KELLER EDDE ENTERTAINMENT

THE WOODPECKER WALTZ BUSINESS PLAN

TABLE OF CONTENTS

EXECUTIVE SUMMARY 3

OVERVIEW 3

PRODUCT 4

PROJECT AT A GLANCE 4

STORYLINE 4-6

ATTRIBUTES SUPPORTING SUCCESS 6

DOMESTIC INDUSTRY OVERVIEW 7-8

FINANCIAL PROJECTIONS & ASSUMPTIONS 9-12

FUNDING BASIS 12

COMPANY INFORMATION 13-14

PRODUCTION TEAM 14-19

CASTING 20-22

PRODUCTION PLAN 22-23

DISTRIBUTION PLAN 23-26

RISK ANALYSIS 26-27

CONCLUSION 27

EXECUTIVE SUMMARY

Keller Edde Entertainment has secured the rights to an extraordinary screenplay entitled THE

WOODPECKER WALTZ which it intends to produce as an independent theatrical motion picture. The

budget for the motion picture is $12,000,000 (Twelve Million U.S. Dollars).

Keller Edde Entertainment is confident that the quality and subject matter of the screenplay will attract

high caliber talent both for the director and the actors for the motion picture. Keller Edde Entertainment

will work with the most prestigious agencies in Hollywood to ensure that the production is filled with top

notch talented actors and below the line crew members.

Once the director and principal cast have been selected and their contracts have been concluded, Keller

Edde Entertainment shall seek domestic distribution for the motion picture with a major Hollywood studio.

Keller Edde Entertainment intends to initially launch the marketing of the film in the U.S. as traditionally

the U.S. Marketplace constitutes the core market for American dramatic independent motion pictures.

Concurrently, Keller Edde Entertainment shall expose the motion picture to the international community

and negotiate international presales based on the screenplay, director and cast set for the motion picture.

After production is completed, Keller Edde Entertainment will market The WOODPECKER WALTZ to be

entered and screened at film festivals throughout the world to generate positive reception and enthusiasm

for the motion picture.

OVERVIEW

The entertainment and media industry continues to expand year after year. The 2009 U.S. box office

reflected the continuing popularity of movie going with record box office receipts in 2009 of $10,495

billion, representing a 10% increase compared to 2008, according to Box Office Mojo. The U.S. total

receipts of the Top 10 movies of 2009 is over $7.1 billion compared to 2008’s $6.38 billion. 2010 is

trending to be another successful year in terms of box office receipts earned with Toy Story 3, Inception,

Iron Man 2, Despicable Me, and The Twilight Saga; Eclipse whose U.S. box office gross receipts for each

movie is greater than $100 million.

American movies continue to dominate the worldwide theatrical marketplace and are the highest grossing

movies in the world. The Motion Picture Association of America (MPAA) reports that worldwide box office

receipts reached an all time high of $29.9 billion in 2009.

Over the years original dramas based on true stories such as The Blind Side, Invictus, A Beautiful Mind, Rain

Man, The Soloist and I am Sam have captured the hearts of moviegoers worldwide.

PRODUCT

The primary objective for us is to bring to life the story of Joe Arridy. We plan on offering a motion picture

that will cater to moviegoers that seek dramatic true story films. The financial objective for the motion

picture is to obtain a Worldwide Box Office of $62 million, resulting in net profits of $28 million over the life

of the film.

PROJECT AT A GLANCE

Keller Edde Entertainment has secured the rights to a book entitled “Deadly Innocence?” written by Robert

Persky and the screenplay adaptation entitled, The Woodpecker Waltz, written by Daniel Leonetti. The

Woodpecker Waltz is based on a true story that takes place in Colorado in 1936 and it will be made into a

dramatic motion picture to be produced, directed and starring talented American filmmakers. The logline

for the motion picture is: “Joe has the mind of a 5 year old and a seat on death row.”

The Woodpecker Waltz will be distributed to worldwide audiences in all forms of entertainment media

including, but not limited to, theatrical, free and cable television, Home Video and DVD, and digital

distribution.

STORY LINE

The Woodpecker Waltz is a mainstream drama with a big heart.

It is said that a great movie always originates from a screenplay which hooks the reader instantly and keeps

his interest to such a degree that he cannot put it down until completed. The Woodpecker Waltz is not only

a screenplay that meets this criteria but it is also a screenplay that hauntingly stays with the reader.

The Woodpecker Waltz is the real life story of Joe Arridy, a mentally challenged 22 year old Syrian young

man, who was wrongfully convicted for participating in the brutal murder and rape of a 15 year old girl and

the attack on her 12 year old sister in Colorado circa 1930. It is also the story of the valiant struggle of his

lawyer, Gail Ireland, to save Joe from execution in the gas chamber and the warden who treated Joe with

kindness.

Joe's only real crime was the fact that he was mentally challenged with the mind of a 5 year old and unable

to communicate clearly. Joe was in a different city at the time of the commission of the crimes. Joe ran

away from the home for the "mentally defective" that the State of Colorado had placed him in because the

other boys were beating him up. While he was wandering around trying to find his parents home, he was

arrested. A frightened Joe was accused and easily lured into confessing to being an accomplice in the

crimes with the real killer Frank Aguilar. A trial ensued and Joe was found guilty and sentenced to the gas

chamber. Frank, tried separately, also was sentenced to death. Joe's father did not understand why they

always took Joe away from him. First the state said he was insane so they could put him in a home for

mental defects and now they said he was sane so they could put him in prison.

Joe was taken to prison and arrived on death row where Warden Roy Best, a guard Roy Montgomery and all

the death row inmates grew fond of him. Warden Best gave Joe a toy train which Joe sent speeding down

the death row corridor and it was returned to Joe by all the real murderers whose lives were forever

touched by Joe's innocence.

Frank Aguilar was executed while Joe's appeals were taking place. The priest when he gave Frank his last

rites asked him if Joe was involved in the murders: Frank says: "No, Padre, Joe wasn't with me. I don't

need a dull witted boy as a sidekick." And then Frank winked at the priest. Frank's response forever

haunted the priest.

While Gail Ireland took a final appeal to the Colorado Supreme Court to get a new trial for Joe, Joe had found

a home on death row. Warden Best took him home for Christmas dinner to play with his 7 year-old

nephew. Gail by a vote of 4 to 3 was denied a new trial for Joe. Gail made a last attempt with the Governor

for clemency to get Joe's sentence commuted from death to life in prison. The Governor refused to see Gail

and Gail broke down outside the Governor's mansion.

Joe's scheduled execution could no longer be delayed. Heartbroken, Warden Best, the guard Roy, the priest

and the hardened criminals watched as Joe took the "woodpecker waltz" walk to the gas chamber. It took

many minutes for Joe to die in the gas chamber. An innocent child was murdered that day in Colorado and

many will never forget Joe's innocence.

Today, in 2010, Colorado Governor, Bill Ritter, Jr. will soon consider a posthumous pardon for Joe Arridy

brought to light by a ground swell of lawyers and human rights activists throughout America.

The Woodpecker Waltz is a story whose time has come to be told and will surely captivate and move

audiences all over the world. The Woodpecker Waltz is destined to become a classic motion picture. It will

touch millions of people throughout the world with its message of tolerance. It will also honor the life and

untimely, unjust death of young Joe Arridy.

ATTRIBUTES SUPPORTING SUCCESS

Dramatic motion pictures are a proven genre, with a consistent track record of commercial success. The

Woodpecker Waltz, in addition to being a powerful dramatic screenplay, has the following attributes:

1. The Woodpecker Waltz is based on a true story. Motion pictures based on true stories such as “The Blind

Side” and “A Beautiful Mind” continue to intrigue worldwide movie audiences. Traditionally, these

motion pictures enjoy robust financial returns, providing exciting opportunities to participating investors.

2. The screenplay’s protaganist, Joe Arridy, is a mentally challenged young man. Motion pictures that

highlight individuals with mental disabilities such as “The Soloist”, “I am Sam” and “Rain Man” have

generated tremendous levels of audience success.

3. The screenplay’s primary subject matter is a dealth penalty conviction. The death penalty is a timely and

controversial subject matter worldwide. Accordingly, the subject matter of our motion picture will

attract a worldwide audience that is both for and against the death penalty. Additionally, motion

pictures such as “Dead Man Walking” garner great critical acclaim for bringing death penalty cases to

public awareness.

DOMESTIC INDUSTRY OVERVIEW:

The following charts demonstrate the growth in domestic box office from $2.7B in 1980 to $10.9B in 2009.

We are on track for 2010 to achieve total gross box office greater than $11B.

COMPARABLE FILMS

FINANCIAL PROJECTIONS:

We are confident that the Woodpecker Waltz will become a Box Office hit for moviegoers. We believe that

this film will appeal to the mass audience. We ran 3 financial scenarios (low, base and high) over a five-year

period. The net profits for the launch year range from $7.5MM to $28.3MM, with margins of 13.8% to

20.8%.

ASSUMPTIONS

(1) Revenues

a. Domestic Box Office – analyzed the Domestic box office of recent feature films with similar

genre -including mentally challenged main characters.

i. Low – Assumes 40% decrease from the base scenario.

ii. Base – Assumed the Woodpecker Waltz would perform slightly below The Soloist

(2009) & I am Sam (2002). We averaged The Soloist ($40.3MM) with I am Sam

($31.7MM) and reduced the average by 30%. For reasonableness, we compared our

projected box office with some true story dramas released in 2008 & 2009. Our box

office forecast is approximately 25-30% below from these movies (Changeling,

Defiance, Green Zone, & Invictus at $35.7MM, $28.6MM, $35.0MM & $37.5MM,

respectively).

iii. High – Based on Precious (2009) at $47.5MM, we slightly increased our high scenario

to $50M.

b. International Box Office – analyzed the International box office of recent feature films with

similar genre –including mentally challenged main characters.

i. Low – 75% decrease from the Domestic box office.

ii. Base – Assumed the Woodpecker Waltz would perform slightly below The Soloist

(2009) and I am Sam. We averaged The Soloist ($6.4MM) with I am Sam ($8.2MM) and

reduced by 15%. For reasonableness, we compared our projected box office with

some true story dramas released in 2008 & 2009.

iii. High – 75% decrease off Domestic box office. Compared to Precious (2009) at

$15.3MM – our forecast of $12.5MM is equivalent to an 18% decay off Precious.

c. Domestic Home Video – analyzed average initial ships of similar recent feature films.

Assumes both Blue-Ray (BD) & Standard Def (SD) DVD releases.

i. Initial Window - The first 26 weeks from street date (before any reprice).

Assumptions are for the SD version and BD will follow similar patterns.

1. Base – On average a $25MM Domestic box office will sell approx. 1.5MM net

units. The initial Suggested Retail Price (SRP) for SD is $29.98, equivalent to an

Average Wholesale Price (AWP) of $19.99.

2. Low & High – Assumes +/- 25% decay or increase for initial ships at the same

SRP/AWP for SD.

3. Assumes a marketing spend with media to achieve these units.

4. Assumes Retail Marketing Fund to support account exclusives and additional

price discounts to obtain premium placement at retail.

5. Return rate = 25%

ii. Catalog Windows – Assumes 3 reprices over the next 5 years. Assumptions below are

for the SD version and the BD will follow similar patterns. Assumes catalog units

represent 30% of the ultimate units (approximately 430k for the base scenario).

1. 1st Reprice at $11.66 / $19.98 (AWP/ SRP).

a. Accounts for 25% of all catalog units.

2. 2nd Reprice at $9.80 / $14.98 (AWP / SRP).

a. Accounts for 32% of all catalog units.

3. 3rd Reprice at $5.98 / $9.98 (AWP/ SRP).

a. Accounts for 43% of all catalog units.

4. Assumes additional price discounts to obtain long-term placement at retail.

5. Catalog units represent 30% of the ultimate units (same assumption for low,

base & high).

d. International Home Video – Assumes 75% of International box office per scenario.

e. 16mm/ Airlines/ Military – Assumes 1% of Domestic box office per scenario.

f. PPV/ VOD – Assumes 3.5% of Domestic box office per scenario.

g. Domestic Pay TV – Assumes 15% of Domestic box office per scenario.

i. Assumes will be part of studio output deals.

h. International Pay TV – Assumes 20% of International box office per scenario.

i. Assumes will be part of the studio output deals.

i. Network – Assumes 3.5% of Domestic box office per scenario.

j. Domestic Syndication – Assumes 3.5% of Domestic box office per scenario.

k. International Syndication – Assumes 3.5% of International box office per scenario.

l. Other – Assumes 3.5% of Domestic box office per scenario.

i. Assumes Digital Distribution, Merchandising, and any other forms of revenue not

captured above.

(2) Costs – All costs except marketing & advertising associated with producing the feature film.

a. Production Budget – $12MM

i. Includes $2.16MM for the first three years of interest expense.

ii. Appendix I is the detailed budget.

b. Distribution Fee – The fee the movie’s distribution receives. This is often referred to as

rentals and is often a little less than half of the final gross with the remainder going to the

movie theaters. The contracts general favor the distributors in the early weeks and shifts to

the movie theater later on.

i. We assumed 52% of gross box office is the expense per scenario.

ii. We assumed the same split between Domestic and International.

c. Domestic & International Distribution Fee – The fee that the studio receives to distribute the

film.

i. Assumes the studio & production company split the remaining box office revenue

50/50.

d. Domestic Video Costs – Assumes standard DVD product expenses.

i. Physical DVD + Merchandising + Freight = $1.41 / unit.

ii. Mastering & Extra Content = $75k.

e. International Video Costs – Assumes 15% of International Video Revenue per scenario.

f. Other – Assumes $500k for any miscellaneous expenses or fees not accounted for above.

g. Residuals – Assumes 1.5% of Net Revenue.

(3) Advertising Costs – Costs associated with marketing the film.

a. Domestic Media & Advertising – Assumes 40% of Domestic box office per scenario.

b. International Media & Advertising – Assumes 30% of International box office per scenario

c. Domestic Video Advertising –

i. Initial Direct Marketing = 20% of Initial Net Revenue. (+/- 25% for low & high

scenarios)

1. Assumes Media Spend of 75% of total marketing spend.

ii. Retail Manufacturing Fund = 5% off Gross Revenue.

iii. Catalog Marketing = 21%.

1. Include Cash Discount Fund & Retail Marketing Funds = 14%.

2. Includes additional money for signage, repackaging and other miscellaneous

marketing expenditures.

d. International Video Advertising – Assumes 30% of International video revenue per scenario.

FUNDING BASIS:

The project will be funded via a combination of a private investment and a bank loan. A special purpose

vehicle will be formed for the production and distribution of the motion picture. Keller Entertainment

Group on behalf of Keller Edde Entertainment has entered into a Memorandum of Understanding with

Scolaris Capital for the financing and production of the motion picture. The first 3 years of interest for the

bank loan is included as a budget line item in the production budget. The $12,000,000 budget is attached

hereto as Appendix I. Keller Edde Entertainment will select the location for shooting the motion picture

with both creative and financial considerations. It is the intention of Keller Edde Entertainment to mitigate

the risk of the private investment by selecting a production location that shall provide sufficient tax

incentives and rebates to the production company to enable it to return the private investment.

COMPANY INFORMATION:

KELLER EDDE ENTERTAINMENT is an entertainment strategic alliance formed by Keller Entertainment

Group and George Edde.

Keller Entertainment Group was founded over 20 years ago by Max Keller and Micheline Keller. Growing

from a cinematic seed in the minds of its founders, Keller Entertainment Group has evolved into a critically

acclaimed boutique studio, specializing in the international production and distribution of feature films,

television series and movies for global viewing. Currently Keller Entertainment Group owns and

distributes their library of over 200 titles. Keller Entertainment Group’s well established working

relationships include licensing its product to the major studios and networks including: Universal Studios,

Paramount Studios, The Walt Disney Company, Twentieth Century FOX, Sony, HBO, CBS, NBC and many

more. Internationally they have licensed products to the major theatrical distributors as well as to all of the

major television networks including BBC in the U.K., TF1 in France, Telecinco in Spain, RTL in Germany, Rai

TV in Italy, Nippon TV in Japan, Network 10 in Australia, TV Globo in Latin America, and numerous other

International networks.

Prestigious awards such as the Emmy and the Cable Ace have marked the group's success. On any given

day, in any country throughout the world, Keller Entertainment Group product is likely to be broadcast on

television, rented in a video store, beamed by satellite, or projected on a silver screen. Keller Entertainment

Group is known for its studio quality yet independent spirit.

(visit the website at www.kellerentertainment.com).

George Edde has been involved in financing and marketing over 22 major motion pictures including

Stephen King's Sleepwalkers, Universal Soldier starring Jean-Claude Van Damme and many more. Mr. Edde

has been involved in the financing of 4 Ritz Carlton Hotels on which he remains on the Board of Directors.

He has been involved in several entertainment companies including The Big Picture Group (USA), and The

Hollywood Global (UAE) (visit the website at www.thehollywoodglobal.com).

PRODUCTION TEAM:

MAX KELLER – Producer

Max Keller has over 30 years experience in the entertainment industry. Mr. Keller has served as an

attorney, developing an expertise originally in the music industry, representing such major music figures as

Donny and Marie Osmond, Mike Curb, Michael Lloyd and Casey Kasem. He also served as outside counsel to

MGM Records.

After retiring from a successful law practice, Mr. Keller entered the entertainment industry as a principal in

l976 and developed extensive experience in the production, distribution and finance of motion pictures and

television series on a world wide basis having financed and produced well over $100 million dollars worth

of theatrical and television production. Mr. Keller is the principal shareholder along with his wife,

Micheline Keller, of Keller Entertainment Group which has financed, produced and globally distributes

numerous films and award winning movies and television series. Among them is the Emmy Award winner

Kent State and 97 episodes of Tarzan, 48 episodes of Acapulco H.E.A.T. and 22 episodes of Conan.

Additionally, Mr. Keller has produced over 20 movies for initial distribution in theaters and/or television

and cable channels in the U.S., including Dreams of Gold, Women of Valor, A Summer to Remember, Tarzan in

Manhattan for CBS, Kent State, Swimsuit, Grambling's White Tiger, Summer of Fear for NBC and Conspiracy:

The Trial of the Chicago 8 for HBO, Deadly Blessing for Polygram Pictures and many more.

Mr. Keller also developed a music company in 2003 entitled “Studio M” (see www.studiom.com) which

produced over 100 hours of music videos compilations for television broadcasting. Further Mr. Keller is a

shareholder and investor in a high-tech 3D (without glasses) display company which has developed several

working prototypes.

Mr. Keller has donated his time fund raising and supporting various charitable institutions. Recently he

served on the Board of Directors of FIDV. Mr. Keller is married to Micheline Keller and they have two

children and two grandchildren.

MICHELINE KELLER – Producer

Ms. Keller graduated from UCLA in l971 and received her Doctorate of Jurisprudence from Southwestern

University College of Law in l974. Ms. Keller has worked in the production of movies and series for the past

30 years.

During the past 30 years, Ms. Keller served as a Producer or Executive Producer on over 20 movies and 4

television series. Ms. Keller involvement in the productions commences with working on the scripts with

the writers and directors, being on set during principal photography and thereafter actively involved in the

post production through completion of the productions.

Ms. Keller has been a Producer on locations all over the world including Australia, Mexico, St. Croix, the

Philippines, Canada, France as well as in many states including California, Oregon, Texas, Alabama,

Louisiana and Florida. She has worked closely with such talented actors as Sharon Stone, Tony Curtis,

Ellen Barkin, Susan Sarandon and Paul Sorvino, as well as talented directors such as Wes Craven (Scream, A

Nightmare on Elm Street) and Elliot Silverstein (Cat Ballou, A Man Called Horse), and distinguished writers

such as Gerald Green (Holocaust) and Pulitzer Prize-winner, Henry Denker.

Ms. Keller’s movies have garnished such prestigious awards as the Emmy (Kent State, an NBC mini-series)

and the Cable ACE award for Best Dramatic Special (Conspiracy: The Trial of the Chicago Eight, an HBO

movie special). Additional awards include the NAACP Best Movie nomination, NY Film Festival Gold

Awards, the California Media Access Award for best television movie, Certificate of Merit from the Chicago

Film Festival, the Angel Award and numerous other awards and commendations.

Ms. Keller is a member of the Academy of Television Arts and Sciences, a member of the Southwestern

University School of Law Themis Society and a former member of the American Film Institute Second

Decade Counsel. Ms. Keller is also a biographee in Who’s Who in California, and in The World Who’s Who of

Women.

Recently, Ms. Keller co-authored a children’s book entitled: “Legal Beagles: Danny’s Yo-Yo Adventure”

(visit her website at www.LegalBeagles.us).

Ms. Keller is married to Max Keller and they have two children and two grandsons.

GEORGE EDDE - Producer

George Edde is an investment banker that brings his relationships with Hollywood stars and agents as well

as his knowledge of financial techniques that are applied to the film industry.

Mr. Edde has been financing films since his first movie Brenda Starr which featured Brooke Shields in l986.

Since that time he has been involved in financing and marketing over 22 major motion pictures including

Stephen King's Sleepwalkers, Universal Soldier starring Jean-Claude Van Damme and many more.Mr. Edde

has been involved in the financing of 4 Ritz Carlton Hotels on which he remains on the Board of Directors.

He has been involved in several entertainment companies including The Big Picture Group (USA), and The

Hollywood Global (UAE) (visit the website at www.thehollywoodglobal.com).

Mr. Edde also has a background in international distribution and is a partner and a Board of Director

member of Visual Factory International Film Sales (UK). The website can be viewed at

www.visualfactory.co.uk. Mr. Edde is also a partner in a French music studio, 2B Music Studio Paris.

Mr. Edde has worked with and has excellent relationships with major Hollywood talent including Jackie

Chan, Don Johnson, Jean-Claude Van Damme, Steven Seagal, etc.

Mr. Edde's command of the financing world combined with his marketing and distribution skills and his

special relationship with stars makes him a perfect producer of The Woodpecker Waltz.

YVONNE KAROUNI - Producer

Ms. Karouni received her PhD Degree from the Faculty of Paris. Thereafter she completed a 3-year stage at

ISIPCA, the most known school in Europe for perfume and cosmetic studies. During that time she

successfully completed creative projects for many French known brands including L'Oreal, Guerlain, Yves

Rocher and Dior.

She launched her own brand, Yvona K. Paris in 2006 for perfume, cosmetics and fashion design. She has

licensed private label fragrances for many celebrities such as Don Johnson, Faye Dunaway and Raquel

Welsh. (visit her website at www.yvonak.com).

The subject matter of The Woodpecker Waltz and the quality of the screenplay has made Ms. Karouni

delighted to bring her creative and artistic sense and talent to the film world.

LAWRENCE DANIELS – Executive Producer

Producer/writer/director and entertainment attorney with over 25 years experience and formerly an

Investment Banker with a NYC-based boutique investment banking firm specializing in media and

communications.

Prior to co-founding Scolaris Capital, Lawrence Daniels, as Co-Founder and CEO of Cinelex Films, has

produced a wide array of product - from film and television to World’s Fair Multimedia events to hundreds

of music videos and commercials, for artists including Sammy Hagar, Marlon Jackson, Stevie Nicks, the

Pointer Sisters, Motley Crue, Billy Idol, Natalie Cole, Diana Ross to Santana and for global brands like

Perrier, Pepsi, Chevron, Danon Yogurt, American Express, Snickers (the Mars Company) AT&T, Coca-Cola,

Citibank, Citicorp and KFC. His company has produced its own product as well as having provided

production services and consultation to Hollywood studios and independents (Warner Bros., Sony,

Paramount, Showtime, Fox, MTV, CBS, Castlerock, Discovery, Food Network/Fine Living Network and

more) for production and post production supervision in the US, Asia and Europe.

Lawrence started his love affair with the convergence of entertainment and technology back in the early

1980’s when he co-founded and held the positions of Executive Vice President and member of the Boards of

Directors of Digidisc Corporation and United Compact Disc Technologies, Inc., the first U.S. licensees of N.V.

Philips and Sony Corporation for the manufacture and sale of Compact Discs and CD-ROM's worldwide.

His business affairs, filmed entertainment and legal expertise extend, in the entertainment arena, to the

finance, development and production of theatrical motion pictures and television, network and non-

network television mini-series, episodic series and specials (including international co-productions), and

recorded music projects. He has counseled producers and production companies, management companies

and talent agents, writers, directors and actors as well as investors and investment banks about the

industry. He has also served as outside counsel to a number of entertainment, media, software and

technology companies such as United Press International (U.P.I.) focusing on legal, financial, business

affairs and strategic planning in Europe, the Middle East, Eastern Europe and Asia and Science Applications

International Corporation (SAIC), one of the world leaders in technology development and systems

integration, advising them on business affairs and short and long term strategies for their growth into the

emerging technologies of the entertainment and internet markets.

Lawrence Daniels graduated from the University of California at Berkeley Summa Cum Laude and as a

member of Phi Beta Kappa. He also taught in the Political Science Department at Berkeley. Lawrence has

taught screen and teleplay writing as well over the years and is a published award winning photographer.

His graduate work, both at the University of Edinburgh in Scotland and Magdalen College, Oxford University

in England, focused on Political and Economic Theory, Jurisprudence and Public and Private International

Law. He received his Juris Doctorate from Georgetown University Law Center after which he focused his

work on entertainment law and media investment banking in New York City. After matriculation, Lawrence

worked in politics in Washington D.C. for the Office of Senator Edward M. Kennedy and the U.S. Senate

Judiciary Committee. Thereafter, he started his career in production, writing and directing while focusing

his entertainment law practice in New York City and Los Angeles.

Lawrence has served as a member of the Third Decade Council of the American Film Institute (AFI) and as a

member of the Next Generation Committee of the Motion Picture and Television Fund (MPTF). He has also

served as co-chairman of the Enrichment Council for the Samuel Goldwyn Foundation Children’s Center,

which is also part of the Motion Picture and Television Fund. Lawrence has also been an advisory member

of VIC, a non-profit trade organization whose purpose was to promote interactive and technology business

in entertainment and media. Lawrence also serves on the board of EnterArts Foundation, a non-profit Arts

Foundation focusing on children and their education and expression in the arts (an area he feels has been

greatly lacking in today’s US public school curriculum).

SCOTT JT FRANK – Executive Producer

As President of Scolaris Capital, Scott brings his creative muse, business acumen, management experience

and an abundance of passion. He has a knack for bringing the right people together on the right project and

knows how to shepherd the talent of others into a winning team effort.

Scott JT Frank is an 8-year veteran of 60 minutes as well as CBS’s West 57th Street, ABC’s 20/20 and other

international front line television news agencies where he worked with media luminaries like Mike Wallace,

Harry Reasoner and Morley Safer.

Scott is an Emmy nominated writer, the Creator and Producer of the Emmy award winning series “Picture

Windows” for Showtime Networks, and is currently prepping for pre-production on his feature “Return to

Dorado” which he is credited as writer and producer. In his earlier production years under the Frank Film

banner, he worked with such companies as CBS, American Express, IBM, Motorola, AT&T, Citicorp, Chemical

Bank, Pfizer, ESPN and Pan Am.

Scott has access to Hollywood’s entertainment core, with ongoing relationships at Sony, Warner Brothers,

Paramount and independents like The Weinstein Company and Lions Gate. Scott is adept at securing talent

through his long standing, working partnerships with numerous top flight casting directors and agents at

CAA, ICM and WME (formerly The William Morris Agency and Endeavor Agency) to name a few. Scott is

skilled at working with many different types of creative talent from many different backgrounds and art

forms from the likes of Susan Sarandon to James Taylor to Iman.

The company is currently working with Summit and Warner Brothers distribution on the 3000-theater

release of Silver Cord, a feature film production, starring Val Kilmer, Cam Gigandet, Shane West and Ving

Rhames to be released in June of 2011 to a $35 million print and advertising (P & A) campaign.

Scott earned his BFA degree in Film & Video from California Institute of the Arts (and it’s renowned

program “The Disney School”).

CASTING

SUSTAINABILITY OF CAST:

The subject matter of THE WOODPECKER WALTZ and the quality of the screenplay will attract well-known

actors who have a passion for justice. Hollywood actors have traditionally lent their talent to independent

feature films that champion the rights of the underdog. Keller Edde Entertainment recognizes that the

below desired cast is not normally achievable with the available budget. However, historically top talent in

Hollywood have been known to cast aside financial considerations and portray roles in special material in

which they have a heartfelt interest. For instance, it is widely and publicly known that Johnny Depp is a

political activist. Johnny Depp appeared on CBS Television's 48 Hours program in a special interview with

respect to his fight to free three men convicted to death row as teens for the brutal murders of three boys in

Arkansas. This does not mean that Johnny Depp will automatically accept the role when offered to play Gail

Ireland, the lawyer for Joe Arridy. However, it does mean that the subject matter of our motion picture is

one that Johnny Depp is involved in passionately.

Many actors in Hollywood feel similarly to Johnny Depp and Keller Edde Entertainment believe that they

will be successful in casting noted actors within the budget constraints.

GAIL IRELAND

Male, early 40’s. A handsome, rich lawyer. He believes in Joe’s innocence, and takes up Joe’s legal battles.

He fights for Joe’s life until the heartbreaking, bitter end. When asked why he is down on death row he

says, “Nobody cheers for Goliath, Send me giants to fight.”. He fails, but changes from a rich, silver-spoon

lawyer to a champion of the underdog. He later becomes Attorney General of the state of Colorado.

ROY BEST

Male, 50 years old. Barrel-chested, ex rodeo bullrider, now warden at Canon City prison. Face is all bulges

and sages. A man with sorrowful eyes. Rules the prison with an iron fist. He befriends Joe and gives him

toys and a toy train. Secretly supports Ireland’s cause for clemency.

JOE ARRIDY

Male, 22 years old. A mentally retarded, small, 5 foot 4 inches, thin man. He has the IQ of a five year old and

a sweet, gentle disposition. He escapes from the mental institution to find his family, but gets tangled up in

the investigation of a gruesome murder. Joe is tricked into confessing and is convicted. Many believe in his

innocence. He plays with his toy train on Death Row until the moment of his execution in the gas chamber.

JEWEL IRELAND

Female, 25 years old. Gail Ireland’s wife. A blond beauty in fur coats. Works in the Depression soup

kitchen to justify her wealthy existence. Resents Ireland’s efforts to save Joe. Society is watching her

husband’s foolish cause. She changes when she meets Joe on Death Row.

ROY MONTGOMERY

Male, 90’s and 30’s. Death Row guard. Big black man. He secretly calls Ireland when Joe is put into

lockdown. “The boy can’t play right,” he tells Ireland. Befriends Joe to the point where he questions his

own role as executioner for the State.

FRANK AGUILAR

Male, 33 years old. A dark Hispanic. He works for Riley Drain. A cold-blooded killer and ax-murderer. He

kills Dorothy Drain, He names Joe as his accomplice and takes Joe along on this death ride.

HENRY AND MARY ARRIDY

Joe’s parents who are poor Syria immigrants to America.

FATHER ALBERT SCHALLER

Male, mid 60’s. Catholic priest on Death Row. Hears Frank’s death confession, but remains silent on the

matter. In the Catholic manner of last rites procedure for a child, he has Joe pray along with him, word by

painful word.

FRED AND CLAIRE

Husband and Wife farmers who give Joe shelter for a few days on his journey to find his parents.

PRODUCTION PLAN

The production process and distribution of the completed production are the two primary phases. Production

has four distinct industry-standard phases:

Development

Pre-Production

Production

Post-Production

DEVELOPMENT

In this first phase, a basic story outline is transformed into a detailed screenplay that fully describes the

characters, situations, and cinematic styling. With that in-hand, the producers then select a director and obtain

commitments from star actors in order to construct what is known as the film’s “package” — a presentation

document that also includes a shooting schedule, preliminary budget, and whatever else is deemed

necessary to obtain support for the vision in order to advance to pre-production.

PRE-PRODUCTION

The preliminary budget is refined into a detailed budget breakdown. The production crew is selected and

secured. The size of the crew is directly proportionate to the size of the budget, varying from as small as a dozen

to hundreds of individuals. There is a special expertise in sizing the crew appropriately to the goals and

ambitiousness of the project while adhering to the realities imposed by the budget.

PRODUCTION

This phase, known as “principal photography,” is the point where the movie is actually shot. Between shots, the

crew prepares equipment, actors rehearse their lines, and the director discusses scenes with both actors and

crew. When shooting is completed, it is traditional to have a “wrap party” since most crew members will have

completed their work at the end of this phase and have no role beyond it.

POST-PRODUCTION

This final phase is the culmination of all the work that preceded it, where all the creative forces come

together through the magic of movie making. This is the point where all the best elements that were

captured or created in the prior phases are combined and refined into what the public will ultimately see,

the motion picture that will grace the silver screen.

Editors digitally splice footage together into a coherent storyline as per the script. Visual effects artists add

animation and computer-generated imagery. Sound engineers add sound effects and vocal recordings.

Music teams add music to drive the dramatic or comedic aspects of every scene. The finished product is

called the “final master.” It will be the source material from which all copies of the movie, in its various

formats, will be generated.

THE DISTRIBUTION PLAN

Once the PRODUCTION process is over, a film generates revenues by capitalizing on the intellectual property

rights of the production by means of DISTRIBUTION. Whereas the budget for the production is predetermined

and generally an upfront expenditure, the returns generated through distribution efforts are essentially

unlimited — potentially lasting many years to follow.

There is a special expertise in extracting the highest returns and maximizing the film’s value in the worldwide

marketplace. The three key parameters used to drive that value are:

1. Windows

2. License Terms

3. Runs

WINDOWS

A window refers to a period of time during which a film’s intellectual property rights are available to be

exploited in a given channel of outlet. In a standard motion picture release plan, each window is exploited in a

specific order, generally with those that offer the highest anticipated revenues going first.

Some studios have used so-called “Alternative Release” schedules that deploy in a different order, which has

shown effective in certain cases. The standard domestic distribution windows and flow of revenue is usually

based on the following schedule of release. International distribution usually has a similar flow of releases:

THEATRICAL

The first and foremost market for motion pictures is the release in movie theatres and multiplexes worldwide.

AIRLANES/ HOTELS/ CRUISE SHIPS

Between 30 to 60 days after theatrical release, for viewing on specialized travel and tourism in-flight/in-room

entertainment networks.

HOME VIDEO/ BLU-RAY/ DVD

Between 90 days and 6 months following theatrical release, on physical media for sale or rental to consumers for

private viewing.

VOD/ PAY-PER-VIEW/ ELECTRONIC SELL-THRU

Between 30 and 90 days following release to home video, the movie can be exploited on subscription based

networks and over cable systems for a fee on a per-viewing basis.

PAY CABLE & SATELLITE

Between 90 days and 6 months after VOD release, the film can be exploited as part of a paid subscription to

pay TV channels like HBO, Showtime, and CINEMAX broadcasted through closed cable television systems and

digital satellite.

BASIC CABLE & SATELLITE

Between 6 to 12 months after the Pay Cable & Satellite window, the film can then be exploited on channels

such as USA Network, TNT, SyFy (formerly SciFi), SPIKE, and others that are part of the same service providers’

basic lineup.

NETWORK TELEVISION

Between 6 to 12 months after the Basic Cable & Satellite window, the film can then be exploited on a major

terrestrial television network such as NBC, CBS, or FOX for one or more broadcasts.

SYNDICATED TELEVISION

Within 24 months after Network Television release, the film can be exploited into syndication on a market-by-

market basis to individual television stations and affiliates throughout the country for a specific number of

broadcasts of the motion picture over a period of time.

INTERNET

The web, social networks, virtual worlds, and handheld devices capable of downloading, streaming, and

displaying high quality video converge to open up new revenue model possibilities.

ANCILLARIES

The right to distribute the music and soundtrack from the motion picture both in physical and digital form is an

ancillary window as is the right to manufacture and sell commercial items derived from elements of the

motion pictures like t-shirts, toys, and tie-in Promotional goods.

LICENSED TERM

This is the defined span of actual time within the limitations of a given rights window that a distributor, sub-

distributor, exhibitor, or other licensee is authorized and permitted to exploit the intellectual property rights of

the film. Modulating the licensed term is an extremely effective means of maximizing the revenue of the

entertainment property both initially and even more so over time.

The key is to induce buyers into licensing and re-licensing the same window on the same property multiple

times. Such cycles of licensing and re-licensing last an average of 7 to 10 years; sometimes lasting longer based

on a number of deal enhancements like upfront fees, commitments to multiple windows at once, and so on. Put

simply, our aim is to make as much money on the property for as long a period of time as possible.

RUNS

A “run” refers to the continuous exhibition of a motion picture in a defined geographic area for a specified

period of time. The so-called “first run” is the first exhibition in that area, the “second run” is the next

subsequent, and so on. “Runs” refers to how many times the film is exhibited in a specific territory during which

the rights window and licensed term allow it. “Airings” is the equivalent term used when referring to television

rights.

Risk Analysis

RISK-RATIO RESULT

Even though Keller Edde Entertainment will face the standard business risks associated with the entertainment

industry, the possibility that the motion picture will be successful outweighs these risks.

IMPLEMENTATION FEASIBILITY

Although Keller Edde Entertainment believes that they have identified a feasible opportunity, the entertainment

industry is increasingly crowded and competitive. The following SWOT analysis was created to evaluate The

Woodpecker Waltz’s implementation feasibility.

STRENGTHS

Based on a true story

Successful production company

WEAKNESSES

Awareness of story

Tragic ending

OPPORTUNITY

Distribution opportunities

Rising demand and increasing popularity for new original films

Original film.

THREATS

Movie industry is crowded – large media companies dominate the film marketplace

Retailers and Promotional Partners are risk adverse prefer to focus on mega well-know licensing brands

Subject matter is Hot…Need to act now.

Changes in the economy which may impact consumer spending patterns on entertainment

CONCLUSION

Theatrical movies are the heart and soul of the entertainment industry and they are thriving in 2011. With

THE WOODPECKER WALTZ, Keller Edde Entertainment is poised to deliver a classic award winning motion

picture which will be enjoyed by audiences throughout the world for years to come.

Governor Bill Ritter, Jr. as his last act in office issued the first ever posthumous pardon in the history of the

State of Colorado for young Joe Arridy! What a great gift for the motion picture to be able to add that

statement as the concluding visual for the film!!