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=C2=BB Trickbusters Copperfield, video trickbusters secrets
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billpage Posted: Apr 2 2008, 06:49 PM
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use google and youtubesearch engines
type in
trickbusters copperfield
type in
copperfield revealed
the blade use either one girl an she jumps secretly from platform to
plat form or have look alikes ,twins, doubles extc one gets legs
cuffed while other is in back on plat form shelve idea
either way the cross pieces as back part revolves around to do a
switch out
ports uses fast opening chute added from all around portal high in the
air above live and tv audience lightbullbs to give neat illusion you
see all the way to the back of the stage idea bu secretly fas moving
sprinin loaded mirrors go in place to give illusion of emptyness
and either prerecorded footage of hawaie or a look alike back stage
set
billpage Posted: Apr 3 2008, 06:36 PM
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well im glad you loike stage illusion ideas of cool science
friend:)
ps usually when somone says i sure wish i knew how to do stage
illusionist david copperfield llusions?
that lets me know they want it badly:)
so i help theme out like everyone hlped me to learn the big stage
illusions im thankful to JESUS to help me learn the cool stage
illusion ideas i allways wished i knew ow to do like cool illsionist
doug henning and david copperfield
ps thas in the year 1970s and 1980s and yahoo! JESUS ansered my
prayers cause i ran into folks and children nd even teenagers thatknew
what iwanted to know
at i said thanks JESUS for answering my prayers
ps again even at my church howard chapel ventriquest
so i dubbed him 6 hours worth on vhs tape secrets ours worth of top
notch stage illusion shows and top notch illusion secrets its the same
vhs tape i gave to copperfield and herbert l becker i like to share
like JESUS does :)he gave freely his life on the cross
lik wize i gave back frely also:)
mhb22 Posted: Apr 3 2008, 06:52 PM
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"at i said thanks JESUS for answering my prayers"
Yeah Jesus is great, could that work for my pass?
--------------------
I deny the Holy Spirit!
billpage Posted: Apr 3 2008, 07:10 PM
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Biography | Magic Magazine Article
Jim Steinmeyer: Deviser of Illusions
By T.A. Waters, MAGIC Magazine, September 1996
In the chill of an early April night she stands there, as if her great
copper eyes could see she would be gazing across the water to the
glittering city beyond. She is gigantic, over 150 feet high and
weighing more than 22 tons; a helicopter darts around her, as a
hummingbird might attend a princess. Far below, a darkly handsome
young man gestures--and before the unbelieving eyes of assembled
witnesses and the viewing millions, she is gone. The Statue of Liberty
has vanished. Soon she returns, appearing in the same miraculous
fashion. From that moment onward, something has been added to her
century of myth and legend. For the young man, a new myth has been
created--from this night forward, no longer will he be "illusionist
David Copperfield." He will be David Copperfield, the man who vanished
the Statue of Liberty.
Copperfield knows the value of mythmaking, and his performance of this
feat captured the public imagination in a way not seen since the days
of Houdini. It would be fair to say that it may be the single most
amazing magic effect of the latter half of the 20th century. But what
sort of person would have the imagination to conceive of such an
epochal effect? And what kind of mind would have the ingenuity and
expertise to take this notion and actually devise a way to perform it?
When Jim Steinmeyer was born just outside Chicago in 1958, it was not
with a silver T-square in his mouth. You will be relieved to learn
that--for a time at least--he was indistinguishable from the rest of
us. Yes, he did the church basement shows, and the birthday parties,
and relied on the "Egg Bag" and the "Linking Rings," just like we did.
It was, he says, a very standard talk-magic act, and he did it for
about a decade. It is interesting to note that the man destined to
become known as perhaps the best living originator of stage magic
hated to do new material; he would fret about it all during the act,
perform it, then analyze it instead of concentrate on the rest of the
show. He finally decided that being a performer took a certain quality
of irrationality that he didn't possess. "I was much too rational,"
says Jim. "I was much better offstage, planning the stuff." Sounds
reasonable, doesn't it? Of course, during that same time Jim devised
his own version of the classic "medicine show pitch act"--of the kind
made famous by Tommy Windsor and Sid Lorraine--and it was so unusual
that his performances garnered several awards in the magic community.
Out in the real world, however, there was not a huge market for a high-
school kid doing a pitch act. Jim continued with the "standard" act
through his college years, graduating magna cum laude from Loyola
University in 1980.
Magicians first began to take serious note of Jim in 1981, with the
publication of Jarrett--his annotated edition of Guy Jarrett's 1936
tome Magic and Stagecraft, Technical. The annotations revealed a mind
fully as astute as Jared's own, and constituted a compact syllabus of
illusion magic of the early 20th century. A few magicians, however,
already knew about this marvelously inventive mind; Jim had been
working for some time with well-known Chicago pros Bob High, Jim Royal
and others--and his illusions, notably the "Elevator" and "Walking
through a Mirror"--were being featured by a young man named Doug
Henning. Not surprisingly, when Doug found himself faced with
preparing a new television special and getting ready for the Broadway
production of Merlin, he knew he'd need expert help. Jim signed on for
a six-month sting, and worked with Henning for the next six years. On
that special, Jim was credited as "magic coordinator," a title that
still amuses him; it sounds, he says, like
"...enchanted...bureaucrat!" For Merlin he was the Magic Designer;
working in close conjunction with John Gaughan and Doug's staff, Jim
was able to recreate Devant's "Mascot Moth" illusion, a miracle
reincarnated after 75 years. Other startling illusions were integrated
into the scenic design; for Jim it was "a dream project." Reviews of
the show were mixed, but there was no ambivalence about the work of
Jim Steinmeyer; he received his first Drama Desk nomination. (Over a
dozen years later he would receive his second nomination for his work
on Beauty and the Beast; this Disney production now has eight touring
companies featuring the Steinmeyer/Gaughan illusions.)
In the early 1980s, Jim came up with the concept and method for the
vanish of the Statue of Liberty, and thereby hangs a tale of an odd
sidelight in magical history. Being employed by Doug Henning at the
time, he naturally brought the effect to Doug's attention--and Doug
didn't want to do it. "It's easy now to look back and say, why would
you not want to do that?" says Jim. "But in 1981, before the era of
mega-illusions, it was a big step to consider something like that.
Camera trick? Too unbelievable? Going from live to tape?" These were
all very valid considerations, and played their part in Doug's
decision. In time, David Copperfield became aware of the effect, and
through a complicated series of negotiations with Jim, David was able
to acquire the rights. It was almost certainly the wisest purchase
David has ever made, and would have been a bargain at any price.
"Historically, we can see that it's a good trick to have done," Jim
points out. "David had the foresight to understand that he was going
to create a show that was a creature of television and, in that sense,
it was a great trick."
During his half-dozen years with Doug, Jim devised several new
illusions. In coming up with a modern version of the venerable "Doll's
House" illusion of Fredrick Culpitt, Jim had the rather quaint notion
of crating one that actually looked like a real dollhouse--that is to
say, tiny. Magicians, how had for years been doing versions of this
illusion with props the size of Manhattan apartments, sat with jaws
agape as mounds of flowers were produced, and then Debby Henning, from
an enclosure that would have given claustrophobia to a Chihuahua.
Fooling magicians with principles they already know--or think they
know--is business as usual for Steinmeyer. Doug Henning recently said,
"I consider Jim the most brilliant mind in magic. He's a very deep
thinker, and he understands the psychology of magic and how to create
wonder."
In 1987, when Doug Henning abruptly retired, Jim was instantly scooped
up by Disney's Imagineering division, at first as Concept Designer,
and for several years now as a Consultant on projects ranging from
EPCOT to theme parks to Toontown. For many of these, he has written
outlines, treatments and full show scripts. In the space here allotted
it is impossible to give more than a suggestion of the many
accomplishments of Jim Steinmeyer--but think of it this way: if he
were to be divided into three parts, each part would still have more
credits than many "consultants" whose creativity seems most evident in
their self-promotion. Jim's television credits alone would make a
respectable career for anyone else: consultant on Blacke's Magic,
Young Harry Houdini, The Barbara Mandrell Special, Magic at the Magic
Kingdom, Ricky Jay's Learned Pigs and Fireproof Women (also co-
produced), Ricky Jay and his 52 Assistants, and on and on. Oh, and
then there are the television shows he's produced: Britain's
revolutionary Secret Cabaret series, the acclaimed Hidden Secrets of
Magic NBC special, and a forthcoming four-part A&E series on the
history of magic. Books, I hear you ask, what about books? In addition
to the previously mentioned Jarrett (now being revised by Jim for a
new edition), there is Device and Illusion (1991) and Strange Power
(1992). I reviewed both books, saying they were "a gift at the price,"
but I have to admit that I've since changed my mind. These books are a
gift at any price. Let's be clear about this: if Doug Henning, David
Copperfield, Lance Burton, the Pendragons and a long list of top
professionals pay attention (and money!) to Jim Steinmeyer--gee, maybe
he's worth a look and a listen. Jim's recent work includes The Magic
of Alan Wakeling (1993), a meticulous and loving tribute to a man Jim
admires and respects--and Modern Art, his 1995 book which details
(with plans) a bisecting illusion which may well be to the early 21st
century what Harbin's Zig-Zag Girl was to the 20th. As a bonus, Jim
includes a baffling new version of the "Drink Act," and "Shadow
Theatre"--in which an assistant or partner is folded up into
nothingness.
Folded up, did I say? That would bring us to another of Jim's
brainchildren, a little thing called "Origami." For those of you just
emerging from a 20-year retreat on a mountaintop, let me explain that
actually, it starts out as a big thing, a box just large enough to
hold an assistant--but once that assistant is inside, the box is
folded own into a space that might hold a basketball. Of course,
running three rods through the box wouldn't do a basketball any good,
but it seems to have remarkably little effect on the assistant, who
later emerges from the box unharmed. "Origami" has become one of the
most popular illusions of modern times.
Another Steinmeyer creation takes the notion of penetration to its
ultimate; in his "Interlude," one person passes directly through he
chest of another. This, too, has become a feature for many of the
world's top illusionists. Creating what have been called the defining
illusions of contemporary magic; consulting for magic's foremost
performers; working with such companies as (in addition to Disney)
Universal Studios, Imagination Arts, and SKG Dreamworks; producing
major television specials and series; writing on the history of magic
(automata, The Howard Thurston Work Books, etc., as well as the books
mentioned above); lecturing on magic at theatre conventions....all
this has left Jim with a very serious problem. What to do with his
spare time? He has solved that part by becoming an organizer of the
Los Angeles Conference on Magic History. This gathering, held every
tow years, is regarded by its lucky attendees as quite simply "the
best, classiest and most enjoyable convention in magic." For the most
recent such event Jim decided to re-create the famous "Disappearing
Donkey of Charles Morritt"--and it is typical of his dedication that
for the eight-minute illusion he spent literally months of work; this
work, be it noted, often began with the 5:30 a.m. braying of a donkey
in the backyard.
In his book Strange Power: "Most magicians find it hard to believe
just how long I will be working on an idea before I'm happy with it,
and how much work will go into the development before there is a
finished product. ...Those unthinking magicians are quick to say,
'Well, I could have thought of that,' but they didn't, mainly because
they don't bother thinking. Too bad." And: "I've found that most
magicians are genuinely intrigued with new ideas, [and] value them
right up until that point that they want to steal them...there is
little thought necessary to heave a brick through a window. Most
criminals don't get much farther than this. Neither, in equivalents,
do most magicians."
If, reading these lines, one can detect a bit of irritation and
annoyance in the Steinmeyer point of view, then we can add to the list
of his other qualities that of restraint; most of us, in his position,
would be screaming our lungs out. Very, very few magicians have any
idea of the creative process of invention. Any one of us can, by luck
or chance, get a happy inspiration that seems to work. A career with
the consistency of quality and productivity--a career like Jim
Steinmeyer's--is not the result of waiting for inspiration; it's the
result of--surprise!--work and more work. It comes from knowing the
history of your subject forwards, backwards and sideways; from solving
a problem and then tearing it apart and solving it again; from working
a hundred hours to a dead end, retracing your steps and starting all
over again; and from knowing when, despite all your efforts, the
project won't come together and it's time to shelve it for now, no
matter how much you may love it. Magical creativity, like any other
kind, doesn't come from sitting next to the pool, sipping a margarita
and waiting for the idea to come flitting into your brain like a
demented butterfly. It may well be that, because magicians have this
notion that ideas are something that happens to you, rather than
something you create by your own efforts, they can rationalize that an
idea has no value--and hey, if it has no value, what's wrong with
taking it? Take it they have; it's a perverse measure of Steinmeyer's
stature as a creator that probably more unauthorized copies of his
illusion shave been made than those of anyone else since the days of
Robert Harbin. It's a distinction he could well do without. Having to
devote time to tracking down the rip-off artists, rather than working
on creative projects, has to be doubly frustrating--not unlike Donna
Karan having to leave the design rooms to go wash the dirty laundry.
It must be small consolation to know that his illusions are being
ripped off by the magicians how have seen them done by the "big boys"--
and who think, with an almost childlike innocence, that if they do the
same tricks, in the same way, they'll be stars too. It's an inane
notion, of course, and never works. "Magicians think if you act like a
star, you will be treated as a star," says Steinmeyer. "They schmooze
with the audience the way Sammy Davis Jr. used to do--but very few
people can do that; only the really big stars. When the lounge singer
at the Holiday Inn tries it, it's hilarious: what kind of jerk is
this? Magician's haven't learned that lesson. Maybe the lounge singer
will someday become a star by singing great songs with talent, and
then he can indulge himself. Magicians not only imitate the magic,
they imitate the success and all the trappings, and it looks
ridiculous. Who cares? Do the magic. Get on with it." The Pendragons,
he points out, have become one of the most sensational acts in all of
magic and what do they feature? The "Broom Suspension," the "Indian
Basket," and the "Substitution Trunk!" "It cannot work, on paper," he
says, smiling. "If you told me years ago that someone could become a
star, a hot act doing those tricks--impossible! But the Pendragons
made those illusions distinctive and unique, stylish and spectacular.
Sure, they've done other stuff, but they still do those pieces. The
Pendragons are proof that solid material wins out." It should be
pointed out that the "other stuff" mentioned includes several
Steinmeyer illusions, among them a startling and visceral "Interlude."
Even though his Hidden Secrets of Magic was the most critically
acclaimed of the recent spate of magic specials, Steinmeyer's views
regarding magic on television are perhaps not what you'd expect.
"Magic doesn't work on TV. We should all say our prayers that the
public has accepted it; we're lucky because no art will survive [in
the commercial showplace] without TV." The proof of this is the
reaction of a layperson to magic done live: the magician was right
there in front of me. They're stunned, because they've seen magicians
on TV, and accepted them--but you can do anything on TV; magic is a
live art. If laypersons have some misconceptions about magic on
television, magicians have even more. "Magicians are still desperate
to be on network television, but it simply doesn't have that power any
more; it won't make you a star. It would be possible to come up with a
long list of performers for whom it has done nothing. Magicians have
to be much more clever, more judicious, as to just what their TV
appearances are." With just a tinge of cruelty, he adds, "If you're
over 30, you will still buy the notion that network TV will make you a
star." "That there are now 'rules' for how you do magic on
television," says Steinmeyer, "is simply inane; it's a product of
thinking of ten years ago, only useful if you want to try to be one
more David Copperfield clone."
The whole idea of Secret Cabaret, the spectacular British series which
he produced with Frankie Glass, was to "pull the rug out from under
notions of how magic is presented on TV. It was aimed at a different
audience, and the pacing, the effects and presentations, the music,
the cast, the suggestion of backstory reflected that. It was told in
the vernacular of MTV--not magic shows." Steinmeyer thinks--or perhaps
hopes--that there will be a learning curve for magicians. "They'll
have to get TV savvy, and part of that is not just saying, Where do I
sigh?, but understanding how they look the best, what the best
material is, how it's being staged and photographed. When it gets to
the point at which magicians are spending $90,000 to have gigantic
props built, with the notion that this will make them stars, it's
completely laughable. That's a freight train out of control--and on
the wrong track."
As a perfect counter-example, Steinmeyer cites Ricky Jay and His 52
Assistants: "Thank God it happened when it did. Right at a time when
people are saying how big can you get, how much production value can
you squeeze in, how much spectacle--there he is in a drawing room with
a deck of cards, talking about magic and doing sensational stuff--and
people saying this is the most incredible theatrical experience
they've ever had. What a great relief for all of us to see that the
core of this art is intact, and what a great example that it's the
cult of the personality again. Here is a great personality who can
hold an audience with conjuring tricks." And what, finally, is the
value of magic? "In our time, science has made wonders unspecial.
You're at the checkout counter, the clerk passes a pattern of lines
through a beam of light, and there it is, beef stew, $S1.59. Now
that's astounding, but you don't notice it, the clerk doesn't notice
it, the people waiting behind you in line couldn't care less." "But
magic makes you notice things--see how they're special--and now things
become unique and special, and you see the world in a new way." It
would be nice to end with that gentle philosophical observation, but I
can't resist a somewhat more characteristic quote from the estimable
Mr. Steinmeyer, this in response to criticisms of what is sometimes
pejoratively termed box magic: "If the red and chrome boxes are more
interesting than the performer on stage...well, the problem isn't with
the paint job."
Biography | Magic Magazine Article
=C2=A92004 J.H.S. Productions, Inc. | All Rights Reserved
Fax: (818) 563-1757 | eMail: info@[EMAIL PROTECTED]
Posted: Apr 3 2008, 07:21 PM
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if you talking about coin pass slight of hand yeah if you pray to
JESUS to help you learn cool slight of hand ideas then yeah but if yor
taking about finding JESUS in your heart ALL YOU have to do is ask
Jesus TO forgive you of your sins and come into your heart and save
you
once you do that you will feel a burden lifted off your shoulders
be safe (((little buddy)))
ps line from cool dvd tv series i have
gigiland island
billpage Posted: Apr 4 2008, 07:57 PM
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Original Message:
> well, i wish i could do illusions like david copperfield
http://groups.google.com/group/alt.magic.secrets/topics
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dc secrets in nutshell
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Original Message:
well, i wish i could do illusions like david copperfield
moconnellus Posted: Apr 4 2008, 11:47 PM
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Nice Bio report Bill.
billpage Posted: Apr 6 2008, 02:03 AM
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cool your welcome moco ((friend:))
the plateglass becomes the mirror as dc swings real mirror to the left
side like pushing adoor open in your house idea to the side
an as dc goes thru clear plateglass rectangle burst open yellow paper
you see dc hand and feet then other hand and then whole dc body as
real mirror swings back like a door hinge and pushes dc out as one
secret crew guy goes under neath with his hand and unlocks mirror so
everyone can slide mirror out an dc taps on mirror to show its still
solid
use lighting change in side or back of plateglass to give illusion its
still same solid platglass mirror ps jim styenmier invented this cool
idea illusion of science
billpage Posted: Apr 20 2008, 05:34 PM
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mhb22 Posted: Apr 20 2008, 06:22 PM
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I am a bit annoyed now by the word "trickbuster".
I really don't want to have a trickbuster in my audience.
Bill, how can you encourage this?
If I remember correctly, the trickbuster duo say "There is no magic,
it's just tricks".
Yeah but do they talk about how much work and preparation is needed to
create these wonderful illusions. I don't think so.
--------------------
I deny the Holy Spirit!
Ace Ventura Posted: Apr 20 2008, 07:52 PM
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QUOTE (mhb22 @[EMAIL PROTECTED]
Apr 20 2008, 06:22 PM)
Yeah but do they talk about how much work and preparation is needed to
create these wonderful illusions. I don't think so.
Couldn't agree more mhb...couldn't agree more.
--------------------
For those who believe, no explanation is necessary...for those who do
not, a whack in the head will do.
mhb22 Posted: Apr 20 2008, 08:05 PM
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QUOTE (Ace Ventura @[EMAIL PROTECTED]
Apr 20 2008, 07:52 PM)
QUOTE (mhb22 @[EMAIL PROTECTED]
Apr 20 2008, 06:22 PM)
Yeah but do they talk about how much work and preparation is needed to
create these wonderful illusions. I don't think so.
Couldn't agree more mhb...couldn't agree more.
Well that's good then.
--------------------
I deny the Holy Spirit!
billpage Posted: A minute ago
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Date: Sun, 20 Apr 2008 16:10:34 -0700 (PDT)
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PORTAL REVELEAD 3/3 (Trickbusters)
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Change the value of a comment by clicking on a thumb. TRICKBUSTERS (1
day ago) Show Hide Marked as spam Tonight I maintained conversations
with several=EF=BB=BF magicians who turned out to admit that we were right
i=
n
our explanation. I was ready to admit publicly that we were wrong if
they had told us another coherent explanation. But they didn't so. As
deceivers, and because it is their profession, they will never admit
that we are right. I always eagerly listen to them when they say I'm
wrong, but at the end it's always the same thing. Each day they give
us more reasons to fight for truth.
Grand P.
ekesler (1 day ago) Show Hide +1 Marked as spam pre-recorded
ekesler (1 day ago) Show Hide 0 Marked as spam i get it now... fake
beach
magic8697 (1 day ago) Show Hide 0 Marked as spam When he has someone
come up for the arm tattoo he just tells them what initials to say.
He
turns of his mic in case the person says something other than what he
wants.I have seen him live many times and the letters on the tattoo
were always the same.
michaelangelo888 (2 days ago) Show Hide -4 Marked as spam Dont be
stupid!! You cannot be an ex-employee of David Copperfield!! as they
all sign the same contract that they are not allowed to say for whom
they work.. nice try liar!!
drivemewilder (1 day ago) Show Hide 0 Marked as spam How long ago
did you work for him and sign this contract? The only contract we
sign
is one that states we will not reveal or use any of the secrets DC
Inc
uses as millions of dollars have been spent for entertainment and
many
people depend on these secrets for an income.
shedininja001 (2 days ago) Show Hide 0 Marked as spam its so hard to
tell whats going on on the sides from the orgianl video the platform
bounces (humm wonder why) and theres smoke in the back with lights to
better cover up movement , I could BARELY tell any movement, if you
were looking at the side you'd probley not see much as well since the
lights and smoke cover so much.
shedininja001 (2 days ago) Show Hide 0 Marked as spam i love the go
see live.
we are on 2008? what?
this sentences makes no sence!
invisible777777 (2 days ago) Show Hide 0 Marked as spam TB - I think
you got the whole thing down, you just need to re-evaluate the
platform segment.
Take it from someone who has seen the show twice:
- the platform is 20 feet.
- bumps were not noticed in the live performance (i WAS looking -
especially the second time), and they are very hard to see in the
youtube video, if they are in fact bumps, and not some sort of
reflection from the camera angle changing.
maybe do a special on just some more platform theories...
drivemewilder (2 days ago) Show Hide -3 Marked as spam No,
trickbusters taught me what being an idiot is. I'll leave it at this,
if i were to tell you how it is actually done...you would delete many
of your scenes and explanations. Not all, you were close on some. But
overall, you would be embarrassed.
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2http://www.truveo.com/PORTAL-REVELEAD-33-Trickbuster...
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Added: April 18, 2008 (More info)
3rd part of the Episode about Portal.
Added: April 18, 2008 (Less info)
3rd part of the Episode about Portal.
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