The Reanimator’s Revenge – Episode 3 – The Attack Begins


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Below we present the complete text of The Attack Begins; episode 3 of The Reanimator’s Revenge.

Pulp Adventure - PA004 - The Reanimator's Revenge

Pulp Adventure – PA004 – The Reanimator’s Revenge

Parental Guidance Recommended: May contain content some parents may feel is inappropriate for younger children

Parental Guidance Recommended: May contain content some parents may feel is inappropriate for younger children

THE REANIMATOR’S REVENGE

EPISODE #3 – THE ATTACK BEGINS

by Philip Craig Robotham

Cover Illustration by Miyukiko

Edited by Margaret Wilkins

Copyright 2013 Philip Craig Robotham

Creative Commons Attritubution Non-Commercial No Derivatives (CC BY-NC-ND 4.0) Edition .

CC by-nc-nd 4.0

CC by-nc-nd 4.0

This play is licensed under a Creative Commons Attribution Non-Commercial No Derivatives (CC BY-NC-ND 4.0) International license. This play may not be commercially reproduced, performed, or sold. Non-commercial production, performance, and reproduction is allowed under this license so long as attribution is maintained. No derivative content or use is allowed. It can be freely shared in its current form (without change) under this license. If you would like to purchase one or more copies of this work (for your own personal non-commercial use, or to help financially support the author) then please return to http://www.weirdworlstudios.com and purchase your own copy. Thank you for respecting the hard work of this author.

Other works by this author can be found at the author’s website: http://www.weirdworldstudios.com or through select, online book retailers.

Serial #4: The Reanimator’s Revenge

When visiting the Star City Penitentiary Trent Stone and Tess Carter encounter an old gypsy woman who warns them that the city is facing imminent destruction. An investigation of her claims leads the pair to the City Cemetery where they are attacked by shambling reanimated corpses bent on tearing the city apart. Before long large sections of the population are succumbing to a mysterious sleeping sickness, martial law has been declared, and the dead are tearing the city apart building by building. Trent and Tess must race against time to introduce an antidote into the city’s water supply and face down the villain before the city is completely destroyed. Will they be able to uncover the secret behind the undead plague and bring it to an end? Tune in to “The Reanimator’s Revenge” and cheer as the conflict between Trent, Tess, and their arch-nemesis reaches its thrilling conclusion.

Episodes in the Host Your Own “Old Time Radio Drama” series are designed to provide a fun dinner party experience for 6–8 participants. Read along, taking on the role of one or more of the characters in the story, and listen as the exciting drama unfolds. This is the theater of the mind, where the special effects are only limited by your imagination, and your participation will build a memory that you’ll treasure for years to come.

THE REANIMATOR’S REVENGE

CAST LIST

NARRATOR: The Narrator

TRENT STONE: Our hero and adventurer

TERESA CARTER: Our heroine and reporter

CATHERINE FILMORE: Chemist

ANGELA WALSH: Lab Assistant

TERRY MARKS: Lab Assistant

CABBIE: Cab Driver

SEWER WORKER: Sewer worker

RADIO ANNOUNCER: Radio announcer

WILMA STURGESS: Matron of the Beta Phi Sorority House

SFX: SFX operator (1 required)

SCENE 10: EXT. STILL ON THE PARK BENCH (TERESA, TRENT, WILMA)

319. MUSIC: [92] OPENING THEME – LET IT FINISH

320. NARRATOR: Having uncovered the threat to Star City via the warnings of an old gypsy woman and the science team attempting to prevent a plague of reanimated corpses from spreading. Our heroes now sit on a bench watching the supposed location of the next outbreak.

321. SOUND: [2] WALLA — STREET NOISES — ESTABLISH AND UNDER

322. TERESA: C’mon, Stone. Don’t you think we’ve waited around long enough? It’s ten to one. If anything was going to happen we’d have seen “something” by now. The old lady’s just a fraud after all. (PAUSE) Though she kind of had me going a little there towards the end.

323. TRENT: Tess, you’re right. Nothing’s happening on the street.

324. TERESA: Great! Why don’t we grab a bite of lunch and then head back to the… Hey! Where are you going?

325. SOUND: [35] FOOTSTEPS RUNNING TOWARDS THE HOUSE — UNDER

326. TRENT: (CALLING BEHIND HIM) Up to the house. I think we need to get into the basement.

327. SOUND: [36] URGENT KNOCKING ON DOOR — LET IT FINISH

328. TERESA: Damn it, Trent, just what do you think is…

329. SOUND: [37] DOOR OPENING — LET IT FINISH

330. WILMA: Oh, Mr Stone. What brings you…?

331. TRENT: (URGENTLY) I’m sorry, Mrs Sturgess, there’s no time to explain. Do you have a fire alarm in the building?

332. WILMA: Yes, just on that wall, but…

333. TRENT: Good. Tess, break the glass.

334. WILMA: (OUTRAGED) Mr Stone!

335. SOUND: [38] SMASHING GLASS THEN ANNOYINGLY JANGLY FIRE ALARM BELL — ESTABLISH AND UNDER

336. TERESA: Done. Now would you mind explaining…?

337. TRENT: Downstairs, Tess. There’s no time.

(TO MRS STURGESS) Mrs Sturgess. Get the girls out of here. The building could come down at any minute.

338. WILMA: Oh my!

339. SOUND: [39] GIRLS COMING OUT OF ROOMS — DOORS OPENING, FOOTSTEPS, ETC. — ESTABLISH AND UNDER

340. SOUND: [40] BABBLE OF GIRLS — “WHAT’S GOING ON?” “IS THERE A FIRE?” ETC. — OVERLAY AND FADE AS…

341. SOUND: [41] SOUND OF TRENT AND TERESA HURRYING DOWNSTAIRS TO THE BASEMENT — LET IT FINISH

342. MUSIC: [89] (BRIDGE) OMINOUS SCENE ENDER — LET IT FINISH


SCENE 11: INT. SORORITY BASEMENT (TERESA, TRENT)

343. SOUND: [5] WALLA — DRIPS, SOUND OF BOILER, HOUSE SETTLING AND FLOORBOARD CREAKS, ETC. — MUFFLED FIRE ALARM IN BACKGROUND — ESTABLISH AND UNDER

344. TERESA: Ok, tough guy. There’s nothing here. You mind telling me why we just scared the bejangles out of the matron and her girls.

345. TRENT: Quiet, Tess. Listen.

346. SOUND: [6] WALL — CRUNCH OF DIRT, DIGGING NOISES — ESTABLISH AND UNDER

347. TERESA: What is that? It’s coming from the walls.

348. TRENT: We didn’t see them coming along the street because they weren’t using the street. They’ve tunneled under the ground.

349. TERESA: (REALIZATION DAWNING) That’s how they’re going to collapse the building. They’re digging out the foundations.

350. TRENT: Some of these bricks in the wall look loose. Let’s see if we can’t pull them out of the way and have a look.

351. SOUND: [42] SOUND OF GRINDING STONE AND BRICKS BEING THROWN ASIDE — SOUND OF CORPSE MOANING RISES THROUGH THE BRICKS — ESTABLISH AND UNDER

352. TERESA: Good grief, Trent. There’s dozens of them.

353. TRENT: And that’s just on this wall. I can hear them digging through most of the others as well.

354. TERESA: They must have tunneled around the entire building. What’ll we do?

355. TRENT: (BEAT) Give me a moment. I can’t think.

356. TERESA: Trent?

357. TRENT: Wait. Wait. Tess, I think that’s a gas main against the wall.

358. TERESA: Yeah, so?

359. TRENT: Well, (PAUSE) if I take this hose from the sink over here and run it through the hole in the brick work we’ve just made…

360. TERESA: (CATCHING ON AND SPEAKING EXCITEDLY) And if we put one end over that outlet over there and turn on the gas….

361. TRENT: We’re going to need some matches though.

362. TERESA: I saw some candles on one of the shelves over there. I’ll see if there are some matches as well. (PAUSE).Yep, got ’em.

363. TRENT: Okay, the gas tap is on.

364. SOUND: [43] HISS OF GAS FLOWING THROUGH A HOSE — ESTABLISH AND UNDER — CONTINUE TO 374

365. TERESA: (PAUSE) How long should we wait?

366. TRENT: I’m not sure. The tunnels back there could dissipate a pocket of gas fairly quickly. We need there to be enough to drive them back or burn them, and not so much that we create an explosion that will bring down the house.

367. TERESA: So, we’re taking a wild guess then?

368. TRENT: It looks that way.

369. TERESA: I love a well thought-out plan!

370. SOUND: [44] BIG SHUDDERING CRACKING NOISE — LET IT FINISH

371. TERESA: Was that the house?

372. TRENT: Looks like one of the foundations is giving way and we’re out of time.

Switch off the gas for me…

373. SOUND: [43] GAS STOPS HISSING

374. TRENT: …And get behind that pillar while I toss a match through the hole.

375. SOUND: [94] MATCH SPUTTERS TO LIFE, FOLLOWED BY A WHOOMPHING NOISE OF FLAME, AND THE CRACKLE OF BURNING CORPSE — CORPSE SOUNDS CHANGE FROM MOANS TO CRIES OF AGONY, AND THEY COLLAPSE TO THE GROUND — ALL UNDERLYING SOUND STOPS

376. TRENT: (LAUGHING) Ha Ha! We’re still alive!

377. TERESA: Was there ever any doubt?

378. TRENT: Let’s just say I was a little concerned. Come on, we’ve got to take the heads off those things.

379. TERESA: What? You’re not serious?

380. TRENT: You remember what Madam Sofia said. We can’t afford to wait around for those things to get back up again.

381. TERESA: Okay. Here, I’ll help you with the bricks.

382. SOUND: [42] SOUND OF HOLE IN EXTERIOR WALL OPENING UP, BRICKS CLINKING, ETC. — LET IT FINISH

383. TERESA: Ugh! They smell worse burned than they do rotting.

384. TRENT: (WRILY) Who’d have thunk?

Pass me that shovel would you.

385. TERESA: You’re not thinking of burying them, are you? We don’t have the time (PAUSE) or the space.

386. TRENT: No. The shovel has a blade on it… (GRUNTS)

387. SOUND: [44] SOUND OF SHOVEL CRUNCHING THROUGH SOMETHING THAT THEN ROLLS AWAY — LET IT FINISH

388. TRENT: It seems the handiest thing for getting their heads off. Come on.

389. TERESA: Ew!

390. MUSIC: [88] (BRIDGE) TIME PASSING SCENE ENDER — LET IT FINISH


SCENE 12: INT. SEWER TUNNELS JUST BEYOND BASEMENT (TRENT, TERESA)

391. SOUND: [44] CRUNCH AND ROLL OF SHOVEL AND SEVERED HEAD — LET IT FINISH

392. TRENT: (GRUNT) Well, that’s all of them.

393. TERESA: How many in total, do you think?

394. TRENT: At least thirty.

395. TERESA: Thirty? Where could they all have come from?

396. TRENT: Originally? I haven’t a clue. But more recently, I’d say they came from the sewer tunnels… down there.

397. TERESA: Trent, there’s someone there. In the shadows. See him?

398. TRENT: I see him. He’s not moving. Let’s get a better look.

399. SOUND: [45] STEPS ON BRICKWORK, DRIPS, AND SPLASHES OF SEWER — LET IT FINISH

400. TRENT: (CALLING) Don’t bother trying to run. We’ve already seen you.

401. TERESA: He’s not responding. In fact he looks almost catatonic. I think he’s one of the sewer workers.

402. TRENT: You’re right, Tess. (PAUSE) He’s breathing, but aside from that there’s no response. I don’t think he’s even blinking.

403. TERESA: What do you think did it? Was it fear?

404. TRENT: It’s possible, I guess. The corpses must have come right past him. Still, something isn’t right. Whatever else these creatures are, they’re aggressive and I just can’t picture them shuffling on past without giving him so much as a scratch.

405. TERESA: What is it then? Drugs?

406. TRENT: Perhaps. Maybe we should get him back to the lab and give Catherine a good look at him.

407. TERESA: (TEASINGLY) Or maybe you’d prefer to compare notes with “Angela.” I’m sure she’d enjoy some private time with her hero.

408. TRENT: What do you mean?

409. TERESA: (MOCKING) “Oh Mr Stone, I’ve read all your adventures!” Sheesh. You’re not telling me you didn’t notice?

410. TRENT: (DISTRACTED) Uh, no. Should I have?

411. TERESA: (ANNOYED) Why am I not surprised?! Here, let me help you. I’ll get under his other arm.

412. MUSIC: [85] (BRIDGE) NEUTRAL SCENE ENDER — LET IT FINISH


SCENE 13: EXT. BETA PHI SORORITY HOUSE (TERESA, WILMA, TRENT, ANGELA)

413. SOUND: [7] WALLA — DISTANT SIRENS AND BABBLE OF VOICES

414. SOUND: [46] DOOR OPENS AND FOOTSTEPS EMERGE INTO THE STREET — LET IT FINISH

415. TERESA: Damn, this guy’s heavy. (BEAT) Hey, what gives? It sounds like half the city’s called out the fire brigade.

416. WILMA: I hope you have a good explanation for this, Mr Stone. My girls have been standing in the cold now for half an hour.

417. TRENT: Well, Mrs Sturgess, I’m guessing the thirty-odd headless corpses in the basement constitute a fairly sound reason to get you all out of the building. (PAUSE) I’m surprised the fire brigade isn’t here yet, though.

418. WILMA: Hmfpf. (ANNOYED) Everybody is going crazy. The whole city. Alarms, sirens, mostly from the north-west, but no one has come for us yet.

419. TRENT: I think you may need to arrange alternative accommodation for your girls for tonight. A local church, perhaps?

420. WILMA: Father William will probably help us if you think it’s necessary.

421. TRENT: I think it is.

422. ANGELA: Mr Stone! Mr Stone!

423. TERESA: Oh-oh. Here comes your number one fan.

424. TRENT: Angela! What are you doing here?

425. ANGELA: Catherine sent me to follow you and bring you back.

426. TERESA: (MUTTERING) I’m willing to bet you volunteered for the job, toots.

427. ANGELA: I came to find you as quickly as I could.

428. TERESA: But not before changing into that fetching little sweater, I see.

429. ANGELA: What? You mean…

430. TERESA: (THREATENING) If you’re about to say, “This old thing? Why I just threw it on.” I’d advise against it.

431. ANGELA: (CONFUSED) But I did just throw…

432. TRENT: Don’t pay any attention to her, Angela. She’s just cranky from helping haul this one-hundred-and-sixty-pound catatonic up the steps. Do you happen to have a car nearby?

433. ANGELA: What? Yes, of course. I came by cab. Over there.

434. MUSIC: [85] (BRIDGE) NEUTRAL SCENE ENDER — LET IT FINISH


SCENE 14: INT. TAXI CAB (CABBIE, TRENT, ANGELA, RADIO, TERESA, WORKER)

435. SOUND: [47] DOORS CLOSE AND ENGINE STARTS — ESTABLISH AND UNDER

436. CABBIE: Where to, buddy? Hey, is that guy alright? I don’t take drunks in my cab.

437. TRENT: He’s fine. We need to get to…

438. ANGELA: Just take us back to where you picked me up.

439. CABBIE: Okay, toots. It’s your nickel. Back to the Osterman Labs it is.

440. SOUND: [102] WALLA — INTERIOR CAR ENGINE — FADE UNDER

441. TRENT: Do you have a radio in here?

442. CABBIE: Sure, you want I should turn it on?

443. TRENT: Please. I’d like to know what’s behind all the sirens we’ve been hearing.

444. SOUND: [48] 1930’S MUSIC — ESTABLISH THEN CUT OFF

445. RADIO: We interrupt this program to bring you the following news bulletin. Star City is in chaos after the collapse of at least five buildings on the north-west side of the city. Ambulance, Fire, and Police crews are being stretched to breaking point and citizens are being asked to avoid travel through any of the north-western districts.

In further news, citizens across the north of the city are falling into what one physician has called, “waking slumbers.” Rumors that a plague has struck the city remain unconfirmed as dozens of reports come in regarding individuals who have suddenly fallen asleep and cannot be roused, remaining unresponsive to anything around them.

In other news, sixteen people received minor injuries when a bus driver…

446. SOUND: [49] CLICK OF RADIO BEING SWITCHED OFF

447. CABBIE: Buddy, this sounds serious. I’ve got family in the districts affected. Osterman Labs is on the way, but I’m taking off as soon as I drop you off.

448. TRENT: Fair enough, but could you…

449. TERESA: Hey, it looks like the sewer worker is waking up.

450. WORKER: (GROANS) What happened? Where am I?

451. TERESA: It’s okay, buddy, you’ve just been having a little nap. Can you remember anything?

452. WORKER: I was down in the sewers, checking for some leaky pipes. One minute I was following a water trail, the next… (PAUSE) What happened to me?

453. TRENT: We’re taking you to some friends of ours who we hope will be able to answer just that question.

454. WORKER: Where’re the other guys in my team?

455. TERESA: Other guys? We only found you.

456. ANGELA: Hey, look at the street. See those people? None of them is moving!

457. TERESA: What? She’s right, Stone. Up ahead, we’ll be passing them in a minute.

458. WORKER: (Groans and slumps) Oh!

459. TRENT: Damn it, he’s collapsed again… almost as if he was coming into range…

460. TERESA: Trent, have you got some kind of…

461. SOUND: [103] BUILDING COLLAPSES OUTSIDE CAB — ESTABLISH RUMBLE AND UNDER

462. TRENT: Driver, look out!

463. ANGELA: (SHRIEKS WITH FRIGHT) Aaagh!

464. SOUND: [50] SCREECHING TIRES

465. CABBIE: That was way too close. That building fell right out into the street.

466. TERESA: Shouldn’t we stop and do something.

467. TRENT: We are doing something, Tess. We have to get this man to the Lab. I think I understand what’s happening and if we are to stop this occurring to the rest of the city we need to hurry!

468. MUSIC: [90] (BRIDGE) DRAMATIC SCENE ENDER — LET IT FINISH


SCENE 15: INT. OSTERMAN LABS (CATHERINE, TRENT, TERESA, TERRY)

469. SOUND: [51] SHOES CLICKING ON CONCRETE AND DRAGGING OF FEET AS MAIN CHARACTERS DRAG IN THE SEWER WORKER — LET IT FINISH

470. CATHERINE: So, you’ve come back.

471. TRENT: You sound surprised.

472. CATHERINE: We’ve been listening to the radio. Who’s that you’re carrying?

473. TERESA: A sewer worker. He woke up briefly in the cab but has slipped back into… well, whatever this is.

474. CATHERINE: And you brought him here because?

475. TRENT: Because there’s a connection between this sleeping plague and the reanimated corpses.

476. CATHERINE: (SARCASTICALLY) Oh, really? And what leads you to this masterful conclusion?

477. TERESA: We’re back two seconds and I already want to break her nose.

478. TRENT: (WARNINGLY) Tess. (ANSWERING CATHERINE) Something that was mentioned earlier.

When you were being introduced before, you mentioned the scientific specialties you each engage with…

479. CATHERINE: (IMPATIENTLY) So?

480. TRENT: Well, it stands to reason that if, as you say, your husband’s aim was extending the range of his control of the dead, then the work he was doing with each of you contributed to that end.

481. CATHERINE: So, tell us something we don’t know?

482. TRENT: You mentioned that your colleague who died…

483. TERRY: (HOPELESSLY) You mean Gina.

484. TRENT: Yes, Gina. You said she was working on a biological system of receiving and transmitting an electrical signal.

Is it safe to suppose that this biological technology requires a living host to work?

485. CATHERINE: Yes, we’ve already said as much.

486. TRENT: But that higher mental functions would probably interfere with the signal?

487. CATHERINE: Yes… but where are you going with this?

488. TRENT: Todd, you were being asked to help develop a means of shutting down brain activity. And Melanie and Angela, you were being asked to find a way to spread an organic compound or disease.

489. CATHERINE: Go on…

490. TRENT: I think this sleeping plague is the means by which your husband has extended the range of his control of the dead. Living people are being infected with a biological compound, probably viral in nature, that puts them to sleep, shuts down their higher mental functions, and turns them into living transmission towers for spreading the signal — probably based on Terry’s work — further and further.

491. CATHERINE: I’m impressed, Mr Stone. I think you may have figured it out. This man you have brought us, I take it you think he is infected somehow.

492. TRENT: I do.

493. CATHERINE: Let’s get him onto a gurney. If we can figure out how to reverse the effects or block the signal we may have a means of beating this thing before it gets too much of a grip… but how is the contagion being spread? It’s a shame we only have one victim to examine. It would have been good to have at least one more, to act as a control.

494. TRENT: You do have another.

495. CATHERINE: What?

496. TRENT: Where’s Melanie?

497. CATHERINE: She was working in the small medical lab out the back.

498. TERESA: (CATCHING ON) She collapsed in the cemetery last night. I’ll bet you five bucks it wasn’t a case of the vapors.

499. TERRY: You’re right. Here she is. I found her in the lab. She’d collapsed among some medical gear she was working with. Fortunately she’s not hurt.

500. TRENT: It’s as if the shutdown of mental function occurs as victims come in range of one another. As the plague spreads further, so does the zone of control.

501. CATHERINE: Alright folks, we’ve got our marching papers. We need to know how this is being spread, why only Melanie has been affected among us so far, and how we can stop it. Get to work.

502. MUSIC: [88] (BRIDGE) TIME PASSING SCENE ENDER — LET IT FINISH

503. MUSIC: [93] CLOSING THEME — ESTABLISH, FADE UNDER, AND CREDITS.

CASTING SHEETS — MAJOR CHARACTERS

NARRATOR: Hello, I am your narrator. I introduce the cold stormy nights on which our stories take place, the dark alleys, and darker personalities who inhabit the lonely city. It is my job to set the scene and establish the serious tone of suspense and intrigue that will carry the story forwards. It is also my job to remind listeners of what came before in a calm, trustworthy voice and ensure that everyone is oriented to where we are and where we are going.

CATHERINE FILMORE: My husband is Marcus Filmore. He’s gone mad. I’m a chemist and a damned good scientist. I have to stop my husband before he does something terrible. I am impatient and irritable, but very capable. I demand a lot of those around me and I maintain their loyalty by modeling hard work.

ANGELA WALSH: I’m Angela. I’m a huge fan of Trent Stone and I have something of a crush on him. I’m also a virologist like Melanie, only I study the way organic compounds can be transmitted from person to person. I believed I was working on the spread of vaccines but my research has been misused and I am working with Catherine to put things right.

TERRY MARKS: Unlike the other scientists working with Catherine, I’m an engineer and radio specialist. Marcus brought me in to do research on radio emissions but we think he is using my research to control the dead. I’m working with Catherine to stop him.

TRENT STONE: Hello, I’m Trent Stone, Adventurer. I’m always in command of the situation (except perhaps, when it comes to Tess — who can easily throw me for a loop). I say things like “indeed,” “hmmm,” and “I see” a lot and speak in a way that friends of Clark Kent would find very familiar. I’m smart, observant, and quick to use my fists when required, but never impulsive. I sound like Joe College but I’m blue collar through and through. My lack of higher education is something of an embarrassment to me — but I’d never let on.

I’m aware of Tess’s flirting and occasionally I wonder if it’s more than just a way to keep entertained on the job — mostly I just ignore it and keep on working.

TERESA CARTER: Hiya. Everyone calls me Tess. I’m the take-no-prisoners sort who can hold her own in the man’s world that is the concrete jungle of Star City. I’m college educated but have a mean right hook. I’m a reporter by training and a stickybeak by inclination — this tends to get me in trouble. Curious, playful, and smart, that’s me! But I’m also painfully honest, easily moved by the troubles of others, and as protective as a tigress of my friends. I secretly have a thing for Trent — who’s a bit of a stuffed shirt and easily embarrassed by flirting. We both pretend it’s not there for the sake of the job, but I can’t help occasionally feeling a bit wistful.

CASTING SHEETS — MINOR CHARACTERS

CABBIE: Hey, I drive a cab and lots of people look down on me for that. I see all sorts in this job, people rushing this way and that. Lots of folks are too busy to pass the time, but, you know, this is my office, so I talk to all of ‘em. Hey, what about those Mets, huh?

SEWER WORKER: Where am I? How did I get here? Who are you people? One minute I’m working, the next I’m sitting in a cab… I’m so confused… I… ugh!

WILMA STURGESS: No men! No men allowed. I keep the men out of this place. I run a respectable dormitory. My girls are all good girls. No smoking. No schnapps. No boys. They study hard and I keep them out of trouble. You look like trouble to me.

RADIO ANNOUNCER: I’m the voice of reason in times of trouble. I provide soothing authoritative commentary that people trust. When the world is falling to pieces you can tune in to me for the comfort you need.

ABOUT THE AUTHOR

Philip Craig Robotham grew up in a house full of books and has held numerous jobs as a teacher, computer programmer, graphic and web designer, e-learning consultant and, most recently, writer. He currently lives in Sydney, Australia with his wife and two sons. When he was younger and fitter he enjoyed martial arts, but in recent years his hobbies have tended towards more sedate fare (board games, movies, books, and role-playing games).

He is extremely grateful for the encouragement he receives from his biggest fans — his wife and two boys — all of whom read and enjoy his scripts and in general make his life worth living.

You can contact the author regarding performance rights (or simply to say hello) through his website: http://www.weirdworldstudios.com.

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This post and all its content is copyright © 2013 Philip Craig Robotham and has been released under a Creative Commons Attribution Non-Commercial No Derivatives (CC BY-NC-ND 4.0) license. This play cannot be reproduced, shared, or performed commercially without the written permission of the author. The production of derivative content, merchandise, or creative works and materials is expressly forbidden under this agreement. However you may share, reproduce, and perform this play freely so long as authorship is acknowledged, no money changes hands, and the play is not modified in any way.

The Reanimator’s Revenge