Robin C. Farrell

First and foremost, I'm a writer.  I arrived at screenwriting specifically after spending most of my childhood and early adolescence with the goal of becoming a novelist.  When I reached college, however, I started reading scripts and realized my style was more that of a screenwriter.  And I became more and more interested in film and filmmaking.

I have numerous scripts in progress at the moment and I even still jot down a short prose piece from time to time.

I have most of my writing posted on my DeviantArt Page.  Check it out to see full versions of the excerpts below, along with many others.

Below: samples/excerpts of my most prominent writing (forgive the lack of proper formatting; I have pdf files, all properly formatted if you'd like to see them).

Descriptions for each can be found on the Projects Page.

INT. STAGE - NIGHT

CHRISTINE and LUCY work on the lighting panel on the stage floor.  They are alone.  There are only a few lights on above the stage - the audience space is dark.

A phone rings from an office backstage.  Lucy and Christine look up, to the right; Lucy rolls her eyes and sighs.

LUCY
     I’ll get it.  Try switching the cables again. . .

She stands and walks off, through the right wing, leaving Christine alone.  Christine kneels down and fiddles with the cables.

A noise, like the WHOOSH of a cape, sounds from somewhere out in the dark of the audience space.  Christine looks up, staring out into the dark.  She quickly stands up and grabs a screwdriver from the floor.

There is the sound of more movement, closer to her, then silence.

Slowly, she turns her head to her left, and, just outside the left wing, the PHANTOM stands, wearing the white mask and black cloak, completely still.  The mask seems to float in the darkness.  They stare at each other, both motionless.

He slowly approaches her only to stop within a few feet of her and reaches into his cape.  She tenses, but he pulls out an elegant, leather-bound book and offers it to her.  She slowly reaches out to accept it.

LUCY (O.S.)
     You will never believe who that was. . .

Christine’s head jerks to the right as Lucy’s voice and footsteps echo through the stage, approaching quickly.

Lucy re-enters, approaching Christine, who then quickly looks to the left.  The Phantom is gone.

LUCY (CONT’D)
     Jamie actually wanted me to press her skirt before we leave tonight.  As if that's my job.  Damn actors...

Christine looks down at the leather-bound thing in her hands and opens it; inside is a many-paged musical composition. Christine looks up at Lucy, who now stands next to her.  Christine’s face is extremely pale, her eyes wide.  Lucy, still grinning, suddenly turns serious.

LUCY (CONT’D)
     Chris?  You all right?

Christine looks back at the composition.

LUCY (CONT’D)
     You look like you’ve seen a ghost.

Christine looks back up at her quickly.

CUT TO:

INT. ELEANOR’S OFFICE - MORNING

ELEANOR - the owner of the theatre - paces, her manner livid, behind her desk.  Christine, still pale, holds the leather-bound composition and sits behind the desk, opposite Eleanor.  Lucy, still concerned, leans against the wall next to Christine.

ELEANOR
     I’ve had enough.  No one terrorizes my employees, not in my own theatre.

She reaches for her telephone.

CHRISTINE
     What are you going to tell the police? That you've got a phantom running around your playhouse?  They won't take that seriously.

ELEANOR
     Some idiot running around a costume, terrorizing people, is not something the police take lightly.  Not in New York.

CHRISTINE
     But we've got no proof.  He even had gloves on when he handed this to me.

She holds up the composition.  Eleanor pauses, then places the receiver back down.

ELEANOR
     Good point.  All right, not yet.  But I can install more video cameras and hire an all-night security guard.
     (to herself)
     Where is that pamphlet I had . . . ?

She walks over to another table and begins rummaging through stacks of papers.

LUCY
     Whoever this guy is, he’s taking the whole “phantom of the opera” thing awfully literally.  I mean, the costume is one thing, but writing a whole composition?

CHRISTINE
     He didn’t write the composition.

Eleanor stops what she’s doing and turns around.  Both she and Lucy stare at Christine.

ELEANOR
     Then who . . . ?

CHRISTINE
     I did...

 --

Work in progress.  More to be posted soon. 

-- 

EXT. SHOPPING CENTER - NIGHT

The Laundromat is the most brightly lit, the words "Quick-Clean Laundry" in lights above the place.  At the other end of the shopping center a Movie Theatre, people coming out in a leisurely flow.  A Pizza Place plays music, which can just barely be heard from the speakers.

Stephen’s blue car pulls up in front of the Laundromat.  Kerry gets out of the car and approaches the shop. "Open twenty-four hours," is printed on both the window and on the door, which Kerry swings open and walks inside.


INT. LAUNDROMAT - CONTINUOUS

Totally empty.  No activity.  The only sound is the hum of the florescent lights.
There is a desk with a cash register, telephone, and a pile of Christian pamphlets.  Next to the register are two pictures; one of DANIEL JORDAN - a small, older man with large glasses - and one of MARCIA JORDAN - a middle-aged woman.  There’s a typed description next to the pictures that says: "This Establishment is owned by Daniel Jordan and his sister, Marcia Jordan."

A water fountain sits in the back corner.  There are several white counters and one with pink stripes.

   KERRY
        Hello?

She chuckles.

   KERRY (CONT’D)
        Stepped out for a coffee break, did we?  That’s smart.

She hurries over to the pink and white striped counter and ducks down to her knees to look underneath it - but no stuffed animals.

   KERRY (CONT'D)
        Stupid bear.

She shifts her weight to stand up, but she stops short, as something catches her eye.  She reaches behind the edge of one of the counter's legs, towards something silver.  She gingerly pulls it out - it is a razor blade.  Kerry looks at it with confusion and slight irritation.

   KERRY (CONT'D)
        God...and Ian was playing under here?

She slips it into her pocket.  She stands then, and looks around, annoyed.

She walks to the desk and reaches for the service bell, when she sees a worn, stuffed koala bear sitting behind the register - FOOTY.  She sighs.  She picks up Footy and glares at him.

   KERRY (CONT'D)
        You, mister, are in big trouble and you're grounded until you're thirty-seven.  Whatever that works out to be in Bear years.

Suddenly the back door bursts open.  As Kerry turns around quickly, Footy slips from her grasp and she automatically squats, to catch him.

As she does, she looks back, underneath the desk, and sees, before she can straighten, FOUR MEN emerge from the back, coming towards the front of the store - towards Kerry, though they have not yet seen her.

DANIEL, the Owner, leads.

ROTH follows, an exceptionally  tall African-American man, the biggest of them all. Roth drags ETHAN, a boy in his early twenties who is gagged with his hands tied behind his back. A large bruise swells on his forehead and a ragged tear in his left jeans' leg from the knee down is bloody.  His skin is stark pale next to the bruise and blood.

SIDOWSKI, a small man, though built, brings up the rear, wearing a sports jacket. He occasionally kicks Ethan, hard.

Kerry is frozen in panic as Daniel and Sidowski spot her.

   SIDOWSKI
        What the hell - ?

Roth looks up and sees her as well; he moves forward while Sidowski grabs Ethan and slams him against one of the laundry tub pipes and ties him up.  Roth grabs Kerry by the arm and pushes her head back.

Sidowski stands and walks over towards Roth.

   SIDOWSKI (CONT'D)
        She one of them, or just a kid?

   KERRY
        No, I -

   DANIEL
        (to Sidowski)
        Lock the doors!  And get the blinds down, you idiot!  You want anyone to see what's going on in here?

Sidowski rushes to close the blinds as Roth pulls Kerry in for a closer look at her face, peering into her eyes.

   ROTH
        I think she's just a kid.

Sidowski walks back over to them and gestures at Ethan.

   SIDOWSKI
        So's that one!  They make ‘em when they're still kids.

   KERRY
        (quietly, whispering)
        I didn't do anything. . . please don't hurt me. . .

   DANIEL
        (to Kerry)
        Why are you here?

   KERRY
        I - I just came here to get my brother's bear.

She lets go of Footy, who drops to the floor.

   KERRY (CONT'D)
        I'm Kerry Noland.  I come in here a lot with my father, Stephen, and brother, Ian.  My Dad usually buys Ian a balloon  at the bookstore before we come here.

A beat.

   DANIEL
        Yeah. . . yeah, they come in twice a week. . .

   SIDOWSKI
        Always after dinner?

   DANIEL
        No, Saturdays too; mornings and afternoons.  Bad timing now, though.

   ROTH
        You could say that again.

   SIDOWSKI
        She could have become one of them since last Saturday.

   DANIEL
        (to Kerry)
        Don't be afraid.  Nobody wants to hurt you if you are who you say you are.  We'll keep you here till morning, then take you home ourselves.  Sit here, keep quiet and don't give us any trouble.

Kerry looks at Ethan.

   KERRY
        What are you going to do to him?

   SIDOWSKI
        That's none of your damn business.

Roth closes his eyes in mild annoyance.

   DANIEL
        If he behaves himself, we won't lay a finger on him either.
        (to Roth)
        Let her go, Roth.

Roth releases Kerry slowly.  Daniel gestures to a vacant chair by one of the washtubs.

   DANIEL (CONT'D)
        Sit down.

Kerry warily crosses to the specified seat and sits.

   DANIEL (CONT'D)
        There's more to this than you would understand.

Daniel and Sidowski follow her; Daniel kneels down to look her in the eye.

   DANIEL (CONT’D)
        He isn't human.  He isn't alive.

   KERRY
        (looking at Sidowski)
        What?

   DANIEL
        (points at Ethan)
        Him.  He's a vampire.

Kerry looks back at Ethan in disbelief.  Ethan shakes his head, eyes wide, innocent and terrified.

   KERRY
        A vampire...so, are you planning to keep him here until dawn?  To see if the rising sun causes him to melt?  Burst into flame?  Or do you --

She cuts herself off and suddenly swallows hard, as each men look at her with a mutual hardened expression, even Daniel.

   DANIEL
        Or do we what?

   KERRY
        (looking at Sidowski)
        Plan to put a stake through his heart...? 

--

Read the rest HERE. 

-- 

FADE IN.

INT. HOSPITAL – DAY

Two pairs of shoes run down a hall - the floor white linoleum - amid other shoes and legs, which move at slower speeds, some ducking out of the way of the running feet.

TWO GIRLS, of about fifteen or sixteen, sprint down the hallway, dashing around NURSES and other PEOPLE.  The GIRLS run towards the main desk at the end of the hall.

POLICEMEN and GOVERNMENT OFFICIALS are gathered on either side of the desk and scattered around the room, all talking to each other quietly.

The GIRLS reach the desk, practically collapsing onto it.  The RECEPTIONIST looks up, startled.

A POLICEMAN — in uniform — notices their abrupt appearance, breaking away from his conversation, watching them.

   KATIE
        (to RECEPTIONIST)
        Where is she?

   RECEPTIONIST
        Who?

   JESS
        Who do you think?  The ones the Feds are here for; the one they brought in.

   RECEPTIONIST
        I’m afraid I need a name, Miss.

JESS opens her mouth to answer when the POLICEMAN walks over to them.

   POLICEMAN
        Do you know her name?

   KATIE
        She’s our best friend; of course we know her name.

   JESS
        Don’t tell me; to you all she’s just a serial number.

   POLICEMAN
        I’m not directly involved in this, young lady.  But I can’t seem to find that information anywhere in the file they—
        (gestures to the OFFICIALS)
        —showed me.  Her blood tests provided her medical information and the information on file here, in the hospital.  But you’re telling me you know her?

   KATIE
        She was our neighbor.

   JESS
        One of the foster kids from down the road.  She didn’t get along with them, she was friends with us.

   KATIE
        We met at school.

   JESS
        We never made fun of her when she wouldn’t join in the group activities at the community center.

   POLICEMAN
        Group activities?

   KATIE
        Badminton, softball, fencing—

   JESS
        Look, it’s none of your damn business.
        (turning back to the RECEPTIONIST)
        Where is she?

   RECEPTIONIST
        Her name, please, Miss?

JESS looks up at the POLICEMAN, who raises his eyebrows.  JESS starts to open her mouth again, when one of the OFFICIALS walks up to them.

   OFFICIAL
        No one goes in or out, I’m sorry.

   JESS
        Say what?

   OFFICIAL
        She’s in the I.C.U.; she cannot be disturbed—

   KATIE
        The I.C.U?

   JESS
        Boy, you guys have some nerve.

   KATIE
        The I.C.U.?  What is she doing in the I.C.U.?

   OFFICIAL
        That’s classified.

   JESS
        Like hell it is.

   KATIE
        Is she stable?

   POLICEMAN
        Girls, calm down.  The only people allowed in are Government Officials or family.

   JESS
        Well, then lead the way, because we’re the only family she’s got.

   RECEPTIONIST
        Biological family, Miss.

   JESS
        (to RECEPTIONIST)
        What the hell do you know, you don’t even know who we’re talking about, do you?

   RECEPTIONIST
        I beg your pardon—!

   JESS
        We never did give you a name, now did we?

   OFFICIAL
        That’s enough.
        (to POLICEMAN)
        Officer, please escort these two young ladies over to the waiting room.
        (to JESS and KATIE)
        Sit quietly over there and we will keep you informed of the situation.

   JESS
        Yeah, you will.

The POLICEMAN places his hands on their shoulders and leads them to two vacant seats nearby.

   POLICEMAN
        Just sit tight.  Everything’s gonna be fine.  I’ll see what I can do.

He smiles and walks away.

KATIE leans in towards JESS.

   KATIE
        Why is she in the I.C.U.?  Hell, why is she in the hospital?

   JESS
        They pushed her too far, I guess.
        (She looks at KATIE significantly)
        She’s finally been broken.  This is what they’ve been after from the start...

--

Work in progress.  More to be posted soon. 

-- 

Woods surround, the small path.  A house and fields visible in the distance.

GERTRUDE scans the bushes alongside the road, occasionally picking a bean off of them and tossing it into her basket.

However, she glances around her, warily.  She sings an old, Dutch lullaby softly to herself, occasionally glances back at the house, behind her.

A flicker of movement ahead suddenly catches her eye; she looks up swiftly and sees smoke rising into the dark sky from between the trees ahead.

And running along the road ahead, in her direction, are FIVE INDIANS, ducking low and curving, as though in formation.

Gertrude stares, horrified; but they do not see her.


INT. KITCHEN - NIGHT

EDWARD,  a boy about ten years old, stares at the enormous Spanish matchlock gun set upon the table.  He sits, curled around it, as though ready to fire it, a candle positioned near his hand.  The mouth of the gun is aimed at a small hole in the corner of the shut window.

Distantly, TRUDY, a little girl about six, sings; her voice floats into the kitchen.

Edward gulps and stares at the hole in the window.  Then he glances down at the priming.


EXT. ROAD - NIGHT

Gertrude glances back over her shoulder at the house, at the surrounding woods, then back at the Indians, which grow closer.

She turns and runs for the house.

   GERTRUDE
        Teunis!

They see her and their speed increases.  Almost instantly, they are gaining on her, closing the gap.

   GERTRUDE (CONT’D)
        Sylvanus!


INT. KITCHEN - NIGHT - CONTINUOUS

Edward grips the gun handle tightly.

   GERTRUDE (O.S.)
         Van Aernam!  Mynderse!

   Edward’s hand hovers by the candle.

EXT. HOUSE - NIGHT - CONTINUOUS

Gertrude sprints, stumbling on the slippery terrain.  The Indians continue to close in.

Gertrude reaches the front stoop.  An INDIAN throws a Tomahawk at her, which buries itself in her shoulder; she is thrown against the door.  A second Tomahawk lands in the wood next to her head.

   GERTRUDE
         EDWARD!


INT. KITCHEN - CONTINUOUS

Edward gulps, then grips the candle.  He touches the flame to the priming.

It fizzles for a beat.  Then fires.

It roars, shattering the glass of the window, and the butt of the gun hits Edward in the chest, throwing him backwards, off his stool.


EXT. HOUSE - STOOP - CONTINUOUS

There is a tremendous flash.  The roar of the gun shakes the stoop.

They are all thrown by the blast and smoke clouds around them.


INT. KITCHEN - CONTINUOUS

Edward lies on the floor, unconscious; the gun rests on top of him, the candle is still in his hand.

Trudy screams from the bedroom, her voice carrying.

He stirs and sits up; he winces, bringing a hand to his chest.  He crawls out of the kitchen, smoke hanging thickly around him...

--

Read the rest HERE. 

-- 

FADE IN.

EXT. HOUSE - NIGHT

Quiet.  Isolated.  Dark, except for a single light, which illuminates the door and front walk.

A solitary car pulls into the empty driveway.  The engine shuts off and the headlights turn off.

The driver’s side door opens and a girl, KIM, gets out of the car; she talks on a cell phone as she struggles to keep her purse on her shoulder.

KIM
      Carrie, he’ll like the book, I promise...

She walks up the walkway towards the house, but stops short when she sees, from out of the shadows, a MAN walks into the pool of light around the door.  She stops speaking; her eyes are wide, his calm.

She glances down at his left hand, which hangs at his side.  His thumb rests inside his jeans pocket while the rest of his hand hangs loose; on the skin between his thumb and forefinger is a small tattoo of a Spade.  This man is the 10 OF SPADES.

She looks back up at him quickly before she looks around, back at her car.  Two other MEN now lean on the hood and the passenger door.


CARRIE (V.O.)
      (from the cell phone)
      Kim?  Kim, are you there?

Kim looks back at the man by the door, who takes a step towards her.

KIM
      (into phone)
      I’ll - have to call you back.

She flips her phone shut quickly as the man approaches.

KIM (CONT’D)
      (to the man, quietly)
      Eight?

10 OF SPADES
      Ten.

KIM
      Ah.  Well.  It’s a pleasure to -

10 OF SPADES
      Did you really think you’d get away with it?

A beat.  Kim swallows.

KIM
      Get away . . . with . . . what?

10 OF SPADES
      The higher-ups are actually somewhat amused at your audacity.  Still, no amount of amusement would cause them to overlook your behavior.
      (a beat)
      They request an audience.

KIM
      With me?  Who?

10 OF SPADES
      The Full Court.

KIM
      ALL of them?

He nods.

KIM (CONT’D)
      But - surely - I didn’t mean any harm -

10 OF SPADES
      You can make any case you like; but they are quite insulted.  Again, that audacity of yours. . .

KIM
      Where are you taking me? To Headquarters?

10 OF SPADES
      (smiles)
      Clever girl.

She starts walking backwards, slowly.

KIM
      People will wonder where I am.  They’ll start asking questions -

10 OF SPADES
      My dear girl. . .

The two Men from around her car now appear behind her; she bumps into them and stops.  The 10 of Spades approaches her; she practically cowers.

10 OF SPADES (CONT’D)
      . . .we are The Deck. No one will question where you’ve gone.

CUT TO BLACK.

--

Read the rest HERE. 

--