UFO Script for
"The Man Who Came Back"

​​SYNOPSIS: What has happened to a spaceship pilot during a two months’ disappearance? His return spells menace for members of the S.H.A.D.O. Organisation and a shock for his girl-friend.

      Spaceship pilot Craig Collins disappears when making a re-entry after a UFO attack has put the satellite computer SID out of action. He is believed to be dead. Two months pass before he is found, alive and apparently well, in the South Pacific.

      As Collins knows more about SID than most other technicians, he is immediately given the task of restoring SID’s powers, working with Colonel Grey, who is in charge of the repair assignment. But there is something strange about Collins. This becomes apparent when he attacks Virginia Lake, who was on very close terms with him before his disappearance.

      Then Collins, during a grim training programme with Paul Foster, puts Foster out of action, which means that Ed Straker himself will have to replace him. Another sinister incident is when an attempt is made on Colonel Grey’s life, and Grey suspects that Collins is responsible.  When Grey studies medical tests made on Collins after his return by Dr. Jackson, he makes a startling discovery. Something strange indeed has happened to him. There are all the signs that his personality centres have been destroyed by laser beam surgery and that he has been programmed so that the aliens responsible can control him by sound waves.  But when Colonel Grey challenges him with this, Collins overcomes him and then embarks on a menacing journey to SID with the unsuspecting Ed Straker as his companion, utterly unaware that Collins has been programmed to kill him. Only Grey can save him - if he can regain consciousness in time - and if he can make contact with Ed Straker . . .

THE SCRIPT FOR THE UFO EPISODE
“THE MAN WHO CAME BACK”

by

Terence Feely


© Century 21 Pictures
Pinewood Studios, Pinewood Road,
Iver, Buckinghamshire,
SL0 0NH, UK.

NOTES ABOUT THIS SCRIPT:

● Deleted scenes: Colonel Grey with a much more in-depth questioning of Sir Edmond about Craig Collins on the set of Edmond's latest film, and Craig Collins attacks Dr. Jackson with a hypodermic filled with S.H.A.D.O.'s amnesia drug in S.H.A.D.O.'s medical center. Also, Colonel Grey was unconscious before he could warn Commander Straker that Craig Collins was on the warpath, leaving Commander Straker to fight off Craig Collins just by chance, so a scene was shot in post-production where Foster warns Commander Straker.

CAST LIST:

SPEAKING PARTS:
COMMANDER STRAKER  

COLONEL FREEMAN

COLONEL FOSTER

COLONEL LAKE

COLONEL CRAIG COLLINS

COLONEL GREY

LT. BARRY

SHADO RADIO OPERATOR

SHADO OPERATIVE

MISS HOLLAND

MOONBASE OPERATIVE

CHAUFFEUR

SIR ESMOND

DR. JACKSON

MOONBASE DOCTOR

HOUSEKEEPER

PORTER

HOSPITAL DOCTOR

NURSE

SET LIST:
INT. STRAKER’S OFFICE 
INT. SHADO CONTROL (STUDIO)
INT. MOONBASE CONTROL (STUDIO)
INT. LEISURE SPHERE (STUDIO)
INT. SLEEP SPHERE (STUDIO)
EXT. SID IN ORBIT (STUDIO)
INT. SID2 (STUDIO)
EXT. OFFICE ENTRANCE (LOCATION)
EXT. STRAKER’S CAR (LOCATION)
EXT. HARLINGTON-STRAKER STUDIO (LOCATION)

- - - - - SPONSOR’S MESSAGE - - - - -

ACT I

FADE IN

EXTERIOR: LUNAR SURFACE

EXTERIOR: MOONBASE

INTERIOR: MOONBASE CONTROL SPHERE

Colonel Virginia Lake is seated at the central console, wearing a Moonbase uniform and uniform wig. At the other stations are seated Lt. Nina Barry and Space Tracker Joan Harrington also in Moonbase uniforms and wigs. Colonel Lake and Lieutenant Barry are reading from noteboards.

LAKE
A-circuits?

BARRY
Check.

LAKE
Primary boosters?

BARRY
Check.

A radio speaker switches on:

COLLINS
(on speaker)
Ship five-three-four to Moonbase Commander
(PAUSE)
Ship five-three-four to Moonbase Commander.

Lake reaches out and turns on the microphone on her console.

LAKE
(to microphone)
Go ahead five-three-four.

EXTERIOR: SPACE: LUNAR SHUTTLE 534
INTERIOR: COCKPIT SHUTTLE 534

COLONEL CRAIG COLLINS is wearing a spacesuit, seated at the controls of the lunar shuttle. He is alone, speaking into the radio microphone.

COLLINS
Approaching Earthly re-entry and feeling blue. Is it all right for Saturday night, darlin'?

INTERIOR: MOONBASE CONTROL SPHERE
Lake looks a little embarrassed. The other girls seem amused as Lake replies:

LAKE
Your communication is against standard procedure.
(conspiritorally)
And yes, it's still all right for Saturday.

INTERIOR: LUNAR SHUTTLE

COLLINS
Now, that's more like it.

INTERIOR: SHADO CONTROL
Commander Ed Straker is slowly walking by, inspecting the operations consoles, manned by several Operatives including Lieutenant Johnson and female Operative 1. Straker stops by Female Operative 1's console and peers at the monitor screen. A radar display shows a single blip slowly moving across it.

FEMALE OPERATIVE 1
Ship five-three-four from Moonbase approaching re-entry, normal pattern.

STRAKER
Five-three-four, that's Craig Collins, isn't it?

FEMALE OPERATIVE 1
Yes, sir.

Straker seems thoughtful and pleased at the information.

STRAKER
Have him call me when he gets down, will you?

FEMALE OPERATIVE 1
Yes, sir.

Straker walks away, towards his office, then:

FEMALE OPERATIVE 1
Pilot reports fire in cabin, sir.

Straker hurries back to her station.

STRAKER
Let me in there.

Female Operative 1 leaves her seat and Straker sits at her console. She moves to stand behind him, listening to her head-phone.

INTERIOR: LUNAR SHUTTLE CABIN
There is smoke in the cabin. Collins is trying to look at the tell-tales in front of him. The smoke is getting thicker.

STRAKER
(over radio speaker)
Craig, this is Ed. How bad is it?

COLLINS
(Coughing)
I can't tell... There's a lot of smoke and it seems to be getting worse.

STRAKER
(over radio speaker)
Push the life support and try cutting your Q-circuits.

INTERIOR: SHADO CONTROL
Female Operative 1 is standing behind Straker, who is still seated at her console. She is listening to her headphone, quietly relaying information to Straker. Paul Foster walks in.

JOHNSON
SID reporting three alien craft.

COLLINS
(over radio speaker, coughing)
It's no good... The heat's still building up.

JOHNSON
Sighting confirmed.

COLLINS
(over radio speaker)
The main warning lights are on. Repeat, alarm lights are on.

SID
(over speaker in main Control Room)
Three alien craft at five million miles and closing at Sol-eight.

STRAKER
(to console microphone)
Hold on, Craig... Be back with you in a minute.

Straker gets out of the chair and Female operative 1 slides in.

STRAKER
(to Female Operative 1)
Stay with him.

EXTERIOR: DEEP SPACE
Three U.F.O.s are seen crossing a fixed star background.

EXTERIOR: NEAR EARTH SPACE: SPACE INTRUDER DETECTOR

SID
Range: four million miles, closing.

INTERIOR: SHADO CONTROL
Straker has stepped back to watch several console monitors at once. Foster stands near by. Straker seems torn between his need to be in charge of the alert and his wish to be helping Collins.

STRAKER
Launch interceptors.

SID
(over main speakers)
Trajectory, Northern Europe. Range: three and a half million miles, closing.

EXTERIOR: MOONBASE
INTERIOR: INTERCEPTOR LAUNCH BAY
Three lunar interceptor launch pads rise to the lunar surface, carrying the three interceptors. The interceptors launch.

SID
Two million miles, closing. Speed reducing to Sol-six.

EXTERIOR: LUNAR SHUTTLE
The nose of the shuttle is beginning to turn red.

INTERIOR; SHUTTLE CABIN
Collins is coughing. The shuttle cabin is nearly opaque with smoke.

COLLINS
Main warning lights are on. Repeat, alarm lights are on! It seems to be getting worse.

SID
One U.F.O. has changed trajectory
(PAUSE)
predicted target: this satellite.

INTERIOR; MOONBASE CONTROL SPHERE
Virginia Lake is seated at the main console.

LAKE
Interceptor two, lock on new bearing: Three-three-zero...

EXTERIOR: NEAR EARTH SPACE WITH SID
One of the U.F.O.s approaches and fires on the Space Intruder Detector satellite, damaging it. The force of the shot begins the satellite spinning out of control.

SID
I've been hit...
(slower)
I've been hit...
(slower still)
I've been hit...
(Even slower, deeper)
Stop operation, one-three-zero...

SID's voice grinds to a halt, all the lights on the satellite dim, then go out, leaving it spinning uselessly in orbit.

TITLES

INTERIOR: OUTER OFFICE, HARLINGTON-STRAKER STUDIO BUILDING
Straker walks into the office from outside. MISS HOLLAND is seated at the desk, typing.She looks up as Straker enters. Straker is in a pleasant mood.

STRAKER
Good morning, Miss Holland.

HOLLAND
Good morning, Mister Straker.

The doors to the STUDIO OFFICE are open. Straker enters:

INTERIOR : STUDIO OFFICE
Straker sits down at the office desk, As he does so, he sees a file on the desk with Craig Collins photograph on it. He picks up op, suddenly irritated.

STRAKER
Miss Holland ...

Holland enters the office from the outer office.

HOLLAND
Yes, sir?

Straker shows her the file in his hand.

STRAKER
I ordered this file transfered to the morgue weeks ago. Why is it still here?

HOLLAND
Well, sir, it isn't certain . .

STRAKER
(interrupting)
You know as well as I do that space personnel are presumed dead forty-eight hours after failure to re-enter.

HOLLAND
But, it's just...

STRAKER
(solemn)
Miss Holland, Craig Collins was one of my closest friends. We were astronauts together. But, we have enough to worry about without trying to keep the dead alive. Now please, just get it out of here.

EXTERIOR: AN UNIDENTIFIED TROPICAL ISLAND
A Sky-Diver plane flies over the island. On the surface, Craig Collins waves a flag. The plane circles again.

CLOSE-UP: MONITOR SCREEN
On the monitor: U.F.O.: UNLOCATED CRAIG COLLINS FOUND ALIVE

EXTERIOR: FILM LOT- HARLINGTON-STRAKER STUDIOS
Craig Collins crosses the lot heading towards the main office building.

INTERIOR: STRAKER'S OFFICE
COLONEL JOHN GRAY is seated at the conference table in the office. Straker is standing, facing Gray.

STRAKER
Well, let's get this straight before he gets here. When it comes to SID's brain, Craig knows more than anybody, so, as of now, he's on the project.

GRAY
All I'm saying is that Craig Collins and I...

STRAKER
(interrupting)
Look, your personal feelings for him are your own problem.

GRAY
Just tell me who's in charge.

STRAKER
Well, overall, you are. But, when it comes to SID's engineering, Craig is God, okay?

The intercom on the desk buzzes. Straker reaches over flips the switch, stopping the buzzer.

STRAKER
(to intercom)
Straker.

FORD
(over intercom)
Colonel Collins to see you, sir.

STRAKER
Send him right in.

The door to the office opens and Craig Collins walks in. The door closes behind him. Straker smiles, glad to see him.

STRAKER
Craig.

COLLINS
Hi, Ed.

Straker and Collins shake hands, warmly.

STRAKER
It's good to see you.

COLLINS
It's good to see you, too. My, it's good to see anybody after eight weeks of jungle cats.

Collins laughs, then notices Gray sitting in the corner. He seems less happy to see Gray.

COLLINS
John

GRAY
Craig.

STRAKER
(impatient)
Well, come on, come on. What happened?

COLLINS
Well, I don't know. I just sort of lost consciousness on re-entry and then I came to, and I was floating down over the sea and I smash into the sea and I got out and swam ashore before she sank.

Collins leans towards Straker conspiritorially.

COLLINS
Tell your boffins that their survival course really works.

Gray stands and collects his papers from the table. Straker notices.

STRAKER
Oh, Colonel Gray, thank you.

Gray nods.

GRAY
See you later.

Gray leaves the office. The door closes behind him. Alone with Collins, Straker seems more subdued, apologetic.

STRAKER
Well, you heard what happened, Craig.
(pause)
I had no choice.

COLLINS
I would have done exactly the same.

STRAKER
(unconvinced)
Sure.

INTERIOR: CORRIDOR, SHADO H.Q.
Gray is standing in the corridor, looking over some of the papers in his hand. Collins walks up to him.

COLLINS
Hello, Master. I'm just off to Moonbase to get things started.

GRAY
What? ... I thought we'd go together tomorrow. There's a great deal to be done here.

COLLINS
Yes, well, I thought I'd be more use up there, besides, I have, shall we say, a little unfinished business to attend to. So, if you'll excuse me, I'll see you later.

Collins walks down the corridor, away from Gray. Gray looks after him, worried.

EXTERIOR: MOONBASE

INTERIOR: MOONBASE CORRIDOR
Nina Barry and a Moonbase pilot are walking down the corridor and meet Collins walking the opposite direction.

BARRY
Hi, Craig.

COLLINS
Hi ya, Nina.

PILOT
Good to see you, Craig.

COLLINS
Thank you.

BARRY
Missing the jungle, Craig?

COLLINS
Not with you tigers around.

They laugh and move on, Collins to the Recreation Dome and Barry and the pilot in the opposite direction.

INTERIOR: RECREATION DOME
Paul Foster and Colonel Virginia Lake are seated on the sofa, quietly talking. They both look up as Collins walks in. Lake rises to greet Collins.

LAKE
Craig! I was so glad when I heard.

COLLINS
Well, it takes more than a little barbeque to fry me, you know.

Collins takes Lake in his arms and gives her a hug, too tightly. She gasps and he lets her go, looking apologetic.

COLLINS
Gee, I'm sorry. I do hope I haven't cracked a rib. I just don't know what came over me.

Lake backs away from him a step, worried. Collins turns to Foster, still seated.

COLLINS
Well, Foster, nice to see you again. I'm glad you've been keeping an eye on things for me while I've been away.

FOSTER
I can't say I know what you mean.

COLLINS
Oh, now, of course you do.

LAKE
(warning)
Craig...

Collins turns to Lake.

COLLINS
Now, how about... How about getting this old jungle cat a cup of coffee, now that he has returned.

LAKE
All right.

As Lake turns to go to the coffee machine, Collins turns to Foster.

COLLINS
If it's all right with you, Foster.

FOSTER
Yeah...

Foster is mildly concerned with Collins' baiting him and rises to leave as Lake gets a cup of coffee for Collins.

FOSTER
(Quiet, to Lake)
See you later.

Lake nods good-by to Foster as he leaves and she hands Collins his cup. He takes a sip and makes a face.

COLLINS
Still making this moondust, I see.

Collins sits at a table with his coffee. Lake sits down opposite him.

COLLINS
I wanted to say that there's no reason to feel guilty about anything.

LAKE
I don't feel guilty, Craig. I cried a little, when I thought you were dead. After a while, I stopped crying. People do.

COLLINS
Yes, they do.

LAKE
And we weren't exactly Romeo and Juliet.

COLLINS
Virginia, Ginny, you make it, ah... You make it very hard for a man... Who only wants to say there's, ah... no hard feelings.

LAKE
I'm sorry, if that's really what you're trying to say.

Collins puts on a hurt look.

COLLINS
What else in the world would I do?

LAKE
How was the jungle?

COLLINS
Well, I'll tell you one thing. There was no one there who looked like you. You know, I used to lie there and I used to look up at the old Moon and I'd say to myself, you know somethin', ol' Ginny's up there.

LAKE
I did think about you.

COLLINS
Did you?. You mean there's still a chance for this singed, old astronaut?

LAKE
I never said there wasn't. It's just that I resent you looking upon me as your property.

COLLINS
Now, you know I'd never do that.

Lake moves closer. Collins takes her in his arms and they kiss. Collins embrace becomes tighter and tighter, his kiss harder and harder as one hand grabs her hair. She struggles against him, finally breaking away, horrified.

LAKE
You didn't leave the jungle! You brought it back with you!

FADE OUT

END OF ACT I

- - - - - SPONSOR’S MESSAGE - - - - -

ACT II

FADE IN

INTERIOR: MOONBASE SLEEP CUBICLE
Colonel Gray, still dressed in his spacesuit liner, is unpacking a small carry-case. Collins enters.

COLLINS
You, ah, wanted to see me, Master?

GRAY
What's this request for a two man mission?

Collins stands in the doorway.

COLLINS
Well, fixing SID is a two man job. I need a partner. I want Foster.

GRAY
Why Foster?

COLLINS
He's the only man available with the necessary know-how. He also went through basic astro-training. I know he's maybe a little bit rusty, but I figure I can lick him into shape in time.

GRAY
Is that the only reason?

Collins looks perplexed.

COLLINS
Well, why else would I want him?

GRAY
All right, you've got him.

Collins stands to leave, walking a few steps backwards to the door, bowing as he goes.

COLLINS
(bowing)
Thank you, sir,
(bow)
Yes, sir,
(bow)
Please, sir.

INTERIOR: RECREATION DOME
Lake is seated at a table, facing Gray. Lake is not happy.

LAKE
You ran a computer check on my relationship with Craig a long time ago.

GRAY
I know.

LAKE
And the read-out said that it would not affect my efficiency.

GRAY
And two weeks ago, we ran one on you and Foster and it said the same thing.

LAKE
So, why the inquisition?

GRAY
Yesterday, we ran one on you and Craig and Foster. The computer seemed to think a triangle is the nastiest emotional shape there is.

LAKE
Well, you can tell the computer to relax. There is no triangle.

GRAY
(surprised)
Oh, who got dropped?

LAKE
Craig.

GRAY
May I ask why?

LAKE
(stern)
That is my business.

INTERIOR: MOONBASE GYMNASIUM
Foster and Collins are wearing exercise gear - judo suits with wrestling safety helmets. They are wrestling, both sweating. Foster's patience seems to be growing thin. Collins throws Foster and they separate.

COLLINS
Come on, old man, you can do better than that. Now, come on.

The two men get into the clinch again.

COLLINS
Ho, Now, fifteen.

FOSTER
Oxygen.

COLLINS
Six hundred

FOSTER
Boosters

COLLINS
One thousand, fourteen.

FOSTER
Cooling system.

COLLINS
Thirty-three

INTERIOR: HALLWAY OUTSIDE GYMNASIUM
Gray is standing in the corridor, watching Foster and Collins wresting through a window. Their voices are coming over a speaker in the hallway. Gray seems worried as he watches.

FOSTER
Digital clock.

COLLINS
Nine hundred forty three.

FOSTER
Retro rockets.

COLLINS
Five

FOSTER
Helium ratio

COLLINS
Five-oh-seven

FOSTER
Abort.

COLLINS
No, that's wrong!

As Collins speaks, he throws Foster to the floor, pinning him. Foster pauses to catch his breath.

FOSTER
Sorry.

Collins stands up and leans over Foster as Foster sits up.

COLLINS
Oh now, Sorry's just not good enough, old man. Sorry can kill. Now, when we're up there together, I don't want to be sorry, I want you to be right. Now, let's try that again, all right?

FOSTER
All right

Foster stands and they begin to wrestle again.

COLLINS
Two hundred

FOSTER
Manual Control.

INTERIOR: HALLWAY OUTSIDE GYMNASIUM
Gray turns from the window and walks away.

INTERIOR: CORRIDOR OUTSIDE RECREATION DOME
Collins approaches the door to the Recreation area as a MOONBASE OPERATIVE FEMALE is leaving.

COLLINS
Is Ginny in there?

OPERATIVE
Yes, she is.

Collins nods as the girl passes him, then he enters the Recreation Dome.

INTERIOR: RECREATION DOME
Lake and Foster are seated at a small table in the corner, talking. Gray is seated at a table near the center of the room, looking over a chessboard that has been set up. Collins enters and looks around. Lake's expression is one of disgust. Collins shrugs and heads Gray's table.

COLLINS
Good evening, my Lord. How's about a little game of chess?

Collins sits down at the table, opposite Gray. Gray is surprised, but starts setting up the pieces to start a game.

GRAY
You're a glutton for punishment, aren't you? You haven't won a game with me yet.

COLLINS
How about ah... a little bet?

GRAY
You really want to throw your money away?

COLLINS
Shall we say, fifty?

GRAY
If that's what you want... You take the white.

COLLINS
Uh huh, you ready?

Collins and Gray play with Lake and Foster watching from their corner table. As they play, Gray becomes more irritable.

COLLINS
You really want to play that move?

GRAY
Just get on with it.

Collins moves his piece into checkmate with Gray's king.

COLLINS
Checkmate.

Gray studies the board a long moment, then slowly stands to leave.

GRAY
That's fifty I owe you.

COLLINS
I'll let you take your revenge tomorrow?

GRAY
We're due on Earth tomorrow. I'll... I'll take my revenge when we get back here.

COLLINS
(shrugs)
Anything you like.

INTERIOR: CORRIDOR OUTSIDE RECREATION DOME
Gray is talking to Lake. She is impatient.

LAKE
I thought we'd been through all that yesterday.

GRAY
You told me you dropped Collins. You didn't tell me you hated him.

LAKE
Who says I hate him?

GRAY
Virginia, I was watching your face when he came in.

LAKE
(reluctant)
People do move away from each other, sometimes. You know?

GRAY
Collins is on a vital mission...

Gray pauses as a MOONBASE OPERATIVE passes them to enter the recreation dome.

GRAY
If there's anything you know about him, his attitude, state of mind, anything, it's your duty to tell me.

Lake pauses before speaking to let another OPERATIVE pass them to enter the recreation dome.

LAKE
He's different.

INTERIOR: STRAKER'S OFFICE, S.H.A.D.O. CONTROL
Gray and Straker are talking. Straker is impatient, not quite angry.

STRAKER
And you're trying to tell me that just because he beat you at a game of chess, he's a psychotic? Oh, come on, John, what are you, a sore loser?

GRAY
No, it's not just that. It's the way he's been riding Foster.

STRAKER
(impatient)
He's training Foster for a tough mission, not for a game of ping-pong. Foster has to shape up.

GRAY
And Virginia Lake?

STRAKER
(flatly dismissive)
Virginia Lake is a girl who fell out of love.

GRAY
Look, I know he's a friend of your's, but all I'm saying is that what he went through in that jungle...

Straker cuts him off by turning away and pressing a series of buttons on the computer console on his desk. On the far wall, a monitor clicks on and a series of signed documents appear on the screen as Gray watches.

STRAKER
(reading from screen)
Doctor Adams, full clearance; Doctor Jackson, full clearance; Doctor Buden, full clearance. Now, all those reports have been computerized - Full Clearance.

GRAY
Computers aren't God.

STRAKER
Are you, John?

GRAY
I just have an instinct about him.

STRAKER
(sighs)
Look, just now, you implied that my friendship with Craig could warp my judgement. Just make sure your personal feelings don't bend yours.

Straker watches as Gray leaves the office.

EXTERIOR: HARLINGTON-STRAKER STUDIOS, NEAR CAR-PARK
Gray and Collins are walking along the outside of one of the soundstages towards the car-parking area. Gray seems worried. As they talk, a Rolls-Royce limosine drives past and parks near-by.

GRAY
Blast-off for Sid's in five days. You going to be ready?

COLLINS
Well, I'm just about finished down here. Of course, I've got one or two things still to do at Moonbase.

GRAY
We go back there tomorrow.

COLLINS
Right.

Gray and Collins stop and watch as a gray uniformed CHAUFFEUR gets out of the limosine, comes around to the opposite side and helps an elderly white haired man out of the back seat. The elderly man - SIR ESMOND - is blind and the chauffeur guides him over to where Gray and Collins are standing.

SIR ESMOND
(to Gray)
Excuse me, can you direct me to D-stage?

GRAY
(pointing out directions as he speaks)
Yes, of course. It's over there, take the second turning on the right.

SIR ESMOND
Oh, thanks, Mr. Gray, isn't it?

GRAY
(Pleased)
That's right, Sir Esmond.

SIR ESMOND
Yes, I never forget a voice... And who...?

Sir Esmond turns to face Collins, but suddenly becomes confused and extremely disturbed, almost as if suddenly chilled. He turns to the chauffeur.

SIR ESMOND
Ah, come along Charles.

CHAUFFEUR
(to Sir Esmond)
Yes, sir.

SIR ESMOND
(muttering)
Can't have you standing around all day.

The chauffeur leads Sir Esmond off the the direction Gray had pointed out to them earlier. Gray watches them walk away and turn the corner. He is worried.

GRAY
(to Collins)
There's something I've forgotten to do. I'll catch up with you later.

COLLINS
Very well, Master.

Collins turns to leave as Gray runs after Sir Esmond.

EXTERIOR: PATH BETWEEN SOUNDSTAGES
Sir Esmond and his chauffeur are walking down the walkway as Gray runs after them.

GRAY
(shouting)
Sir Esmond, excuse me.

Sir Esmond and the chauffeur stop and turn to look back at Gray as he runs up to them.

GRAY
Excuse me, Sir Esmond, but I couldn't help noticing something seemed to upset you back there.

SIR ESMOND
It was nothing.

GRAY
(disappointed)
Oh.

SIR ESMOND
It was just one of those inexplicable moments. Like walking over a grave.

In the background, behind Gray, Collins is standing at the corner of the building watching them.

GRAY
Well, if you're quite sure there's nothing I can do.

SIR ESMOND
Ah, that's very kind.

Sir Esmond and the chauffeur turn and head back down the walk-way. As Gray turns to head back to the car-park, he just catches a glimpse of Collins standing watching. Gray runs to the corner, but when he gets there, Collins is nowhere in sight.

EXTERIOR: MOONBASE

INTERIOR: MOONBASE: CENTRAL PARK
Collins is seated at the chess board as Gray walks in. Collins looks up at him.

COLLINS
Ah, how about that game of chess?

GRAY
(very cool)
No thanks. I'm tired. I'm going to turn in.

COLLINS
All right, see you tomorrow.

Gray nods and leaves.

INTERIOR: MOONBASE SLEEP MODULE.
The sleep module is a compact unit with a single bed set into the wall and a small sink. As Gray walks in, he checks the air pressure control and monitor beside the door. Gray strips off his suit.

LATER:
Gray is asleep in the bed, facing away from the door. In his own cubicle, Collins recalls the smoke and approaching UFO from just before his crash. He then gets up and goes into the common area, carrying a screw driver. Collins quickly disables the pressure control on Gray's cubicle, then leaves. Moments later, a whistling noise is heard. Gray wakes up, gasping. He tumbles out of his bed and goes to the door, pressing the emergency override panel beside the door. The door opens and he gets out of the room into the:

INTERIOR MOONBASE COMMON AREA
Gray checks the pressure gauge outside his door as he catches his breath. He goes to the door next to his, opens it and looks into the room beyond.

INTERIOR : COLLINS' SLEEP MODULE.
Collins is in bed, asleep as Gray looks in.

INTERIOR: MOONBASE CONTROL SPHERE
Gray walks in wearing his pyjamas. He is extremely upset and goes to the center console, pressing buttons on the console. Lt. Johnson appears on the console monitor.

GRAY
(to screen)
Get me Straker.

JOHNSON
(on screen)
I'm afraid he isn't in the building at the moment, sir. I can put out a trace for him if it's urgent.

VOICE OVER:STRAKER
(echoing-Gray remembering)
...Could warp my judgement, just be careful John, that personal feelings don't bend yours.

JOHNSON
Shall I put out a trace for him, sir?

GRAY
(reconsidering)
No, no, don't bother.

INTERIOR: JACKSON'S OFFICE
DOCTOR DOUG JACKSON sits, watching the computer monitor on his desk. The screen shows two brain wave tracings, one flat. Jackson seems mildly concerned and picks up the telephone receiver.

JACKSON
(to receiver)
Central computers please.

INTERIOR: MOONBASE LOUNGE
Foster and Collins are seated opposite one another over a chess board.

COLLINS
Okay, the control panel, terminals four and five.

FOSTER
Power supply

COLLINS
Ten and twelve

FOSTER
Cooling system.

COLLINS
Twenty-one and twenty-two.

FOSTER
(disdainful)
They stop at twenty.

COLLINS
(pleased)
You know something, old man, I think you're gonna' make it.

FOSTER
I know I'm gonna' make it, old man. You didn't invent efficiency.

COLLINS
Oh dear, oh dear, oh dear. We're getting up tight, are we? Now, I know just the thing for that, old man.

INTERIOR: MOONBASE GYMNASIUM
Collins and Foster are in their judo outfits, lifting weights.

COLLINS
(lifting barbell)
Ooh! Nothing like heaving a few weights around. Sort of sweating out the tension.

FOSTER
After you've lifted a couple of hundred, makes even you begin to look human.

COLLINS
Well, why don't we try... two hundred and twenty-five?

Collins picks up four additional weights from a near-by stand and attaches them to the barbell on the stand.

FOSTER
(watching Collins)
All right, but that's my lot. I'm not pushing for the bandiest astronaut title.

Collins gets the newly weighted barbell over his head, then loses his balance.

COLLINS
(shouts)
Look out!

Foster looks up to the barbell coming towards him. The bar catches him across the chest, knocking him down and pinning him to the floor. Collins catches his breath, then lifts the barbell off of Foster's chest.

COLLINS
(concerned)
Are you all right?

FOSTER
(Angry)
What do you think, you clown?

INTERIOR: MOONBASE MEDICAL CENTER
Foster is lying on an bed while a Medic looks on. Gray and Collins stand near-by.

GRAY
(To Medic)
How bad is it?

MEDIC
There's a rib gone, the right tibia's cracked. He'll be strapped up for a fortnight.

FOSTER
No!

Foster turns to protest some more only to find it extremely painful. He stops protesting.

CUT TO:
INTERIOR LEISURE SPHERE.
Fast cut, as if same scene. Gray and Collins are alone.

GRAY
What the hell did you think you were doing?

COLLINS
(shrugs)
It was a mistake.

GRAY
(angry)
The mission goes in two days time and you knock out the only man qualified to fly it with you? Some mistake.

COLLINS
(unperturbed)
You know, there is another man equipped to fly the mission with me.

GRAY
(sceptical)
Oh? Who would that be?

COLLINS
Ed Straker. I mean, he and I put SID out there in the first place.

Gray is horrified.

FADE OUT

END OF ACT II

- - - - - SPONSOR’S MESSAGE - - - - -

ACT III

FADE IN

INTERIOR: STRAKER'S OFFICE, SHADO CONTROL
Gray and Straker are arguing. Straker is irritated, angry.

GRAY
You can't go up there with a man who's unstable.

STRAKER
He's only unstable in your mind!
(pause, calmer)
Look, what do you want me to do? Cancel the mission, leave Earth undefended?

GRAY
Train somebody else to go with you.

STRAKER
There isn't time. Collins is right, I'll go.

Straker notices Gray contemplating another argument and interrupts before he begins.

STRAKER
(firm)
I said I'll go.

GRAY
Two nights ago he tried to kill me.

STRAKER
(surprised)
He what?

GRAY
He blew the pressure in my sleep sphere.

STRAKER
That incident was reported in the daily report as a mechanical failure. And why didn't you tell me immediately when it happened?

GRAY
(reluctant)
Because I can't be completely certain.

STRAKER
Do you have one piece of tangible evidence?

GRAY
No, not yet.

STRAKER
All right. My top priority is to get SID back into commission. I've no alternative and that's what I'm going to do. You'll be in charge here. I've doubled the alert status on Moonbase and I'd advise you to do the same here.

INTERIOR: CORRIDOR, SHADO CONTROL
Straker and Collins are walking down the corridor towards the main entrance elevator. Straker is carefully watching Collins. Collins seemed oblivious to the inspection.

STRAKER
Well, the weather at the Cape is good. Outlook looks clear.

COLLINS
I hope they've got those transducers I asked for.

STRAKER
Yes, Colonel Gray's taking care of it. Say, Craig, what is it with you and him?

COLLINS
(shrugs)
Oh, I don't know, it's sort of, you know, chemical. Just one of those things.

INTERIOR: JACKSON'S OFFICE.
Gray is talking to Jackson who is seated at his desk.

GRAY
I just wanted to check, to make sure there's nothing we've overlooked in Collins' clearance tests.

JACKSON
No, he passed all the regulation tests perfectly.

GRAY
All the regulation tests?

JACKSON
Yes.

GRAY
Are there any others?

JACKSON
Officially, no.

GRAY
But?

JACKSON
I've been pursuing a line of research. Nothing official, just an idea of my own.

Jackson goes to one of the walls and opens a hidden door into a closet with a built in seat.

JACKSON
I call this an 'isolator'.

GRAY
What does it do?

JACKSON
It cuts you off from all outside influences, sound, heat, light, microwaves, even cosmic rays. I wanted to study the effect on the brain of a total absence of stimuli.

GRAY
What has that got to do with Collins?

JACKSON
One of the tests I do is record the brain's electrical patterns both inside and outside this cabinet.

GRAY
Well?

JACKSON
Usually, there's very little difference.

GRAY
(exhasperated)
Doctor, will you please get to the point?

JACKSON
All right.

Jackson goes back to his desk, to the computer monitor and keyboard. He punches several buttons and a pair of brain wave patterns appear on the screen.

JACKSON
Look, that's the kind of pattern I usually get. That's one of of my colleagues.

Jackson points to the pattern on the screen.

JACKSON
That's the pattern outside the isolator, that's the pattern inside.

The two patterns on the screen show little difference.

JACKSON
Now, I'm going to show you Collins'.

Jackson punches another set of keys and the patterns on the screen changes. The upper tracing is similar to the two previous one. The lower pattern shows a nearly flat line.

JACKSON
That's Collins outside the isolator.

Jackson points to the lower, flat pattern.

JACKSON
That's Collins inside.

GRAY
What's your conclusion?

JACKSON
It's too early to have one. I've got central computers on it now.

GRAY
Have you told anyone else about this?

JACKSON
(shaking his head)
There's nothing to tell. It's a purely unofficial experiment.

GRAY
When do you expect your computer analysis?

JACKSON
Probably late tonight.

GRAY
Call me as soon as you get it. If I'm not at home, I'll be at Collins' apartment.

INTERIOR: CRAIG COLLINS'APARTMENT.
A medium sized apartment with a stairway leading upstairs. The sky seen through the window is dark. Collins is packing a suitcase which is open on the sofa near the stairs. The doorbell rings. Collins goes to the door and opens it. Gray is standing outside the door.

GRAY
Hello, Craig.

COLLINS
(surprised)
Master... please enter.

Collins waves Gray into the room and returns to packing his suitcase. Gray enters and closes the door behind him.

COLLINS
I'm afraid I can't spare you much time. Ed and I are flying off to the Cape in an hour.

Gray stands, watching Collins.

GRAY
Did you know we still haven't located your ship. The one you crashed in.

COLLINS
Really?

GRAY
Are you sure the map reference you gave us was the right one?

COLLINS
Well, I was pretty groggy at the time. It could have been one mile, two miles, either way.

GRAY
Do you remember anything more about what happened?

COLLINS
No, my mind is in very much a blank still.

GRAY
Don't you find that a bit worrying?

COLLINS
(a little perturbed)
No. I'm still the same fellow, you know.

GRAY
Are you, Craig?

COLLINS
(irritated)
Now what's that supposed to mean?

GRAY
Virginia Lake thinks you've changed.

COLLINS
Oh, Virginia's just...

GRAY
(interrupting)
And you give blind men the creeps.

COLLINS
(angry)
Now what the devil are you talking about?

GRAY
Jackson did a test on you.

COLLINS
(wary)
Well, he does lots of tests.

GRAY
One in particular, where he put you in a cabinet.

COLLINS
Yes? What about it?

GRAY
When you were inside that cabinet, you were isolated from all communication of any kind, even radio waves.

COLLINS
Really?

GRAY
Inside that cabinet, your brain pattern stopped. You were inert, a nothing, a body without a will.

COLLINS
Now, look here, I know that you have never liked me...

GRAY
(interrupting)
I think the aliens snatched you out there. I think they burned out the personality centers of your brains and then programmed you so that they could control you with radio waves. I think they sent you back here, as a kind of guided missile, to kill Ed Straker.

COLLINS
Now, I mean, if that's really the case, now Master, you're wasting your time, aren't you? I mean, you can't reason with a robot.

Without showing anger or any other emotion, Collins swings at Gray. The two men fight. Finally, Ccollins picks up a lamp and coshes gray across the temple with it. Gray falls to the floor, unconscious, blood on his right temple. Collins rolls him onto his back, searches through his pockets and takes Gray's wallet and identification. The telephone rings and Collins picks up the receiver.

JACKSON
(over telephone)
Colonel Gray?

COLLINS
(to telephone)
Speaking.

JACKSON
(over telephone)
The computer confirms, Collins has had surgery.

COLLINS
I'll be right over.

INTERIOR: JACKSON'S OFFICE
Doctor Jackson is seated at his desk, reading the computer analysis. Collins appears from behind him, startling him badly. We assume harm will come to Doctor Jackson.

EXTERIOR: SST FLYING OVER OCEAN

INTERIOR: SST
Straker and Collins are seated as passengers. Straker seems mildly worried while Collins appears jovial, even elated.

COLLINS
(singing)
Here we go, into the bright blue yonder.

EXTERIOR: KENNEDY SPACE CENTER, CAPE CANAVERAL, FLORIDA

EXTERIOR: LAUNCH AREA
A space capsule sits atop a booster. An elevator is making its way up to the capsule, stopping at the capsule loading platform.

INTERIOR: LOADING PLATFORM
The elevator doors open. Straker and Collins step out, accompanied by two LAUNCH TECHNICIANS. Straker and Collins wear space suits, with the helmet visors up.

COLLINS
(to Straker)
Well, here we go again, old man.

STRAKER
Not so much of the 'old', if you don't mind. After you...

Straker motions for Collins to precede him into the capsule.

COLLINS
Thank you

The technicians assist Collins to enter the capsule and get strapped in.

EXTERIOR: LAUNCH AREA

STRAKER
(voice over)
SID two, ready to launch... one... two...

INTERIOR: SPACE CAPSULE.
It is a cramped, two man capsule. Straker and Collins are strapped in, checking over the controls. The LAUNCH CONTROLLER can be heard over the cabin speaker.

LAUNCH CONTROLLER
(over speaker)
Roger, count-down continues... Count-down proceding normally at lift-off minus five.

LAUNCH TECH
(over speaker)
Co-ordinates correct, shut down inlet valves.

STRAKER
(to Collins)
I hope I can still drive one of these things.

COLLINS
(not appreciating the joke)
Yeah, so do I.

LAUNCH TECH
(over speaker)
We have retract on one and two ...

INTERIOR: COLLINS' APARTMENT.
Gray lies on the floor, a pool of blood under his head. There is a knocking at the door accompanied by the voice of a WOMAN with a heavy accent.

WOMAN
Mister Collins?... Mister Collins?

EXTERIOR: CAPE KENNEDY SPACE CENTER

INTERIOR: LAUNCH MISSION CONTROL
A typical rendition of NASA's Mission Control room.

LAUNCH TECH 1
Re-affirm your linkage, correct?

TECH 2
(over speaker)
Link correct and lift-off minus one-two-zero.

A buzzer sounds in the control room to mark the time.

TECH 1
Closing inlet valves. Onboard computer extracting one-zero-nine. We are counting.

LAUNCH CONTROLLER
We have go on all internal systems at minus five-zero.

INTERIOR: HALLWAY OUTSIDE COLLINS' APARTMENT
The woman with the accent is with a uniformed security GUARD. He is unlocking the door to Collins' apartment with a pass key.

WOMAN
Sometimes he tells me he is not coming back, but always, he leaves me the key of his door.

GUARD
Silly thing to do, that. A fine place for burglars, you know.

The guard gets the door open and they both walk in.

INTERIOR: COLLINS APARTMENT

WOMAN
He likes the place left clean and ti...

The woman sees Gray's body on the floor and screams.

EXTERIOR: CAPE KENNEDY SPACE CENTER:
The booster on the launch pad ignites, smoke and flame pouring out the bottom as the rocket slowly lifts off.

LAUNCH CONTROLLER
(on speaker)
We have ignition, we have lift off ...

INTERIOR: COLLINS'S APARTMENT.
The woman and guard stand by as two ambulance attendants wheel Gray out of the apartment on a stretcher.

INTERIOR: SPACE CAPSULE

MISSION CONTROLLER
(over speaker)
A-okay from here. How about you boys?

STRAKER
Thank you, Houston, This is SID Two reporting all systems go.

COLLINS
(to Straker)
How long now?

STRAKER
Seven hours, eighteen minutes, twenty-seven seconds.

EXTERIOR: HOSPITAL AMBULANCE ENTRANCE
An ambulance drives up to the entrance and stops.

INTERIOR: HOSPITAL ROOM
Gray is lying in a hospital bed, mumbling incoherently. A NURSE stands near-by watching him. A DOCTOR walks into the room and steps over to the Nurse.

DOCTOR
Anything intelligible yet?

NURSE
No, Doctor.

DOCTOR
(sighs, worried)
No identification on him.

EXTERIOR: SPACE
Final stage separation, Capsule performs orbital adjustment maneuvers.

INTERIOR: SPACE CAPSULE
The Space Intruder Detector satellite is seen out the capsule window.

COLLINS
Oh, there she is. There's old SID.

STRAKER
Right on the old button.

INTERIOR: HOSPITAL ROOM
Gray is regaining consciousness but is still nearly incoherent. A SECOND NURSE has joined the Nurse and both look worried.

GRAY
(mumbling)
Must warn . . must warn ...

NURSE
(to Second Nurse)
Get the doctor, nurse.

The Second Nurse leaves then returns a moment later with the Doctor. Gray has started struggling with the nurse who is trying to keep him from climbing out of bed. The doctor goes to a near-by cabinet and gets a vial and a syringe. He proceeds to give Gray an injection. Gray protests.

GRAY
No please, please no... please...

Gray passes out.

EXTERIOR: SPACE
The space capsule in within a few meters of the Space Intruder Detector satellite.

INTERIOR: SPACE CAPSULE

COLLINS
Well, time to go for our walkies, old man.

Straker and Collins prepare for their EVA.

EXTERIOR: SPACE CAPSULE
The hatch on the capsule opens and Straker and Collins, fully space suited with EVA Control packs, leave the capsule. They approach SID.

INTERIOR: S.H.A.D.O. CONTROL
Foster stands in the Control Room listening to the over head speakers. The other operatives are at their stations, also listening intently.

MISSION CONTROLLER
(over speaker)
We have satellite on positive track. Lunar orbit is correct.

TECH
(over speaker)
Hawaii has just confirmed position.

INTERIOR: HOSPITAL ROOM.
Gray is conscious. The nurse stands by the side of his bed.

GRAY
What's the time?

Gray tries to get up.

NURSE
Lie down.

GRAY
(insistent)
What's the time?

NURSE
Lie down quietly.

GRAY
(shouting)
What's the time?!

The Doctor walks in and comes over to the bed where Gray is struggling to sit up.

DOCTOR
All right, All right, take it easy. You had a nasty concussion. If you didn't have a concrete skull, you wouldn't be with us now.

GRAY
Get me a telephone.

DOCTOR
Lie quietly. Listen, you can do all that later.

GRAY
(shouting)
Get me a bloody telephone!

INTERIOR: SHADO CONTROL
Foster is just hanging up the telephone receiver. He appears very worried and reaches for the microphone on Lt. Johnson's console.

EXTERIOR: SPACE NEAR SID
Straker and Collins are heading over to the satellite. Straker is preparing to open an access hatch. His back is to Collins.

MISSION CONTROLLER
(over radio)
We are nine hours, two minutes into mission. All green, A-okay from here.

FOSTER
(over radio)
Commander, Collins, Collins is going to kill you!

STRAKER
(to self)
So, Gray was right...
(to suit microphone- turning to look at Collins.)
Listen Craig , you can beat this thing.

Collins' face has gone blank, totally without expression, eyes focused on something in the distance.

GRAY
(echoing, voice over)
They burned out the personality centers of your brain.

STRAKER
Craig, listen to me. Listen! We can help you.

GRAY
(echoing, voice over)
They control you by radio waves.

STRAKER
(desperate)
They may have your mind, Craig, but they can never get your soul! Craig, listen to me!

Expression still blank, Collins gets close to Straker and attempts to disconnect Straker's airhose from its coupling. Straker struggles with him, defending himself.

INTERIOR: SHADO CONTROL
Foster is at the console microphone. The operatives in the control room are listening anxiously.

FOSTER
(to microphone)
Commander... Come in Commander Straker, are you receiving me?

EXTERIOR: SPACE NEAR SID
Foster's voice comes over the helmet speakers as Straker and Collins struggle.

FOSTER
(on speaker)
Commander... come in please. Come in, Commander Straker, are you receiving me?

GRAY
(echoing, voice over)
You were inert, a nothing, a body without a will.

INTERIOR: SHADO CONTROL
Foster still stands at the microphone.

FOSTER
(to microphone)
Ed, come in, are you receiving me?

EXTERIOR: SPACE
Straker and Collins are still struggling. Suddenly, Collins air hose disconnects and he is propelled away from Straker. Straker watches as Collins floats away, face still utterly blank. Foster's voice comes over Straker's helmet radio.

FOSTER
Are you receiving me?

Straker switches on his own transmitter from a control panel on his sleeve.

STRAKER
Receiving.

FOSTER
(over radio)
Are you all right?

STRAKER
Yes.

INTERIOR: S.H.A.D.O. CONTROL
Foster is at the console microphone. The operatives in the control room are listening anxiously.

FOSTER
(to self)
Thank God.
(to microphone)
What about Collins?

STRAKER
He's... he's out of it.

FOSTER
(to microphone)
He could have killed you.

STRAKER
Yes, he could have killed me.

OUT IN SPACE:
Collins body floats away into space.

FINAL FADE OUT

END OF ACT III 

- - - - - SPONSOR’S MESSAGE - - - - -

CLOSING TITLES

UFO: "The Man Who Came Back"
Other information about this episode

● Collins' surname was re-used in the Space: 1999 episode "Breakaway" for the astronaut who tries to cause decompression into Moonbase Alpha under the influence of "magnetic radiations".

● This episode reveals that Ed Straker was an astronaut in the past and that it was he and Craig Collins who originally helped put the Space Intruder Detector (S.I.D.) satellite up in orbit.

Links to other UFO Episode Scripts


                     
Here is a list of all 26 Episodes of UFO shown in production order: those titles shown in black are yet to be uploaded (no link).

UFO Episodes (01-13)UFO Episodes (14-26)
01  Identified14  Confetti Check A-O.K.
02  Computer Affair15  E.S.P.
03  Flight Path16  Kill Straker!
04  Survival17  Sub-Smash
05  Exposed18  The Sound Of Silence
06  Conflict19  The Cat With Ten Lives
07  The Dalotek Affair20  Destruction
08  A Question Of Priorities21  The Man Who Came Back
09  Ordeal22  The Psychobombs
10  The Responsibility Seat23  Reflections In The Water
11  The Square Triangle24  Timelash
12  Court Martial25  Mindbender
13  Close Up26 The Long Sleep