The eerie Jazz that plays throughout this ep, especially the off kilter Sax, mixed with Bobby Troup playing his theme, over and over, and the valid beatnik lingo.
I have met Allan Ginsberg and Gregory Corso and other Beat poets... I spent lots of time at City Lights bookstore in SF and the surrounding bars, I saw Corso ejected through saloon style bar room doors... I've seen Ginsberg recite HOWL at The On Broadway before it Closed, with a Punk Rock band "The Job" playing music underneath. Although the beat speech did not survive into the 80's, the lifestyle certainly did, and the SF punks inherited that lifestyle.
Someone had issues with Bobby's speech at the end... I found it authentic, mostly in attitude. Troup actually becomes Buzzie, he could not be bothered by Squares. We, the Punks called them (and still call them) "Normals" and "Straights"...
But it was Walter Burke's "Fake Commercial" and his grasp of 1959 slang that wins the day.
That's where this ep gets it so right. And the music of course. The listed credits do not say who wrote the music, only that Troup (Buzzie) wrote they piano riff.
This episode also shows the continuing "Perry Mason->Outer Limits->Star Trek" connection as OL director Gerd Oswald directed this, who also directed 2 of the best season 1 Trek eps, "The Conscience of the King" and "The Alternative Factor", John Lormer (the coroner) was in the 1st Trek Pilot "The Cage" as well as "Return of the Archons" and the man who says "For the World is Hollow, and I have Touched the Sky" from the Trekep of the same name.
And of course Tragg, who was a beat guy himself as a member of The Mercury Theatre, saying Daddy-o.