Wednesday, January 26, 2011

Spotlight on "It Crawled Out of the Woodwork"

by Gary Gerani


It wasn’t long before Joe Stefano found an opportunity to turn a scientific research facility into The Old Dark House, complete with a snap-crackle-pop energy vampire as resident bogeyman.  “It Crawled Out of the Woodwork” (not a parody, but an actual line of dialogue) is the first of the celebrated Stefano/Conrad Hall/Gerd Oswald collaborations that came to characterize Season One OL, at least for me.  It’s significant that Stefano was not a fan of science fiction movies in general, and he had particular disdain for those characterless, ‘50s-style BEM thrillers.  How ironic, then, that Fate hands him the creative reins of a “science fiction chiller” TV series, one requiring the monsters, special effects, spooky music, etc., that pretty much defined the genre as we knew it ten years earlier.  So mystery writer Stefano ups the ante: he uses his cobwebby Psycho pedigree to ram through gothic horror teleplays, containing enough ‘weird science’ elements to qualify as Outer Limits plots.  Often baroque and quasi-European, these bizarre, one-of-a-kind feverdreams amount to nothing less than horror poetry: “Woodwork,” “Don’t Open Till Doomsday,” “The Invisibles,” and maddest of all, “The Forms of Things Unknown.”


This was one I watched alone in my room, sitting at my desk and facing that really nifty portable TV (a “Setchell-Carlson”), which sat on a nearby rolling cart.  For some reason – it may have been the TV Guide listing – we kids knew of this episode’s title ahead of broadcast, but didn’t quite know what to make of it.  For better or worse, Outer Limits had become the “sci-fi creature of the week TV series.”  Could this episode be some kind of inevitable self-parody?  I mean, that title!  It wasn’t very different from “The Monster That Devoured Cleveland” or the kind of campy take-offs found in the pages of Mad Magazine.  So we sat in front of our sets, hoping for the best, ready for whatever sci-fi surprise Outer Limits had in store for us…


No ‘sneak peek’ clip this week, but an actual depiction of the outrageous title event, complete with energetic monster attack.  Moving in on that establishing NORCO pillar in the midst of a raging thunderstorm pretty much says it all: Stefano is winking at his receptive audience by presenting an “atomic age” version of classic haunted house thrillers, deliberately embracing bombastic clichés of this genre (nasty weather) to nail the parallel.  It’s like Joe’s saying, “Hey, don’t blame me if this show gets a little weird.  You were warned from frame one that I was giving in to cheeky excess!”  Inside spooky old NORCO, an unsuspecting cleaning lady accidentally gives the dustball from Hell super-monstrous life via her vacuum cleaner. Dazzling, unforgettable images say it all, the first of many in this hour… it’s Conrad Hall’s noir expressionism gone amok, with every exaggerated composition a made-for-TV masterpiece.

The Peters brothers show up bright and early at NORCO, have a cryptic chat with the pacemaker-wearing gate guard, and just narrowly avoid another memorable fx set-piece. The energy creature’s assault on this unlucky turncoat provides some amazing visuals (“I didn’t tell!” earns extreme close-ups for both eyes and mouth), and the bear itself is a real special effects doozy: unlike the casual killing cloud that Donald Pleasence whistles up in “Man with the Power,” this thing plays like a churning, imploding, whip-lashing banshee, inexorably advancing, ready to zap the life out of both living and re-animated victims.  Still, that matchbook “warning of doom” from the luckless guard gets through to the brothers.   Next day, ultra-rational Professor Stuart Peters (Michael Forrest) brings it to the attention of NORCO administrator Prof. Block (suave and distantly demonic Kent Smith, who speaks with Bela Lugosi’s Dracula accent and has an atomic bomb portrait lovingly positioned over his desk).  Doomed or not, Peters is ushered into the lab of low-key fellow genius Prof. Stephanie Linden, method actress Joan Camden, who played similarly depressed characters in the high-profile studio hits A Catered Affair and Gunfight at the O.K. Corral.   It’s here where we learn about that “problem of grotesque proportions” Prof. Block mentioned, and observe Stephanie’s slave-like addiction to it.  It is she who, despite some heavy misgivings, entraps nice-guy Peters in “the Pit,” or rather the freakishly narrow corridor leading to same. This walkway extending to a sliding door with a small flashing portal is “Woodwork”’s most effective and disturbing mini-set, with director Oswald and lenser Hall squeezing every last parsec of claustrophobic angst from it.  Anyhow, snared Stu is locked in this intimidating hallway as the released energy creature thunders forward and apparently eats him for breakfast.


Now it’s time to spend what amounts to a shrink session with Stu’s emotionally immature, guilt-ridden kid brother Jory (Scott Marlowe), who, we are told, “treats everything like a magazine in a doctor’s office.”  Patiently listening to him is a comely wench of recent acquaintance (Barbara Luna), a surrogate psychiatrist/best friend who makes it very clear that she doesn’t like the word “malevolent.”  I’ve always suspected that Jory is really Joey Stefano, and the decision he can’t make is exactly how to position a hero in this deliciously wacked-out storyline.  After all, script writing in general and these teleplays in particular were therapeutic exercises for JS; at this moment they enable young Mr. Peters to pour out various neuroses and set up his “I accidentally killed our parents” back story, key considering what’s about to happen.  But just when we think we’ve had enough of JS’s psycho-speak, Jory relaxes and talks about his brother’s “nice smile” – SHOCK CUT TO Stu’s death grimace, in the first of at least three ‘knock ‘em into next week’ Conrad Hall mega-images.  “He was a long time dying,” Block solemnly observes.  Regardless, Peters shows up a week later at the motel he and his brother were staying at.  Stu is dead, an honest-to-God zombie, but he’s still human enough to have a very real, very disturbing conversation with Jory, provoking his understandably hurt sibling into threatening a good old-fashioned punch in the nose.  Conflicted Stu reminds Jory with a caring half-smile that “You never hit me,” making the older brother’s bathtub fall and subsequent electrocution all the more tragic.  An ‘on the nose’ parallel event, certainly; but still well-staged and nicely performed by both Forrest and Marlowe.


Enter Sgt. Siroleo, Ed Asner with a gun and lots of sensible questions for everybody.  It’s here where we discover that dead people can be brought back to life through a remarkable little scientific gizmo known as a cardiac pacemaker.  Honestly.  This is Stefanoverse logic at its most outrageous; we know damn well it makes absolutely no sense but we go along with Joe’s audacity big-time, because, among other things, it allows for a cool gothic horror story with zombies and force monsters and all the stuff free-flowing nightmares are made of.  Which is pretty much what Stefano and his cohorts seem obsessed with depicting on OL, as follow-up efforts will confirm.  Anyway…  It isn’t long before Siroleo is enticed into the Pit, providing yet another iconic close-up (his slack-jawed, up-lit visage is used on the DVD menu).  This time, however, conscience-stricken Stephanie relents, and sets the huffing and puffing policeman free.  “Go.  Go!  Go!!!” she begs him, only to be answered by Prof. Block’s inevitable, off-screen demand: “Go?  Where??”  To the final commercial break, where else?


Determined Jory’s on his way to NORCO so he can finally “make a decision,” but the real action’s in the main lab, as Prof. Block, holding a gun on Siroleo and Linden, explains everything we need to know about his pet monster’s origin.  Okay…  Which outlandish shot of Count Dracula do you prefer?  Block’s enormous wide-angle hand gesturing to turn off his victims’ pacemakers, or that rude, admonishing finger of his (“Remember how we worried about the atom bomb?”)?  From this point on, it’s ‘mad science’ excitement at its wildest as the now fatally-wounded Block commits one final heinous act, loosing his insatiable Energy Eater from the Pit.  I can tell you, as a kid, these exciting scenes did more than satisfy.  The monster thunders through the main set in long shot, enabling viewers to savor every jerky dance-like movement as sheets of paper blow wildly in all directions.  It rages through NORCO hallways, engulfing zombies and blowing their pacemakers at the same time – how cool is that?  Finally, when all power is shut down to lure this Dust Devil back into its Pit, the remaining living dead of NORCO find their little life-support devices hopelessly drained.  And this includes our sad friend Stephanie Linden, who at least re-dies heroically as Block’s rampaging creature trundles back into the lab and is contained once again.  Jory, his 52-minute session in psychotherapy finally ended, arrives just in time for Sgt. Siroleo to sum things up.  “It’s under control,” he manages to explain, still catching his breath.  “For the moment.”


Okay.  So energy can’t be destroyed, but our reckless and potentially dangerous emotions (pure human energy) can be acknowledged, controlled and lived with.  Hanging on that broad notion, and with key creative collaborators, Joe Stefano was able to spin a bizarre, transcendent black comedy about death, guilt, obsessive behavior and (inevitably) the redemptive power of love.  I always envied the freedom Stefano enjoyed as OL’s producer/head writer, for he could allow himself the luxury of exorcizing personal demons on film, co-realized by such perfectly in-sync fellow artists.  This intoxicating unaccountability would get even wilder with "Don’t Open Till Doomsday," and enter permanent, almost free-flowing dream-state with "Forms of Things Unknown."

Question: Does all this add up to “good” science fiction?  Is it science fiction at all, or, instead, the therapeutic musings of an eccentric, psychology-driven mystery writer using the far-out possibilities of “science” to make his bizarre little morality plays even stranger?  Whatever it is, it happens to be The Outer Limits in its most satisfying form as far as I’m concerned, a unique melding of three remarkable talents in an ideal venue, the thing that defines the series at its most creatively potent and fearlessly surreal.  

And it all began with that little ball of dust in a dustless corner…

Gary Gerani is the author of Fantastic Television, the first book to focus on science-fiction, fantasy and horror TV. In association with IDW, Gerani recently launched a new publishing company, Fantastic Press, with November's TOP 100 HORROR MOVIES. Next up is TOP 100 SCI-FI MOVIES in April. His graphic novel, BRAM STOKER'S DEATH SHIP (which takes on that famous nightmare voyage from Varna to Whitby, as you-know-who feeds on the crew of the Demeter), is available now and has garnered several nice reviews. That's him on the right, wearing the now-disintegrated Andro headpiece.


  1. I still marvel at your memory of where you were when you first saw these. Amazing.

    Very perceptive, insightful blow-by-blow, Gary, really well done--and a nice tribute to the Trio. Lots of interesting questions.

    I always think of OUTER LIMITS as the logical extension of the science fiction-horror hybrids of the 60s, now in more complex and sophisticated clothing. That the "science" portion is often less than equal doesn't bother me--it's such an effective springboard.

    Also interesting, no matter how Gothic the Stefano episodes get they are never as "comfortable" as the vampires or zombies or Frankenstein monsters or old dark houses they may superficially resemble. These darkest of OL's leave the comfort zone of traditional horror and venture into an unknown where anything goes, with the power to occasionally disturb, and usually resonate.

    Again--great read, Gary!

  2. Thanks so much, Larry. Yeah, it's very hard to explain the unique "pull" of these Stefano/Oswald/Hall shows, especially for the more literal-minded observer. A good deal of why they're so special is the very fact that they do ignore logic, willfully and gleefully, to take us into this dark and daunting personal universe. A shrink can probably learn a lot more about Mr. Stefano's "inner mind" by watching and analyzing this OL episode, and that means it provides truths in unexpected places (the woodwork, maybe?) more so than more logical, tightly-written stories that are required to make sense!

  3. ...I meant "to" the more literal-minded observer. Damn brain! Damn fingers! BTW, I just happened to watch H.G. Wells' "The Crystal Egg" on TALES OF TOMORROW, and realized what an ideal Stefano-style OL that story would make. A spooky antique shop? An obsessed scientist? A small egg-shaped crystal that reveals the landscape of another planet? A gruesome alien monster lurching into close-up? Joe/Gerdie/Connie possibilities aside, we're halfway to "Wolf 359" already. It even occurs to me that TALES OF TOMORROW's jolting theme has something in common with Frontiere's doom-laden, two-note main title. Interesting how both series were embracing the scary, decidedly macabre side of sci-fi...

  4. GARY--

    A delightful read, as always, in which you again identify most all of the remarkable elements of the episode; an in-depth "viewer's companion"-style summary that I think serves this blog very well.

    Hate to ask what may an obvious question to others but....what's with Scott Marlowe's "sweet-smelling" business when he woke from his long daytime sleep? Did I miss something again?

    RE: TALES of TOMMOROW ~ I really enjoy the "Crystal Egg"---with Thomas Mitchell, for cryin' out loud! (and another of my faves, Edgar Stehli). The ominous/thunderous theme music you cite was lifted from a recording of Prokofiev's 1936 ballet "Romeo & Juliet": it's the intro to the well-known "Dance of the Knights" (or simply "Montagues & Capulets"). And yes, Frontiere's opening "shock chords" do bear a distinct similarity, at least in their effect.

  5. Call me the Indiana Jones of Bensonhurst! I was an avid 16mm film collector back in the '70s, and managed to find that old kinescope of "Crystal Egg," complete with commercials, in some old guy's dusty basement (sounds like a ToT storyline right there!). I eventually sold the print to Wade Williams, who was in the process of gathering together episodes from different sources. I've never watched other segments of the series, but now that Image has sent me the DVDs (part of my ZONE commentary deal), I sure intend to. It was fun seeing "Egg" again, this time on video instead of cranking away on my old RCA 16mm projector!

  6. Brilliant commentary, Gary! I won't reiterate everything the "Larrys" have cited, but I'm in complete accord. You left no dustball unturned.

    This episode positively nailed the TOL aura for me as a kid. We also tingled (and probably tinkled) at the prospect of what so bold a title in the TV Guide might portend. That title was closely parodied in a Mad Magazine insert called "TV Guise" (which I Mad-deningly lost somewhen down the line). They called it something like "It Crawled from out of the Cellar." (Same night in the "Guise" as "Heave It at Beaver.")

    Not enough is made of how boldly the TOL crew often went where few crews had gone before (and fewer now, in this age of deceitful digital editing). I mean, with respect to pulling back and showing their creature construct in full-frame raging glory, as this one did at the climax. Granted, not many monster illusions can hold up to such scrutiny. But when you've got it, flaunt it.

    Zounds! I've had that "Crystal Egg" episode from TALES OF TOMORROW in my collection (in a cheapie anthology DVD) for years, and I must shamefully admit that I have yet to watch it!

    Don't unleash that zappy creature at me! I'll address my oversight straightaway, tonight!

  7. When you check it out, Ted, consider another "distant" OL parallel... "A sinister alien that uses a weird device to constantly watch humans..." I'd say something else but I don't want to spoil "the moment" for you!

  8. Ted, I feel your "TV Guise" pain, man. Mine was lost somewhere too. That was such a little gold nugget of dead-on parody.

    As a kid it never occurred to me that the title "It Crawled" might indicate a spoof. I guess I was thinking "It the Terror From Beyond Space" which was a pretty scary one to a kid.

  9. One recent text -- was it OL Companion?-- speculated that there is a sharp switch from Scott Marlowe to Ed Asner as protagonist, not a subtle one. As if the writer 'lost faith' in Marlowe's character and switched horses. Any thing to this?

  10. It would appear that Quentin Tarantino is a BIG fan of this episode. Why ? If you've seen GRINDHOUSE, you WILL have surely noticed that each of the 2 films contain a character called Dr Block (played by Josh Brolin in PLANET TERROR and Marley Shelton in DEATHPROOF)! Coincidence ? I doubt it. Tarantino has always been a fan of films or shows where the director or the scriptwriter dares to kill off one or several of his main characters (his favourite films include several titles (De Palma's BLOW OUT, Tony Scott's REVENGE) that do just that, and Tarantino himself does it all the time in his own films)so it,s not much of a stretch to say that he probably admired Stefano's guts in killing off almost everybody in WOODWORK (some of them TWICE !!)

  11. "Our sad friend Stephanie Linden" is such a correct description of her. You really get to like her before the thing is over.

  12. From the first time I saw this-- sometime in the 70s-- I thought it was the MOST TERRIFYING thing I had ever seen on TV.

    Decades later, watching it uncut, uninterrupted on videotape, I was rather shocked to realize that the cloud was NOT the real villain of the story. No! It was that SICK BASTARD scientist in charge of the facility. WHAT on Earth was he MURDERING all those people for? Company loyalty? Secrecy & security? KICKS? He epitomizes everything that has gone terrbly, horribly wrong with industry in this country in the last couple generations. He's the kind of evil that NEEDS stamping out-- permanently. The closest thing we ever saw to him on "STAR TREK" was James Gregory in "DAGGER OF THE MIND".

    What a blast to see Edward Asner-- with hair. See him playing another tough cop in the Blake Edwards featurd, "GUNN" (based on his own "PETER GUNN" tv series). Also, no less than 2 STAR TREK alumni-- Michael Parks ("Apollo" from "WHO MOURNS FOR ADONIS?") and Barbara Luna (from "MIRROR, MIRROR").

  13. Rather late to the party, but I wonder if the person who came up with the title was a fan of late SF writer Reginald Bretnor?

  14. I watched this one a few nights ago and it held up beautifully, though all the commercials MeTV shoehorned in. Michael Forest impressed me most this time as Stuart Peters. His cool, cerebral playing of the character made him feel like the hero. That he ended up as The Man Who Knew Way Too Much was genuinely sad and shocking, especially as the equally sympathetic Joan Camden was responsible for his demise.

    The acting was generally well above average for TOL, and the dialogue often witty if somewhat obscure on occasion ("if he'd been any healthier they'd have given him a morning show on television", Det. Asner declares re the late Prof. Peters). Also good: Ted De Corsia as the second guard, first warm and informal, then threatening, without breaking character. Weak link for me: Scott Marlowe's kid brother Jory. Whiny sounding all the time, and with an odd speaking voice that made him sound like an alum of the Jack Larson School Of Speech & Elocution, his performance was unsympathetic and annoying but maybe that was the idea.

  15. This episode is one of my Top 5 (or so) faves of season one. Love the dialog, the relationships, the special effects. It all works for me. Great mood, amazing music as always. Almost a perfect show, this one....

  16. Well that certianly was no average dust bunny the cleaning lady suck up into he vacum cleaner it was creepy creepy evil dust bunny that turns into a nasty dust monster with lightning and leave its victims wearing control boxes on their belts

  17. "Stew! Stew!" while brother Stuart bobs up and down in bathtub.


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