The prologue of Act I starts with a nuclear explosion followed by the birth of a baby in a hospital. Here's another nuclear energy pamphlet with a contaminated and mind-reader bug-eyed mutant—which scrutinizes people's dreams—and its lethal electric Midas-like hand. "O.B.I.T.", "The Human Factor" and "The Mutant" have one thing in common: an individual intrudes into the ultimate refuge, in other words, the intimate domain of the mind; this detail is a reminder of the inquisitive alien children from Wolf Rilla's "The Village of the Damned" (1960) and this cinema analogy seems valid, especially when the teacher character of George Sanders forces himself to think of a brick wall to bypass their eyes. The 1950's-1960's "kinetic art" optical effect (see the work of Nicolas Schöffer, Frank Malina, Palatnik) of the shockwave—when Reese Fowler touches Lt. Chandler ("Don't think it... Block it... Block it...") and Griff—is first seen in "The Galaxy Being" (the radiation blast) and then "The Sixth Finger" (the radiation bath of the biological booth), "O.B.I.T." (the killing via a beam seen throughout the O.B.I.T. monitor), "Nightmare" (the radiation of the Ebonites wand), "Don't Open Till Doomsday" (the laser beam of the box which sucks in), "Second Chance" (the weapon medaillon which knocks Crowell unconscious and pushes the teenager back). This is the same space suit that is used on all along space flights' Outer Limits episodes (see "The Man Who Was Never Born", "Specimen: Unknown", "Moonstone") and come from "Men Into Space" wardrobe department. The outfits, wore by Earthmen on Annex One, look like 1940's US Navy's uniforms combined with labourer's helmets which indicate that these experts act more like topographers from a construction company than scientist-explorers or government’s colonizers; besides, notice the tin can barracks where these distinguished searchers rest as the average labourers after a hard day’s work in the building site. There are three nice chiaroscuro shots: the hypnosis scene of Dr. Marshall—Ironically speaking, Julie suggests "hope" as a key word to break the hypnotic treatment of Dr. Marshall who replies by: "I will never hear this word anyway, Julie... even here"—in the cave (shot in the famous Bronson Caverns location in Griffith Park) followed by Fowler's soliloquy lying in the dark medic room (watch carefully the light source) and last but not the last, the cave's outcome of Act IV when Fowler comes out of the darkness and straight charging at the candle and dies. Unlike "Specimen: Unknown", the rain is malevolent and fatal to human beings and animals. Frankly, here, the main interest lies in Warren Oates' outrageous and noteworthy performance as suicidal and furious Reese Fowler ("I'm a mutant, Doctor, not a madman!"), and Walter Burke's sincere one ("Perhaps, we're all doomed, Henry" and "I must not say it... I must not say it"). The stock music used for Fowler's outbursts are from "The Man Who Was Never Born" (Dementia#2). Unfortunately, the story and the budget are as thin as a sheet of paper. Producer Joseph Stefano used to consider it as the worst one ever did. This is, above all, a ridiculous sentimental and melodramatic couple episode—accompagnied with Yvette and Allen's theme from "The Architects of Fear"—that make you adore the couple with an age gap from "The Human Factor". It features a recycled and customised Zanti insect with a Spider County mouth. Notes: Robert Sampson plays in another Daystar productions: Hero's Island, and as Warren Oates—who used to play a regular role (anarchist-satirist Ves Painter) on "Stoney Burke"—without forgetting his input in Leslie Stevens' first film: "Private Property".