Treatment

Lena on the 7th Day
Written by Robert Gibson & Joe Rassulo

[Present - Jerusalem]
1987. Pre-dawn, darkness. Jerusalem. In an apartment, Lena Yaacobi, late 50s, is asleep in her recliner, an army issue blanket concealing the loaded .45 automatic in her hand.
Lena is a former Mossad Agent respected for her courage and common sense professionalism. She is also famous for her provocative outfits, overt flirting, and being lethal with the pearl handled .45 she always carries. The .45 was a gift from a young American soldier, Sgt. Bruno Weiss, who liberated her at age 16 from Buchenwald in 1945.
[Lena Backstory/Flashback - 1945]
Bruno and Lena meet the day he liberates the camp. She grabs his gun and chases after a German Officer, who disguised in civilian clothes, attempts to avoid capture. This officer had raped and beaten her, causing her to miscarry and lose her son. Lena traps the German Officer but is unable to get the gun to fire before Bruno catches up to her. With the aid of Max Heisler, a fellow Jewish prisoner and musician who translates for her, Bruno understands her need for revenge. He unlocks the safety and lets Lena shoot the Officer. But she misses, so Bruno shoots him. Then he hands her the gun and she fires two full clips into the body. When Lena is reluctant to give up the .45, Bruno lets her keep it, convincing her to go to Israel with him. Thus starts a relationship between them lasting decades.

[Present]
Jerusalem
Elsewhere in the apartment, Musa, Lena’s son, a young IDF officer, and his girlfriend, Rachel, a Mossad agent and sniper, quietly leave the apartment and the sleeping Lena. On the wall, above a very old uniquely handmade cabinet, with a rifle bolt for a latch, we see photos of Lena’s life, from her liberation to family vacations and special events. Bruno and Max are pictured in many of photos. Musa is in virtually all of them.

Gaza
At the same time, in the pre-dawn darkness, a small Egyptian fishing boat approaches a dune-covered beach on the Gaza strip. A light signals from shore.
The fishing boat comes ashore as a pickup truck approaches from behind the dunes. The lone helmsman lifts up a tarp revealing a second person.
It is Dr. Sahar Labadi, a Palestinian woman, late 40s, dressed in camouflage fatigues. After Sahar slips into the waiting pickup truck, an Israeli helicopter spies the Egyptian boat. The helmsman open fires on the helicopter. A violent skirmish ensues. The helmsman and two Israeli officers are killed as Sahar and the pickup truck disappear into the distance.

[Sahar Backstory/Flashback - 1967]
Sahar, a retired pediatrician, has lived in France for the past 19 years. During the 1967 war she and her husband were severely wounded by an Israeli artillery shell. A friend of the family arranged for them to be evacuated. They ended up in France where her husband, Jasim, died. Believing her entire family was killed in the war, including her infant son; she was warned never to return because she was wanted for terrorism by the Israelis. Recently, before immigrating to the United States, she felt an overwhelming longing to see Jerusalem, her homeland and the resting place of her infant son and her sister, one more time. At the risk of spending her life in an Israeli prison, she arranges to sneak back into the country.

[Present]
Gaza
Sahar reaches Gaza, only to realize she is being helped by a violent group of nationalists preparing an attack that very day. She watches as grenades are hidden in a delivery van, then driven away. Her main contact, Shkaki, the pick up driver that took her to Gaza, is a leader among the militants and, for a price, provides her false identity papers. Leaving Gaza and the insurgents, Sahar starts her journey to Jerusalem alone.
Jerusalem
Lena is now in the local market district, shopping and talking with her old friend from Buchenwald, Max Heisler, now in his late 70s. As they walk along the marketplace, Lena notices first, the delivery van from Gaza and then, a man behaving suspiciously at a bus stop. Her instincts as a former Mossad agent take over as she observes them intently.

Gaza
At the same time, Sahar, on a crowded bus at an Israeli checkpoint watches as an IDF officer, Musa, checks the passengers’ papers, treating the Palestinians respectfully and even speaking their language.
Jerusalem
In the marketplace, Lena spots the insurgents from the van removing grenades from a toolbox. Realizing they intend to blow up a large fuel truck passing through the crowded market district, she reacts instantly.
Pulling her .45, she opens fire, killing both men, but not before one of them is able to toss his grenade under the fuel truck, causing an incredible explosion and chaos in the crowded marketplace.
Gaza
At the checkpoint, just as Musa reaches for Sahar’s papers, a gang of local boys hears the explosion far in the distance, igniting a wild cheer. When they spot a plume of smoke rising above Jerusalem, the gang attacks the bus with rocks and bottles. During the chaos, Sahar seizes her opportunity and, unseen, crosses into Israel.
Jerusalem
At the devastated marketplace, Lena recovers from the blast to find her friend Max dead. Untold grief consumes her once again. Bruno finds her splattered with blood amidst the chaos. He is unable to console her over the death of Max and her failure to prevent the attack. With a resurgence of anger and vengeance, Lena returns to her apartment determined to track down the architects of the attack and kill them.
AT THAT SAME TIME
Sahar makes her way across Israel narrowly evading the police and IDF forces that are everywhere after the attack. She finds her way to Jerusalem and to the same marketplace that Lena just left, discovering the devastation of the morning attack in front of her.
Gaza
Musa and the few Israeli Defense soldiers with him shut down the checkpoint. The number of local Palestinian boys grows to a mob, fueling the ugliness of the situation. Musa informs his superiors of the situation. The information gets back to Bruno, still Mossad, who orders his agents to investigate and photograph events happening on the Gaza side of the checkpoint.

Jerusalem
In her apartment, Lena is stares out her window absorbed in listening to an album Max had recorded before the war when he was a concert pianist.
Sahar appears at the door, explaining to Lena that she once lived in this same apartment 20 years ago. Sahar, taken aback by Lena’s blood-splattered dress, identifies herself as a doctor and offers her help. After a confrontation, both ideological and artistic (they disagree over the quality of Max’s piano playing), Lena refuses to let Sahar see the apartment and shuts the door in her face.
Through the kitchen window, Lena watches Sahar retire to the courtyard. There she’s accosted by three orthodox Jewish women. Angered by the morning’s attack, the three women indentify Sahar as an Arab and threaten her with violence.
Lena intervenes protecting Sahar. Lena then warns her that she is in danger and should leave immediately. At the same time, two Israeli policemen show up wanting to know who they are. Lena identifies herself as retired Mossad and, to protect Sahar from interrogation, introduces Sahar as her doctor. Realizing who Lena is, the policemen ask to see her legendary .45. To distract the police, Lena agrees and invites them into her apartment.
Sahar follows in the apartment. She immediately recognizes the cabinet as the one she played in as a child. She then recognizes the officer in the pictures as the same one she had seen at the checkpoint who was checking her papers.
After the officers leave, Sahar introduces herself to Lena for the first time, using her real last name, Labadi. Unfortunately her last name is the same as a family of terrorists currently being sought by the Israelis. Lena threatens to shoot her if she tries to escape. She immediately calls Bruno, convinced Sahar may be implicated in the morning’s attack.
Gaza
At the checkpoint with his two sharpshooters, Bruno plans to protect the soldiers, especially Musa. One of the sharpshooters is Rachel, Musa’s girlfriend.
Bruno shows Musa photos of the boys with grenade and reveals his plan of using sharpshooters to kill only the boys with the grenades. Musa balks at the idea of killing children. He tells Bruno the plan is a mistake and could lead to some serious consequences on several levels. After Bruno leaves, Musa goes behind his back and organizes an alternate plan with Rachel.

Jerusalem
Lena continues to interrogate Sahar to obtain further information about the attack. Sahar refuses to respond although she knows is innocent and faces possible life in prison or worse.
As they verbally battle back and forth, Sahar continues to be fascinated by the officer in the pictures, Lena’s son.
She repeatedly asks questions about him which Lena avoids. In spite of being historical enemies, the two women begin to develop a mutual respect. In a lull between arguments, Sahar stands by the old cabinet with the rifle bolt latch. She reveals that the last time she saw her sister and son alive was in Lena’s apartment. Lena begins piecing together the truth.
[Lena Backstory/Flashback - 1967]
During the 1967 War, Lena, in a violent incident, accidentally shoots a young Arab woman in the very same apartment in which she now lives. After the shooting, Lena discovers an infant boy hidden in the same cabinet with the rifle bolt latch. She assumes she had killed the infant’s mother and is devastated. Bruno offers to help locate the relatives of the boy, or a home with Arabs. After several weeks Bruno lies to Lena, claiming the boy had no surviving family and that no one wanted to take him. Lena becomes emotionally attached to the infant and he to her. Lena takes possession of the vacated apartment where she found the infant, raises him as her own son, and names him Musa.

[Present]
Jerusalem
Recognizing the truth, Lena asks Sahar for her trust, to do what she says. To get her out of the country safely before Bruno arrives, she tells Sahar to wait for her at the bus stop near the market.
When Bruno arrives at the apartment, Lena confronts him with what she now suspects. Bruno reveals the truth. He kept Sahar out of the country all these years to prevent her from finding out about Musa and possibly demanding his return. Lena is furious that he made the decision to keep Musa from his real mother. Bruno claims he did it out of his love for her – and her love for Musa. He then tells her he has just taken care of the situation again! Lena is even more outraged that he made yet another decision then and that he would repeat the mistake.

Lena rushes to the market just in time to stop the police from taking Sahar to jail. Bruno, realizing that Lena wants to reveal the truth to Sahar, takes them both to the checkpoint knowing that Musa’s life maybe in danger. On the way Lena tries to tell Sahar that Musa is her son - but can’t.
Gaza
When Lena, Sahar and Bruno arrive at the checkpoint Musa is already carrying out his plan. Unarmed, he approaches the boys to try and convince them against their suicide mission. He carries photos of the boys armed with the grenades.
When Sahar compliments Lena on the bravery of her son, Musa, Lena reveals that he is her son. They watch in fear as Musa confronts the angry mob of boys.
Musa shows the mob of boys photos of them with the grenades. The boys cheer and threaten Musa. He calmly explains that when they detonate the grenades, they will be killed along with the Israelis.
He explains that the IDF is already aware of their plan. As proof, he holds up a photo of one of the grenade-armed boys. From hundreds of yards away, Rachel puts a bullet through the photo. Musa repeats this with each photo telling them this is what will happen unless they put the grenades down and go home.
The boys suddenly realize their death is imminent. One boy hides his grenade behind a low wall while others place theirs carefully on the ground. They all retreat.
Shkaki, the leader of the insurrection, comes out from behind some rubble. He tells one of the boys to give him his grenade. The boy points to it behind the wall. Shkaki knows he needs to wait to retrieve it or he will be shot by hidden Israeli snipers. He slowly approaches Musa, eyeing the grenade and waiting for his moment.
Bruno recognizes Shkaki and so does Sahar. Lena, reacting to the immediate threat, reaches for her .45 only to find that Sahar has taken it and is on her way to protect Musa from Shkaki.
Lena catches up with her and indentifies herself as the one who kills, not Sahar. Sahar replies that it is time that Lena stop killing. Sahar insists she must end this with violence and, if necessary, against her own kind. Lena, like Bruno did when she was 16, takes the gun from Sahar, unlocks the safety and hands it back to her. Sahar, gun in hand, heads for Musa and Shkaki, Lena following behind.

Sahar reaches Musa. He is confused as to who she is and what she’s doing there. She pauses, looks at her son, and with a smile, thanks Allah. Then she walks past him and walks directly to Shkaki, gun poised. She stands between Musa and the grenade, not realizing she is blocking Rachel’s rifle shot from blocks way.
Realizing he’s covered momentarily, Shkaki grabs for the grenade. Sahar shouts that she will not let her son die. She raises the gun to fire, moving enough to expose Shkaki ever so slightly and at the same time, unknowingly giving Rachel one clean shot at him. Rachel fires, killing Shkaki as he holds the grenade in his hand. The grenade falls out of his hand, rolls away, losing its pin but not detonating.
Bruno guns his jeep toward Musa, Lena and Sahar. He warns them that the grenade is about to self detonate. They all leap in the jeep. As the jeep backs up, one boy re-appears from the rubble, picks up the grenade and chases after them.
Pursuing the jeep, the young boy pulls back to heave the grenade. Bruno slams on the brakes, throws himself over Lena to protect her. Musa drapes himself over Sahar. Before he can lob it, the grenade detonates in the boy’s hand, killing him instantly. In the blast, Bruno is also killed. Lena, Musa, and Sahar are unharmed.

Jerusalem – weeks later
Lena and Sahar share the apartment and their “son”, Musa.
The grief and anguish of their lives begin to diminish. The two women muse over what all mothers are concerned about - the prospective marriage of their son to his girlfriend, Rachel, and whether they think she is good enough for him. Sitting in the living room, side by side, they talk quietly while Max’s piano music plays softly in the background.
Sahar turns to Lena and asks how she feels about Rachel. After a slight pause, Lena speaks.

LENA

Well...she’s a damn good shot.

SAHAR

(smiling) Yes, there is that!
End

Script

Download PDF Script here

Director's Note

LENA ON THE 7TH DAY is written and is intended to be shot in a classic American Western structure. Taking place during one 24 hour period in Jerusalem, it is framed by two great set pieces with a series of minor skirmishes and increasing tension catapulting us to the ultimate violent climax. But underneath this obvious veil of action is a deeply personal story of two women, displaced from their homes, families and traditions and thrown into a world of violence and heartbreak that forces them to etch out new lives for each other.

Lena, as a 16-year-old survivor of Buchenwald, surviving the death of her child, family, and atrocities committee upon her, becomes a violent defender of all children and families in Israel as a consequence. She has no ability to feel real emotion or attachment anymore. Her life is made up of impermanent relationships – except for Bruno, her liberator and co-Mossad Agent, and Max, the kindly Jewish Pianist who helped her survive Buchenwald and has become the father she no longer has. And Musa, an Arab infant war orphan she takes in after the 6-Day War. Initially hesitant, Lena had no expectations of ever having children again or being able to find the love within herself to nurture a child again.

But for next 20 years she has given her life to Musa, her country and to her makeshift, unstable and small family, Musa (now in the IDF), Bruno (still a Mossad Operative) and Max, now retired and still her loving father figure. Through all her personal agony, she has never killed for pleasure or hatred, but by duty whenever she feels people threatened or in danger.

Sahar, at the same time as Lena is liberated from Buchenwald, is dragged from her home in the desert and relocated to Jerusalem.
Then, 20 years later after losing of her family, she is again moved out of her home after the 1967 War and extradited to France as a refugee. There, because of unusual and surrepitious circumstances, she lives for the next 20 years as a pediatrician, making up for the loss of her son, sister and husband to the war. She is a gentle, deeply empathic woman who heals with her hands and is dedicated to goodness and tolerance. Yet, even after 20 years, Sahar cannot let go of her homeland, the place that held most of her family.
She must touch her home one more time, once more feel her connection to something that goes beyond borders before she dies. After retiring as a doctor, and disregarding all danger,she goes back to Israel one more time before immigrating to the US.

Musa is an anomaly for sure by his very behavior. He has strength and a compassion that links him to both his mothers, birth and adopted, and has assimilated the best from them. He understands the value of human life, and how precious it is, through his relationship with Lena and her neverending struggle for peace. He knows that once you’ve instilled hatred and intolerance in children, the cycle will only continue. He believes that no child deserves killing and that all children are worth saving. This unshakeable belief puts him in the forefront of what will be a highly dangerous situation that will change both his world and his mothers’ lives forever.

Bruno is the American Jew who, as a young US Army Sergeant in WW2 and liberator of Buchenwald, sees things that change his life forever - as a Jew and as a man. He becomes a different human being, one that now understands fully what people are capable of doing to one another. He becomes an agent of revenge and protection and will stop at nothing to fulfill his promise to himself to never let anything like this ever occur again in his lifetime. He becomes a Zionist, a revolutionary, and an avenger. And is willing to do anything to protect what he considers the only family he has…Lena, Musa and Max.

These characters are thrown together through no choice of their own and must come to grips with the realities of a world of constant survival and impermanence. They belong to one another and they belong to no one. Their story could happen anywhere. Anywhere there is prejudice or intolerance that threaten an individual's right to life or his or her own beliefs. Whether in Alabama, El Salvador, China, Pakistan, Rwanda or Ireland, these issues are constantly at our throats and must be overcome everyday in all parts of the world in order to secure peace and justice.

In truth, no one knows why people do the things they do, what horrors have determined their fate, or loves have created their ability to feel for others. We are all so different - and we are l so similar at the same time. We yearn for the same basic things, a place to belong, people to love, and a life filled with joy. For so many of us, these are only stories and myths. As such Lena, Sahar, Bruno, Musa and Max are victims of intolerance and violence that prohibit them from having a life filled with these basic human desires.

We can tell who they are from their eyes, especially Lena and Sahar; the way they look through other people, how they view their surroundings, how they perceive the slightest movements that upset the norm, even the sounds that cause them to become alert when others might hear nothing amiss. This depth, this look into their souls, will tell us who they are and how little they “trust” anyone or anything more than any periphery action or overt behavior,.

 

Our film is what I call “compelling entertainment”. It shows us that even these people can overcome their personal tragedies and build upon what’s come before in a positive way. Building a new life out of new relationships and putting aside years of revenge and hatred for the healing qualities of simple love and trust, they do change their lives. At the end of the film, we see, truly see, for the first time, the trust these two women have in each other. We know they have moved from the conflict in their lives to a personal serenity. And that the silences and words between them now reflect a quiet, mutual respect as they build a life together.

The color palette of this film, brilliant yellows and reds, combine the beauty and violence that has scarred this stunning, sundrenched Mideast landscape with blood. The background beauty of the country and terrain contrasting with the irony of the personal conflicts in the foreground is what makes it so universal in tone and story. This visual tapestry will underscore the basic humanity and love that reflects, not the differences between Lena and Sahar, but their almost interchangeable similarities as people whose lives have been carved by violence and, ultimately, rise above it.

In my heart, what drives “Lena on the Seventh Day” is not the obvious visceral action that surrounds this contemporary action/drama but the impenetrable moral beauty at the heart of these two women. That beauty, at the heart of all of us, is why the script was written and why it’s personally imperative to get “LENA” made.

Joe Rassulo
director/co-writer

Cast Bios

Martina Gedeck (Lena) | IMDB
Martina Gedeck has won a total of 23 major international cinema and TV awards. She was nominated as Europe's best actress for her role in “Mostly Martha”. Her films were twice selected as Germany's entry to the Oscars. “The Lives of Others” (2007), in which she had the starring role, won the Oscar for foreign-language film. She had the title role in the 2009 German Oscar contender, “The Baader Meinhof Complex”, which also was nominated for the Golden Globes. She has also appeared opposite Matt Damon and Robert DeNiro in “The Good Shepherd” to critical acclaim. She is considered one of the great European film actresses of her time. (Attached)

Hiam Abbass (Sahar) | IMDB
A highly respected and acclaimed international actress, Ms. Abbass has won the Best Actress Award from the Israeli Film Academy for “Lemon Tree”, was nominated for Best Actress for “The Syrian Bride”and has won numerous awards for her supporting role in Tom McCarthy’s “The Visitor” starring Richard Jenkins. Abbass has appeared in many international films including Steven Spielberg’s “Munich”. She is currently starring in Julian Schnabel’s (The Diving Bell and the Butterfly) bio of Hind Husseini, “Miral”. She is playing the lead. (Attached)

Sendhil Ramamurthy (Musa) | IMDB
This rising, young, international star got his training at the Royal Shakespeare Company and has shot to fame as the star of NBC’s hit series, “Heroes”. With a strong career on stage and TV, he made his big screen debut in “Love and Debate” and “Blind Dating” in 2006. Continuing his fifth season on “Heroes”, Sendhil’s next film role is in Gurinder Chadha’s (“Bend It Like Beckham”) “It’s A Wonderful Afterlife.” (Attached)

Sean Bean (Bruno) | IMDB
Considered England's most versatile actor, Sean Bean’s career spans every medium for approximately 20 years, in theater, radio, television and movies. His roles are as varied as the angst-ridden villain in "Clarissa," the passionate lover in "Lady Chatterley's Lover," the emotionally torn Boromir in "The Lord of the Rings," and noble Greeks, like Odysseus in "Troy,” His very presence in the films adds uncommon grace and depth. He has appeared in over 30 films including “GoldenEye”, “Patriot Games”, “National Treasure”, “Ronin”, “North Country”, “Flightplan” and “Silent Hill”. (Deal pending)

Maximilian Schell (Max) | IMDB
This Oscar-winning screen legend made his Hollywood debut in 1958 in the World War II film, “The Young Lions”, with Marlon Brando. Schell won the 1961 Academy Award for Best Actor for “Judgment at Nuremberg”. He also won a Golden Globe and the New York Film Critics Circle Award for the role. Schell ultimately won two more Oscar nominations, for Best Actor in “The Man in the Glass Booth” (1976) and as Best Supporting Actor in “Julia” (1978) which also brought him the New York Film Critics Circle Award for Best Supporting Actor. He has appeared in over 100 films including “Topkapi”, “A Bridge Too Far”, “The Chosen”, “The Freshman”, “Telling Lies in America” and “Deep Impact”. (In Negotiations – deal pending)

 

Production Team

Joe Rassulo
(Director/Co-Writer - United States)
Dream Street Films
12533 Woodreen Street
Bldg B
Los Angeles CA.  90066
+1-310-415-0836
dreamstflm@aol.com

 

Pamela Rosenberg
(Producer - United States)
Hemisphere Productions
6222 Wilshire Blvd., Ste. 270
Los Angeles, CA.  90048
+1-323-931-4797
hemisphereprods@sbcglobal.net
skype: pamelar

Jan Fantl
(Co-Producer - Germany)
Carmen Baudi
(Co-Producer - Germany)
SEASIDE Pictures GbR / THC Films UG (haftungsbeschränkt)
Bulowstr. 66
10783 Berlin, Germany
+49-30-212-809-98
Fax: +49-30-212-809-90
+49-30-264-80-437
Cell: +49-172-968-1068
jfantl@q-i-biz
carmen.baudiseasidepictures.de

Eitan Evan
(Co-Producer - Israel)
Evanstone Pictures
18 Beit Hillel
67017 Tel Aviv, Israel
+1-972-03-561-2045
EITAN@evanstone-films.com
Skype: eitanevan

Laurence Kaufmann
(Co-Producer - France)
IDM
149 Rue Perronet
Neuilly 92200
France
+33-1-4747-2509
lk@idmtv.fr
skype: laukisa

Rose-Marie Couture
(Financial Consultant - US/Germany)
+1-310-260-8618
+1-310-401-4281
rm_couture@yahoo.com

Crew

The following production people have indicated their willingness to come on board once financing is secured.

Mick Coulter
Director of Photogrpahy
The Bank Job, Love Actually, Notting Hill, Sense and Sensibility, Four Weddings and a Funeral

David Van Slyke
Sound Designer
CSI, Bram Stoker’s Dracula, My Best Friends Wedding, Star trek: First Enounter, Conversations with Other Women

Charles Bernstein
Composer
Inglourius Basterds, Kill Bill, Nightmare on Elm Street, Independence Day, Cujo

Josh Comen
Visual Effects Producer
Saw, Next, Little Miss Sunshine, Pride and Prejudice, Napoleon Dynamite, Dirty Dancing: Havana Nights, 50 Ways to Leave Your Lover, Kinsey

Additional crew and production people have been approached, including editor, post production supervisor, production designer and line producer. A full list is available upon request.

Budget & Schedule

The Budget Estimate for "Lena on the 7th Day" is $5 million

Click here to download an PDF of the Budget & Schedule

Foreign Sales Estimates

REGION	LOW	MEDIUM	HIGH
UK	450,000	525,000	600,000
France	325,000	400,000	475,000
Benelux	85,000	110,000	120,000
Switzerland	25,000	38,000	45,000
Germany	450,000	575,000	600,000
Italy	300,000	375,000	475,000
Spain	250,000	350,000	400,000
Scandanavia	200,000	275,000	325,000

 

Australia NZ	200,000	275,000	350,000
Japan	0	230,000	400,000
South Korea	60,000	75,000	90,000
Taiwan	30,000	60,000	75,000

 

Iceland	8,000	10,000	12,000
Greece	45,000	65,000	80,000
Israel	40,000	58,000	75,000
Portugal	45,000	65,000	80,000
Turkey	60,000	75,000	90,000
Middle East	45,000	70,000	85,000
South Africa	40,000	60,000	80,000

 

Poland	50,000	65,000	80,000
Ex Yugoslavia	12,500	15,000	17,500
Czech / Slovakia	44,000	58,000	82,000
Hungary	25,000	35,000	45,000
Romania	25,000	35,000	45,000
CIS / Baltics	110,000	185,000	250,000

 

Hong Kong	20,000	30,000	40,000
China	15,000	22,000	25,000
Singapore	15,000	23,000	30,000
Malaysia	15,000	23,000	30,000
Indonesia	35,000	60,000	70,000
Phillipines	20,000	30,000	40,000
Thailand	30,000	55,000	75,000
Indai / Pakistan	40,000	65,000	85,000

 

Brazil	125,000	165,000	200,000
Latin America	225,000	333,000	400,000
West Indies	5,500	8,000	11,000
US / Canada	2,000,000	2,500,000	3,000,000

 

Airlines

75,000

90,000

100,000

 

GRAND TOTAL

5,821,500

7,488,000

9,606,000

Estimated Sales Numbers Worldwide

The values listed in the "Low" and "High" columns are projection for all rights sales in the relevant territory. These projections reflect a subjective opinion of the current market values and proposed elements at the time of estimate. These projections are solely estimates based on the following (i) present market conditions as of 2010; (ii) the present cast and that to be determined; (iii) a substantial theatrical release by a US mini or major distributor. These projections are subject to market or other changes, i.e. level of final cast and the final finished movie. No representation is being made that the projections will be realized and one should not rely on these estimates to make any business decision.

Comparables

Female Driven Independent Films

Thelma & Louise (1991)
Budget: $16.5 Million
Distributor: MGM
U.S.A Gross: $45.4 Million
Foreign Gross: N/A
Total Gross: $45.4 Million + Foreign

Kill Bill Vol. (2003)
Budget: $55 Million
Distributor: Miramax Films
U.S.A. Gross: $70 Million
Foreign Gross: $108 Million
Total Gross: $178 Million

Mostly Martha (2001)
Budget: $2 Million
Distributor: Paramount Classics
U.S.A. Gross: $4.2 Million
Foreign Gross: 5.7 Million
Total Gross: 9.9 Million

Lives of Other (2006)
Budget: $2 Million
Distributor: Sony Pictures Classics
U.S.A. Gross: $11.3 Million
Foreign Gross: $14.7 Million
Total Gross: $26 Million

Volver (2006)
Budget: N/A
Distributor: Sony Pictures Classics
U.S.A. Gross: $12.9 Million
Foreign Gross: $14.1 Million
Total Gross:  $27 Million

The Visitor  (2007)
Budget: $4 Million
Distributor: Overture Films
U.S.A. Gross: $9.5 Million
Foreign Gross: $8.1 Million
Total Gross: $17.5 Million

Tell No One (2006)
Budget: $17 Million
Distributor: Music Box Films
U.S.A. Gross: $6,177,192
Foreign Gross: $27,207,993
Total Gross: $33,385,185

Set It Off  (1996)
Budget: $9 Million
Distributor: New Line Cinema
U.S.A Gross: $36 Million
Foreign Gross: $4 Million
Total Gross: $40.7 Million

Financing

We are closing negotiations with an Israeli Private Equity Fund in the amount of $1 Million. Once closed, we will then apply for available Israeli soft money funds and tax incentives. We are looking to start pre-production in Summer 2010 and begin principal photography by Oct 1, 2010 in Israel.

We are currently being tracked by the following companies who are all fans of the script and cast.

Sony Classics

Focus

Overture

Apparition

Upon request, we will supply a list of parties interested in potentially co-financing/producing “Lena on the 7th Day”.