Original subtitles

Narrator: THE BAMBOO BICYCLE WAS INVENTED IN ENGLAND IN THE 19th CENTURY,

AND THE IDEA NEVER REALLY WENT ANYWHERE UNTIL NOW.

THE MODERN BAMBOO BICYCLE

IS A HIGHLY ENGINEERED PIECE OF WORK --

ONE THAT TAKES ADVANTAGE OF BAMBOO'S STEELY STURDINESS

AND ITS ABILITY TO ABSORB VIBRATIONS.

AT A TIME WHEN BICYCLES ARE OFTEN MADE

OF HIGH-TECH CARBON FIBER AND EXOTIC ALLOYS,

THE BAMBOO BIKE TAKES THINGS IN A WHOLE NEW DIRECTION.

BAMBOO CANE IS A GRASS THAT'S INCREDIBLY STURDY.

AND BECAUSE IT'S FAST-GROWING,

A BICYCLE MADE FROM IT IS AS GREEN AS IT GETS.

THE FRAME BUILDER STARTS WITH THE STRONGEST SPECIES OF BAMBOO.

EACH CANE IS SCRUTINIZED TO CONFIRM

THAT IT'S PERFECTLY STRAIGHT AND STRUCTURALLY SOUND.

HE MEASURES AND MARKS EACH ONE TO A PRECISE LENGTH.

TO AVOID FRAYING THE EDGES OR SPLITTING EXTERIOR FIBERS,

HE MAKES THE CUTS SLOWLY.

HE SMOOTHES THE FRESHLY CUT ENDS AGAINST A DRUM SANDER

AND TAPERS THEM A BIT TO FIT INTO STEEL JOINTS.

ONCE SATISFIED WITH THE FIT,

HE REMOVES THE BAMBOO CANES FROM THE STEEL JOINTS.

HE SPRAYS AN ACETONE CLEANING SOLUTION INTO THE JOINTS

AND THEN SCRUBS WITH A WIRE BRUSH

TO PREPARE THEM FOR BONDING TO THE BAMBOO CANES.

A TOTAL OF FIVE STEEL JOINTS

WILL HOLD THE BAMBOO BICYCLE FRAME TOGETHER.

IT'S NOW TIME FOR THE ASSEMBLY.

HE PROBES THE CAVITY OF EACH BAMBOO CANE

TO CONFIRM THERE ARE NO OBSTRUCTIONS

AND TO DETERMINE HOW FAR INSIDE TO INSERT A FOAM PLUG.

THIS PLUG WILL PREVENT ADHESIVE

FROM RUNNING THROUGH THE ENTIRE CANE DURING BONDING.

USING A LONG SYRINGE,

HE INJECTS FAST-SETTING EPOXY ADHESIVE INTO THE CANE.

THIS SEALS THE PLUG TO THE INSIDE WALL OF THE BAMBOO CANE.

ONCE PLUGS HAVE BEEN INSTALLED IN ALL THE CANES,

HE SNAKES PLASTIC TUBING THROUGH THE STEEL JOINTS

AND CAULKS THE GAPS.

THIS TUBING IS A DELIVERY SYSTEM

FOR THE NEXT APPLICATION OF EPOXY ADHESIVE

THAT WILL SEAL THE STEEL JOINTS TO THE BAMBOO FRAMEWORK.

WITH THE PLASTIC TUBING NOW INSTALLED

IN ALL THE STEEL JOINTS, HE REASSEMBLES

THE BAMBOO BICYCLE FRAME AND DOUBLE-CHECKS THE GEOMETRY.

THIS IS KNOWN AS THE DRY FIT.

IT'S ONE LAST CHANCE TO PERFECT THE FIT AT THE JOINTS.

HE'LL SAND THE ENDS OF THE BAMBOO

OR EVEN CUT A NEW CANE, IF NEEDED.

MOST FRAMES NEED AT LEAST A LITTLE TWEAKING AT THIS STAGE.

ONCE IT'S JUST RIGHT,

HE SECURES THE BIKE FRAME IN A JIG.

HE INSERTS A BIT OF EPOXY PUTTY

BETWEEN THE BAMBOO CANE AND THE STEEL JOINT.

IT ACTS AS A SHIM TO CENTER THE CANE IN THE FITTING.

HE THEN WRAPS ELECTRICAL TAPE AROUND THE GAPS

WHERE THE STEEL JOINTS MEET THE BAMBOO CANES.

THIS TAPE IS LOW-TACK,

SO IT WON'T PULL UP BAMBOO FIBERS WHEN IT'S REMOVED.

YET THE SEAL IS STRONG ENOUGH

TO KEEP EPOXY ADHESIVE FROM DRIPPING OUT

AS HE NOW INJECTS IT INTO ONE OF THE JOINTS.

HE CUTS A TINY SLIT IN THE TAPE TO MONITOR THE FLOW.

AND WHEN EPOXY STARTS TO LEAK OUT,

HE KNOWS THERE'S ENOUGH FOR A FULL BOND.

HE TAPES UP THE SLIT TO CLOSE OFF THE OVERFLOW

AND CLAMPS THE END OF THE PLASTIC TUBING

WITH A CLOTHESPIN.

HE INJECTS EPOXY INTO ALL FIVE JOINTS.

ONCE ALL THE GAPS HAVE BEEN FILLED,

HE LEAVES THE ASSEMBLY TO DRY.

12 HOURS LATER, HE UNBINDS THE JOINTS.

THEY'RE NOW SOLIDLY FUSED TO THE BAMBOO

TO HOLD THE FRAME TOGETHER.

THE PLASTIC TUBING

HAS ALSO BONDED TO THE INSIDE OF THE JOINTS.

HE JUST CUTS THE ENDS.

HE GRINDS OFF THE EXCESS EPOXY

FOR A SMOOTHER TRANSITION FROM THE STEEL TO THE BAMBOO.

ONCE THE BIKE FRAME HAS BEEN CLEANED

AND ENGRAVED WITH THE BRAND NAME,

HE STAINS THE BAMBOO WITH A POLYURETHANE FINISH.

THIS SEALS THE PORES OF THE BAMBOO AGAINST WATER DAMAGE

AND ENHANCES THE TEXTURE OF THE WOODY FIBERS.

HE PAINTS THE JOINTS WITH AUTOMOTIVE-QUALITY PAINT,

AND IT'S READY FOR A SET OF WHEELS.

THIS BAMBOO BICYCLE FRAME HAS BEEN 40 HOURS IN THE MAKING.

AS AN ECO-FRIENDLY MODE OF TRANSPORTATION,

IT SHOULD BE A TRAILBLAZER.

Narrator: WHEN THE MOTORIZED CHAINSAW CAME ON THE SCENE IN THE 1920s,

IT REVOLUTIONIZED THE FORESTRY INDUSTRY.

FROM THEN ON, IT WAS ONLY A MATTER OF TIME

BEFORE SOME CREATIVE LUMBERJACKS STARTED LOGGING EXTRA TIME

WITH THEIR TRUSTY TOOL,

USING THE CHAINSAW LIKE A SCULPTOR'S CHISEL

OR A PAINTER'S BRUSH.

THESE CHAINSAW SCULPTURES RUN THE GAMUT

FROM CARTOONLIKE CHARACTERS

TO REALISTIC REPRODUCTIONS OF WILDLIFE.

THIS ARTISTIC ENDEAVOR DOES COME WITH SIGNIFICANT RISK.

ONE WRONG MOVE WITH THE CHAINSAW

CAN CAUSE SERIOUS INJURY OR WORSE.

AT THE REQUEST OF LANDOWNERS AND GOVERNMENTS,

THIS PARTICULAR LOGGER ARTIST CUTS DOWN BUG WOOD --

PINE TREES KILLED BY MOUNTAIN PINE BEETLES.

BRANDISHING A CHAINSAW WITH A 16-INCH BLADE,

HE'LL TRANSFORM THIS LOG INTO A TURKEY.

THE FIRST CUT FORMS A HIGHER BACK,

WHICH WILL EVENTUALLY BECOME THE TAIL FEATHERS.

THE SECOND CUT ESTABLISHES THE TOP OF THE HEAD.

THEN, HE CUTS AWAY WOOD IN BETWEEN

TO BEGIN SHAPING THE BODY.

HE REMOVES WOOD FROM THE FRONT

TO BEGIN FORMING THE TURKEY'S BEARD AND BREAST.

THEN, HE REMOVES WOOD FROM THE SIDES TO SHAPE THE WINGS.

AS THIS IS A TURKEY IN A STRUTTING POSE,

THE WINGS ARE THRUSTING DOWNWARD.

AFTER SHAPING THE BREAST FURTHER AND CARVING THE FEET,

HE PUTS DOWN THE CHAINSAW, PICKS UP A PENCIL,

AND OUTLINES 19 TAIL FEATHERS.

THEN, HE GENTLY CARVES HIS LINES WITH THE TIP OF THE CHAINSAW.

HE ALSO CARVES THE OUTLINES OF THE FEATHERS

LOCATED UNDER THE TAIL FEATHERS.

THEN, USING THE TIP EVER SO LIGHTLY,

HE MAKES DELICATE LINES INSIDE EACH FEATHER.

THE ROUGH SHAPE NOW COMPLETE,

HE BEGINS WORKING ON THE FINER DETAILS,

SUCH AS SCULPTING EACH WING FEATHER.

THEN, HE CARVES SOME EVEN FINER DETAILS WITH A DIE GRINDER --

A TOOL WHICH TAKES INTERCHANGEABLE BITS.

HE USES A CONE-SHAPED BIT TO CARVE THE TURKEY'S TOES,

THEN A SANDING DISK TO PROPORTION THE BREAST,

THEN A SMALL WHEEL TO CARVE THE LOWER BREAST FEATHERS.

NOW HE TACKLES THE SNOOD --

THAT FLAP OF SKIN OVER THE TURKEY'S BEAK.

HE MAKES IT CURVED, RATHER THAN HANGING STRAIGHT DOWN,

TO MAKE THE TURKEY LOOK AS THOUGH IT'S MOVING.

TO CRAFT THE EYES, HE USES A TOOL HE RIGGED UP HIMSELF

BY ATTACHING A MODIFIED BOLT TO A DIE GRINDER.

THE EYES ARE THE ARTISTIC TURNING POINT.

THEY ADD THE FIRST HINT OF FACIAL EXPRESSION.

USING THE CONE-SHAPED BIT AGAIN,

THE ARTIST SHAVES OFF WOOD UNDERNEATH THE EYES

SO THEY'LL PROTRUDE SOMEWHAT.

THEN, USING A VARIETY OF BITS,

HE DOES SOME TOUCH-UPS ON THE SNOOD

AND SCULPTS THE SAC OF SKIN UNDER THE TURKEY'S NECK.

THEN, HE TAKES THE EYE TOOL AGAIN,

BUT THIS TIME TO BRAND LITTLE CIRCLES ON THE SKIN SAC,

TO GIVE IT A REALISTIC TEXTURE.

WITH THE CARVING NOW COMPLETE, THE BURNING BEGINS.

USING A SMALL GAS TORCH, HE SCORCHES THE WOOD.

THE RAISED AREA BECOMES DARKER THAN THE RECESSED AREAS,

GIVING THE FEATHERS CONTRAST AND DEPTH.

THE LAST STEP IS SOME FINER, DETAILED TEXTURING.

HE ATTACHES A SOFT WIRE BRUSH TO A DRILL

AND SMOOTHES OUT THE TIPS OF THE FEATHERS.

HE COATS THE FINISHED CARVING IN A SEALER --

A HOMEMADE CONCOCTION OF EQUAL PARTS MINERAL SPIRITS,

HEAVY-DUTY MARINE VARNISH, AND BOILED LINSEED OIL.

THIS SEALER GIVES THE SURFACE A RICH, SEMIGLOSS LUSTER.

BUT, MORE IMPORTANTLY, IT PROTECTS THE WOOD

AGAINST THE ELEMENTS, WHICH IS CRITICAL,

GIVEN THAT THESE CARVINGS ARE USUALLY DISPLAYED OUTDOORS.

THIS SPECIALLY DESIGNED SEALANT

IS THE KEY TO THE LONGEVITY OF THESE CARVINGS.

IT FORMS A SUIT OF ARMOR AGAINST PRECIPITATION

AND THE SUN'S ULTRAVIOLET RAYS,

YET THE SEALANT ISN'T AN AIRTIGHT SHIELD.

IT STILL LETS THE WOOD BREATHE,

WHICH IS CRITICAL FOR PREVENTING MOLD GROWTH.

IT'S ALSO FLEXIBLE, MOVING WITH

THE NATURAL EXPANSION AND CONTRACTION OF THE WOOD.

AN INFLEXIBLE SEALANT WOULD CRACK, LETTING WATER SEEP IN.

THIS DURABLE, PROTECTIVE FINISH

MAKES THE CHAINSAW-CARVED STATUE NOT ONLY A STATEMENT PIECE

BUT ALSO AN INVESTMENT PIECE.

Narrator: BAD BREATH CAN RUIN YOUR SOCIAL LIFE,

BUT SUCK ON A MINT, AND YOU'LL BE BREATHING A SIGH OF RELIEF.

MINT CANDIES WERE FIRST INTRODUCED IN BRITAIN IN 1790

AND WERE INITIALLY USED TO SOOTHE INDIGESTION.

LATER, THEIR BREATH-FRESHENING QUALITIES WERE DISCOVERED,

AND THEY BECAME KNOWN AS BREATH MINTS.

OUT OF CONSIDERATION FOR THEIR COSTARS,

ACTORS OFTEN SUCK ON A MINT OR TWO

BEFORE SHOOTING A ROMANTIC SCENE.

BAD BREATH CAN BE A REAL SCENE-SPOILER

IN THE MOVIES AND IN EVERYDAY LIFE.

THEY MAKE THESE TABLET-STYLE MINTS

IN VARIOUS COLORS AND FLAVORS.

FOR A LIME-FLAVORED MINT, INGREDIENTS INCLUDE SORBITOL --

A SUGAR-FREE SWEETENER --

MAGNESIUM STEARATE, WHICH ACTS AS A BINDER,

AND LIME OIL FOR THAT REFRESHING FLAVOR.

THEY LOAD MEASURED AMOUNTS OF THE INGREDIENTS

INTO A V-SHAPED BLENDER.

THEY'LL BE PRODUCING A 300-POUND BATCH

THAT WILL YIELD 600,000 MINTS.

THAT GREEN STUFF IS A PREMIX OF COLOR AND OIL.

HE SCREWS THE LID TIGHTLY ONTO THE BLENDER.

IT TUMBLES THE INGREDIENTS FOR 45 MINUTES.

THE MAGNESIUM STEARATE BEGINS TO BIND THE VARIOUS ELEMENTS.

THEY THEN MIX BLUE AND YELLOW PIGMENT

TO PRODUCE A VIBRANT GREEN ONE.

THE PIGMENT IS A BOOSTER

TO ENHANCE THE GREEN COLOR OF THE MINT

AND REFLECT THE LIME FLAVOR OF THE CANDIES.

AFTER ONE MORE SPIN IN THE BLENDER,

THE MIXTURE IS READY TO BE PRESSED.

IT FLOWS OUT OF THE BLENDER AND INTO A BIG BIN.

ONCE THE BIN IS FULL,

THEY DELIVER IT TO THE TABLET-PRESSING MACHINE.

HERE, THEY SCOOP THE MIX

INTO TWO HOPPERS THAT HAVE SIEVES ON TOP.

THE SIEVES SCREEN OUT ANY LARGE CLUMPS.

THE REST OF THE MIX FALLS INTO THE ROTARY TABLET PRESS.

THIS IS ACTUALLY THE SAME KIND OF MACHINE

THAT THE PHARMACEUTICAL INDUSTRY USES FOR MAKING PILLS.

IT SPINS IN A BLUR TO PUNCH OUT 1,800 TABLETS A MINUTE.

THEY SLOW THE PRESS TO A CRAWL TO GIVE US A CLOSE-UP LOOK.

THE GRANULATED MIXTURE FLOWS IN METERED AMOUNTS

INTO DIES IN THE ROTATING WHEEL.

UPPER AND LOWER PUNCHES MEET IN THE DIES

TO COMPRESS THE MINT-CANDY INGREDIENTS.

THIS FUSES THE MIXTURE INTO HARD TABLETS.

AFTER THE COMPRESSION,

THE LOWER PUNCHES RISE AND EJECT THE CANDIES.

THE MINTS AND THE EXCESS POWDER FALL DOWN A CHUTE.

AT THE ACTUAL SPEED,

THE MACHINE CHURNS OUT DOZENS OF MINTS

FASTER THAN YOU CAN BLINK AN EYE.

THE TABLETS AND ALL THAT EXCESS POWDER

NOW FLOW INTO A PERFORATED CYLINDER.

AS THE CYLINDER ROTATES, THE POWDER

FLIES OUT OF THE HOLES AND INTO THE TROUGH BELOW.

THIS IS KNOWN AS DEDUSTING.

THE MINT CANDIES, MINUS MOST OF THE EXCESS POWDER,

SPILL OUT INTO A CONTAINER.

NEXT, THE MINTS RIDE A REVOLVING TABLE.

THIS IS A TABLET-COUNTING SYSTEM.

AS THE MINTS EXIT THE TABLE,

LIGHT SENSORS COUNT OUT A PRESET AMOUNT OF MINTS FOR PACKAGING --

IN THIS CASE, 72 MINTS.

A WORKER MOVES TINS INTO POSITION BELOW THE HOPPERS

TO CAPTURE THE MINTS.

THIS KIND OF TIN HAS BEEN USED SINCE THE 1920s

TO CONTAIN MINTS.

IT HAS A SLIDING LID THAT MAKES IT EASY TO OPEN.

BUT ONCE CLOSED, IT CONTAINS THEM TIGHTLY,

PREVENTING SPILLAGE.

NOW IT'S OVER TO THE SHRINK-WRAP DEPARTMENT.

MACHINERY DROPS A PLASTIC SLEEVE ONTO EACH TIN AS IT RIDES BY

AND UNDER A LEVELING BRACKET.

THE TINS THEN TRAVEL THROUGH AN OVEN,

WHERE A BLAST OF HEAT SOFTENS THE PLASTIC SLEEVES,

CAUSING THEM TO SHRINK TO THE TINS.

THEY EMERGE SECURELY SEALED AND READY FOR RETAIL.

TODAY, MINTS CAN COME IN EXOTIC SHAPES,

LIKE THESE WINE-BOTTLE MINTS.

THEY CAN BE CUSTOM-MADE FOR ANY OCCASION,

BECAUSE, AFTER ALL, MOST OCCASIONS CALL FOR FRESH BREATH.

Narrator: THE TRANSMISSION IN A MOTORCYCLE

MULTIPLIES THE POWER COMING FROM THE ENGINE

TO MOVE THE BIKE DOWN THE ROAD AT FASTER AND FASTER SPEEDS.

THE VAST MAJORITY OF MOTORCYCLES HAVE A MANUAL TRANSMISSION,

SO IT'S UP TO THE RIDER TO OPERATE A LEVER

TO SHIFT INTO LOWER OR HIGHER GEARS AS REQUIRED.

MOST MANUAL MOTORCYCLE TRANSMISSIONS

HAVE A PUSH-BUTTON ELECTRIC STARTER,

BUT TRADITIONALISTS STILL PREFER THIS OLD-STYLE TRANSMISSION

WITH A KICK STARTER.

THE TRANSMISSION CASE IS MADE FROM ALUMINUM

THAT'S BEEN EXTRUDED TO A STARTING SHAPE.

A SAW CUTS A PIECE TO THE CASE LENGTH.

THEN, A SERIES OF COMPUTER-GUIDED TOOLS

HOLLOW OUT THE INSIDE AND BORE A POCKET

TO HOLD THE BEARING IN WHICH THE MAIN DRIVE GEAR TURNS.

THE MAIN DRIVE GEAR

IS WHAT TAKES POWER OUT OF THE TRANSMISSION,

ULTIMATELY ROTATING THE REAR WHEEL OF THE MOTORCYCLE.

ONCE POLISHED, THE TRANSMISSION CASE

IS READY TO RECEIVE ITS 100-PLUS COMPONENTS.

WORKERS ASSEMBLE THE BEARING IN WHICH THE MAIN SHAFT TURNS,

TRANSFERRING POWER FROM THE ENGINE TO THE TRANSMISSION.

USING A PRESS, THEY PUSH THIS BEARING INTO A BEARING HOUSING,

THEN BOLT IT IN PLACE, IMMOBILIZING THE BOLT

WITH A FEW DROPS OF PERMANENT THREAD-LOCKING FLUID.

THEN, RIGHT NEXT TO THE MAIN SHAFT BEARING,

WORKERS BOLT THE BEARING IN WHICH THE COUNTERSHAFT TURNS,

MAGNIFYING AND MULTIPLYING THE POWER

WHICH THE MAIN SHAFT TRANSFERS FROM ENGINE TO TRANSMISSION.

THEY PRESS IN A PIN WHICH HELPS ACCURATELY POSITION THIS HOUSING

WHEN IT COMES TIME TO BOLT IT TO THE TRANSMISSION.

THEY APPLY THREAD LOCK TO SECURE THE BUSHING

THAT HOLDS ONE OF TWO RODS FOR THE BIKE'S SHIFT FORKS.

THEY'RE WHAT THE RIDER MANIPULATES TO MOVE EACH GEAR

INTO A PREDETERMINED POSITION.

THEY SUSPEND THE SECOND ROD

BETWEEN THE HOUSING AND THE TRANSMISSION CASE.

THEY INSTALL THE COUNTERSHAFT INTO THE COUNTERSHAFT BEARING

AND LOCK IT IN WITH THE PRESS.

NEXT, WORKERS ASSEMBLE WHAT'S KNOWN AS THE GEARSET.

THIS IS A 6-SPEED TRANSMISSION,

WHICH MEANS THERE ARE SIX GEARS ON THE MAIN SHAFT

AND SIX ON THE COUNTERSHAFT.

EACH GEAR IS HELD TO ITS SHAFT

BY A HIGH-STRENGTH STEEL RETAINING RING

THAT'S PLATED WITH YELLOW ZINC

TO MAKE IT EASY TO VERIFY THAT IT'S IN THE RIGHT POSITION.

WORKERS LUBRICATE THE BEARINGS THOROUGHLY

TO ENSURE THEY ROTATE SMOOTHLY AROUND THE SHAFTS.

PUTTING THE GEARSET ASIDE FOR NOW,

THEY USE THE PRESS ONCE AGAIN --

THIS TIME, TO INSTALL THE MAIN DRIVE-GEAR BEARING

INTO THE POCKET THEY BORE FOR IT IN THE TRANSMISSION CASE.

THE RED DISK MERELY PROVIDES A CUSHION

TO PREVENT THE PRESS FROM DAMAGING THE COMPONENT.

NEXT, THEY PRESS THE MAIN DRIVE GEAR IN THE BEARING.

AGAIN, THEY USE THE INSTALLATION DISK

TO CUSHION THE COMPONENT FROM THE PRESS.

THEY SLIDE THE GEARSET INTO THE TRANSMISSION CASE

AND SECURE IT WITH NINE NUTS.

THEY APPLY SEMIPERMANENT THREAD LOCK TO EACH NUT

SO THAT THEY CAN BE UNSCREWED IN THE FUTURE,

SHOULD THE GEARSET NEED TO BE REMOVED FOR REPAIR.

MEANWHILE, A COMPUTER-GUIDED MILL MACHINES THE SHIFT DRUM

OUT OF A SUPER-DURABLE TYPE OF STEEL.

THE SHIFT DRUM ROTATES WHEN THE RIDER SHIFTS GEARS,

MOVING THE GEARS.

AFTER COATING IT IN BLACK OXIDE TO PREVENT AGAINST CORROSION,

THEY INSTALL IT ON TOP OF THE TRANSMISSION CASE.

THEY ASSEMBLE THE KICK STARTER.

WHEN THE RIDER KICKS IT, A SERIES OF GEARS

ROTATES THE MAIN SHAFT INSIDE THE TRANSMISSION.

THE MAIN SHAFT IS ALSO CONNECTED TO THE ENGINE,

SO THIS ROTATION STARTS THE ENGINE.

THE KICK ARM ITSELF IS STAINLESS STEEL. THE PEDAL, BRONZE.

BOTH TYPES OF METAL ARE DURABLE ENOUGH

TO WITHSTAND YEARS OF KICKING AND ARE RESISTANT TO CORROSION.

FOR DEMONSTRATION PURPOSES,

THIS TRANSMISSION CASE HAS BEEN CUT AWAY

TO SHOW WHAT HAPPENS INSIDE WHEN THE RIDER SHIFTS GEARS.

THE SHIFT DRUM ROTATES 30 DEGREES

TO PULL THE TRANSMISSION OUT OF ONE GEAR,

THEN ANOTHER 30 DEGREES TO PUT IT INTO ANOTHER --

A PERFECTLY ENGINEERED PIECE OF MECHANICAL CHOREOGRAPHY.

--Captions by VITAC-- www.vitac.com

CAPTIONS PAID FOR BY DISCOVERY COMMUNICATIONS

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