD Stanley Rubin, Norman Felton TELEPLAY Joanna Lee (book by Babe Didrickson Zaharias, Harry Paxton) CAM Charles F. Wheeler ED Henry Berman MUS Jerry Goldsmith CAST Susan Clark, Alex Karras, Slim Pickens, Jeanette Nolan, Ellen Greer, Ford Rainey, Arch Johnson, Stu Nahan, Philip Bourneuf, Kathleen Hughes (Nancy Armitage)

THE SPELL (1977) DIR Lee Philips PROD David Manson TELEPLAY Brian Taggert CAM Matthew F. Leonetti ED David Newhouse MUS Gerald Fried CAST Lee Grant, Susan Myers, Lelia Goldoni, Helen Hunt, Jack Colvin, James Olson, James greene, Wright King, Barbara Bostock, Doney Oatman, Richard Carlyle, Kathleen Hughes (Fenetia)

…AND YOUR NAME IS JONAH (1979) DIR Richard Michaels PROD Stanley Rubin, Norman Felton TELEPLAY Michael Bortman CAM David Meyers ED David Newhouse MUS Fred Karlin CAST Sally Struthers, James Woods, Randee Heller, Titos Vandis, Penny Stanton, Ruth Manning, Jeffrey Bravin, Kathleen Hughes (Nurse Hubert)

FORBIDDEN LOVE (1982) DIR Steven Hilliard Stern PROD Marcy Gross, Ann Weston TELEPLAY Priscilla English, Laurian Leggett CAM Isidore Mankofsky ED Kurt Hirschler MUS Hagood Hardy CAST Yvette Mimieux, Andrew Stevens, Lisa Lucas, Jerry Houser, Randy Brooks, Lynn Carlin, Hildy Brooks, John Considine, Dana Elcar, Robbi Morgan, Kathleen Hughes (Sybil)