INVESTOR PRESENTATION

OVERVIEW:

INVESTING IN MY FILM WILL CREATE A LEGACY LIKE NO OTHER

OPPORTUNITY YOU HAVE. THERE IS NO OTHER INDUSTRY LIKE THE FILM
INDUSTRY. JUST IN 2014, IT GENERATED OVER $31BILLION IN GROSS REVENUES.

IT FOLLOWS THEN, THAT REVENUES FROM FILMS STILL REMAIN

RELATIVELY IMMUNE TO ECONOMIC DOWNTURNS. ALSO, THE FILM INDUSTRY
IS IMPERVIOUS TO ISSUES OF LANGUAGE SINCE FILMS ARE EASILY TRANSLATED
INTO HUNDREDS OF LANGUAGES. FINALLY, A FILM CAN BE HISTORICALLY
PRESERVED THEREBY SERVING AS A TESTAMENTARY WORK OF ART THAT CAN
CONTINUE TO PRODUCE REVENUE GENERATIONALLY.

INVESTMENT IN MY FILM, TRIALS BY DEADLY FIRE, IS A PROFITABLE

OPPORTUNITY, EVEN AS AN INDEPENDENT FILM PRODUCED ON A MICRO-
BUDGET OF $3.4MILLION.

IT IS WELL DOCUMENTED THAT EVEN A MOVIE BUDGET OF $3.4MILLION,

OR LESS, CAN BRING TREMENDOUS RETURNS. BY WAY OF EXAMPLE, THE BLAIR
WITCH PROJECT WAS MADE FOR $35,000 YET GROSSED MORE THAN $200MILLION
AT THE BOX OFFICE. THE ABOVE NUMBERS DO NOT INCLUDE SALES FROM
DVDS AND/OR TV.

RISK / REWARD

OVER THE LAST 20 YEARS (1995 TO 2015), FILMS HAVE BEEN SHOWN TO BE
RECESSION PROOF, INFLATION PROOF, AND FULL OF STAMINA. WHAT WAS
EXPERIENCED BY RESISTANCE TO THE ECONOMIC CRISIS THAT BEGAN IN 2008
UP THROUGH THE PRESENT TIME OF SLOW RECOVERY ALSO POINTS TO THE
MARKETABILITY OF FILMS.

RISK REGARDING MY FILM IS DEEMED MANAGEABLE BECAUSE THERE IS

NO UPSIDE LIMITATION, YET THE DOWNSIDE IS A KNOWN. IT IS TRUE THAT
INVESTMENT IN ANY FILM HAS HIGH RISKS, HOWEVER, BECAUSE THE MARKET
FOR FILMS WORLDWIDE REMAINS STRONG, CALCULATING THE WORST CASE
SCENARIO FOR MY FILM WILL, STATISTICALLY SPEAKING, SUSTAIN AT LEAST
THE PROBABILITY TO COVER THE COSTS OF MAKING THE FILM. CONSIDER FOR
EXAMPLE THE INDUSTRY OF MANUFACTURING THAT REQUIRES SIGNIFICANT
CAPITAL OUTLAY TO PRODUCE AN END PRODUCT THAT HAS A MEASURED
SHELF LIFE, EXPENDS R&D COSTS CONTINUOUSLY FOR UPDATES, REQUIRES
MAINTENANCE, AND HAS A LIMITED FUNCTION. COMPARE THIS TO THE CAPITAL
REQUIREMENTS TO FUND A PRODUCT LIKE FILM WHICH USES THE LEAST
AMOUNT OF CAPITAL INFUSION TO OBTAIN THE MOST SUBSTANTIAL RATE OF
RETURN WITH NO DEFINED LIFE CYCLE, UNLIMITED FUNCTION, NO SHELF LIFE,
AND CAN BE STORED FOR USE INDEFINITELY. THIS SUPPORTS INVESTMENT
LONGEVITY.

ANOTHER EXAMPLE OF UPSIDE POTENTIAL IS MY BIG FAT GREEK

WEDDING WHICH WAS PRODUCED FOR AROUND $1.5MILLION. IT WAS DONE AS
AN INDEPENDENT FILM BECAUSE IT WAS TURNED DOWN BY ALL OF THE MAJOR
STUDIOS FOR FINANCING. TODATE, THIS MOVIE HAS GENERATED OVER
$360MILLION IN GROSS REVENUES.

COMPARISON

HISTORICALLY, INVESTING IN REAL ESTATE VALUES HAS BEEN

RECOGNIZED AS SUPERBLY SOUND AND LUCRATIVE, IN THE SENSE OF ITS
INDESTRUCTIBILITY AND PERMANENCY. YET, IT IS NOT REPLENISHABLE, AND,
WHEN THE REAL ESTATE MARKET GETS STAGNANT, LIKE IT HAS RECENTLY,
THE RATE OF RETURN IS MUTED AND POSSIBLY REVERSED. WE RECOGNIZE
THAT THE ASSET’S REVENUE LIFESPAN IS LONG, HOWEVER, DIGGING AND
PLACING YOUR MONEY IN THE GROUND IS NOT THE ONLY ALTERNATIVE WHEN
WANTING TO GENERATE LONG-TERM REVENUES.

SIMULARLY, INVESTMENTS IN THE SECURITIES MARKETS (STOCK

MARKET) GIVES A CARTWHEELING SENSE OF DIRECTION TO YOUR
INVESTMENTS. ONE DAY UP, THE NEXT DOWN, THE NEXT FLAT, AND THE NEXT
PANIC WHICH TRANSLATES INTO: SELL, SELL, SELL. APPROXIMATELY 6 TO 7
YEARS AGO, THE MARKET DROPPED OVER 700 POINTS AND CAUSED SERIOUS
FINANCIAL HARM TO THE SECURITIES MARKETS WHICH EVEN TO THIS DAY
CONTINUES. THIS TYPE OF VOLATILITY DOES NOT ENGENDER FAITH IN THE
OUTCOMES FOR FINANCIAL INSTRUMENTS. MOVIES, CONVERSELY, OVER THE
SPAN OF THE LAST 20 YEARS CONTINUED TO DRAW LARGER GROUPS OF FANS
TIME AND AGAIN.

MY FILM OFFERS A RETURN TO THE FUNDAMENTALS OF POPULAR THEME

PRODUCTIONS. ASIDE FROM THE OBVIOUS REVENUE GENERATION FOR THE
INVESTOR(S), MY FILM WILL PROVIDE THE CONSUMER WITH SOMETHING THEY
CONSTANTLY SEEK: AN ADVENTURE, AN OUTLET FOR VISUALIZING THEIR
FANTASIES, I. E., BEING HEROES TO SOMEONE AND VANQUISHING EVIL IN ANY
FORM. FANS WANT TO ASSIMILATE A CONCEPT, TO LAUGH OR CRY WITH A
CHARACTER, AND PERHAPS TO FALL IN LOVE WITH ONE. THE PUBLIC IN
GENERAL WANTS ENTERTAINMENT THAT FULFILLS THEM. MY FILM WILL
DELIVER ON THE OPPORTUNITY FOR CAPTURING AN EXTENDED LIFESPAN
REVENUE CYCLE.

KEYS

THE KEYS TO COMPLETING A PRODUCT LIKE THIS ONE AND OBTAINING

OUTSTANDING RETURNS ARE THE FOLLOWING: (1) A GOOD STORY; (2) THE
TALENT ATTACHED TO THE FILM; AND (3) THE PRODUCTION TEAM’S ABILITY TO
PRODUCE A COMMERCIALLY AND VISUALLY APPEALLING FILM.

MY FILM ENCOMPASSES THE ABOVE 3 KEYS, BUT, IN ADDITION PROVIDES

A NEW EXPERIENCE FOR OUR FAN BASE WHO ENCOUNTER LIFE EVENTS ON A
DAILY BASIS THAT PRODUCE VERY REAL IMPACT AS TO THEIR
CIRCUMSTANCES.

AMONGST THESE CIRCUMSTANCES ARE:

 LAW ENFORCEMENT IS BEING OVERWHELMED WITH PERSONAL ATTACKS

ON OFFICERS, EXCESSIVE ABUSE OF POWER, AND PESONAL HATRED
 SCHOOLS ARE NOT CONSIDERED SAFE FOR OUR CHILDREN
 SEXUAL ASSAULT ON EVERYONE IS ON THE RISE
 AUTHORITY FIGURES USE THEIR POSITION TO GAIN ILLICIT CONTROL
OVER THE PUBLIC

AS SUCH, TICKET SALES REFLECT THAT THE PUBLIC TIRES OF THESE

OVER-THE-TOP REPRESENTATIONS ON FILM, VIZ-A-VIE, MOVIES THAT CATER TO
THE DARK SIDE OF THE HUMAN CONDITION WITHOUT A THOUGHT TO THE
CONSEQUENCES. VIOLENCE, LAWLESSNESS, AND SARCASTIC DEPICTIONS OF
FAMILY VALUES ARE NOT NOW, NOR HAVE THESE EVER BEEN A VIRTUE.
RESORTING TO GROTESQUE BEHAVIOR TO SERVE UP REVENGE IS NOT A
BEAMING CHARACER TRAIT FOR ANYONE.

MY FILM PORTRAYS VERY HUMAN FRAILTIES FRAUGHT WITH

DIFFICULTIES THAT ARE OVERCOME THROUGH FAITH IN GOD, A DESIRE TO
REMAIN TRUE TO ONESELF, AND ACCEPTANCE.

THE PUBLIC WANTS TO VIEW A FILM WHEREIN THEY CAN ASCERTAIN

AND IDENTIFY THE DIFFERENCE BETWEEN HIGHER MORALS ENTERTAINMENT
VERSUS ENCOURAGEMENT TO, FOR EXAMPLE, TAKE THE LAW INTO THEIR OWN
HANDS. THERE IS A TIME AND A PLACE FOR EVERYTHING, BUT FAMILY FUN
FILMS HAVE ALWAYS BEEN, ARE, AND ALWAYS WILL BE HIGHLY
ENTERTAINING, PRODUCE GREAT BOX OFFICE REVENUE, AND AREN’T LACKING
VENUES.

CASE IN POINT FOR 2014: OF THE TOP 9 GROSSING FILMS, 6 WERE FAITH-
BASED, GOD-THEMED STORIES. THESE 6 COLLECTIVLEY PRODUCED MORE THAN
$420MILLION IN REVENUE. THIS IS AN AVERAGE OF $70MILLION PER MOVIE,
EACH MOVIE, IN JUST ONE YEAR. TOGETHER THESE FILMS EARNED MORE THAN
$1.9MILLION EVERY SINGLE DAY OF THE YEAR, NO EXCEPTIONS. WITH
RESOUNDING CLARITY, THE YEAR 2014 WAS TAGGED AS THE YEAR OF “JESUS”.
FOR THE YEAR 2015, THERE IS PROJECTED A 20% GROWTH INTERNALLY, AND
POSSIBLY BIGGER WORLDWIDE PROFITS FOR ALL FILMS.
 CONSIDER HOW THE MOVIES HOME ALONE AND HOME ALONE 2 WERE
DISGUISED AS THE CRAZY ADVENTURES OF AN PRE-ADOLESCENT BUT TRULY
REVOLVED AROUND THE CONCEPT THAT FAMILY AND TOGETHERNESS IS
VITALLY IMPORTANT TO EVERYONE. THESE MOVIES CAN’T BE CONSIDERED
OUTDATED VERSUS TODAY’S HIGH-TECH AGENDA PRODUCTIONS. THE REASON
IS BECAUSE EVERY HOLIDAY HUNDREDS OF THOUSANDS OF FANS PAY TO SIT
AND WATCH THESE MOVIES ON DVD, NETFLIX, OR CABLE, INCLUDING REGULAR
TV. THIS IS NOT A PHENOMENA PARTICULAR TO THOSE MOVIES, IT IS THE
PHENOMENA OF WHAT THE PUBLIC ENJOYS MOST: FAMILY MEMORABILITY.
HOWEVER, MORE THAN THIS, THE PUBLIC PHENOMENA OF ATTACHMENT TO A
MOVIE CENTERS ON THE KNOWN VARIABLE WHICH IS THE PUBLIC’S STRONG
SET OF BELIEFS IN FAMILY.

RELIGIOUS, OR GOD-THEMED FILMS CONSISTENTLY EARN MORE MONEY

EVERY YEAR. IN 2013, FOX NEWS REPORTED THAT FOR THE FIRST TIME EVER,
AT LEAST FOUR OF THE TOP 10 GROSSING MOVIES, DOMESTIC AND
INTERNATIONAL, HAD A FAMILY ORIENTED THEME. THEREAFTER IN 2014,
MOVIEGUIDE, A CHRISTIAN ADVOCACY GROUP, PUBLISHED A STUDY THAT
FOUND THAT IN THE TOP 25 CATEGORIES OF BEST SELLING MOVIES, FAITH-
BASED FILMS, OR FAMILY-FRIENDLY FILMS, AVERAGED $87MILLION AT THE
BOX OFFICE, WHILE NON-CHRISTIAN THEMED FILMS AVERAGED $21.6MILLION.

FILLING A VOID:

JOE BOYD, FOUNDER AND PRESIDENT OF REBEL PILGRIM PRODUCTIONS

SAYS FAITH-BASED FILMS ARE THE HOT TICKET BECAUSE, “…IT’S AS SIMPLE AS
GIVING THE PEOPLE WHAT THEY WANT”. IN GENERAL, AMERICANS WANT
POSITIVE FAMILY VALUES PORTRAYED IN FILMS.

PEOPLE HAVE A HUNGER FOR WHAT IS REPRESENTED BY GOD AND

DWELL ON THE FULLFILMENT THEY ANTICIPATE THEY WILL RECEIVE WHEN
THEY BUY TICKETS TO VIEW FAITH-BASED FILMS. SOME IN THE GENERAL
PUBLIC CRY OUT FOR HELP AND HOPE, SAYS TODD BURP, AUTHOR OF THE NO. 1
NEW YORK TIMES BEST SELLER, HEAVEN IS FOR REAL. THIS MOVIE HAS HAD
PHENOMENAL SUCCESS AT THE BOX OFFICE.

CONCLUSION:

WHETHER THE C.E.O. OF A MAJOR CORPORATION, OR A MINIMUM WAGE

EARNER, AT THE END OF THE WEEK EVERYONE WANTS TO RELAX AND
RECHARGE. YOU WANT TO FIGURATIVELY FLY OR TRAVEL TO FAR AWAY
CITIES, OR TO SUPERSEDE AN ADVERSARY. YOU WANT TO STEEL YOURSELF
AGAINST HORROR ON THE SCREEN. YOU WANT TO SEE A MOVIE THAT RENEWS
YOUR FAITH IN YOURSELF AND HOW YOU LIVE YOUR LIFE IN THE FACE OF
TERRIBLE EVENTS AROUND THE GLOBE. YOU WANT TO SEE GOD’S LOVE FOR
HUMANITY TRIUMPH OVER SATAN BECAUSE THIS IS A RELEVANT THEME
WORLDWIDE.

NOTHING STANDS OUT MORE, OR HAS MORE IMPACT THAN WATCHING A

FILM THAT GIVES YOU THIS FEELING OF PERSONAL, SPIRITUAL, AND MORAL
SATISFACTION OF HAVING CONQUERED OVER EVIL.

THANK YOU VERY MUCH FOR YOUR TIME.

CHRISTOPHER RAYMOND

REFERENCES :
www.the‐number.com/market ;
http://www.theguardian.com/film/2011/jun/14/us‐film‐industry‐growth‐forecast ;
http://www.homemediamagazine.com/studios/faith‐based‐content‐rise‐33079
 TRIALS BY DEADLY FIRE, LLC

DEVELOPMENT MONEY EXECUTIVE SUMMARY

“TRIALS BY DEADLY FIRE”

A THEATRICAL-LENGTH MOTION PICTURE

Christopher Raymond
Author: TRIALS BY DEADLY FIRE
12223 Veterans Memorial Drive
Houston, TX 77067
(832) 763-7872
christopherraymond8@gmail.com
www.christopherraymondproducer.com
 THIS IS NOT A PROSPECTUS

CONFIDENTIAL

THIS INFORMATION DOES NOT AND CANNOT CONSTITUTE AN

OFFER TO SELL ANY SECURITIES. THIS SUMMARY IS NOT AN
OFFER TO SELL, NOR A SOLLICATION OF AN OFFER TO BUY, ANY
SECURITIES TO ANY PERSON IN ANY JURISDICTION IN WHICH
SUCH AN OFFER WOULD NOT BE IN COMPLIANCE WITH THE
SECURITIES OR BLUE SKY LAWS OF SUCH JURISDICTION. ANY
OFFER TO SELL ANY OF SUCH SECURITIES CAN ONLY BE MADE BY
A PRIVATE PLACEMENT MEMORANDUM IN ACCORDANCE WITH
APPLICABLE STATE AND FEDERAL SECURITIES LAWS.

IT IS FOR INFORMATION PURPOSES ONLY

FUNDING SUMMARY

This document is confidential, and the information contained herein is provided by the
organizers of a soon-to-formed limited liability company to be named TRIALS BY DEADLY
FIRE, LLC (“Company”), solely regarding the project film TRIALS BY DEADLY FIRE, a
theatrical-length motion picture.

The contents of this document are proprietary to the proposed Company and are intended
only for the persons to whom it is transmitted. By accepting this document, the recipient agrees
to maintain confidentiality and not reproduce or divulge any of its contents without the prior
written consent of Christopher Raymond and Norman L. Chapa, or the proposed Company.

Recipients of this film proposal are not to infer, depend, or construe the contents of the
document as investment, legal, or tax advice from either the preparers of this document, or the
Company. Each recipient of this film proposal specifically understands and agrees that any
estimates, projections, revenue models, forecasts or assumptions are by definition uncertain.

This film proposal contains forward-looking statements and is subject to risks,

uncertainties, and assumptions. The Company’s actual operations and results thereof may differ
materially from the forward-looking statements.

Market data and certain industry forecasts used throughout this film proposal were
obtained from a variety of resources, including market research, publicly available information
and industry publications. Industry publications generally state that the information contained
therein has been obtained from sources believed to be reliable, but that the accuracy and
completeness of such information is not guaranteed. Similarly, internal surveys, industry
forecasts and market research, while believed to be reliable, have not been independently
verified by the proposed Company, and no representations as to the accuracy of such information
is being made.

Any use of a movie title and/or commercial products in these materials is for
informational purposes and illustrative purposes only and without the permission of the owners
and/or rights holders of the movies or the commercial products. Use of the movie titles and
commercial products is not meant to suggest any endorsement, sponsorship or approval by the
owners and/or rights holders. This film proposal contains projections of future financial
performance. Such projections are based on numerous estimates and other assumptions about
future events and circumstances, many of which will not be within the control of our proposed
Company and its management. The Company’s management believes that such estimates and
other assumptions are reasonable under the circumstances, but no representation, warranty or
other assurance is given that such projections will be realized. There may be variances between
such projections and actual events and results of such variations may be material. Unless
otherwise indicated, this film proposal speaks as of the date hereof. Delivery of this film
proposal shall not create any implication that there has been no change in the affairs of the
proposed Company after it is formed.
THE PRODUCTION

The Company intends to produce a high-quality, independently-financed, feature-length

motion picture suitable for theatrical distribution (the “Picture”). The anticipated production
budget for the Picture is expected to be approximately $3 million to $3.5 million, depending on
final filming locations, actors, director and other talent, and final filming locations.

DEVELOPMENT ACTIVITIES

The Picture is currently at the development start-up phase. The Company will use the
development funds for usual and customary development expenses and intends to continue its
development activities of the Picture immediately upon receipt of development monies. During
development, use of funds will include, but not be limited to, engaging a screenwriter to revise
the script, prepare the script breakdown, and prepare the final budget and necessary legal
documents for obtaining of production financing for the Picture, determining talent to appear in,
or others to render services for the Picture, location scouting, research, travel, and, for
accounting and other legal fees, along with engaging other personnel and other activities
necessary to obtain financing to produce the Picture.

DEVELOPMENT FUNDING

The development funding will be used to develop the Picture to enable the Company to
secure funding for the full production of the Picture from private investors, and/or from other
companies.

The Company is seeking, through a development funding agreement, or an equity /

financial investment, the amount of $136,000 to develop the Picture. Contributions are payable
in cash at the point in time Investor’s make their commitment. In return, investors shall receive
100% return of their initial funding of $136,000 plus twenty (20%) percent of their monetary
contribution (i.e., a total of $136,000 + $27,200 = $163,200) when the development phase ends.
It is anticipated that the development phase will be not less than 90 days. This money shall be
paid out of the production funding obtained for the Picture, when and if the Company receives its
total production funding.

OPTION: DEVELOPMENT AND PRODUCTION FUNDING

If investors choose to participate in funding the film’s development phase and the
production and post-production phase for a total of $3.4 million, such investors would receive a
portion of the Company’s share of net profits, resulting from the exploitation of the Picture in all
media, world-wide, and forever, based upon a negotiated split.

By way of example, in the event the investors fund the full $3.4 million film’s budget, the
investors would first receive back a 20% return on the investors’ financing of the development
phase of $136,000, then the remaining balance by way of the film’s net revenues, as accounted
and expensed, and finally, also receive a negotiated split with the Company on all other net
distributable profits thereafter.
LEGAL ADVISOR

The Company’s Managing Members intend to hire entertainment attorney Austin Hill, ATXHill
Management, as its legal advisor. 
 APPENDIX B 
   TRIALS BY DEADLY FIRE  
PROPOSAL SNYOPSIS 
PRODUCTION EXECUTIVES  
 
Screenplay, Writer, Executive Producer, Script, Proposal Consultant,  Legal, etc… $336,000

Mitch Robbins, Director, pre‐production, development
216,543
Continuity treatment, re‐writes, production staff 

Cast, rights, music, other talent, taxes (fringes) 912,139

ABOVE THE LINE EXPENSES  1,464,682

Production full operations, set design, other staff, etc. 324,700

Set design, etc…  122,072

Cameras, set operations  78,875

Visual effects, etc…  525,000

Post production sound  47,420

Transportation studio  14,404

Location expenses  126,260

Studio, production/post‐production office rental 36,040

Test and retakes 7,134

Publicity, marketing, distribution 5,000

Miscellaneous  3,000

 Other professional services, accounting 40,500

Insurance  140,416

General overhead  20,306

Meals, etc….  64,300

BELOW THE LINE  EXPENSES  1,555,427

SUBTOTAL (pre‐contingency)  3,020,109

10% contingency       302,010

Total Budget    $3,322,120
 TRIALS BY DEADLY FIRE

A THEATRICAL-LENGTH MOTION PICTURE

WRITTEN BY
CHRISTOPHER RAYMOND AND MARSHALL D. ROSS

Christopher Raymond - WGAe

12223 Veterans Memorial Drive
Houston, TX 77067
(832) 763-7872
christopherraymond8@gmail.com

Copyright © 2015
All Rights Reserved
Norman L. Chapa Christopher Raymond
 
TABLE OF CONTENTS

II. EXECUTIVE SUMMARY ……………………………………… 3

 THE FILM ........................................................... 3
 SYNOPSIS ……………………………………… 3
 THE PRODUCTION TEAM …....................................................... 5
 THE MANAGEMENT OF PROPOSED COMPANY................................ 6
 THE COMPANY ……………………………………… 6
III. MARKETING FOR DISTRIBUTION SPECIFIC TO PRODUCT ………. 7

 SECURING DISTRIBUTION ……………………………………… 7

IV. BUDGET CONSIDERATIONS ……………………….……… 8

V. THE PRODUCTION PROCESS ……………….……………… 9

 INVESTMENT / FINANCING OPTIONS................................................... 9
 SPECIFIC OPPORTUNITIES WITH TRIALS BY DEADLY FIRE ……… 10

 VI. RISK MITIGATION ……………………….……… 11

 INVESTOR OPPORTUNITY & FINANCIAL HIGHLIGHTS………. 11

VI. COMPARABLES (GENRE) ……………………….…………….. 11

VII. PERSPECTIVE FOR DIRECTOR/EXECUTIVE PRODUCER …………….. 12

VIII. GOALS OF PROPOSED COMPANY ………………….………….. 13

IX. KEYS TO SUCCESSFUL FILM ……………………………… 13

APPENDICES

A. SCRIPT
B. TOP SHEET
C. BUDGET BREAKDOWN (ATL / BTL)
D. FINANCIAL PROJECTIONS

2 | P a g e  
 
II. EXECUTIVE SUMMARY
TRIALS BY DEADLY FIRE, LLC will be formed as a limited liability company. Its
office will be located in Houston, Texas. It will be formed to own, finance, produce, distribute,
and exploit a film for production into a theatrical-length feature film. The projected film is a
faith-based, but also in the horror genre, conservative and cautious film both in content and
budget.

The Company seeks development funds of $136,000, which is 4% of $3,400,000, the

total capital budget for this film project. The development funds are to secure services from,
amongst others: executives, legal, director, production crew, actors, and other talent.

THE FILM

It begins with a well-established, and successful, self-made couple appreciative of God’s

favor upon them. The husband is a real estate entrepreneur and his wife is in interior design.
They become the targets of the ultimate evil stalking them, Satan, because of their love and
adoration of God. Satan employs temptations designed to cause them to question their faith and
doubt their beliefs after humanly tragedies confront them which can easily corrupt and destroy
their minds, bodies, and spirit. Their roots grounded in their belief in God are shattered by this
tremendous personal tragedy. Only the strongest will survive this initial test of their faith but
only with a tenacious grasp on all things good, an unshakeable belief, and a firm reverence to
God.

It is a true test of faith in core beliefs that demands the ultimate sacrifice to show that
God is at the heart of their infinite love for Him.

SYNOPSIS

   We open with a scene in a church that sets the tone for the developing battle and ultimate
confrontation between the leading characters. JAMES ROBERTS speaks with a pastor and
recounts his blessings and his gratitude to God for them. He and ASHLEY ROBERTS have two
children, ERIC and TERESA. They have high financial success, and maintain a strong faith with
reverent respect for the blessings they have received. James’ blessings are shared with those
around him. Ashley loves James beyond measure. Her own business thrives. The initial scenes
indicate the depth of James’ roots in his beliefs that what he has accomplished in life is due to
God’s favor upon him and his humble appreciation for it, yet he feels that his work in this regard
is not enough. At this point, we also learn that James is going to be feted with a well-deserved
award for business and humanitarianism. Meanwhile, God speaks to Satan as to James’ devotion
and constant appreciation for the blessings bestowed. Satan detests James’ adoration of God and
denounces him as to whether James’ loyalty to God would persevere should his humanly
successes be not so abundant or lost. Satan obtains God’s authority to test James; however, he is
not permitted to visit person harm on James.

3 | P a g e  
 
In a most horrible event of personal tragedy, the family’s children and nanny are killed in
a vehicular accident literally before their eyes. James and Ashley are distraught to the point of no
reason. Ashley’s conversion away from God begins almost immediately. Her core beliefs are
torn apart. She believes God has abandoned them and shows her weakness in this. James’ beliefs
are strong and he continues to speak about his blessings and the fact that he and Ashley must
move on to the next level of their existence. Ashley screams at James to see the truth of the
matter and accept that God has abandoned them. She abhors James’ reading of passages from
the Bible. At this point, James seems to buckle under this onslaught. He shows weakness in his
faith. But, somehow he manages to remain true to his belief that a heavenly reason and divine
presence permeates throughout their trials and tribulations. We see that James’ businesses begin
to fail around him. Ashley loses interest in their marriage. She meets a member of James’ office
personnel, MARK SMITH, and they strike up a friendship that sends her spiraling into an affair,
despite her matrimony to James. This is a pivotal point as Ashley’s personal values, financial
stability, and belief in the sanctity of her marriage disintegrate. Then, on a terrible and eventful
day a random bombing attack on the building James’ firm occupies occurs. His business is
fatally destroyed. He is saved from personal destruction but many lives around him are lost.
James manages to save others, including his personal assistant, OLIVIA JOHNSON, who
secretly loves him but will not voice it out of respect for James as a married man.

Meanwhile, Satan’s many attempts to turn James away from God make him furious that
James remains steadfast regardless that he is suffering tremendously. God has chosen to further
grant Satan authority to destroy James’ life materially on earth. Yet, James suffers his one and
only unsustainable feelings of abandonment and sense of self-pity. James doubts his worthiness
in the eyes of the Lord and questions God’s plans. He goes through outrageous attacks from
Satan, manifested in human form. He is confounded by what could be happening. However, he
finds new strength and comfort in the warmth and loving tenderness of Olivia who has finally
openly declared her emotions for James but refuses to proceed because James is still married.
James confesses to her that Ashley is with someone else. After recovering from that near fatal
random attack, James finds he must protect himself and Olivia from Satan who manifests
physically and tries to finally destroy James and Olivia. It's clear that Satan cannot overcome
James’ faith in God and so he resorts to violent attacks on James’ person. In a vividly climatic
scene God rescues James and Olivia from Satan. James receives God’s favor for his undying
devotion and love.

Meanwhile, Ashley’s life has degenerated to a complete loss of her self-esteem. She has
lost her business and self-respect. Mark is no more than one of Satan’s demons who has worked
at destroying her morally, financially, and spiritually. She has succumbed. She files for
bankruptcy. Her divorce from James has propelled her towards ruination. She misses James and
now recognizes her turning away from God was a terrible decision to make.

4 | P a g e  
 
James and Olivia begin life anew. They marry and have children. His business once again
begins to thrive. James has triumphed over evil because he refused to allow worldly material
things to fill a void reserved for God.

In the final scene to FADE OUT, it is Ashley, panhandling on the streets, homeless,
destitute and alone that sends a powerful and heartfelt message that God does not abandon
anyone but that those who choose not to believe will fall into despair and darkness.

THE PRODUCTION TEAM

SCREENPLAY-WRITER
Christopher Raymond is the author of the screenplay TRIALS BY DEADLY FIRE. He has
written other stories that are still in various stages of development. He is also one of two
Managing Members of the proposed company TRIALS BY DEADLY FIRE, LLC. He has
studied film, production, and writing in Pennsylvania at the famous Sun Center Studios. He has
extensive background in pre-production, production, and post-production responsibilities. He
also has extensive industry relationships across the USA with production studios, facilities, and
has forged other vital partnerships with distributors in the industry.

EXECUTIVE PRODUCER
In addition, Christopher Raymond, who is author of the screenplay TRIALS BY DEADLY
FIRE, will take on the role of Executive Producer of the film. Because Christopher Raymond has
extensive background in pre-production, production, and post-production responsibilities he can
leverage his extensive industry relationships across the USA to obtain the best rates, alliances
and partnerships to create a focused synergy capable of producing a first rate full length feature
film.

DIRECTOR / PRODUCER
Mitch Robbins is the film’s director. He owns Topsecret Productions. He is a producer,
director, writer, editor, graphics artist, animator, digital effects artist, 1st AD, visual effects
supervisor, and special effects supervisor.

He has been involved in all aspects of video, television, and motion picture production
for over 15 years. He has written, developed, produced, directed, and served in various other
capacities in the production of many feature film and television projects. His eight years as
producer, director, graphics artist, and chief editor for Daystar Television has given him the
skills needed to provide quality production services that meet the independent filmmaker's goals,
deadline, and budget. He understands script writing, coverage, film budgeting, producer
services, director services, editing and post production, visual effects, or any combination. Mitch
Robbins is capable of bringing together the best team and the right equipment to do the job. He
has worked with many different production requirements.

CO-PRODUCER
Chad Gundersen is the film’s co-producer. He has been a producer for more than 15
years. He has produced award-winning feature films like: Midnight Clear, The Secrets of
Jonathan Sperry, Like Dandelion Dust, Unrequited, The Trial, and Christmas Snow, just to name

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a few. Chad Gunderson is currently producing the western Redemption in Santa Fe, New
Mexico; however, he will have no scheduling conflicts with the proposed schedule for TRIALS
BY DEADLY FIRE. In addition, he will also provide services as the Unit Production Manager.

THE MANAGEMENT OF PROPOSED COMPANY: TRIALS BY DEADLY FIRE, LLC

The Company will be managed by Managing Members Christopher Raymond, and

Norman L. Chapa. Together, they bring many decades of experience in business, finance,
investments, film industry knowledge and contacts, including distribution channels relationships,
with solid backgrounds in all of them. The members’ established and other relationships within
the industry with entertainment veterans are crucial to assist them with the development,
production, post-production, and distribution outlets or channels.

Christopher Raymond seeks to forge a stronger, more strategic partnership for the
purposes of not just finance but also for production. Our Company’s vision, long term plans,
focus, and creative energy forms a great avenue for this synergy to flow with a strategic partner.
This effort is illustrative of our commitment to develop a collaborative effort with the best and
brightest that envision the film’s true potential.

Norman L. Chapa has extensive experience in the securities markets, has been an
international business and financial consultant for more than 25 years, and has outstanding
industry contacts. Norman L. Chapa served as the business and finance management consultant
to a producer of two Spanish-language full length feature films starring the Almada brothers who
have been two of Mexico’s top billing stars, and, a 3rd film starring Rafael Inclan, who has
remained Mexico’s number one film comic for more than 30 years. In this capacity Norman L.
Chapa was the finance manager for R-A-M films that scored big box office revenues in the USA
with its Spanish-language film “El Puente”. Norman L. Chapa is the consultant to Christopher
Raymond for TRIALS BY DEADLY FIRE and will execute responsibility at the management
level in control over the Company, the film project budget, and other business matters related to
the film. This is illustrative of Norman L. Chapa’s commitment to the project to exploit the
film’s true potential.

Christopher Raymond and Norman L. Chapa know this is a time of great opportunity,
where doors and minds are open to new ways of doing business, or of making and exploiting
movies. Indeed, for independents, entrepreneurs and foreign investors there has never been a
better time, or one so full of opportunity.

THE COMPANY

Christopher Raymond, and business and financial consultant Norman L. Chapa, will form
a single picture entity, a limited liability company, called TRIALS BY DEADLY FIRE, LLC as
a startup enterprise with the purpose of owning, financing, producing, distributing, and
exploiting a single feature length motion picture entitled TRIALS BY DEADLY FIRE.

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III. MARKETING FOR DISTRIBUTION SPECIFIC TO PROJECT

We understand that the most important element in any commercial film project is to
recognize the target audience for which a film is being made. Our film, TRIALS BY DEADLY
FIRE, is targeted towards the Christian movie fan base. This fan base is comprised of males and
females within the largest age range of movie goers: the 18 - 55 year olds. Our basis for this is
that our target audiences for our films are Christian moviegoers. It is a fact that Christianity is the
world’s largest religion with about 2.2 billion followers. This means that around 33% of the
world’s population is Christian. More emphatically, one in three people, on this earth, are
Christians. In the United States of America, Christianity is the most popular religion with more
than 73% of Americans polled identifying themselves as Christians. In Texas, half of the state is
comprised of Christians and they also live in high density, mid-sized and larger cities.

It is also a fact that Christian themed movies are hot in Hollywood. 2014 has become
known as the year of “Jesus” in movies. Cable News Network said, on April 18, 2014, that the
most talked-about person in Hollywood lately has been “Jesus Christ”. From "SON OF GOD "
to “GOD'S NOT DEAD”, to “NOAH”, and to “HEAVEN IS REAL”, the box office has not
stopped ringing its cash registers as a result of the popularity of films which are true Christian,
faith-based themed films. Of course, “EXODUS, GODS, AND KINGS”, has exploded at the box
office with Christian moviegoers.

This target audience is the source for our film’s income. All executive decisions made
will have this target audience as a cornerstone for thought. We do believe we have the
opportunity to achieve fantastic revenue numbers given the expansive fan base.

In addition, audiences are becoming used to viewing more direct-to-DVD/BluRay media.

Years ago if a project went direct to home market it was assumed to be of a lower quality. As
technology and tools have become more readily available to filmmakers the production quality
and freedom to tell less studio friendly stories has led to a new understanding and acceptance of
direct to home market films.

SECURING DISTRIBUTION

The motion picture industry is highly competitive; with much of a film’s success directly
related to the skills of the distributor’s marketing strategy. The production team is committed to
making the film an attractive product to theatrical, home video, and other ancillary and
international markets. The Company intends to complete its negotiations with U.S. and/or
foreign distributors before commencing pre-production. Our goal would be to secure some form
of distribution deal prior to, or during production with companies like Rick Santorum’s
EchoLight Studios, for example.

IV. BUDGET CONSIDERATIONS

The nice thing about TRIALS BY DEADLY FIRE is that it can be made on a relatively low
budget level. However, the scope of the film does not innately make it expensive at any rate.
Generally speaking, the larger the budget we have, the greater the “production values” we’ll get,

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i.e., the film looks better, the sound feel richer, and the sets look more expansive. As such,
though, it remains better to make this film a low-budget movie.

Casting will produce a potential list of A and B actors that we believe will have an impact
on the film’s success and gravitas. It is possible that other actors may be doing this film for the
love of it, or for a very small stipend, to get the kinds of quality credits they want. Other hard
costs include production liability insurance; any annual state taxes; annual accounting fees for
K1 forms; payroll fees (as or where applicable); food for the crew; sound equipment; airfare (as
applicable), as well as simulated CGI shoots; cameras; lighting equipment; festival application
fees, etc.

Budget Targets:
The following are the broad strokes for development and then shooting of the film that
should give some ideas of the issues and implications of this budget level:

 Development phase funds of $136,000 (4% of $3,400,000) which allows the Company to
contract / retain the executive group, and other consultants, legal, and various other
industry services with initial retainers. Thereafter the pre-production phase will make use
of the remaining pre-production funds that will be held in reserve with the Company in
an on deposit, on-demand amount for further or other development phase expenses to be
incurred;
 The remaining funding is for production and post- production costs, and it will
be reserved for use until the production phase is begun;
 All executives, crew, and cast will be retained;
 All vendors will be paid fully;
 Will include limited budget for festivals and awards campaign;
 Pre and post-production in professional facilities;
 Will necessitate best possible deals with vendors (including product placement)

There are several factors that are important to consider for controlling costs and we have
taken these into consideration. Because the creative team behind the project has extensive
experience, the Company plans to utilize their contacts and resources available to produce the
film and stay within budget and timelines. Also, by having independent status, the Company can
reap the benefits available to independent productions, such as discounts in locations, while still
allowing us to maintain the highest production values. This means the investors will benefit from
a film that has the appearance of costing more than it actually does.

V. THE PRODUCTION PROCESS

The project film, TRIALS BY DEADLY FIRE, will be produced as an independent film.
When you talk about independent film, there is always more to the discussion than what meets
the eye. It is little known that The Blair Witch Project, Insidious, Paranormal Activity, and The
Rite, which are in the horror/thriller genre like ours, were all independent films.

More than half of the “Best Picture” Academy Award® winners since 1980 were
produced and distributed by independent, international distributors - typically all members of

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IFTA (International Film & Television Alliance). What made these films independent is that they
were not financed through established studios but rather individually through equity and non-
equity sources. Each one reflects the creativity that is the hallmark of the global independent film
industry.

In our opinion, there are five key phases to producing a film:

• Packaging: During this stage, the Company will “package” the film (i.e., attach
production personnel and other talent). An initial marketing campaign is planned and
prepped for launch.
• Preproduction: During this period (the time frame prior to the start of production), we
intend to open a small production office; hire crew; engage a locations scout to secure the
locations where shooting will occur; secure rentals for camera and lighting packages;
prepare shooting schedules, etc. At this same time, all actors are cast and finalized. Press
releases are prepped and media contact lists are finalized. Schedules for table reads,
rehearsals, and etc., will be established.
• Production: The production period (between 42 to 49 days) will be the time that the
principal photography will be shot. After this time, all of the scenes for the movie will be
completed or “in the can”. At the end of principal photography we plan to launch an
online marketing campaign.
• Post-production: During the postproduction period (approximately six to eight months),
the director and editor will select the best “takes” of the various scenes and edit those
takes into an assembly of the entire film. Once the film has a “locked picture”, it moves
into various departments for finalizing the feature film. Examples: music, visual effects,
sound design, color correction and final sound mix.
If production and post-production combined are capable of producing the finished
product under budget, bonuses will be paid to the writer/producer Christopher Raymond
and to the director Mitch Robbins.
• Distribution: This encompasses all potential exploitation and sales of the film product.
There will be a theatrical release (if marketing designed this way), DVD/Blu-ray sales
and rentals, the various television outlets, soundtrack/merchandise sales, and
identification of all other revenue sources

INVESTMENT / FINANCING AND SCHEDULE

I. Equity / Private / Financial Investment

 Investors will share in all net profits (after all
accounted expenses are paid).
 If there are no profits, the investment can be written off investor taxes over
time, as per each investor(s)’ personal tax situation.
 Investors will get K1 forms, promptly, in time for tax season.
 Investor(s) or Investor Group(s) will be listed in credits, press releases and
website as Associate Producers, however these credits are always
subject to negotiations.
 Investors are invited to all premieres, festivals and other special events.
 Investors will get a finished copy of the film on DVD.
 Investors may have “Walk-On Role”, non-speaking of course

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The development phase is anticipated to last not less than 90 days. Development funds
investor(s) will receive back 100% of their development phase financing and earn a 20% interest
rate on their money. If the investor or investor group financing the development funds is/are the
same group financing the entire project, the development phase repayment will become part of a
repayment schedule from revenues, as per this proposal.

After this, the Investor(s) and the Company will then split a negotiated amount of all and
any additional distributable net. The Company anticipates it will pay any income derived from
the sales or licensing of TRIALS BY DEADLY FIRE in the following disbursement order:

II. Disbursement schedule:

 Any outstanding debts owed by the LLC are paid first.
 Any contractually bound residuals are paid next.
 The original investment (paid-in capital, in-kind services, other considerations) from
the Managing Members are paid next.
 Any contractually bound “deferred” payments are paid next.
 A “priority return” to the Investor(s) (the equivalent to 20% interest their original
investments) will be paid.

All additional money that comes in may be considered net profit (after expenses), and
will be split with the group / pool of Investor(s)/financier(s), and to the Managing Members of
the Company. Known as "points," this percentage will be divided according to contractual
agreements.

SPECIFIC OPPORTUNITIES WITH TRIALS BY DEADLY FIRE

It is known that the film and production industry is about a $31Billion dollar per year
business. $31Billion was the gross revenues for the year 2014. In 2013 revenues hit $20Billion.
The U.S. Economic Census estimates that there are approximately 9,000 businesses that operate
in this market. Average annual payrolls exceed $5 billion dollars among 84,000 employees. This
trend is expected to continue as the cost of producing a film has decreased with newer computer
and graphics technology the cost of the actual film production has decreased, actor’s salaries
have increased making the film’s cost higher than in previous years). The industry has grown at
an average annualized rate of 3.4%, which is in line with the growth of the U.S. economy.

With the film, TRIALS BY DEADLY FIRE, we have a particularly unique opportunity.
Based upon a micro-level budget of $3,400,000, and using best production practices, the finished
product can sustain lower ratios of expenses vs. budget, and therefore innately foster higher rates
of return than estimated.

RISK MITIGATION

The business of producing and exploiting low-budget films is highly speculative, with
many risks uncommon to other businesses. The entire investment is at risk. No assurances can be
given of the economic success of any motion picture. An investment in motion pictures can be
lost completely. The revenues derived from production and distribution of a motion picture

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depends primarily on its acceptance by the public, which cannot be predicted or quantified. In
addition, the competitive nature of the film industry, the possible box office failure of a motion
picture, and the potential inability of a distributor to distribute the motion picture properly,
collect distribution revenues, or remit funds properly to the producers, make the successful
distribution of any motion picture subject to substantial risks. The commercial success of a
motion picture also depends on general economic factors and other tangible and intangible
factors, none of which can be predicted with any certainty.

Recipients of this business plan are urged to consult their own tax advisors with respect
to any federal, state and local tax matters. The final budget will be reviewed and finalized by the
Management at TRIALS BY DEADLY FIRE, LLC before funds are released to the production
company to insure that sufficient financing is available to complete the film. TRIALS BY
DEADLY FIRE, LLC will provide oversight on every line item of the budget as well as approval
of any contingency expenditure to ensure the film is completed on budget and on schedule, or, in
the case of bonuses, completed under budget and on schedule.

INVESTOR OPPORTUNITY & FINANCIAL HIGHLIGHTS

As revenue is captured and expenses are paid, the Investors and the Company will split a
negotiated net from what is considered distributable net. This split is a standard industry
application, based upon 100% of the budget being financed as per the Company’s development,
production, and post-production budget requirements.

Anticipated distributable net profits over time are conservatively estimated at

$11,700,000, or better, as per the Company’s projections, subject to risks, uncertainties, and
assumptions. The Company’s actual operations and results thereof may differ materially from the
forward-looking statements.

VI. COMPARABLES (GENRE)

We feel the film FIREPROOF, as highlighted below, is comparable to TRIALS BY

DEADLY FIRE. Its budget is similar in size. We will most likely have a similar plan-wide
distribution release.

FIREPROOF was released in 2008 through Samuel Goldwyn pictures. It was rated PG-
13, was a drama film with a budget of $500,000. It produced a box office bonanza of
$33Million.
There is also the film COURAGEOUS, released in 2011 from Tristar Pictures, rated PG-
13, styled as a drama which had a budget of $2Million, and it also produced box office revenue
of $33 Million.

GOD'S NOT DEAD was released in 2014 by Freestyle pictures. It was rated PG-13, a
film drama with a budget of $2Million. Its box office revenues are $59 Million so far.

SON OF GOD, released in 2014 by Fox pictures is rated PG-13. It is a drama with an
unknown budget that has box office revenue of $67Million.

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HEAVEN IS FOR REAL, released in 2014, from Tristar is rated PG-13. It is a drama with
a budget of $12 Million but which grossed at the box office $59Million. The Blind Side, a 2009
Warner Bros. movie rated PG-13, is a drama with a budget of $29Million that grossed at the
box office $309Million. Finally, PASSION OF THE CRIST, released in 2004 from New Market
pictures, was rated PG-13, had a small budget of $30Million but blew up the box office with
over $600Million.

VII. PERSPECTIVE FROM EXECUTIVE PRODUCER

TRIALS BY DEADLY FIRE, written by Christopher Raymond, is perhaps one of his best
and most poignant important and personal films. The characters and their circumstances are very
much like those of any successful family, or conversely, could genuinely reflect any level of
financial successes or failures of any other family.

In reality, it is the primary struggle of any family, bonded through love, to overcome
losses of such magnitude, losses so precious, while remaining intact in their love for one another
and their reverence to God. Afterwards, they find themselves fighting the temptation to disavow
their faith in God over being served dread and suffering by an extraordinary evil. Ultimately, the
only way to save themselves is to accept what has been ordained and allow that to carry them
forward into the future supported by their deep-seated faith in God as first and foremost in their
lives. It is a telling story of personal strength, weakness in the face of dire circumstances, but
ultimately the bittersweet triumph of the spirit over evil acknowledging its existence, and
overcoming tragedy of gigantic proportions. It is a story grounded in faith and spirituality viz-a-
vie modern day lifestyles and difficulties.

Christopher Raymond knows first-hand how that experience has the potential to change
not only one’s own life, but also how it affects a marriage. The challenge with turning any
screenplay into film is how to make it cinematic, and to use the conventions and tools of
filmmaking to distinguish the piece. There are three main things you can do in a movie: change
locations, move the camera to direct the audience's eye, and edit to re-alter the natural course of
time. Christopher Raymond believes that with TRIALS BY DEADLY FIRE, a good director will
be able to do all three, while still preserving the essential dialogue, themes, characters and story
that make the original screenplay capable of achieving tremendous success. In this film, we can
move around more with the characters.

Casting will be spearheaded by Brock/Allen Casting, Toni Cobb Brock. We will support
them and other talent agents, as well as management companies, for help with casting. Once the
production has nailed down our minimum financing threshold, we’ll be able to reconnect with
agencies, as needed, and secure the appropriate actors, given their various schedules.

VIII. GOALS OF PROPOSED COMPANY: TRIALS BY DEADLY FIRE, LLC

TRIALS BY DEADLY FIRE, LLC is committed to creating and successfully producing

TRIALS BY DEADLY FIRE, a faith-based, horror film. The film is anticipated to begin
production in early or middle summer of 2015, with anticipated release in Spring of 2016.

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IX. KEYS TO A SUCCESSFUL FILM

The basic elements for a successful film project are what we have. We start with a great
story - and deliver it with conviction and a sound vision. We’ve got a well-crafted screenplay
that has these vital elements which is a basis for all successful films. We know our target
audience. We have marketable content aimed at our target audience. We are able to control costs
and be realistic about the budget, be responsible with financing, and have diligent oversight.

The required registration and applications for potential Texas production incentives will
be filed with (1) the City of Houston Film Commission; and, (2) the state of Texas Film
Commission’s Texas Moving Image Industry Incentive Program.

While there is no guarantee that our film will receive any abatements, or incentives, we
feel these filings are necessary for recognition, compliance, and for continuity with our plan to
promote and execute on our keys to a successful film.

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APPENDICES

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 APPENDIX C

TRIALS BY DEADLY FIRE

Screen play / Executive Producer: Christopher Raymond Research: 2 weeks

Prep: 10 weeks
Locations: Houston, TX, other on-site studios, other cities Shoot: 7 weeks
Wrap: 6 weeks
Budget date: 05/17/2015 Post: 24 weeks
TOTAL: 49 weeks
ABOVE-THE-LINE:
Pre-Production and Development # UNIT PRICE TOTAL $ COST DEVELOPMENT
Chart Account PHASE
1000 RESEARCH $ - REQUIREMENT
1030 Meetings (advisors, staff, airfare, hotels, etc.) 1 $ 4,800.00 $ 4,800.00
1040 Misc research 1 $ 3,200.00 $ 3,200.00
TOTAL $ 8,000.00

Production Staff # UNIT PRICE TOTAL $ COST

WRITER, DIRECTOR, PRODUCERS, CONSULTANT $ 1,463,682.46
2000 Christopher Raymond, Screenplay / Executive Producer 1 $ 155,000.00 $ 25,000.00
Mitch Robbins, Director, Production Set Design, Statt 1 $ 216,543.00 $ 36,000.00
ATXHill Management - Legal 1 $ 15,000.00 $ 10,000.00
Film Consultant to Christopher Raymond 1 $ 100,000.00 $ 20,000.00
Chad Gunderson, Co-Producer $ 55,000.00 $ 6,000.00
2010 Cast, other talent, rights, music $ 650,000.00 $ 21,000.00
TOTAL $ 1,191,543.00
2040 Salaries, FICA, Medicare, FUI, SUI, payroll tax 22.00% $ 262,139.46
3000 Expenses for Writer / Film Consultant
2012 - Christopher Raymond Expenses 1 $ 5,000.00 $ 5,000.00
2021 - Norman Chapa Expenses 1 $ 5,000.00 $ 5,000.00
2099 TOTAL $ 1,463,682.46

Rights, Music & Talent # UNIT PRICE TOTAL $ COST

3000 Title Report (Thomson & Thomson) $ 1,000.00 $ 1,000.00
3010 Miscellaneous
3090 ARCHIVAL PHOTOGRAPHS & STILLS
Shipping/messenger
3130 Stills duplication costs
3140 Stills licensing
3150 Miscellaneous
3190 STOCK FOOTAGE & FILM CLIPS
Researcher fees (Outside contractor)
3200 Preview tape fees
3210 Shipping/messenger
3220 Stock footage transfer costs
3240 Miscellaneous
3290 TALENT
Non-Union / Stipend Performers
3300 Union & Guild Fees N/A
TOTAL
TOTAL ABOVE THE LINE $ 1,464,682.46 $ 136,000.00

BELOW-THE-LINE:
# UNIT PRICE TOTAL $ COST
PRODUCTION $ 1,429,877.00
 APPENDIX C

4000 Production Staff $ 100,000.00

5000 Production Operations $ 200,000.00
11000 Set Design, etc $ 122,072.00
Cameras and set operation $ 78,875.00
Visual effect, etc… $ 525,130.00
Post Production sound $ 47,420.00
Transporatation studio $ 14,404.00
Location expenses $ 130,000.00
Studio production/post production office rental $ 36,040.00
Tests and retakes $ 7,120.00
Publicity, marketing, distribution $ 5,000.00
4035 Miscellaneous $ 3,100.00
4060 Insurance $ 140,416.00
General Overhead $ 20,300.00
TOTAL $ 1,429,877.00

6000 TRAVEL EXPENSES

6010 Airfare (see below)
Meals, snacks/craft services, location fees, permit allow $ 64,300.00
6040 Incidentals & gratuities 10 allow 250 $ 2,500.00
6050 Local Transportation/vehicle rental 50 days 125 $ 6,250.00
6060 Per Diem (includes travel days) $ -
- Prod/Writer 50 days 125 $ 6,250.00
6090 - Consultant/Line Supervisor 50 days 125 $ 6,250.00
TOTAL $ 85,550.00

9300 PROFESSIONAL SERVICES $ 40,000.00

9310 Legal, CPA 1 allow $ 35,000.00
Bank Charges 1 allow $ 5,000.00
TOTAL $ 40,000.00

TOTAL ABOVE THE LINE $ 1,464,682.46

TOTAL BELOW THE LINE $ 1,555,427.00
SUBTOTAL $ 3,020,109.46
CONTINGENCY 10.0% $ 302,010.95
GRAND TOTAL * $ 3,322,120.41

GRAND TOTAL $ 3,322,120.41

ASK FOR FUNDING OF $ 3,400,000.00
 APPENDIX D

TRIALS BY DEADLY FIRE (FEES ACCOUNTED) (FEES ACCOUNTED) 3 YEAR NET 

YEAR 2018 FEES YEAR 2019 YEAR 2020 INCOME DISTRIBUTED
DOMESTIC THEATRICAL $     37,000,000 $            18,500,000 $               9,250,000
Box Office Gross $    37,000,000
Exhibitor Share (50%) $    18,500,000 $  18,500,000 $               9,250,000 $               4,625,000
GROSS FILM RENTAL $    18,500,000 $               9,250,000 $               4,625,000

Distribution Fee (35%)‐[best case scenario] $       6,475,000 $     6,475,000 $               3,237,500 $               1,618,750

P&A $          925,000 $        925,000 $                  462,500 $                   231,250
DOMESTIC THEATRICAL NET PROFIT $    11,100,000 $  25,900,000 $               5,550,000 $               2,775,000

DOMESTIC ANCILLARY SALES
Pay Cable (11%)
Network TV Revenue (15%)
Home Video Market (38%)
GROSS ANCILLARY SALES
Distribution Fee (35%)
DOMESTIC ANCILLARY NET PROFIT
$       4,070,000 $               2,035,000 $               1,017,500
$       5,550,000 $               2,775,000 $               1,387,500
$    14,060,000 $               7,030,000 $               3,515,000
$    23,680,000 $            11,840,000 $               5,920,000
$       8,288,000 $     8,288,000 $               4,144,000 $               2,072,000
$    15,392,000 $               7,696,000 $               3,848,000

FOREIGN THEATRICAL
Box Office Gross (62%) $    22,940,000 $            11,470,000 $               5,735,000
Exhibit Share (50%) $    11,470,000 $  11,470,000 $               5,735,000 $               2,867,500
Distribution Fee (40%) $       4,588,000 $     4,588,000 $               2,294,000 $               1,147,000
P&A (50%) $          462,500 $        462,500 $                  231,250 $                   115,625
FOREIGN THEATRICAL NET PROFIT $       6,419,500 $  16,520,500 $               3,209,750 $               1,604,875

FOREIGN ANCILLARY SALES
Pay Cable (8%) $       1,835,200 $                  917,600 $                   458,800
TV Revenue (50%) $          917,600 $                  458,800 $                   229,400
Home Video Market (40%) $          734,080 $                  367,040 $                   183,520
GROSS ANCILLARY SALES $       3,486,880 $               1,743,440 $                   871,720
Distribution Fee (40%) $       1,394,752 $     1,394,752 $                  697,376 $                   348,688
FOREIGN ANCILLARY NET PROFIT $       2,092,128 $               1,046,064 $                   523,032
 APPENDIX D

REVENUE AND PROFITS
Total Worldwide Earnings $    87,106,880 $            43,553,440 $             21,776,720
Total Revenue After Fees $    35,003,628 40% $            17,501,814 $               8,750,907
Minus Film Costs (Budget) $       3,400,000
Total Pre‐Tax Profit $    31,603,628 37% $            17,501,814 $               8,750,907
Rate of Interest on Initial DevFunds $            27,200
Pre‐Tax Distributable Profits $     31,576,428 Split Profits $            17,501,814 $               8,750,907 $              57,829,149