Tag: Montreal

A scene from the Screenplay adaptation of Anastasia Blackwell's erotic thriller, "The House on Black Lake" was presented in a staged reading at Beyond Baroque in Venice California. The scene was written before "Fifty Shades of Grey" became a pop culture phenom. Some say author, E. L. James borrowed the name "Anastasia" in her research for the erotic novel. It is also coincidental that Anastasia Blackwell grew up in the Pacific Northwest and has intimate knowledge of the area, while E.L. James lives outside London.

The controversial power play scene brought requests from audience members, who compared its content with the popular BDSM novel and movie, "Fifty Shades of Grey", to publish the scene from the screenplay, adapted from the book.

INT. SANDELEY'S SUMMER HOUSE - FOYER - NIGHT

Alexandra treads quietly through the dark entryway past the
mounted animal heads. Ramey appears from out of the shadows
and swings her around to face him.

ALEXANDRA
(angry)
Take your hands off me.

He is bleary-eyed, his good looks tarnished by alcohol,
jealousy, and something darkly troubling.

ALEXANDRA (CONT'D)
I don't welcome the sexual advances
of my friend's husband, or anyone
else's for that matter.

RAMEY
Is that so?

ALEXANDRA
Meaning what?

RAMEY
You nearly got off with me in the
hallway last night.

ALEXANDRA
Bullshit!

RAMEY
Not very lady-like -

ALEXANDRA
I have no respect for men who seek
the safety of the cage and the thrill
of the wild - but don't have the
guts to commit to either.

RAMEY
Don't lecture me, dear.

He roughly guides her down the darkened hallway leading to
the bedroom corridor.

ALEXANDRA
Where's Ruth?

RAMEY
She stayed the night in Montreal.

ALEXANDRA
You're clearly drunk.

RAMEY
Quiet. You'll wake the children.

RUTH AND RAMEY'S BEDROOM - MOMENTS LATER
Ramey sits in a hanging chair in a bedroom softly lit by
chandeliers. There is a fire in the fireplace, as the night
has turned cold. A massive four poster dressed in crimson
silk commands the space. Alexandra is stationed by the door.

ALEXANDRA
I've seen your warlock's den. What
are you, some kind of wizard?

RAMEY
I have a fascination with science
and magick. Does that frighten you?

ALEXANDRA
You don't frighten me.

He rides his hands up the chains.

ALEXANDRA (CONT'D)
Why did you row me out to stay in
the house on the island?

RAMEY
It was like tying you up without
tethers. Knowing I could set you
free - or not.

ALEXANDRA
Cruel games are played by those with
no control over their victims.

RAMEY
True freedom can only be experienced
through absolute containment. When
your body is imprisoned, the soul is
released. And once it happens,
there's turning back.

Ramey observes her intently, and stands.

RAMEY (CONT'D)
You've had a taste of it, haven't
you? It started in the Victorian,
and you went there with me in the
hallway.

ALEXANDRA
Is this the warlock talking, or do
you worship a darker deity?

RAMEY
That's why you fell for the pathetic
charms of Andre Labat.
(he tracks her surprise)
But giving yourself to that little
worm is like a sailor dipping his
cup in the sea when he's dying of
thirst. He'll never quench what I
see in you.

ALEXANDRA
I found the young man quite charming.

He approaches with an ominous gleam.

RAMEY
The night we left you on the island
I made love to Ruth and pretended
she was you.

ALEXANDRA
Save your confessions for your satanic
priest.

RAMEY
(hovering over her)
Does your dark side frighten you?

ALEXANDRA
It must be a lonely world you live
in, where nothing matters other than
fulfilling your perverted needs.

RAMEY
You stay in my house, eat my food,
drive my car, and expect me to babysit
your son so you can go out and
fulfill your perverted needs?

ALEXANDRA
I am your guest, and with whom I
choose to sleep is not your concern.
I'm a single woman - free to do
whatever I desire. I had the guts
to release myself. You, on the other
hand, have no claim on freedom. You
wear the gold band of ownership.
You're no different than your pierced
and branded livestock.

Potent Pause: his eyes darken, flit side to side, and a wry
smile plays at the edge of his lips.

RAMEY
As the master of the household, I
have certain expectations, and rules
that must be obeyed. I would like
you to consent to a punishment for
being such an ungrateful house-guest.
Five lashes would be fair, wouldn't
you agree?

ALEXANDRA
This has gone far enough!

RAMEY
Have you ever taken corporal
punishment from a lover?

ALEXANDRA
Good-night, Ramey.

RAMEY
Walk out that door and I'm taking
you and your son to the airport
tonight.

ALEXANDRA
(turning away)
I refuse to continue with this sick -

Ramey roughly whisks her into his arms, carries her across
the room, and throws her onto the bed.

RAMEY
Turn around and bend over, hands
against the bed.

He unbuckles his belt.

ALEXANDRA
No.

RAMEY
Hide on skin is painful, but it's
the only way to transcend.

ALEXANDRA
The word "no" may sound foreign -
since you've never heard it.

RAMEY
I could tie you up and torture you
with love first - but you don't
deserve it.

ALEXANDRA
You've tortured me long enough.

RAMEY
Then, let's get to it.

Ramey draws his belt from his jeans and Alexandra draws a
breath of anticipation. The tension between the two is
exquisite.

RAMEY (CONT'D)
We're the same, you know. We're the
same breed. I've known it since our
eyes met in the desert.

ALEXANDRA
I'm nothing like your kind.

He slides his opposing hand down the length of the stiff
leather, and pulls it taut.

RAMEY
Do what I say - there's no way out.

ALEXANDRA
You may be a sorcerer, but you are
neither my master, nor my priest.

RAMEY
There's no choice, dear.

ALEXANDRA
My body and soul are not for your
taking.

RAMEY
(overlaps)
We've been conjoined by fate -

ALEXANDRA
That privilege is earned through
commitment and trust.

RAMEY
(overlaps)
And there is nothing -

ALEXANDRA
I will only supplicate myself to a
man who worships me as much as I
worship him.

RAMEY
(overlaps)
We can do to stop it!

He WHIPS the belt up and powerfully STRIKES. Alexandra
releases an involuntary cry, as it barely misses her, and
cracks against the bedpost.

ALEXANDRA
I now realize I made a terrible
mistake.

RAMEY
And, so have I.

ALEXANDRA
Yet, I gave up everything and your
life remains intact.

RAMEY
Look at me. Look into the pupils of
my eyes. They're the place where
you can see inside the mind, and
read what its thinking.

She gazes up into his tortured eyes.

RAMEY (CONT'D)
You're moving away from me, Baby.
It's like you've fallen into the
bottom of a well. You're crouched
down there, but I can't get to you.
I can't save you.

Alexandra solemnly stands and moves to the door.

ALEXANDRA
I didn't ask you to save me.

She turns and walks to the door.

ALEXANDRA
I believe it's you who is looking to be saved. You
need to save yourself, before
it's too late.

She exits.

A music video filmed by acclaimed cinematographer Fraser Bradshaw, and featuring the suspenseful music of  Russian artist, Andrew Oudet ,is  the first documented music video based on scenes from a novel. The video was filmed at reknowed author Sam Keene's ranch in Sonoma and features Trapeze Arts performers in a suspenseful and sexy peek into the world of The House on Black Lake.

Many readers of "The House on Black Lake" have expressed interest in taking a trip to Montreal and surrounding areas described in the novel. A good site to check out is http://www.funtouristattractions.com/a/st-joseph-s-oratory-montreal-canada/2353. Once you have arrived in the French Canadadian city it is possible to follow the blueprint of the book, and then seek out your own, never to be forgotten, adventure!

The prelude to "The House on Black Lake" describes a woman's experience of having her face paralyzed after the birth of her first child. The paralysis comes nine month's to the day since she laid eyes on a charismatic man that turned her "perfect world" upside down. After living nearly a year as a recluse and viewing herself as a freak, she makes a pilgrimage from the U.S. to St. Joseph's Oratory where the faithful are said to be healed. Coincidentally, the man resides in Montreal, nearby the sacred spot, although he is more akin to heathen than saint. She kneels at St. Andre's alter and makes a vow ,"beauty for truth" - an unmarked face for a pledge to seek her manifest destiny. Unfortunately, that means she must give up everything she has been taught to believe. Soon, her life is in shambles and she begins to sorely regret the pact she made in the sacred church.  In order to find resolution she travels to Montreal to confront the man so that she can regain some measure of closure and peace.

I personally experienced a similar miracle, a divine intervention, at the Oratory and believe it holds special powers, but one must always be prepared to pay a price for a miracle, as nothing is given back without a debt to be paid. In some ways "The House on Black Lake" is my repayment, as it is a story of transformation and redemption.

A visit to the sacred place is a powerful experience, both for those who walk away healed, and those who seek a spiritual experience. Rarely does one see a wall filled with the canes and crutches of those who have walked away healed. More can be learned about St. Andre and details regarding visitations can be found at:

http://www.saint-joseph.org/en_1001_index.php

THE HOUSE ON BLACK LAKE HAS BEEN ADAPTED TO SCREENPLAY. GO TO HOME PAGE TO VIEW PROVATIVE CINEMATIC TRAILER FEATURING FONTAINE OUTFIT.

Novel/screenplay The House on Black Lake features the sexy, French look, with a touch of gothic, gypsy.

The clothing worn for seduction scene in "The House on Black Lake" Trailer were designs from Anne Fontaine, a French Canadian designer with boutiques in majors cities of U.S., as well as international appeal. The white ruffled blouse in photographs is a signature look, as well as the cinched patent belt, black pencil skirt, and fitted blazer with lacing at back.

White ruffled Anne Fonteyne louse with patent leather belt.

Anne Fonteyne White Ruffled Blouse, Patent Cinch Belt, Pencis Skirt.

Photograph of Anne Fonteyne Ensemble from "House on Black Lake" Trailer

Is love merely a chemical released when our body senses a desirable reproduction partner, or is there something more divine in the rush of endorphins? That questions in one of the principle themes of my novel.

Reproduction science tells us that within seconds we are measuring every aspect of another being to determine suitability. Overall health, i.e. clear skin, white teeth, shiny hair, clear eyes, etc. are all assessed in the blink of an eye. We also measure physical features, timber of voice, a vast array of clues to whether their DNA is a good match. Smell also comes into play, and with physical touch more information is released. The old saying "it's all in the kiss" is actually true. The saliva carries DNA that tells us the entire physical history of the specimen. We seek mates that will give our offspring the best chance of survival. The rush of love tells us that we have found a good match. Testosterone is released in the saliva of the male and arouses female to complete  act. Love lasts for a good three months, so that at least three tries are given to the quest. The feeling may persist if the act is not successful. If g succeeds, then feelings  transcend to  "love" that is actually routed in the protection of our prized reproduced DNA. This is the belief of science.

Those of a spiritual nature believe that the purpose of love is not to replicate, but to create. Two humans who find love have a far greater capacity to create than they would alone. The goal of most is to find a soul mate, one with whom  common goals and desires are shared.  This may mean the act of reproduction, but in most it means far more. For those who have finished reproducing,  have no desire to raise young, or for those who are drawn to the same sex, the drive for love is just as great, and when a suitable partner is found, the love does not nessasarilydisipate because there is no drive to replicate DNA.

The elusiveness of love remains the subject of scientists and poets. Its beauty and pain are universal. What's love got to do with it? Everything - for without it we are doomed, one way or another.

Noted trapeze artists Tanya Henkle-Hoover and Marek Kaszuba will perform a romantic reenactment of mystical love scene in "The House on Black Lake".  Original music will be composed and performed to accomany the performers, to be filmed on private ranch in Sonoma.

Details are still the the works. Check back for update.

I am hosting a radio program on blogtalkradio in which I will be offering an oral interpretation of  entire novel "The House on Black Lake" in a series of episodes. Following completetion of reading, I plan to discuss creation of story, journey to publication and adaptation of screenplay. The radio shows are live, but are archived, and can be listened to at any time.

For more information about my radio show, go to www.blogtalkradio.com.

I am happy to announce that I have completed screenplay for "The House on Black Lake". It was a rather simple process - a month of my time - as the novel was written in scenes that I visualized in the form of a movie. As I am an actress and have worked professionally as a producer, a script is what feels most comfortable to me.  Writing a novel is akin to taking on all jobs required in film production. You are writer, director, actor, set and lighting designer,  costume designer, etc. Once I had complete novel, it was a simple matter to record story's dialogue and blueprint.

I was advised in a workshop by acclaimed screenwriter guru Robert McGee that a screenwriter must write a thousand pages first, then write  script. And, that is what I have done. My next step is to get scrip into hands of producer. In the meantime, "The House on Black Lake" is building steam and many related projects are in the works.

A.B.

THE HOUSE ON BLACK LAKE HAS BEEN ADAPTED TO SCREENPLAY. GO TO HOME PAGE TO VIEW PROVOCATIVE CINEMATIC TRAILER.

Pictures feature international model/actor Tosh Yanez and Anastasia Blackwell recreating scene from book during filming of trailer in the Aimee Crocker Room of historic bed and breakfast, Chateau Tivoli.