It Crawled Out of the Woodwork

Another classic episode with a early appearance of Ed Answer and possibly the best quote of the season "She knows I am independently wealthy but she still loves me" lol.

Well, we had a pouring night here in NYC yesterday...the perfect weather for taking in yet another ubercreepy episode of "The Outer Limits." The episode for me last night was No. 11 in the series, "It Crawled Out of the Woodwork." I had not seen this episode in a good many years and only recalled a few spotty scenes from it; never a good sign, going forward. And now, for the life of me, I don't know why I had such a poor recollection of it, as this turns out to be still another dynamite episode from this landmark series. This ep was created by perhaps my favorite triumvirate of "OL" talent: It was scripted by series producer Joseph Stefano, directed by Gerd Oswald, and featured ever-impressive, moody, noirish cinematography by the great Conrad Hall. These three would go on to work together on three more excellent "OL" outings, namely "The Mice," "The Invisibles" and "The Forms of Things Unknown," those latter two being in my personal Top 5 "OL" episodes. Anyway, this episode concerns the strange happenings that have been transpiring at the NORCO research lab in California. After a night-shift cleaning lady vacuums up a strange dust ball, the darn thing is somehow transformed into a ravening energy monster, similar in appearance but swifter- and jerkier-moving than the one that had appeared in episode No. 4, "The Man With the Power." It is a tremendous special effect, actually. Later, when a rising physicist, Stuart Peters (played by future "Star Trek" alumnus Michael Forest), starts his new job at NORCO, he is trapped in a corridor with the energy monster and is scared to death. The head of the facility (Kent Smith, who had starred in one of my favorite films of the '40s, "The Spiral Staircase," here sporting a superthick European accent) brings him back to life by dint of some revolutionary pacemaker device (as he has apparently done with numerous other NORCO employees), although Peters later dies again when his brother accidentally propels him into a water-filled bathtub. That brother, Jory, played by Scott Marlowe, becomes suspicious, and with his new galpal Gaby (another future "Star Trek" alumnus, the yummy Barbara Luna, who now, pretentiously, spells her name BarBara), starts to snoop around. A police officer, Sergeant Siroleo (very well portrayed by Ed Asner...it really IS a top-notch cast in this one!) goes to NORCO also to do some investigating, leading to all sorts of mishegas, as the energy monster is released from its confining Pit. This episode showcases some very impressive acting by all concerned and another highly literate Stefano script, although the Luna character is a bit undeveloped (scriptwise, not physiquewise, of course). The scene between the two brothers in the bathroom is particularly well played, and the actors who come up against the energy monster (including film noir character actor Ted De Corsia) all manage to look convincingly scared out of their wits. The episode features one tremendous moment guaranteed to make anyone jump; the one in which Jory speaks of his brother's "nice smile," and we jump cut to a close-up of Stuart's death grimace, as he lies on the floor at NORCO. Asner is given my favorite line of this particular episode, when he discusses Stuart's autopsy, and remarks "If he'd been in any better health they'd have given him a morning show on television." Funny! Unusual for Season 1, this episode features no teaser going in; we cut straight to that cleaning woman in the NORCO lab. I've always liked the mini teaser that "TOL" gave us at the outset, as when the actual scene crops up later in the show, it usually feels like the return of a recurring nightmare; like a bad deja vu. Anyway, the bottom line is that this is still another terrific episode, as Season 1 continued to blow the minds of its 1963 audience.

Yet another energy being creates death and terror.

This series was beginning to repeat itself in plots and the lead actor (Scott Marlowe) is now way too associated with another Limits episode (The Forms Of Things Unknown) where he played a much more memorable/colourful character: "Andre".

I am so glad that shows like The Outer Limits and QM's The Invaders had a massive parade of guest stars each week, it gave the shows variety in faces on the screen, the only negative side to that is that both shows often demanded each guest star come back for a second or third episode playing a totally different character in the same series. Not a big issue but in the case of "Woodwork" this got on my nerves.

"Woodwork" might not be a favourite but it is still good entertainment.

I was two years old when this episode originally aired in 1963 - and I was allowed to watch it. To this day, when I exit our basement I leave the light down there on until after shutting and locking the upstairs basement door (the switch for the light is upstairs) so that the "Energy Monster" is attracted to the light bulb and doesn't come upstairs with me. LOL This fact demonstrates both the power (pardon the pun) of this particular episode, and also, how much a two year old can understand (admittedly a very smart two year old). And yes, this also demonstrates how strongly a scary program can effect a little kid.

Note that I fully realize that the Energy Monster is not real (I sure hope it can't read!).

Ed Asner is right; it is a terrible script, not helped by Scott Marlowe chewing scenery in a role he was far too old to do. All of the "scientists" are deadly dull, the monster is poorly animated, and the first half is plagued by the slow-pacing-and-overly-dramatic-music so typical of Outer Limits. Joan Camden must have been bored out of her mind.

But now for the good news: the director makes interesting use of shadows and lighting, and the pacing picks up as the story progresses. While Michael Forrest's naturalism warms the first third, the mid-show picks up with Barbara Luna's energy -- sadly wasted, as the script basically runs out of things for her to do. But the final third is enlivened by Ed Asner, who holds our attention despite the so-so scripting. Acknowledgement must also be made for Ted de Corsia's security guard, who is equally convincing in his small role.

Star Trek connections aplenty, with Michael Forrest and Barbara Luna on screen, Vic Perrin as voice-over Fred Phillips doing make-up, and Gerd Oswald directing (noticeably similar to his work on TOS "The Conscience of the King")