RESIDUALS SUMMARY CHART DGA, WGA, SAG, AFTRA AND IATSE KEY SCRIPTED PROGRAM TYPES 2010 JONATHAN

THAN HANDEL
Residuals summary chart v. 18.doc Avail. at jhandel.com & jhandel@att.net. Chart is for current scripts & product unless indicated. Omits DGA FLTTA, WGA Art. 64 & App. A, AFTRA front of book, AFM, and one-off deals. Italics = out-of-pattern or no pattern.
A1
C
D
E
F
G
H
I/J
K
B

Reused in:

Made for:
2
Theatrical
Generally, no residuals
for pre-5/1/60 (DGA),
6/13/60 (WGA), 2/1/60
(SAG), 1/31/60 (IATSE)
theatrical product. But,
WGA: post-1948
Universal product is
subject to residuals.
3

Free TV (all)

AFTRA: network
primetime only. WGA:
AM depends on made
for network primetime
vs. not. IATSE: no
residuals on made for
TV or HV product
reused in traditional
media (B3-H6) or in adsupported NM (K3-6).
4

Pay TV

WGA: For made for

pay TV product of a
type not generally
produced for primetime
network TV, use cells
F5-G5 rather than F4G4 for release in pay
TV and home video.
5

Home Video

Basic Cable

(High Budget)
Low budget terms are
freely negotiated.
Also, AFTRA rules
may differ.
7

Derivative
New Media
Definition: DGA, WGA,
IA: NM based on TV.
SAG: theatrical, free TV,
pay TV, HV. AFTRA:
same as SAG but not
theatrical.
8

Original NM

Experim. NM

Theatrical

No residuals.
(Note: There
are no
residuals even
for rereleases,
foreign
releases, or
extended runs.)
DGA: U.S./Can,
150% theatrical
AM; nonU.S./Can, 100%
of same; both,
150% of same.
WGA made
for free TV or
basic cable:
U.S., greater of
theatrical AM or
150% of the
other than
network prime
time TV AM;
non-U.S., same
formula but
100% instead of
150%; both, use
U.S. formula.
WGA - made for
pay TV or HV:
100% theat AM.
SAG, AFTRA:
U.S./Can, 150%
TAM; nonU.S./Can, same
(alt: 50% TAM
per nonU.S./Can zone);
both, 200%
TAM. AFTRA basic cable: may
differ.

Free TV Free TV Network Syndication or

Primetime Non-Primetime

Foreign

(Free TV, Basic Cable, &

Ad-Supported Streaming
of TV Product)

1.2% of gross
(1.8% if outright sale; rarely used provision)
(SAG 3x, IATSE 4.5x)

Pay TV

(also in-flight,
except that F4
& F5 = F3)

Home
Video

Domestic
Basic Cable

New Media Consumer Paid

eRental

1.2% of
gross (SAG
3x, AFTRA
TV 3x,
IATSE
theatrical
4.5x).

1.5% (to 1.8%)

of Producers
gross (=20%
of worldwide
wholesale
gross if
affiliated video
co.; else, 100%
of fee recd by
producer)
(1.8% at $1M
Prod. gross)
(SAG 3x,
AFTRA TV
3x, IATSE
theatrical
4.5x). Pre1984/85
differs.

DGA (max resid. =

AM/yr.): Dom cbl:
sub fees %yr (+
poss 2% GR > brk).
PPV 2% GR > brk.
WGA dom: fixed
$/yr. > 10 exh. days
/ 1 yr. SAG/AFTRA
dom after same: 6%
GR; also, 2nd svc.
6% GR. Foreign
svc.: 2% GR
(SAG/AFTRA 3x).

2% (SAG/
AFTRA 3x) of
lic. fee after
100K units
(WGA, SAG:
75K for 30/60
min pay TV
product). DGA:
if initial release
on pay cable,
must also meet
gross break.

EST
1.8% to
3.25% of
20% of
gross (SAG
3x, IATSE
4.5x)
(3.25% >

1.2% of gross
(SAG 3x)

Hey, this version is out of

date! Click anywhere to go to
http://jhandel.com/residuals
and get the updated chart.

After free run:

100% of: RB
(Residual Base,
DGA); AM
(WGA); or
TAC subject to
ceiling (Total
Actual
Compensation,
SAG/AFTRA).
Similar to
made for free
TV (C3). DGA
- high budget
pay TV
motion picture
(>=80 min, >=
$5M budget):
1.2% of gross.
DGA - other
product: 20%
discount on
residuals until
gross break.
Similar to made
for free TV
(C3). WGA: if
>=10 runs on
basic cable or
<= 66 episodes
in series, 2% of
gross.

After free run: Run

by run declining %
of: RB (DGA),
AM (Applicable
Minimum, WGA),
or TAM (Total
Applicable Min.,
SAG/AFTRA; but
their AMs differ).

15%, 10%, 10% of

RB/AM/TAM
triggered by
telecast or gross
breaks; then 1.2%
of gross (SAG/
AFTRA 3x) above
a gross break.

Similar to made
for free TV (D3).
DGA - high
budget pay TV
motion picture
(>=80 min,
>=$5M budget):
1.2% of gross.
DGA - other
product: 20%
discount on
residuals until
gross break.

Similar to made for

free TV (E3). DGA
- high budget pay
TV motion picture
(>=80 min, >= $5M
budget): 1.2% of
gross. DGA - other
product: 20%
discount on
residuals until gross
break.

Similar to made for

free TV (D3). WGA:
2% of GR if test in C6
met. DGA & SAG
synd: if > 10 runs or 1
yr. on basic cable: 2%
of GR (DGA) or DGRdiscounted run %
TAM (SAG). (DGR =
Distribs Gross.)

Similar to made for

free TV (E3). DGA
& WGA use
syndication RB/
AM here and in C6D6.

See G4 for DGA,

SAG (break is
100K), AFTRA.
WGA: 2% of aggregate GR after
aggregate GR break.

See F4 for DGA,

SAG/AFTRA.

Same as if made for free

TV (F3-G3).

New Media Ad-Supported

(except foreign streaming of

TV product)

1.2% of gross (SAG 3x,

IATSE 4.5x) for post7/1/71 product. No
residuals specified for
older product.

50K units)

2% of gross (2.5%
for pre-7/1/84
product)
(SAG/AFTRA 3x)

2% of gross (2.5%
for pre-7/1/84
product)
(SAG/AFTRA 3x)

SAG/AFTRA: 4 or
fewer performers:
1.5% of gross x
number of
performers (this
also applies to all
6% or 3x figures
in F4, G4, F5, G5,
but not to H3)
Sanchez (Run by run
declining % of
RB/AM/TAM). WGA
alts: Hitchcock (120%
AM differential pmt
then 2% of gross); or
negotiate. AFTRA alt:
Exhibition day based
% of AM.

1.2% of
gross
(SAG 3x,
AFTRA
TV 3x,
IATSE
theatrical
& TV
4.5x) for
post7/1/71
product
(SAG TV
7/20/52;
AFTRA
n.d.;
IATSE
2/1/73).
No
residuals
specified
for older
product.

1.8% to
3.5% of
20% of
gross
(SAG/
AFTRA
3x, IATSE
theatrical
& TV 4.5x)
(3.5% at
greater
than 100K
units)

Non-library product: 24
day (1st season or onetime programs) or 17 day
(subsequent season) free
window, then two 26 wk.
windows ea. @ 3%
(rising to 3.5% at start of
3rd CBA contract year) of
RB/AM/TAM, then (1
year after end of free
window) 2% of gross
(SAG/AFTRA 3x).

(WGA: for 30 or 60
minute network
primetime teleplay
Above is
written on or after 5/2/10,
for 2008/09
the residual for each 26
product.
week window is 2% of
AMPTP
accountable receipts
and WGA
(i.e., gross), but
disagree
accountable receipts are
whether
imputed to be $20K (30
this
minute) or $40K (60
formula
minute)).
(and J2)
also apply Library product prior to
to all post- 2008/09 Agt. as to which
7/1/71
free TV residuals are still
product. payable: 2% of gross
(SAG/AFTRA 3x).

26 week free window then 13 wk. free window, then

Similar to made for free TV (C3-E3). Foreign (E7) is
two 26 wk. wins. @ 3%
1.2% of gross (SAG
unspecified. DGA, WGA: Primetime runs of product <=15 min
Same as if made for free
Same as if made for /AFTRA 3x, IA 4.5x). But (rising to 3.5%) of RB/AM
treated as non-primetime. DGA - RB: syndication RB. WGA
TV (F3-G3).
free TV (H3).
Original NM <= $25K per (SAG & AFTRA: flat $20AM: the bargain rate (high budget for Derivative NM, low for
$25), then (1 year after end
min.: no residuals. Also,
Original NM). SAG/AFTRA - residual base: for Derivative NM:
Unspecified.
of free window) 2% of
IATSE derivative or
Network primetime residual ceiling (i.e., the C3 ceiling, not
IATSE: same as if made for
IATSE: no
gross (SAG/AFTRA 3x).
TAC or TAM) for the underlying program, prorated; for
original:
must
be
>=
2
theatrical (i.e., F2-G2).
residuals.
IATSE: no residuals.
Original NM: Network primetime residual ceiling for 1/2 hour
IATSE crew & initial
No residuals
(prorated) or closest length (for >30 min). IATSE: no residuals.
release is ad supported.
Covered at co. option. Experimental = (a) budget <= $15K/min. & $300K/episode & $500K/order (converse for WGA & AFTRA) & (b) no: DGA prior e/ee, profl writer, covered performer, or < 4 IA jobs.

Chart omits some exceptions (e.g. in C3, D3 & D6), promo launch period, CW, MyNetworkTV, holiday program exhibition day rule, first run definition, initial comp adjustments based on release pattern, supersized episodes, clips, foreign, non-English, animation,
payments for separated rights or the like, series bonuses, arb. decisions, bargaining history, P&H, AICF, ICF, commissionability, interest, & deadlines. RB/AM/TAC/TAM residuals are per employee; gross % are aggregate & subject to allocation formulas (not shown).

RESIDUALS SUMMARY CHART PAGE 2 REFERENCE SOURCES 2010 JONATHAN HANDEL (ok to copy or email without alteration)
Residuals summary chart v. 18.doc Available from jhandel.com & jhandel@att.net. Chart is unofficial and is for convenience only. For definitive information, refer to union/guild agreements, bargaining history, arbitration decisions and experienced advisers.
A1
B
C
D
E
F
G
H
I/J
K

Reused in:

Theatrical

Made for:
2

Theatrical

Free TV (all)

Free TV -

Syndication or
Non-Primetime

BA 11BA 11-201.
101(b)(1)(i).
MBA
MBA 15.B.1.a,
15.B.13.a-c.
b(1), 2(a), (d),
TVA 19(a)-(c). (3). TVA 18(a),
Netcode Ex. A, (b)(1), (3), (4).
Netcode Ex. A,
3.
3.

BA 11-101(b)(2)-(4),
24-301, SLs 10 & 12.
MBA 15.B.1.a, b.(1),
(2)(c), (d), (3), SLs 1
& 2 to 15.B.1.b.
(2)(c). TVA 18(a),
(b)(2), (3), (4), SLs
B, B-1 & B-2.
Netcode Ex. A, 3.

Home Video

Basic Cable

(High Budget)
AFTRA: one-off
agts (not shown).

BA 20-803.
MBA App. B,
G.2. TVA
78(d)(3).
Netcode Ex.
E, 4.C.

BA 20-801. MBA App. B, G.1. TVA 78(d)(1).

Netcode Ex. E, 4.A. (Applicability of TVA and
Netcode provisions to reuse in foreign is implicit.)

BA 23-104(b)-(e).
BA 23-104(f). MBA App. C, MBA App. C,
2(b)(1), (2). SAG Basic 2(b)(1), (2). SAG
Basic Cable Agt.,
Cable Agt., 1.
5-8.

Derivative
New Media

Original NM

Experim. NM

BA 23-104(f).
MBA App. C,
2(b)(1), (2). SAG
Basic Cable Agt.,
1.

BA SL Made for NM, E.1.e.(1).

MBA SL Made for NM,
2.b.(4)(e)(I). CBA/TVA SL Made
for NM, B.3(e)(i). Ex. A SL NM
Reuse, 4.A(5)(a)(i).

Pay TV

(also inflight,)

BA 18-101,
102, 103.
MBA
51.C.1.a.
CBA
5.2.A(1),
E(1), (2).
TVA 5.2.
Netcode Ex.
D, 3.A,
4.A, B.
IATSE BA
XXVIII(b)(1).

Home
Video

Domestic
Basic Cable

New Media Consumer Paid

eRental
BA 18-101,
102, 104.
MBA
51.C.1.b, SL
to Art. 51.
CBA 5.2.A(2),
E(1), (3). TVA
5.2. Netcode
Ex. D, 3.A,
4.A, B. IATSE
BA
XXVIII(b)(2).

BA 18-102 (2nd to
last para). MBA 58.
CBA 5.A
(implicit).

BA 11-108. MBA
58. TVA 18.1(a).
Netcode Ex. A, 3.

BA 20-100, 400, BA 20-100,

600, 804, SL 7. 400, 700, SL
MBA App. B, 7. MBA App.
D.2, 3.a, G.4.
B, D.2, 3.b.
TVA 78(c)(1)a)- TVA 78(c)(2)
c), 78(d)(5). Net- a)-c). Netcode
code Ex. E,
Ex. E, 2.B,
2.B, 3.A(1), 4.E. 3.B(1).
See F4 for
See G4 for
DGA, SAG,
DGA, SAG,
AFTRA.
AFTRA.
MBA App. B, C.2, 3, G.4.

BA 20-802. MBA
App. B, G.3. TVA
78(d)(4). Netcode
Ex. E, 4.D.

BA 23-104(f). MBA App.

C, 2(b)(1), (2). SAG
Basic Cable Agt., 1.

BA 23-104(a).
MBA App. C,
2(b)(1)-(3). SAG
Basic Cable Agt.,
3.

BA SL Made for NM, E.1.e.(2). MBA SL Made

for NM, 2.b.(4)(e)(ii). CBA/TVA SL Made for
NM, B.3(e)(ii). Ex. A SL NM Reuse,
4.A(5)(a)(ii).

Unspecified.

Unspecified.
BA SL Made for NM, E.2.c(1).
MBA SL Made for NM,
3.b.(4)(c)(i). CBA/TVA SL Made
for NM, D.3(c)(i). Ex. A SL NM
Reuse, 4.B(3)(a).

BA 11-102. MBA
15.B.2. TVA
18(c)(1)-(4).
Netcode Ex. A, 3.

Pay TV

Foreign

(Free TV, Basic Cable, &

Ad-Supported Streaming
of TV Product)

BA 19-101 to 104. MBA15.A.2, 3 (preamble), 3.a, b.

CBA 5.A. IATSE BA XIX(b)(1)-(3).

Unspecified.
3

Free TV Network
Primetime

BA SL Made for NM, E.2.c(2). MBA SL Made

for NM, 3.b.(4)(c)(i). CBA/TVA SL Made for
NM, D.3(c)(ii). Ex. A SL NM Reuse,
4.B(3)(b). IATSE BA SL Made for NM, F(2)
(applies to pay TV and home video only; no
IATSE residuals for basic cable).

BA SL
NM
Reuse,
1, 5.
MBA SL
NM
Reuse,
1.a, 3.a, 5.
CBA/
TVA SL
NM
Reuse,
1.A, 4.A.
Ex. A SL
NM
Reuse,
1.A, 5.A.
IATSE SL
NM
Reuse,
1.a, 3.a.

EST

New Media - AdSupported

(except foreign streaming of

TV product)

BA SL NM Reuse, 3.B,
5. MBA SL NM Reuse,
2.a, 3.a. CBA/TVA SL NM
Reuse, 2.D, 4.A. IATSE
SL NM Reuse, 2, 3.a.

BA SL NM
Reuse,
2, 5. MBA
SL NM
Reuse,
1.b, 3.a, 5.
CBA/TVA
SL NM
Reuse,
1.B, 4.A.
Ex. A SL
NM Reuse,
1.B,
5.A.
IATSE SL
NM Reuse,
1.b, 3.a.

BA SL Made for NM,

E.1.a, d (& SL NM Reuse,
5). MBA SL Made for
NM, 2.b.(4)(a), (d).
CBA/TVA SL Made for
NM, B.3(a), (d) (& SL
NM Reuse, 4.A). Ex. A
SL NM Reuse, 4.A(4),
5.A. IATSE BA SL Made
for NM, F(1)(c), (d).
BA SL Made for NM,
E.2.a, b (& SL NM Reuse,
5). MBA SL Made for
NM, 3.b.(4)(a), (b).
CBA/TVA SL Made for
NM, D.3(a), (b) (& SL
NM Reuse, 4.A). Ex. A
SL NM Reuse, 4.B(2).
IATSE BA SL Made for
NM, F(1)(a), (b)(ii),
(c), (d).

BA SL NM Reuse,
3.A, 5. MBA SL NM
Reuse, 2.b, 3.a.
CBA/TVA SL NM
Reuse, 2.A, B, 4.A.
Ex. A SL NM Reuse,
2.A, B, 5.A.

BA SL Made for NM,

E.1.a-c (& SL NM Reuse,
5). MBA SL Made for
NM, 2.b.(4)(a)-(c).
CBA/TVA SL Made for
NM, B.3(a)-(c) (& SL
NM Reuse, 4.A). Ex. A
SL NM Reuse, 4.A(1)(3), 5.A.

BA SL Made for NM,

E.2.a. MBA SL Made for
NM, 3.b.(4)(a).
CBA/TVA SL Made for
NM, D.3(a). Ex. A SL
NM Reuse, 4.B(1).
IATSE BA SL Made for
NM, F(1)(a), (b)(i).

BA SL Made for NM, B. MBA SL Made for NM, 1. CBA/TVA SL Made for NM, C. Ex. A SL Made for NM, C. IATSE BA SL Made for NM, B.

Abbreviations: Agt. = Agreement. BA = DGA Basic Agt. MBA = WGA Minimum Basic Agt. CBA = SAG Codified Basic Agt. TVA = SAG TV Agt. Netcode = AFTRA Network Code. IATSE BA = IATSE Basic Agt. Ex. A = Ex. A
of Netcode (unless context indicates otherwise). SL/SLs = Sideletter(s). NM = New Media. Art., Sec. and Para. are generally omitted. or means a section or paragraph within an App., Ex. or SL.
LOVE THIS CHART? NOW YOU CAN WEAR IT! CHECK OUT HTTP://WWW.CAFEPRESS.COM/RESIDUALS FOR T-SHIRTS, HATS, COFFEE MUGS AND MORE.

J ONATHAN H ANDEL
Jonathan Handel (jh@jhandel.com, jhandel.com) practices transactional entertainment and
technology law at TroyGould in Los Angeles and is a contributing editor for The
Hollywood Reporter, where he covers entertainment labor and select other matters. He is
also a former computer scientist.
Handel is the author of several books, including the forthcoming ENTERTAINMENT
RESIDUALS: A FULL COLOR GUIDE, which describes the union reuse/royalty payments that are common in the
entertainment industry; THE NEW ZEALAND HOBBIT CRISIS, which tells the dramatic story of an attempt to unionize
actors on The Hobbit; HOLLYWOOD ON STRIKE!, which chronicles and analyzes the Hollywood writers strike of 20072008 and the ensuing Screen Actors Guild stalemate that lasted through mid-2009; and the 2013 ENTERTAINMENT
UNIONS AND GUILDS: AN INTERDISCIPLINARY BIBLIOGRAPHY (345 pages).
Handel is an adjunct professor at USC and Southwestern Law Schools. He has also been an adjunct professor at
UCLA Law School. Handel has previously worked as a talent lawyer; as associate counsel at the Writers Guild; and
as a litigator.
Handel is a member of the Television Academy (the group that awards the primetime Emmys), and was named by
the Daily Journal as one of the top 100 lawyers in California in 2008. He has been profiled in the book
SOCIAL.LAWYERS by Jayne Navarre, and by the Los Angeles Business Journal.
A magna cum laude graduate of Harvard College in applied math and computer science, Handel worked in the
computer industry before, during and after college. He was also involved in local politics as an elected delegate and
Democratic party committee member and in gay politics; drafted and lobbied for passage of the Cambridge, Mass.
human rights (civil rights) ordinance; and served on the human rights commission that the law established to investigate
and adjudicate discrimination claims.
Handel then attended Harvard Law School, graduating cum laude in 1990, and then clerked on the U.S. Court of
Appeals for the Fifth Circuit. During 1992-1993, while a litigation associate at a Los Angeles firm, he concurrently
served as a federal Associate Independent Counsel (special prosecutor) investigating alleged misconduct in the Bush
administration.
Handels writing has been published in/on the Los Angeles Times, Variety, The Hollywood Reporter, Los Angeles
Business Journal, Daily Journal, Huffington Post, Forbes.com and IMDb.com.
Handel has appeared about 800 times as a commentator on entertainment and technology legal issues and on
Hollywood guilds in international, national and local television, radio, print and online media, including ABC, CBS
and NBC nightly news programs, Bloomberg News cable channel, New York Times, Wall Street Journal, Los
Angeles Times, Variety, The Hollywood Reporter, NPR, BBC radio, local television and radio, Canadian television,
wire services, The Economist, Entertainment Weekly and, notably, The Defamer and the London Star tabloid.
Handel is also the author of a short book for technology executives, entitled HOW TO WRITE LOIS AND TERM
SHEETS. His article on trademark registration for movie titles was selected as the cover article of the April 2008
issue of Los Angeles Lawyer, and his law review article Uneasy Lies the Head that Wears the Crown: Why
Contents Kingdom is Slipping Away, which discusses the struggle between content and technology, appeared April
2009 in the Vanderbilt Journal of Entertainment and Technology Law.
Handel has moderated and appeared on panels and presented seminars on the entertainment industry to professional
audiences in Los Angeles, Park City (at the Sundance Film Festival), Nashville (at Vanderbilt Law School), Taiwan,
and Havana. For several years, he taught a film appreciation and screening class (approximately 400 students) for
UCLA Extension.

Entertainment Labor Books by Jonathan Handel

ENTERTAINMENT RESIDUALS: A FULL COLOR GUIDE
This book about residuals uses color coding to describe residuals, the complex union reuse/royalty
payments that are specific to the entertainment industry. The book explains residuals from the
ground up, yet delves deeply into the details: the formulas, sideletters, international issues,
economic facts, history, policy debates and more. It will be available in 2015, and will be about 225
pages. See page 4 of the residuals chart for a table of contents and go to http://jhandel.com/residuals
for more information, including sample pages when available.

ENTERTAINMENT UNIONS AND GUILDS:

AN INTERDISCIPLINARY BIBLIOGRAPHY
A must-have for attorneys, union officials and academics working in entertainment labor,
ENTERTAINMENT LABOR: AN INTERDISCIPLINARY BIBLIOGRAPHY is a 345 page annotated
bibliography of over 1,500 books, articles, dissertations, legal cases, websites and other resources
through early 2013 dealing with entertainment unions and guilds and various other aspects of
entertainment labor. It includes both U.S. and foreign materials and provides URLs for materials
available online. The product of literally dozens of database searches and hours of research, theres
no other resource like it. Available at https://www.createspace.com/3368648 or
http://amzn.to/Z4cyt5.

THE NEW ZEALAND HOBBIT CRISIS

After the third Lord of the Rings movie premiered in 2003, fans of the series eagerly anticipated
production and release of its prequel, The Hobbit. It turned out they had a while to wait, as a series
of troubles delayed production for years.
Then, in September 2010, when almost everything seemed resolved, U.S. and international actors
unions suddenly issued an alert advising their members not to accept work on this non-union
production.
Events quickly spiraled out of control and New Zealand plunged into crisis. Saving the Hobbit was
do or die for the local film industry, and the government scrambled to avoid disaster. Protests and
rallies erupted as word spread that the studio might rip the troubled production from the country. The island nations
currency fell on the possibility of losing the half-billion dollar project. What happened next was almost unbelievable
and proved, if nothing else, that not all Hollywood drama is on the screen. Available at
https://www.createspace.com/3352289 (paper) or http://amzn.to/SiHUX2 (paper, Kindle or audio).

HOLLYWOOD ON STRIKE!
The Writers Guild went on strike in 2007. The big issue: fees for programs released on new media
such as the Internet.
The strike was settled one hundred turbulent days later but then the Screen Actors Guild spiraled
out of control, unwilling to accept the same terms but unable to muster a second strike. As the
national economy collapsed, idled writers and actors sacrificed millions of dollars in film and TV
wages in order to pursue pennies in new media. All told, the turmoil lasted about two years.
HOLLYWOOD ON STRIKE! analyzes events as they unfolded and lays bare the contracts, economics
and politics swirling behind the paradox of Hollywood labor relations. It includes 80 pages of
reference materials: abbreviations/glossary, a graphic timeline, index, and more. Available at
https://www.createspace.com/3344392 or http://amzn.to/1wj7VoW.