Saving Lives Working Title

Project Summary & Revenue Model / Forecast

CONTROLLED DISTRIBUTION ISSUED TO: ADDRESS:

Issue Date: 02 / 14 / 09 Copy No. 0001 For Information Contact: StceovtetnPJr.eBsrotiwnn sZaccohtta_ryprReesetviens@hotmail.com DEMirAeIcL t 7Za7 c3h-a2ry5R5e-e2ve6s0@6gmail.com

TABLE OF CONTENTS:

FILM C REST C O M M IT M E NT LETTER .......................................... ........................................ 1 IN V ESTM E NT SU M M A RY ..................................................... .............................................. 2 EXE C UTI V E M A N A G E M E NT & C RE A TI V E TE A M ........................ ..................................... 3 FIN A N C A IL A SSU M PTI O NS ................................................ ............................................... 7 RE V E N UE F O RE C A ST ...................................................... ................................................ 10 S A V IN G LI V ES IN V ES M E NT A G REE M E N T ................................ ................................... 13

Prepared by Z. Reeves ULATION 1 DATE: 02/06/009 TITLE: SAVING LIVES BUDGET: USD 1.3m

NOT FOR CIRC

Saving Lives, a Live-Action Drama, original screenplay by John Pizzo, slated to sh oot in Miami, FL March/April 2009. A summary of the All-In budget of USD 1.3m is a s follows: Saving Lives

Above-the-Line

Summary $435,000

Below-the-Line Post Other Insurance @ 2.5% Contingency @ 10% TOTAL

$540,500 $135,000 $45,000 $28,888 $115,550 $1,299,938

In a film corporation 50% of the company is held by the financiers while the rem aining 50% is held by creative. Saving Lives has secured USD $650,000.00 from FilmCrest, Inc. Under this model FilmCrest, Inc. will be entitled to 25% ownership in the l ive-action feature motion picture Saving Lives The Executive Management and Creative team that will produce the feature motion picture, currently entitled, Saving Lives is as follows:

EXECUTIVE PRODUCER FILMCREST, Inc. Founded in 1986, FilmCrest, Inc. has been involved in motion picture and televis ion financing, and production, as well as various prints and advertising, and di stribution investments. FilmCrest has participated in the financial structure of several studio motion pictures. Through Star Partners, P & A Partners I, II & III and P & A Principals I and II as well as the New Millennium Fund. FilmCres t participated in great films such as Rainman, A Fish Called Wanda, Glory, Edwar d Scissorhands, Glengarry Glen Ross, True Romance, and Much Ado About Nothing. Since 2000, FilmCrest Inc., an Entertainment Venture Capital company specializin g in Prints and Advertising Financing. FilmCrest provided the initial Prints & A dvertising funds for Mel Gibsons The Passion of the Christ, Miramaxs The Aviator, Shall We Dance, Finding Neverland, Mindhunters and Hostage. Most recently they p rovided the initial Prints and Advertising funds for Snakes on a Plane, Premonit ion, Defiance and the hugely successful Twilight. FilmCrests executive team also Executive Produced the Academy Award winning film There Will Be Blood. FilmCre st has also recently acquired Constellation Entertainment, a new worldwide distr ibution and rights management company. Constellation distributes and manages the media rights of quality films to underserved audiences through its niche labels such as American Family Movies and Legacy Releasing.

Prepared by Z. Reeves ULATION 2 PRODUCER STEVEN J. BROWN

NOT FOR CIRC

Steven J Brown produced Misconceptions (2008) which Premiered at the Montreal Inte rnational Film Festival. It has sold and will be going theatrical nationwide in the USA. The film has gain recognition for its compelling story and cast. Mr. Brown produced Yellow (2006) regarded as a cutting edge film distributed and r eleased theatrically by Sony Pictures Entertainment. Yellow received a 5 star Varie ty Magazine review.

He also produced and financed Adrift in Manhattan (2007) starring William Baldwi n and Heather Graham distributed by Screen Media Structured the co-financing for: ! ! Tudors The highly successful Showtime TV series Our Fathers the Emmy nominated original film for Showtime

Steven was also an Executive Producer for Viacoms highly successful film Back in the Day starring - Ving Rhames & Ja Rule. He also Co-financed and Executive Produced

Wuthering Heights for MTV.

Steven served as CFO for a 134 title library that was distributed through MGM. D uring this time he oversaw the additional production and financing of 13 films. Steven has extensive distribution credentials and wholesale studio P&A financing for both Warner Bros and Sony pictures.

LEGAL REPRESENTATION BARRY JAY REISS

Barry graduated, Cum Laude, from Columbia Law School. After a short stint as a l abor attorney, Barry entered the music business as a junior partner in the firm representing such artists as Herman s Hermits, Led Zeppelin and Jimi Hendrix. After five (5) years Barry was lured out of private practice by Clive Davis to j oin him at CBS Records where he became Vice President of Talent Contracts. When Clive left CBS he asked Barry to join him to help form Arista Records where he s erved as Administrative Vice President from its inception for its first five yea rs. When MCA Records decided to start an east coast record label ("Infinity Records" ) Barry moved from Arista to MCA as Executive Vice President of Infinity Records . When Infinity was merged into MCA Records, MCA asked him to stay on to help fo rm its "ancillary" entertainment divisions. In that capacity Barry served as Vic e President for Legal and Business Affairs from their inception of MCA Home Vide o, Universal Pay Television and MCA Video Disc. He also served as Vice President of Merchandising

Prepared by Z. Reeves NOT FOR CIRC ULATION 3 Corporation of America (the studio s merchandising arm) and of MCA s Trademark a nd Copyright division as well as continuing to service MCA Records east coast oper ations. In 1986, Barry was additionally appointed East Coast General Counsel for MCA, In c. responsible for all east coast legal matters for MCA Inc. and its east coast book publishing, toy and Spencer Gifts divisions. In that capacity Barry guided

MCA s acquisition of Grosset and Dunlap, Playboy Books and LJN Toys. In 1989, Barry left MCA to re-enter private practice representing such clients a s U2, Valient Comics, The Allman Brothers Band and Universal Television. In January of 1995, Barry returned to the corporate world as Senior Vice Preside nt of Business and Consumer Affairs for The Columbia-House Company responsible f or Business, Consumer and Government Affairs which included negotiating the Comp any s major licensing agreements, as well as representing the company s interest s in federal and state legislative matters, postal issues consumer relations act ivities and the Company s launching of its two Internet sites. In March of 2000 Barry left Columbia-House to return to private practice of coun sel to the firm of Serling, Rooks & Ferrara. Barry also has served as a member of the Motion Picture Association of America ( MPAA) and Record Industry Association of America (RIAA) Labor Negotiation and An ti-Piracy Committees, the RIAA Copyright Law Revision Committee, as a member of the Board of Directors of the Association for Postal Commerce and on the Governm ent Affairs and Privacy Committees of the Direct Marketing Association.

SALES AGENT - TED PERKINS Ted Perkins is a film and TV director, writer producer based in Los Angeles, Cal ifornia. He is a former executive at two major studios, including Warner Bros., and his most recent post as Head of International Co-Productions and Acquisition s at Universal Pictures. Perkins recently produced, wrote, and directed a short documentary about Holocau st reparations for Bet Tzedek, one of the nations foremost non-profit legal assis tance organization in the world and a leader in providing pro-bono legal aid to Holocaust survivors around the world. Perkins has also sold 5 scripts to Hollywood studios. His latest film NOTHING L IKE THE HOLIDAYS (un-credited) - was released theatrically nationwide December 1 2th. He was recently commissioned by a Russian Film Fund to write THE BRICKLAYER , a screenplay based on the amazing true story of a Polish Jew who survived 10 d eath camps. His first screenplay WHERE TRUTH LIES was acquired for six figures by Silverline Pictures and was produced and sold to Paramount Pictures and Showt ime, starring Malcolm McDowell and Kim Catrall. He has also sold projects to Urban F ilms / New Line and Fox Searchlight Pictures. Perkins has also been a senior film marketing and distribution executive at Sena tor (now Mandate) Films and Vision International, and is an expert in international film financing Prepared by Z. Reeves NOT FOR CIRC ULATION 4 and distribution, TV sales and syndication, business planning, and U.S. theatric al marketing and has had video output deals with both Sony Pictures Entertainmen t and Vivendi Visual Entertainment. Perkins does extensive film production work overseas for venture capital compani es and film funds - including his current post as Executive Vice President of Pr

oduction for IDG CHINA MEDIA, partially funded by News Corp. There he produced HUTONG DAYS to be released theatrically nationwide in China this September, and RED RIVER, which will be featured in competition at next months Pusan Internation al Film Festival. Perkins is also producing and co-wrote the upcoming COMIC RELIEF, directed by Ho ng Kong comedy legend Joe Ma, which starts production in January 2009, and KUNG FU HIGH SCHOOL - which he also wrote to be directed by SHAOLIN SOCCER director L ee Lik Chee in February 2009. Perkins also owns a film sales company - Eclectic Film Sales - that handles a va riety of independent film projects. He recently Executive Produced and is selli ng MISCONCEPTIONS - starring Orlando Jones and A.J. Cook. - whose highly popular screenings in the Montreal Film Festival culminated in multiple all-rights offe rs for distribution, including U.S. theatrical. He is also licensing MIKA & ALF RED, a $10 million Russian film starring Michael York, and TESTIMONY based on th e life of Pope John Paul II.

PHYSICAL PRODUCER ZACHARY REEVES Zachary Reeves has been working in the film and video production industry since 1994. He has produced and directed broadcast content and music videos for such c lients as: ! ! ! ! ! ! The Notorious BIG Shakira Yngwie Malmstein CNN FOX News Viacom

From 2003 through 2007, Zachary was an Executive Assistant and Associate Produce r to legendary talent manager and producer, Phyllis Carlyle. In 2008 he Co-Produced Misconceptions (2008) which Premiered at the Montreal Inter national Film Festival. It has sold to Regent and will be going theatrical natio nwide in the USA August 2009. The film has gain recognition for its compelling s tory and cast. Zachary has also successfully negotiated and closed co-production agreements wit h South Africa, Canada, England, Germany and Spain. He has also dealt extensivel y with all domestic State Incentive Programs including Puerto Rico.

Prepared by Z. Reeves ULATION 5 DIRECTOR SCOTT PRESTIN

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Scott Prestin has in a short time amassed a diverse, yet unfailingly successful history as an entrepreneur and filmmaker. His resume includes successful stints as a solo practitioner attorney, restaurateur and real estate investor, while al l-the-long keeping a steady and increasingly intense eye on his film production career. Now immersed in film production full time, Scott comes to us fresh off the set o f The Devil s Dominoes, starring Daniel Baldwin (Mulholland Falls) and Vincent P astore (Sopranos, Good Fellas). Previously, also executive produced, produced and directed 8 of Diamonds, which is currently in Distribution along side The Devil s Dominoes with American World Pictures and is anticipated to bring a healthy return for its investors. In addition to his undergraduate and Juris Doctorate degrees, Scott Prestin has extensive training from Chicago Filmmakers Academy, and more than a decade of ex perience in all aspects of film production. He is a member of the Screen Actor s Guild, and a Guild Signatory Producer.

WRITER - JOHN PIZZO Screenwriter John Pizzo is a Criminal Justice graduate with a minor in English L iterature from Suffolk Community College with further studies at Dowling College . He is well versed in a variety of motion picture genres. With two produced films in distribution and several optioned screenplays under his belt. Johns unique an d compelling writing style and mastery at dialogue make his screenplays unpredicta ble, fast paced and always engaging. John is also a former stage character actor and holds a 3rd Dan Black Belt in Ji u Jitsu. He utilizes his Criminal Justice, acting and martial arts background to make his screenplays realistic and true to character. John was formerly trained by 20 year veteran script consultant Margo Prescott who claimed; John Pizzo is b y far the most talented screenwriter I have ever worked with. John is married wit h three children and resides is Holtsville, Long Island

Prepared by Z. Reeves ULATION 6 FINANCIAL ASS UMPTIONS

NOT FOR CIRC

STRATEGY Th e fil m m a k e rs s e e k t o s e c ur e p r o d u c ti o n fi n a n c i n g fr o m p riv a t e in v e st o rs. A s a fil m s c o m m e r c i a l a p p e a l is t h e m o st i m p o rt a n t f a c t o r i n d e t e r m i ni n g its fi n a n c i a l su c c e ss, b e i n g a b l e t o s e lf-fi n a n c e t h e p r o d u c ti o n o f a fil m p u ts us in t h e str o n g e st p o siti o n p o ssi b l e t o c o n tr o l - t h e st o ry , t h e q u a lit y a n d t h e c o sts o f p r o d u c ti o n . Th e r e a l o p p o rt u nit y f o r p r o fit a b l e fil m - m a ki n g is in h a v i n g p r o d u c t t h a t h a s in d e p e n d e n t fi n a n c i n g i n p l a c e .

FINANCIAL ASSUMPTIONS F o r t h ti o ns ri o s a d t h a t st a t i n ti e e p ur h a v e n d a r t his d e m e n s. p o s e s o f t his o v e rvi e b e e n i n c lu d e d i n t h e e n o t e d a c c o r d i n g ly is c ussi o n c o n t a ins ts t h a t i n v o lv e w , s e fi n a . It sh f o r w risks v n o a e r a l a ssu m p c i a l s c e n a ul d b e n o t e r d -l o o ki n g a n d u n c e rt a

(1) B o x O ffi c e r e fl e c ts t h e g r o ss d o ll a rs o f ti c k e t s a l e s b e f o r e t h e e x hi b it o r s p lits t h e t o t a l w it h t h e d istri b u t o r. D o m e sti c R e n t a ls ( a ) r e fl e c t t h e d is tri b u t o rs sh a r e o f t h e b o x o ffi c e s p lit w it h t h e e x hi b it o r i n t h e U nit e d St a t e s a n d C a n a d a , a ssu m in g t h e fil m h a s t h e s a m e d istri b u t o r i n b o t h c o u n tri e s. D o m e sti c O t h e r ( b ) ( a ls o k n o w n a s a n c ill a ry ) i n c lu d e s D V D , c a b l e , n e t w o rk t e l e visi o n a n d t e l e v isi o n sy n d i c a ti o n . F o r e i g n R e v e n u e ( c ) i n c lu d e s a ll m o ni e s r e t urn e d t o d istri b u t o rs fr o m a ll v e n u e s o u tsi d e t h e U.S. a n d C a n a d a .

(2) A ll f u n d s fl o w fr o m e a c h r e v e n u e s o ur c e t hr o u g h t h e d istri b u t o r, w h o s e e x p e ns e s a r e d e d u c t e d b e f o r e a n y m o n e y g o e s t o t h e i n v e st o r / p r o d u c e r c o ll e c ti o n a c c o u n t; t h e r e f o r e , it is sh o w n a s t h e a s G r o ss R e v e n u e . This is t h e in c o m e b e f o r e t h e d istri b u t o r t a k e s his f e e . D e p e n d i n g o n n e g o ti a ti o ns, a ft e r t h e d istri b u t o r first d e d u c ts t h e c o sts f o r Prin ts a n d A d v e rtisin g , t h e n t h e i n v e st o r is p a i d b a c k t h e b u d g e t c o st, o r p ri n c i p a l i n v e st m e n t. Th e ti m in g o f d is b urs e m e n ts, h o w e v e r, is a l w a ys su b j e c t t o n e g o ti a ti o n .

(3) Th e Bu d g e t, a ls o k n o w n a c o sts, c o v e rs o nly t h e e x p e t o c r e a t e t h e m a st e r p ri A ll m a rk e tin g c o sts a r e in c lu d e A d v e rtisi n g ), o ft e n r e f e rr e d

s t h e ns e s t n t o f d u n d e

fil m s n e g a tiv e h a t a r e n e e d e d a g iv e n fil m . r P& A (Pri n ts a n d

t o a s r e l e a sin g c o sts o r d istri b u ti o n e x p e ns e s. Th e s e e x p e ns e s a ls o i n c lu d e t h e c o st o f m a ki n g c o p i e s o f t h e p ri n t fr o m t h e m a st e r a n d a d v e rtisin g . NOTE: S o m e ti m e s Pr o d u c e rs w ill fi n a n c e e m s e lv e s a ll o w i n g f o r t h e stru c t urin g o f t e m d e a l. W h e n Pr o d u c e rs d o s o , t h e y a r g o ti a t e m o r e a ttr a c tiv e d e a l t e r m s w it o / d istri b u t o r. t a e h h e P& A t h R e n t- a -Sys a b l e t o n e t h e st u d i

Prepared by Z. Reeves NOT FOR CIRC ULATION 7 (4) Th e fil m s us e d in T a b l e 1, S e l e c t e d Fil m s w it h C o m p a r a b l e Su b j e c t M a tt e r , a r e t h e b a sis f o r t h e p r o j e c ti o ns. Th e r a ti o n a l e f o r t h e p r o j e c ti o ns is e x p l a i n e d i n n u m b e r (5) b e l o w . Th e m o v i e s c h o s e n r e l a t e i n t h e m e , st yl e a n d su b j e c t m a tt e r t o S a vin g Liv e s. It sh o ul d b e n o t e d t h a t t h e s e g r o u p s d o n o t i n c lu d e fil m s w h o s e r e sults a r e k n o w n t o h a v e l o st m o n e y . In a d d iti o n , t h e r e a r e n o d a t a b a s e s t h a t c o ll e c t a ll t h e fil m s e v e r m a d e , n o r a r e b u d g e ts a v a il a b l e f o r a ll t h a t h a v e b e e n r e l e a s e d . Th e r e is, t h e r e f o r e , a b uilt-i n b i a s in t h e d a t a . A ls o , t h e f a c t t h a t t h e s e m o vi e s h a v e g a rn e r e d r e v e n u e d o e s n o t c o nstit u t e a g u a r a n t e e o f t h e su c c e ss o f S a vin g Liv e s.

(5) Th e r e a r e t hr e e r e v e n u e s c e n a ri o s in T a b l e 2 - L o w ( b r e a k- e v e n ), M o d e r a t e a n d Hi g h . Th e L O W s c e n a ri o in d i c a t e s a c a s e in w hi c h in v e st o rs r e c o u p t h e ir in v e st m e n t, b u t t h e r e is littl e p r o fit. Pl e a s e n o t e t h a t e v e n in t h e L O W s c e n a ri o t h e c o st o f t h e b u d g e t w ill b e c o v e r b y F o r e i g n R e v e n u e . Th e M O D ER A TE s c e n a ri o r e p r e s e n ts a f o r e c a st o f t h e m o st lik e ly c a s e a n d is us e d f o r t h e c a sh fl o w in T a b l e 3. Th e H I G H s c e n a ri o is b a s e d o n a n a v e r a g e c a l c ul a t e d fr o m t h e r e v e n u e o f e xtr e m e ly su c c e ssf ul fil m s, a s i n T a b l e 1. E a c h e l e m e n t in t h e f o r e c a sts h a s b e e n c a l c ul a t e d a s a p e r c e n t a g e b a s e d u p o n a n a v e r a g e o f p r e v i o us b o x o ffi c e r e sults a n d a ll o t h e r r e v e n u e s t o m a k e c o m p a r is o ns b e t w e e n t h e s e fil m s v a li d . Th e fi g ur e s i n T a b l e 1 a r e c o m p a r e d s o t h l a ti o nshi p o f t h e b o x o ffi c e c a n b e c a l c ul n a v e r a g e . This a v e r a g e is us e d a s a g ui d e a st t h e b o x o ffi c e n u m b e rs f o r T a b l e 2. Lik e o t h e r r e v e n u e c a t e g o ri e s i n t h e f o r e c a ls, d o m e sti c o t h e r a n d f o r e i g n ) a r e c a l c a n a v e r a g e t h e n i nj e c t e d i n t o t h e p r o j e c ti o ns o f T a a t t h e r e a t e d a s a t o f o r e c w is e , a ll sts (r e n t a ul a t e d a s b l e 2. N e x

t, t h e P& A is a ls o c a l c ul a t e d a s a v e r a g e , o n c e a g a in b a s e d u p o n t h e c o m p a r a b l e s i n T a b l e 1.

(6) D istri b u ti o n F e e s a r e b a s e d o n a ll t h e r e v e n u e e x c lusiv e o f t h e e x hi b it o rs sh a r e o f t h e b o x o ffi c e (50 p e r c e n t). Th e s e f e e s a r e c a l c ul a t e d a t 20 p e r c e n t ( g e n e r a l in d ustry a ssu m p ti o n ) f o r t h e f o r e c a st, a s t h e C o m p a n y d o e s n o t h a v e a d istri b u ti o n c o n tr a c t a t t his ti m e . N o t e t h a t t h e f e e s a r e s e p a r a t e fr o m d istri b u t o rs e x p e ns e s (s e e P& A i n s e c ti o n 3 a b o v e ), w hi c h a r e t h e d istri b u t o rs o u t- o f- p o c k e t c o sts a n d p a i d b a c k i n f ull.

(7) N e x p r o e e s e g o ti

t Pr fit h a v a t e

o fit r e p r e a ft e r t h e e b e e n d d is b urs e m

s e n ts t h e p r o j e c t e d p r e -t a d istri b u t o rs e x p e ns e s a n d f d e d u c t e d a n d p ri o r t o n e n ts t o i n v e st o rs.

Prepared by Z. Reeves NOT FOR CIRC ULATION 8 (8) Th e C a sh Fl o w a ssu m p ti o ns us e d f o r T a b l e 3 a r e :

a ) Fil m p r o d u c ti o n sh o ul d t a k e a p p r o xi m a t e ly nin e m o n t hs fr o m p r e - p r o d u c ti o n t hr o u g h p o st- p r o d u c ti o n , e n d in g w it h t h e c r e a ti o n o f a m a st e r p ri n t. Th e a c t u a l r e l e a s e d a t e d e p e n d s o n fi n a liz a ti o n o f d istri b u ti o n a rr a n g e m e n ts, w hi c h m a y o c c ur e it h e r b e f o r e o r a ft e r t h e fil m h a s b e e n c o m p l e t e d a n d is a n u n k n o w n v a ri a b l e a t t his ti m e . F o r p ur p o s e s o f t h e c a sh fl o w , w e h a v e a ssu m e d d istri b u ti o n w ill st a rt w it hin t hr e e m o n t hs a ft e r c o m p l e ti o n o f t h e fil m . b ) Th e l a r g e st p o rti o n o f Prin ts a n d A d v e rtisin g c o sts w ill b e s p e n t i n t h e first q u a rt e r o f t h e fil m s o p e ni n g . c ) Th e m a j o rit y o f r e v e n u e s g e n t o t h e i n v e st o rs / p r o d u c e rs w it hin t w o y e a rs a ft e r t h e r e l s m a ll e r a m o u n t o f a n c ill a ry e l o n g e r t o o c c ur a n d w ill b i n v e st o rs a g r e e m e n t i n a b r e e r a lly w ill c o m e b a c k e a s e r e v e n e c o v a k d o w o u e n f e r o t h e fil m . A s w ill t a k e d b y t h e f t h e ti m i n g

f o r i n d ustry w i n d o w s. d ) Esti m a t e d i n d ustry d istri b u ti o n w i n d o w s (r e l e a s e i n t o s p e c ifi c r e v e n u e - p r o d u c i n g s e g m e n ts ), b a s e d o n hist o ry , a n d a r e :

APPROXIMATE INDUSTRY DISTRIBUTION WINDOWS

WIN D O W IN ITI A L THE A TRI C A L RELE A SE ESTIM A TE D LE N G TH O F TIM E D o m e sti c t h e a tri c a l 4-6 m o n t hs

M O NTHS A FTER

-------v a ri a 3-6 m o n t hs 6-9 m o n t hs 9-12 m o n t h 12-15 m o n t hs 18-24 m o

In t e rn a ti o n a l t h e a tri c a l b l e 6-12 m o n t hs D o m e sti c h o m e v i d e o (i niti a l) 6-12 m o n t hs D o m e sti c p a y- p e r-v i e w 6 m o n t hs In t e rn a ti o n a l v i d e o (i niti a l) s 9-12 m o n t hs D o m e sti c p a y t e l e visi o n 18 m o n t hs

In t e rn a ti o n a l t e l e visi o n ( p a y o r fr e e ) n t hs 12-36 m o n t hs D o m e sti c fr e e t e l e visi o n ( n e t w o rk, b a rt e r, sy n d i c a ti o n a n d c a b l e ) 30-33 m o n t hs 1-5 y e a rs

Prepared by Z. Reeves ULATION 9

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T A BLE 1 SELECTED FILMS WITH COMPARABLE SUBJECT MATTER

COST GROSS FILMS Budget Box Office Rentals (a) nue (d) Net Profit (e)

DOMESTIC REVENUE NET P&A Dist Fees (f) Other (b) Foreign (c)

Total Gross Reve

Taken - IN RELASE NOW (20.0) (18.0) (19.3) (57.3) 58.6 29.3 NA 67.1 96. 4 39.1 Eastern Promises (15.0) (10.5) (11.9) (37 .4) 17.1 8.6 13.0 38.1 59.7 22.2 Man on Fire (60.0) (24.0) (25.9) ( 109.9) 77.9 39.0 50.6 40.0 129.6 19.6 Lock Stock & 2 Smoking Barrels (1.3) (5.0) (7.4) (13.7) 3.9 2.0 13.8 21.4 37.2 23.4

NARRATIVE:

o (a) Rentals a r e t h e m o ni e s fl o w e d t hr o u g h t h e d ist ri b u t o r o n c e t h e e x hi b it o r h a s d e d u c t e d t h e ir 50% o f t h e t o t a l B o x- O ffi c e r e v e n u e . o (b) Other ( a ls o k n o w n a s a n c ill a ry ) i n c lu d e s V D , c a b l e , n e t w o rk t e l e v isi o n a n d t e l e v isi o n sy n d i c a ti o n . o (c) Foreign i n c lu d e s a ll m o ni e s r e t urn e d t o t h e stri b u t o r fr o m a ll v e n u e s o u tsi d e t h e U.S. a n d C a n a d a . d i D

o (d) Gross Revenue in c lu d e s a ll r e v e n u e e x c lusiv e o f t h e e x hi b it o rs sh a r e o f t h e b o x o ffi c e (50 p e r c e n t). o (e) Net Profit r e p r e s e n ts t h e p r o j e c t e d p r e -t a x p r o fit a ft e r t h e d istri b u t o rs e x p e ns e s a n d f e e s h a v e b e e n d e d u c t e d a n d p ri o r t o n e g o ti a t e d d istri b u ti o ns t o i n v e st o rs. o (f) Distribution Fees a r e b a s e d o n a ll t h e r e v e n u e e x c lu siv e o f t h e e x hi b it o rs sh a r e o f t h e b o x o ffi c e (50 p e r c e n t). Th e s e f e e s a r e c a l c ul a t e d a t 20 p e r c e n t.

Prepared by Z. Reeves NOT FOR CIRCULATION 10 T A BLE 2 - PROJECTED INCOME LOW, MODERATE, HIGH RESULTS (USD M illi o ns) LOW MODERATE COSTS Budget Cost (1.3) Prints and Advertising (5.8) Distribution Fees d) (3.3) TOTAL COST (10.3) REVENUE North American Box Office 7.9 Domestic Rentals a) 3.9 Domestic Other b) 4.0 Foreign c) 8.3 TOTAL GROSS REVENUE ESTIMATED NET PROFIT 6.5 1.9 2.8 1.4 1.0 4.2 4.7 2.4 1.6 6.2 HIGH (1.3) (2.0) (1.3) (1.3) (3.5) (2.0)

(4.6)

(6.8)

10.2 3.4

16.3 6.0

These projections do not constitute a guarantee as to how well this film will pe rform. NOTES: ! US B o x O ffi c e R e v e n u e s a r e f o r r e f e r e n c e a n d n o t in c lu d e d in t h e t o t a ls. ! Ev e n o n t h e L O W p r o j e c ti o ns t h e i n v e st m e n t ( c o st o f b u d g e t) is c o m p l e t e ly c o v e r e d o u t o f F o r e i g n . E v e n if t h e fil m d i d n t g o t h e a tri c a l in t h e US t h e i n v e st o r w o ul d stil l r e c o u p t h e ir o u tl a y . ! Prin ts a n d A d v e rtisin g is usu a lly p a i d o u t- o f- p o c k e t b y t h e d istri b u t o r. H o w e v e r, p r o d u c e rs w ill s o m e ti m e s fin a n c e t h e P& A t h e m s e lv e s a ll o w i n g f o r t h e stru c t uri n g o f a R e n t- a -Syst e m d e a l. W h e n Pr o d u c e rs d o s o , t h e y a r e a b l e t o n e g o ti a t e m o r e a ttr a c tiv e d e a l

t e r m s w it h t h e st u d i o / d istri b u t o r. NARRATIVE: o (a) Domestic Rentals a r e 50% o f a ll d o m e sti c ti c k e t s a l e s. Th e o t h e r 50% r e m a in w it h t h e e x hi b it o r. o (b) Domestic Other r e v e n u e i n c lu d e s D V D , T e l e v isi o n , C a b l e , a n d a ll o t h e r n o n-t h e a tri c a l s o ur c e s o f r e v e n u e . o (c) Foreign r e v e n u e i n c lu d e s b o t h t h e a tri c a l a n d a n c ill a ry r e v e n u e s i n a ll f o r e i g n m a rk e ts. o ( d ) Distribution Fees a r e e q u a l t o 20% o f a ll m o ni e s t h a t fl o w t hr o u g h t h e d istri b u t o r.

Prepared by Z. Reeves ULATION 11 T A BLE 3 - PROJECTED CASH FLOW FOR FIRST 24 MONTHS BASED ON MODERATE PROJECTIONS Qtr. 4 (1.3) (0.5) 0.6 0.4 1.0 Foreign Revenue 3.7 Distribution Fees (1.0) TOTAL (2.1) (0.4) (1.3) 1.9 (1.3) 3.4 (0.5) 0.0 0.5 (1.3) 1.6 0.9 Qtr. 1

NOT FOR CIRC

YEAR 1 Qtr. 1 Qtr. 2 Qtr. 3 . 3 Qtr. 4 Budget Prints and Advertising (2.1) (0.9) Domestic Rentals 1.4 Domestic Other

3.3

CUMULATIVE TOTAL 0.1) 1.1 NOTES: ! H o w a e n d s u p rs. ! Prin ts h e p r o n e g a tiv ! T o t a NARRATIVE:

n d w h e n m o ni e s a r e a c t u a lly d istri b u t e d d e p o n c o n tr a c t u a l n e g o ti a ti o ns w it h d istri b u t o a n d A d v e rtisin g is usu a lly r e c o u p e d first, t h e n t d u c ti o n e ( b u d g e t c o st) is r e c o u p e d b y t h e i n v e st o r. ls m a y n o t a d d u p d u e t o r o u n d i n g o f n u m b e rs.

YEAR 2 Qtr. 2

Qtr

0.6

(0.1) 0.0

1.2 (1.3) 3.0

(3.4)

o Budget is t h e c o st o f t h e fil m ; t h e i n v e st m e n t m a d e b y t h e in v e st o r. o Prints and Advertising is usu a lly p a i d o u t- o f- p o c k e t b y t h e d istri b u t o r; h o w e v e r, p r o d u c e rs w ill s o m e ti m e s fin a n c e t h e P& A t h e m s e lv e s a ll o w i n g f o r t h e stru c t urin g o f a R e n t - a - Syst e m d e a l. W h e n Pr o d u c e rs d o s o , t h e y a r e a b l e t o n e g o ti a t e m o r e a ttr a c tiv e d e a l t e r m s w it h t h e st u d i o / d istri b u t o r. o Domestic Rentals a r e t h e m o ni e s fl o w e d t hr o u g h t h e d istri b u t o r o n c e t h e e x hi b it o r h a s d e d u c t e d t h e ir 50% o f t h e t o t a l B o x- O ffi c e r e v e n u e . o Domestic Other ( a ls o k n o w n a s a n c ill a ry ) i n c lu d e s D V D , c a b l e , n e t w o rk t e l e v isi o n a n d t e l e v isi o n sy n d i c a ti o n . o d n o e t h f o Foreign Revenue i n c lu d e s a ll m o ni e s r e t urn e d t o t h e istri b u t o r fr o m a ll v e n u e s o u tsi d e o f t h e U.S. a n d C a a d a . Distribution Fees a r e b a s e d o n a ll t h e r e v e n u e e x c lusiv o f h e e x hi b it o rs sh a r e o f t h e b o x o ffi c e (50 p e r c e n t). T e s e e e s a r e c a l c ul a t e d a t 20 p e r c e n t. TOTAL r e p r e s e n ts a ll t h e p o sitiv e o r n e g a tiv e r e v e n u e f o r e a c h q u a rt e r. o CUMULATIVE TOTAL r e p r e s e n ts a ll t h e p o sitiv e o r n e g a tiv e r e v e n u e fr o m e a c h q u a rt e r a d d e d t o t h e p r e v i o us q u a rt e r.

Prepared by Z. Reeves ULATION 12 MOTION PICTURE FINANCING AGREEMENT This sets forth the understanding, as of ily Grind Pictures, LLC, ("Producer") and Financier"). Financier and Producer agree as follows:

NOT FOR CIRC

2009, between Da ("

1. Picture. Producer is intending to produce the film presently entitled "Saving Lives" ("Picture") which Financier has agreed to partially finance. 2. Picture Specifications. Producer intends for the Picture go into production n o later than , with a cash budget of USD$1,300,000.00 (not including non-recoupable deferrals ).

3. Contributions. Financier will contribute US$ 650,000.00 in the form of cash p ayment made to the production bank account (banking details to be supplied by Pr oducer) to be deposited on or before . This sum will be used solely for the production of the Picture in accordance w ith budget for the Picture. Separately, such sum is referred to as the "Contribu tion" and the total equity contributions are referred to as "Contributions." 4. Proceeds from Distribution: All proceeds from distribution and exploitation o f the Picture ("Proceeds") will be distributed as follows: a. First, to a collection agent (in the event Producer retains one) and union an d guild residuals if any. b. Next, any unpaid production/post production expenses, distribution/sales agen t fees and expenses. c. Next, repayment of the Contributions proportionally and pari passu until each of the Contributors has recouped their individual principal Contribution. d. Next, payment of any unpaid deferments or third party contingent compensation if any, payable at this point. e. Next, to the Producer and Financier in the following percentages: (subject to approved budget changes, in which case the participation percentages shall adjust accordingly): i) 25% to Financier ii) 25% to the remaining Contributors pari passu ii) 50% to Producer (part of which percentage, it is acknowledged, Pro ducer is responsible for sharing with others, including talent). 5. Additional Contributions to the Cost of Production/Subsequent Productions. Al though not anticipated, due to unforseen and unplanned for events during the cou rse of production despite possible insurance/completion bond coverage (if any or , if covered, payment may be delayed), in the event that additional monies are n ecessary, the Contributors shall have the first opportunity to make additional f inancial contributions to the cost of production of the Picture, if such contrib utions are required, on terms and conditions to be negotiated in good faith. If the Contributors shall fail or refuse to make such additional financial contribu tions, then Producer shall have the right to secure additional financial contrib utions from third parties on such terms as they may determine in their reasonabl e business judgment. None of the Contributors shall be obligated to make additio nal financial contributions. Financier shall have a first negotiation right to p articipate in any ancillary productions (e.g., sequels/remakes) in which Produce r has an interest (financial or otherwise). Initials:

1 Prepared by Z. Reeves

NOT FOR CIRC

ULATION 13 6. Credit: Financier has designated tive Producer credit. to receive a shared Execu

The above credit is to be on screen and in customary paid advertising and public ity relating to the Picture contracted for or issued by Producer, in size, form and position discretionary with Producer. Notwithstanding such prior sentence, s aid credit will appear where and when any other like credits are provided and wi ll be in the same size as that provided to any other such like credits. Credit in advertising is subject to normal and customary exclusions and exceptio ns, such as congratulatory or awards. Producers obligation hereunder shall be met by informing and obligating the distributor of the credit obligations set forth herein; failure of distributor to so accord credit shall not be deemed to be a breach of this Agreement by Producer. No failure to comply shall be deemed to be a breach of this Agreement by Producer and the sole remedy for such a failure s hall be, after notice from the affected party, for Producer to use its reasonabl e commercial endeavors (having regard to the exigencies of the Picture) to ensur e such failure is corrected subsequent to such notification on future created Pi cture prints or advertising. 7. Consultation Rights. If Financier desires, from time to time, after request, Producer will consult with regard to material business and creative elements for the Picture. In addition, Producer will send Financier the weekly production ac counting cost/progress reports as prepared. 8. Entire Agreement/Choice of Law. New York law will apply with venue in New Yor k courts. This is the entire agreement of the Parties. This Agreement may only b e amended in writing, signed by all of the Parties. This will also confirm that the Parties may enter into a more formal agreement, which agreement shall incorp orate the foregoing terms, as well as other customary terms and conditions, incl uding, without limitation: warranties and representations (e.g., each party has the full and sole right and authority to enter into this agreement) and the righ t to suspend, extend and/or terminate for force majored, disability and/or defau lt. Unless and until such more formal agreement is executed, this agreement, sup plemented by the foregoing customary terms and conditions, shall constitute the Parties agreement. This Agreement and any additional documents executed in accord ance herewith may be executed in one or more duplicate originals in counterparts and/or facsimile signature any and all of which shall be binding upon the parti es in the same manner as if one document had been executed in original by all pa rties. Each party hereby agrees to re- execute one or more original documents as a mere ministerial matter upon the request of any party hereto. IN WITNESS WHEREOF the parties hereto have executed this Agreement as of the day and year first above written.

Daily Grind Pictures, LLC By: By: Its and authorized signatory authorized signatory

Its:

and

2 Initials:

2 Prepared by Z. Reeves ULATION 14

NOT FOR CIRC