Genre: Drama/Period/Thriller
Premise: Set in the early 19th century, a group of fur traders leave one of their own to die after he gets injured. Unfortunately for them, he survives, and he’s got vengeance on his mind.
About: You may not have heard of The Revenant yet, but you will. The movie is poised to win so many Oscars, they might as well let everyone involved produce that night’s show. It’s directed by the guy who did Birdman. It stars Leonardo DiCaprio. It co-stars Leo’s best bud, Tom Hardy. It’s also got one of the hottest actors in England, Ex Machina and Star Wars 7 star Domhnall Gleeson. Throw in one of the hippest young actors around, Will Poulter, and this thing bleeds Oscar juice. The script has been in development at Leo’s company for a long time. This draft was written by Mark L. Smith in 2007. However, Inarritu did a director’s pass on it before shooting (and is actually taking a screenplay credit). Also, they’ve changed the ethnicity of the main character, Hugh Glass, from African-American to white, so that Leo can play him. Don’t worry though. As far as I can tell, this isn’t a Rachel Dolezal situation.
Writer: Mark L. Smith (based on the novel by Michael Punke)
Details: 104 pages


I’ve heard so many great things about this script, I’ve needed to open an Excel spreadsheet to keep track of the compliments. Over ten members of the Scriptshadow Community have checked it out. Seven of them told me it was great. Two liked it. And only one actively disliked it.

Even with those expectations, I came out of this one shaking. I don’t know if this is an acceptable way to describe a period piece. But basically, The Revenant is Gravity set in 1820. Confused? Read on.

It’s 1820, Missouri. Fur trading was the Uber of the time, and we’re following a group of fur traders down the river when they’re attacked by a particularly nasty tribe of Indians known as the Arikara.

Half the traders are killed and it would’ve been more had Hugh Glass, a badass navigator, not beaten some Arikara ass. Glass ends up saving two men in particular, the mentally unstable John Fitzgerald and eager young buck, Jim Bridger.

After they’ve escaped, in a freak attack, Glass gets pummeled by a bear that practically rips his face off. He kills the bear somehow (He kills a fucking bear!), but it leaves him a barely recognizable twisted mass of blood and guts. Somehow, the captain of the operation stitches Glass up, but he can barely breathe, much less move.

The traders wait for Glass to die so they can continue on, but Glass is a fighter. He will – not – die. The Captain eventually convinces Fitzgerald and Bridger to watch over Glass while they get help from the nearest outpost. But Fitzgerald gets bored and convinces Bridger to leave Glass to die. He’s barely clinging to death anyway. It’s not like he’s going to live through this.

But Glass somehow lives through this. A man who can’t even move somehow figures out how to feed himself (eating grass), drink (he rolls into a marsh), travel (he crawls onto a floating log in the river), fix the hole in his throat (he burns it closed with gun powder).

He survives rattlesnakes, gangrene, waterfalls, boulders at the bottom of waterfalls, maggots eating away at his open wounds, Vultures who eat him alive, racism, and multiple attacks from Indians. Glass can’t go a step without something attacking him. And somehow, he survives it all.

All so he can find the men who left him to die – the men he will not rest until he kills.


There’s this show I used to watch called “I Survived.” It’s a brilliantly simple concept. People who survived all sorts of crazy shit are interviewed about their experience. They take you through their story step by step, reliving the impossible way in which they cheated death.

In this show, you hear about people who survived F5 tornados, mountain lion attacks, having their arms ripped off by farming machines, airplane crashes, house fires. But all of these stories would pale in comparison if Hugh Glass told his story.

I mean this guy’s survival skills are insane. There’s this scene early on, after he’s been left, where he’s trying to move five feet. Just FIVE FEET. And all he has is a gimp arm and a barely-operational leg. And he’s just SLIDING, millimeter by millimeter, forward.

Or later, when he finally gets to water, he desperately tries to take a drink, only to watch the water leak out of the hole in his throat left from the bear attack. So what does he do? HE LIGHTS HIS NECK ON FIRE AND BURNS THE HOLE CLOSED. That’s when I realized I was onboard for the full trip on this one. Any character who does THAT to survive, I want to see what he’s gonna do next.

You see, not enough writers write characters that you want to ROOT FOR. They write characters who are mean or dumb or apathetic or boring and expect us to be like, “Yeah! What’s going to happen next!”

You know the guy I want to follow? The guy who wants to live so badly, he will snort out snot and blood to crawl five feet in 60 minutes. That’s the guy I want to follow. The guy who WANTS TO SURVIVE. The guy who WILL KEEP FIGHTING UNTIL HIS LAST BREATH.

The Revenant also taught me that if you want to make a character likable, do so THROUGH HIS ACTIONS as opposed to THROUGH HIS WORDS. For example, I see a lot of writers who say, “Okay, what can I have my hero say so that he’ll be likable?” And they’ll try to make him funny. Or they’ll have him compliment other characters. Or they’ll try to give him a “magnetic” personality.

And it’s not like those things don’t work if done right. But if you REALLY want to make a character likeable, do it through his actions. When the Arikara attacked, Glass was one of the only traders SAVING OTHERS. He was one of the only guys unafraid of the moment. His bravery saved lives, and THAT made him likable. Then later on, when he’s clinging for life, he KEEPS FIGHTING. Audiences admire that. They like people who fight.

Moving on, one of the best ways to make a script spec-friendly is to give your characters a PHYSICAL DESTINATION they’re headed to. Here, the traders are headed to an outpost. Even after they leave Glass, we know Glass is headed to that same outpost so he can kill the men who left him.

The reason physical destinations work so well is because the audience is never confused. I read so many amateur screenplays where I have no idea what’s going on because characters are just running into each other and babbling about who knows what. When you have a “physical destination” story, your reader will never be confused. He knows exactly what your hero is trying to do and this trick keeps the story on point. Not to say it’s the only way to write a script. But if you have this, you have a huge advantage in the clarity department.

The only reason I’m not assigning The Revenant an “Impressive” is because of Glass’s motivation. He wants to avenge these two guys who left him. But the thing is, they actually had good reason to leave him. They were in dangerous Indian territory and Glass was barely clinging to life. Any doctor in the world would’ve told you he had a .000001% chance of surviving. And they barely even knew Glass. It’s not like they were best friends. So to leave him made sense on some level. And you’d think Glass would understand that.

I mean, contrast this motivation with the motivation in The Brigands of Rattleborge. The bad guy had raped and killed the hero’s wife. THAT’S something you avenge. It’s a seemingly small detail but if you’re going to base an entire story around revenge, you want the matter that the character is avenging to be as intense as possible.

Still, holy shit. This was an awesome story. And proof that if you write an awesome character (the “never give up” Glass), A-list actors will want to play the part. Hell, they’ll even make you change the character’s ethnicity to play the part.

[ ] what the hell did I just read?
[ ] wasn’t for me
[xx] worth the read
[ ] impressive
[ ] genius

What I learned: “Physical destination” stories work particularly well as scripts because the reader is never confused about what’s going on. There’s a comfort and a clarity in knowing exactly where our hero is headed.

  • Thomas Anderson

    I think Glass was more motivated by the fact that (SPOILER ALERT) John Fitzgerald tried to kill him and then killed his son. Taking that into account, I can totally understand his reasoning behind wanting revenge.

    I’m also curious what you thought of the ending. Not to spoil anything for potential readers, but it’s one of those open endings that provides a satisfying conclusion but also leaves room for discussion and multiple interpretations.

    Also, if anyone wants a copy of the script, all you gotta do is ask.

    • grendl

      That makes more sense than wanting to kill the men who abandoned him.

      Thanks for translating.

      • carsonreeves1

        (spoiler) It sounds like we didn’t read the same draft. There was no son in mine. Maybe the motivation is something they identified as a problem and added the son?

        I liked the ending in mine.

        • Thomas Anderson

          I have the 2014 draft. It’s 99 pages. It’s very likely they saw that as a problem and decided to fix it in a newer draft.

    • Randal Miramontes

      Hi Thomas Anderson,

      Could you email me the script at


      • Scott Crawford

        Sent! 2007 draft.

      • Thomas Anderson

        Sent. It’s the 2014 draft. Enjoy!

    • SendHimtoBelize

      Could someone send me a copy please? My email is . Thanks so much.

      • Scott Crawford

        Sent! As I say, the 2007 draft. Don’t know if anyone has the rewrite.

        • SendHimtoBelize

          Thanks so much.

        • Thomas Anderson

          Hey Scott. I’ve got the 2014 draft. I’ll send it to you.

      • Thomas Anderson


    • drifting in space

      If you have a different draft, I’d love a copy – driftinginscripts at gmail dot com


      • Thomas Anderson

        Just sent the 2014 draft.

    • Midnight Luck

      Haven’t read it yet, but your explanation of what happens I can definitely see people getting behind.

      if you have this, can you send along?

      m[at]blackluck = dot = com

      thanks a bunch.

    • DavydSC

      Hey Mr. Anderson, can you send me a copy of the 2014 draft? Thanks! davydscott at yahoo

    • brock

      Could I also get a copy of the script? Thank you.

  • Scott Crawford

    Got this script a while back.

    If you want me to share, send an e-mail to

  • Scott Crawford

    Physical destination story.

    Act One: Tell the reader where the characters are going.
    Act Two: Tell the reader how far the characters are from where they are going.
    Act Three: Tell the reader the characters have arrived at their destination.


    The Guns of Navarone – have to get to the Guns of Navarone.
    Sorceror – have to get to oil well fire.
    Krull – have to get to the Dark Fortress (twist: the Dark Fortress keeps moving, so they also have to work out where it’s going to be).

  • Edh

    I was thinking the same thing as I read your write up Carson. Is he going to kill them just because they abandoned him? Really? Perhaps in the script they are amazingly rude and cruel to him as they wait for his death but even still. Tom Hanks had much more reason to kill his wife in Cast Away but he didn’t.

    • Sebastian Cornet

      I suppose in the grand scheme of things it is petty to want revenge. But when you’re going through all the hell Glass had to endure to survive, day after day, hour after hour, I don’t think I’d care too much about being fair. I’d want to get the guys who just left me to die.

      Maybe that makes me a son of a bitch, but when you have so many brushes with death, I assume you don’t feel very rational.


      If it’s any consolation, Glass never actually killed the two guys in real life. Don’t know about the script, though.

  • ChristianSavage

    I looked up Hugh Glass on Wikipedia, and apparently he was a real person. Not only that, but he was white. No idea why the author would write him as a black man, other than to add some racial tension, due to the time period of the story.

    • Reader1

      Maybe Carson just really wanted to make a rachel dolezal joke and this was the only way he could tie it in.

    • klmn

      That Wikipedia article mentions that James Beckwourth was part of the expedition. Beckwourth was black. Maybe the Glass in the script (and novel) was something of a composite character.

      • ChristianSavage

        Very interesting! That certainly could be the case.

    • ripleyy

      About to mention this. Yet another reason why this would sell. The “stranger than fiction” true stories are the equivalent of striking gold AND oil at the same time.

  • Scott Crawford

    Should be sent!

  • Scott Crawford


  • Dan B

    OT: but if anyone wants to swap a script read, shoot me an e-mail at I’m looking to get some eyes on a new draft and am willing to help out anyone else.

  • hickeyyy


    On the bottom right – Send Sharlto Copley a movie idea!

    Anyone plan on pitching him?

    • Citizen M

      Interesting that in his sample pitch document the logline is optional, but the one-paragraph and synopsis are compulsory.

      I think Carson should demand at least a one-paragraph with AOW submissions. So many writers are unable to write a decent logline (which is “your idea as clearly put as you can in one sentence” according to Copley), but could probably sum up their scripts in a paragraph.

  • brenkilco

    From your description this appears to be nearly identical to the early seventies Richard Harris movie Man In The Wilderness. And since I don’t think anybody has mentioned this, it goes to show how little remembered that movie is and how this kind of material is far from a sure thing. And as I recall the old movie had the added benefits of John Huston doing a captain Ahab type character and a big boat that the trappers had to haul across the countryside- a la Fitzcaraldo- in order to move from one river to another. Still not a hit.

    • Scott Crawford

      Richard Harris outtakes (inc. Man in the Wilderness, which Harris said should have been better remembered):

    • Levres de Sang

      Well, I was just about to mention because that plot struck a faint chord from childhood — and watching what must have been Man in the Wilderness on TV.

      Amazing how it suddenly came back…

      • Poe_Serling
        • Levres de Sang

          Thanks Poe! I heard several whispers about this project a few years ago and then forgot all about it. I recall Argento saying something like “Well, he’s welcome to try.” Like most remakes, I don’t see the point in artistic terms — especially if this new version will be a European film. Be interesting to see what happens, though…

    • Sebastian Cornet

      It’s probably identical because Man in The Wilderness was based on Glass’ story. Maybe unofficially, but the parallels are there.

      • brenkilco

        Just googled around. Glass’ ordeal has been apparently been the subject of a couple of previous novels, one of which was source of Man in the Wilderness. And one of the guys who abandoned Glass was legendary mountain man Jim Bridger. Sure the movie will be harrowing, but if it sticks to the facts (i.e. Glass lying on a dead tree so that maggots would consume his festering flesh) I may just give it a pass. Grim, grueling man against the elements movies are not my preferred type of drama and not what I consider entertainment.

        • Sebastian Cornet

          Indeed. It surprised me none of the movies and novels caught on so far, considering it’s a cool story and real to boot.

          I can see where you are coming from, and I think I share your point of view to a degree. I’d rather see man vs. man or man vs. himself kind of conflict, but this story is harrowing enough to get my attention. We shall see. I thought I wouldn’t get behind a concept like “Buried” and I ended up loving it.

  • Scott Crawford

    I’m practically a shut-in, on my computer a lot.

  • 3waystopsign

    Sent. 2007 draft

    • brock

      Could I get a copy of the script too? Thank you.

      • 3waystopsign

        Sorry missed this somehow. Sent now.

  • Scott Crawford

    I know, there’s a bit of confusion. I don’t know if anyone has any draft other than the 2007 draft, which is the one reviewed here.

  • S D

    I can’t say I enjoy pure survival stories, such as this one or Gravity, because they don’t seem to allow for character growth. They are essentially horror stories in which the horror is nature. When you add in the revenge motivation of the character in this script, you have an even less appealing story because seeking revenge is negative character growth; to grow, a character must go from wanting revenge to seeing the folly in it.

    I can see why Gravity and The Revenant are visual and filmic–with many images of the struggle to survive a harrowing situation–but they lack universality. How many people in the audience are going to experience such harrowing circumstances? And moreover, what does one learn from surviving an ordeal? That you keep going? That’s not an interesting theme.

    • carsonreeves1

      I was sort of thinking the same thing. I had just come out of Inside Out over the weekend, a movie that shoots straight to your emotional core, and yet you feel no emotions while reading The Revenant.

      Still, there’s something visceral and exciting about survival against all odds. It’s a different kind of story that evokes different kinds of feelings, but it can still hit you hard.

    • Scott Crawford

      It’s a good point. In general, I prefer stories where the leads are RESCUING rather than just SURVIVING. I mean, a lot of disaster movies (I love disaster movies) are about both, but what draws us to, say, Steve McQueen and Paul Newman in The Towering Inferno is that they could easily escape the fire – they stick around to save others.

      Great drama is about dilemma, and the main dilemma if a character’s goal is to survive is… whether to survive or not. I like it when there’s a moment (perhaps at the end of Act Two/beginning of Act Three) when the hero has an “out” but decides not to take it.

      This scene from Terminal Velocity illustrates my point (although the clip cuts away before the end). Charlie Sheen has been accused of manslaughter by a Russian agent who faked her own death while skydiving. She forces Sheen to help her go after some Russian bad guys.

      What she gives Sheen is a photograph from a photobooth with a copy of that day’s newspaper – proof that Sheen didn’t kill her. But when Kinski is kidnapped by the bad guys, Sheen goes to the rescue… even though he doesn’t HAVE to (it’s because he loves her).

      For Sheen’s character, this is quite an arc.

    • charliesb

      I read the Martian, and so did a few friends of mine, most of us really liked it, but a few felt it was too technical. I think that’s why they are beefing up the rescue part of the story.

      It’s interesting but I actual disagree with your opinion that these types of stories lack “universality”. I think they tap into the pretty universal trait of empathy in a way that many other types of stories are unable to. I think survival stories are perfect vehicles for stories about character growth and that GRAVITY is just not a very good film (story wise).

      CAST AWAY is a great example of a survival story done well (almost ruined by that ridiculous reunion with his wife). What GRAVITY lacked was a reason to empathize with it’s main character. The movie pretty much died for me when the most interesting character floated away. Watching Hanks learn how to survive (at least for me) was captivating.

      Revenge is a negative emotion, but it’s often an honest one. I haven’t read the screenplay yet, but if it’s what kept him alive and leads to interesting confrontations, then I don’t see a problem with it. If I remember from the WIKIPEDIA entry he only ended up killing one of the people that left him.

  • fragglewriter

    I was exhausted from reading your review Carson and also confused. After digesting that he experienced 6 millions ways, what’s the point of killing the people who left you dead? I would be too exhausted trying to live to go and seek vengeance.

    The page count is good and even though I have read until page 7, I feel bored. I understand that being descriptive creates atmosphere and this script was adapted from a boo but there has to be a better way to convey, tighten, this information.

    Sidenote: Has anyone watched/read Under the Dome? I just got the book from the library yesterday and was surprised how the action happened so fast in the book. I will watch the shows after I read part 2.

    • Scott Crawford

      Films about people taking revenge after being left for dead:

      Revenge with Kevin Costner

      Quigley Down Under with Tom Selleck

    • charliesb

      The first season of UNDER THE DOME is enjoyably bad. There are a few interesting momentsset piecescharacters but it really falls apart in the last half.

      The second season was painfully bad. It completely diverges from the book, and becomes so ridiculous you’re just watching to see what unbelievable, nonsensical thing will happen next.

      Season three starts tomorrow. This keeps getting renewed and yet they cancelled Hannibal :(

      • fragglewriter

        I’ve read that most reviewers hated that it strayed from the book. I got the book because I wanted something good to read but not so generic. I’ll have to binge watch the TV show later this summer.

        I’m surprised that Hannibal was canceled. I’ve never watched the show but the lead actor and trailers are intriguing. I think the show would do better on cable.

  • deanb

    Looks like Leo is sending a not so subtle message to the Academy voters about what will happen if he’s left behind in the Oscar again race this time.

    • Bacon Statham

      I don’t know, I think he’s more likely to win an Oscar for his role in The Crowded Room rather than this, that’s if it goes ahead with him.

      He’ll play Billy Milligan, the first person to successfully use multiple personality disorder as a defense in court. I can see why an actor would wanna play a character with 24 personalities, it’s certainly an interesting role.

  • Poe_Serling

    “He survives rattlesnakes, gangrene, waterfalls, boulders at the bottom of waterfalls, maggots eating away at his open wounds, Vultures who eat him alive, racism, and multiple attacks from Indians. Glass can’t go a step without something attacking him. And somehow, he survives it all.”

    Wow. What a list of obstacles to overcome. Here’s hoping Leo and company can pull it off in a somewhat realistic way.

    These type of survival films can be quite entertaining with the right story, the right talent behind the camera, and the right casting choices (does the audience believe the lead actor/actress is really capable of enduring the often physical/mental challenges being thrown at them on the screen).

    One of my favorites in this subgenre of the action/adventure film:


    “A captured hunter in Africa has one chance to survive – if he can outrun a native tribe.”

    Directed by and starring Cornell Wilde. Just a really lean and mean 90 minutes of a man on the run for his life.

    It even fits in nicely with CR’s What I Learned moment from today’s review: The importance of having a physical destination. In Naked Prey, the UNNAMED MAN is trying to get to a colonial fort on the other side of the South African jungle.

    • Scott Crawford

    • klmn

      I don’t know if there was an African true story that was based on, but John Colter had an experience like that with several hundred Blackfeet.

      • brenkilco

        And I suspect that Colter’s experience was probably the inspiration for the central sequence in the Sam Fuller movie Run of The Arrow.

    • brenkilco

      Wilde was kind of a dull leading man most of the time but a pretty good if very bare bones director. There’s another pretty good B movie in this vein called Inferno. Robert Ryan is a millionaire whose cheating wife pushes him off a desert mountain and leaves him for dead but he sucks it up and survives seeking revenge.

      • Poe_Serling

        I will have to check out Inferno. Thanks for the recommendation.

  • Casper Chris

    Not that long ago I posted about the death of John Nash (portrayed by Russell Crowe in A Beautiful Mind) in a car accident and now James Horner, the soundtrack composer of that very same film, has died in a plane crash. That’s fucked up. If I were Russell Crowe I’d be freaking out right now.

    • charliesb

      Probably LEGENDS OF THE FALL and GLORY because I’m schmaltzy like that. I also really like THE ROCKETEER.

      Special shout out for BISHOP’S COUNTDOWN on ALIENS. :)

      • Casper Chris

        I know it’s probably considered a cheesy pick, but for me…

        • charliesb

          BRAVEHEART is great, but the bagpipes wear thin on me after a while.

    • Scott Crawford

      I just love his score for Krull. Imagine this scene without the music (turn the sound off, if you like!).

      • Sebastian Cornet

        The music is cool, but the backdrops are really distracting. (So maybe that makes your point)

    • Sebastian Cornet


      • Eric

        Damn. Beat me to it. Still…

        What would action movies in the early 90s have sounded like if it weren’t for this?

        RIP Mr. Horner

        • Sebastian Cornet

          Haha, at least yours gets started faster. And it’s nice to finally see what instruments are responsible for each part. Now, excuse me, I’m off to play Aliens Vs Predator 2000 edition.

    • Marija ZombiGirl

      ALIENS. That I watched the night before his death – or maybe, given the time difference, it would’ve been around the same time? Huh.

  • Scott Crawford


  • Scott Crawford

    OT: Want to see what the next Spider-Man might look like doing backflips? Check out these videos:

  • Thomas Anderson

    Just sent it!

  • august4

    Wow… I didn’t know this was based on actual events… Not to be confused with the legendary story of Hugh Jass…. lol

  • magrittesapple

    Don’t know if this has already been mentioned, but reportedly Inarritu and cinematographer Lubezki filmed this thing using only natural light. Very innovative, and should do well to increase the film’s stock come Oscar season. Gotta love Inarritu.

    Link to source for those interested:

    • Scott Crawford

  • Bifferspice

    “This draft was written by Mark L. Smith in 2007. However, Inarritu did a
    director’s pass on it before shooting (and is actually taking a
    screenplay credit).”

    i’m against directors taking writing credits unless they wrote the damn thing from scratch. doing a pass is just part of the director’s job. alexander mackendrick said no director should take a writing credit, and i agree with him, unless they did the whole damn thing.

    didn’t inarritu fall out with arriaga, his long term writer, over this? difficult to tell from the outside, but he does seem keen to get in on the writer’s credit.

  • S.C.


    Slow day for Scott Crawford-out of 89 comments he accounts for only 16-just under 18%. He must be under the weather.



    • Scott Crawford

      Anyone want to try to an figure out who this might be?

      • Gregory Mandarano

        I advise taking your anti-psych meds every morning. Your multiple personalities are starting to bleed through. ;)

        • Scott Crawford

          Idea for movie: innocent screenwriter has his identity stolen by man seeking revenge.

          Possible title:

          For Whom the Bell Trolls

          • Gregory Mandarano

            Honestly, it’s a pretty dick move to make fun of someone for sharing scripts on a site where screenwriters discuss scripts.

      • Scott Strybos

        You didn’t badmouth Philomena or The Trip, did you?

        • Scott Crawford

          I love S.C.’s work.

      • brock

        Not related to this, but could I get a copy of the script too? Thank you.

  • Jovan Jevtic

    I don’t see this is a great movie. There’s an element in Gravity that people want to see and it’s the space. In period pieces there’s not much atractivness. What happened to 127 hours another survival movie? Didnt go that well. I see this as something that might do well but not definetly not greatness.

    • Gregory Mandarano

      My favorite survival movie is Enemy Mine. Darrrrwich!

  • Midnight Luck

    it is one thing to go all revenge on someone ala JODIE FOSTER in THE BRAVE ONE, but quite another to go revenge where no one did anything to you, you were slowing them down, might even cause them to get injured and die, and you yourself had basically NO chance of survival.

    They might need to monkey with some of the basics in the script if they want to pull it off as an empathy / revenge piece. It worked great in The Brave One.

    • Gregory Mandarano

      As ppl said earlier on, they changed it so that one of the guys murdered his son or something.

      • Midnight Luck

        yeah I saw that now.
        I read through comments yesterday, and hadn’t posted. So now I posted, then read through the new comments, and whatyaknow this issue has been addressed.

        Glad to see they did change it, because I don’t know how on board viewers would be in the current reviewed state of the script.

  • Scott Crawford

    R.I.P. Patrick MacNee 1922 – 2015

  • carsonreeves1

    I thought he was British. My bad!

  • bruckey

    the trailer is online

  • bruckey