Original subtitles

Kermit? Kermit, you're late. It's time to start the... Kermit?

Oh, dear.

It's okay.

I'll just do whatever Kermit would do if he were here. Now, if he were here, he

would have me hit the remote button, and then up would come a great opening.

So I can do that without Kermit.

So here comes a classic, meaningful piece of entertainment.

It's time to put on makeup. It's time to dress up right.

It's time to raise the curtain of the show tonight.

Kermit! Oh, dear.

Oh!

Gee, I was kind of enjoying that.

Good evening and welcome to the show.

Was that you?

Oh, it must be Jojo. Hey, come on.

Here's evening paper, sir.

Thanks, Jojo. But aren't you supposed to quit work at five?

Yes, sir.

But you hired me as a handyman.

A handy dog.

Oh, right.

So I try to be handy, sir. On show days, I stay late.

What if something went wrong with the show?

Like, for instance, a dog comes running onto the set just as we're beginning?

Did I miss something there, sir?

Was there a tone of wit or irony?

JoJo, what is it you want?

Oh, you outguessed me again, sir. I do have a question.

How do the Muppets work?

Well, by an astounding coincidence, you've asked exactly the right question.

Because tonight we're going to go behind the scenes.

Tonight we'll reveal it all. The secrets of the Muppets. Is that okay with you,

Kermit? It's fine with me, Chief. In fact, it could be fun. Oh, good. Well,

and I will get ready.

Kermit, did I... Did you hear Jim say that he wants us to reveal some of our

secrets? No, I think he said all of our secrets.

Oh.

All right.

Okay, all right. Okay, I admit it.

Sometimes, late at night, when I'm all alone, I wash my socks in club soda to

make my feet fizz. Oh, I'm so embarrassed.

And so, tonight we're revealing the secrets of the Muppets.

Jojo, where should we begin?

Gosh, Mr. H, I hardly know.

I mean, the Muppets do so many different things.

Well, we have to start somewhere.

Okay. How about this room?

Okay. What would you like to know about it? Just about everything, sir.

I mean, frankly, Mr. H., it's sort of indescribable.

Well, that's because it doesn't actually exist.

Because it doesn't actually exist.

Beg pardon, sir?

Well, you see, we're not standing in this set. We're standing in this set.

Hey, take it easy.

The lion hates it when I do that.

No wonder, sir.

I can describe this room now.

Dull describes it.

Boring describes it. Not to mention blue.

But let me show you how we go from this to this.

Like any other set, this one began with drawings.

What's kind of fun here is if you have, you know, this is air and this is water,

and you can completely reverse that. You could have birds down here in the

water, you know, swimming along, and you could have fish.

flying through up here in space?

I think the fact is that you can actually do almost anything in a

Right, right. Okay, I think one of the things that we've done is retain this

sense of the classical Roman, almost Colosseum -like archway in the back.

There's this really marvelous, it's become almost more gothic. But instead

handing the drawings to a crew of carpenters, we gave it to a bunch of

animators. They built a three -dimensional version of the room inside

computer.

Here's the room when it was under construction.

So now that room exists in the computer.

And Jojo and the lion and I exist in this blue set.

Now the set is painted blue because we can adjust the cameras so they can't see

blue. Then we can replace the blue with computer animation.

This is called matting, by the way. Now we're all matted into the room.

Hey, wait a second. I have to get down from here.

Come back.

Good. Now I can make my entrance like I do in every show.

So that's matting.

Doesn't that just wag your tail, folks?

The only thing I have to be careful of is my wardrobe.

Now look what happens if I wear a bright blue tie in my room.

I can see right through you, Mr. H.

Exactly. By the way, you know that control room where Kermit the Frog

What about it? Well, we call that Muppet Central, and it's done exactly the same

way. It doesn't really exist either.

What is he talking about? That's complete nonsense.

What did I tell you? The boss is no longer driving with a full tank.

But how can he say that Muppet Central doesn't exist?

See?

Doesn't that sound real?

Sure. Now, the banging on the wall is a sound effect. That's added later. It's

called post -production.

Actually, these pictures on the monitors are added later, too.

I'm starting to understand, Mr. H.

But it's not true. I just hit the wall.

Hi, guys. What's happening?

Good, you were watching TV.

Is this the news?

As interesting as it is, sir, it's not like talking about the Muppets' real

secret, is it? Secret? Do we have secrets?

Yes, we do.

Yes. All right, everyone, we don't have to listen to this anymore. No.

I know what you're asking for, Jojo, and I suppose you'd like me to talk about

puppets.

Okay, Jojo, we'll use you as an example.

I wasn't expecting that, sir. I don't want to see this next part. After all,

are a puppet.

At least sometimes Jojo's a puppet, and sometimes she's a real dog.

Now, this is Bamboo.

Hey, Bamboo, sit up. Come on, sit up. Sit up. Oh, very good.

There you go.

Bamboo is the dog that plays Jojo in wide shots. When we decided to use a dog

puppet in tonight's show, we started with a casting session for a real dog.

Now, we were looking for a cute, intelligent dog, but also one whose

be recreated as a puppet.

Now, lots of really great dogs just didn't quite fit the bill.

Some were too large, some too small, some too fat, some were too trim.

But eventually we found Bamboo, and then began the process of matching fur and

flesh with foam and fabric.

Now working with photographs and videotape, puppet builder Ed Christie

sculpting a foam rubber dog head.

Meanwhile, Raleigh Crewson was in charge of building a dog body that would look

like the real thing, but work like a puppet.

Great care was taken to match the teeth.

As work progressed, mechanical rigs were added to give life and movement to the

face.

Matching the color and texture of the fur turned out to be really tricky. As

can see, Bamboo's fur has many shades of brown.

But at last, everyone was happy, and here you can see Bamboo and Jojo.

Mr. Ensign, sir, it's a humiliating experience to watch documentary footage

the making of yourself.

Let me show you something, Jojo.

Now, over here I've got one of our simple puppets, and I thought I should

demonstrate our usual method of operation.

Now, normally we work standing with the puppet over our head like this. Hello

down there!

And so that he can tell what's happening, a puppeteer always watches

performance in a television monitor.

I can see your monitor!

In a way, the puppeteer becomes an audience to his own performance.

You make it seem so simple! Well, it's not always that simple. Sometimes we can

get pretty complicated.

Here's a look at the making of the Viking production number back on the old

Muppet show.

Where can you find pleasure, search the world for treasure, learn science,

technology?

Where? Where can you begin to make your dreams all come true, on the land or on

the sea?

Where? Where can you learn to fly, play, and torture, and study oceanography?

Where? Sign up for the Big Bend or sit in the grandstand when your team and

others meet.

We're in the Navy.

Yes, you can sail the seven seas.

In the Navy.

Yes, you can put your mind at ease. In the Navy.

Come on now, people, make a stand.

Doing this with one hand, closing on the beat, and opening with the beat on this

hand. So, you're doing... We want you.

We want you. I can't do it.

Nobody can. Don't worry.

Oh my God!

I always liked that number.

Those were the days.

He liked it?

But they showed everything.

I saw puppeteers. I saw puppeteers. I saw puppeteers.

Hey, but I did see puppeteers. I did.

Now, our puppet shop is right down over here.

How did we get to New York so fast, sir? Well, I thought it would be quicker if

we traveled by tape, Bennett.

For sure.

So this is our New York shop.

Wow! And this is where an awful lot of our stuff is built.

This is neat, sir!

Here's Tom Newby working on one of our high -tech projects.

Hi, JoJo. Hi!

What's that?

Oh, this is one of our radio -controlled puppets.

Wow! A bionic puppet!

Wow!

Come on now, let's see what else is here.

Now, you see, Jojo, there's a bunch of other things around here you might

recognize. This is great, sir.

Mm -hmm.

Yeah.

Take it easy, Jojo. These are just puppet cats.

I'm sorry, sir.

Right.

Oh, this looks good, Mr. H.

Now, hold on there.

You see, this is just a puppet sandwich here.

Oh, that's a delicious -looking character, sir.

Well, thank you very much, Jojo. You're welcome.

Now here's Joanne Green with a monster puppet. Wow, that's scary.

And over here is puppet builder Jane Gutnik.

Wait a minute.

Isn't that Gonzo that you're making?

Certainly is.

But he's an old character.

I mean, he's already built.

Well, our central family of characters get a lot of hard use, and we have to

rebuild them. They just simply wear out.

Wear out? I do not wear out. This is an outrage.

Actually, Gonzo, This is starting to be fascinating.

How can you say that? Like everyone else, I mature, quite gracefully in my

But to say that I wear out is grotesque.

Oh, there are little cracks starting at the corners of your mouth.

Will you get away from me?

So here we are in London to see the Creature Shop, our other workshop.

Traveling is exhausting, Mr. H. I don't feel like myself at all.

Actually, you're not.

The British government has very strict regulations about the importation of

animals. So we just brought the hand puppet and hired a different dog. You'll

feel better in close -up.

You're right, I do, sir.

Come on inside and meet the gang.

Hello, John.

Hello, Jim. How are you? I'm very well, how are you? You know Jojo? Hi, Jojo.

Pleased to meet you, John.

So listen, what's new, John? This is the Minotaur that we're working on for our

Greek myth series.

This is how he started, as a small maquette.

Hopefully it'll look like that when we finish.

And Jojo, I'm sure you remember the devil from one of our storytellers.

Is he cheating?

Well, I am, and I'm still losing.

Me too.

Deal again.

Certainly.

This is Didymus from Labyrinth.

And then finally, a 120 -foot -high monster from...

The Monster Maker.

Oh, Jojo, you should know enough not to be frightened by big puppets.

That wasn't me, sir.

That was the English me.

Okay.

Well, this is the Heartless Giant from the Storyteller series, Jojo.

Now, it's what we call a full -figure puppet. Now, there's an actor inside

animating the suit, you see.

But before he can do that, he has to be padded out and then dressed in very

loose -fitting clothes, extra large shoes and jacket.

Then a special head mask, which fits over his own head, is worn.

It's made so that his own eyes fit in the openings of the mask.

So his eyes become the giant's eyes.

Also, by moving his mouth, it operates the mouth of the mask.

Now, here he is fully dressed in the studio.

Now, all those cables you see are operating the expressions of his face.

But he still looks normal size.

But on the screen, he looks like this.

Now, a large foot and hand had to be made for certain scenes.

In fact, the hand had to be big enough to pick up a person.

Prince Leo.

Yes, it is you.

I can see now.

Oh, what in the world is that?

I am the Ultra Gorgon.

Dog, cut that out.

Sorry.

Actually, JJ, this is the altar gorgon from Monster Maker.

Come closer.

Why don't you believe in me?

I do. I do.

Look as close as you like.

You're not dreaming now.

Look!

Chanty didn't create me. You did.

No. In your dreams, you've got the talent.

It's a gift.

No!

Oops.

Sorry.

What do you say?

Don't you want to be rich?

Famous? No!

Coward!

Okay. Well, hey, listen, John, thank you very much. It's been really a pleasure.

Pleasure. Okay.

Come on, JoJo. Let's go.

Hey, JoJo. Huh?

Oh!

You're the dog from the storyteller!

Of course.

Come on, JoJo. You're late for this week's meeting of the OMD.

The OMD, the organization of Muppet Dogs.

I don't believe it! Hi, guys!

And as president of the OMD, I'd like you all to welcome our newest member,

JoJo.

Now let's hear it for Muppet Dogs. Do Muppet Dogs need puppy shots?

No. Do Muppet Dogs need walks?

No. Do Muppet Dogs need peep?

For training.

No, certainly not. We just need occasional dry cleaning.

Come on, Jojo.

Oh, I'm sorry, guys. I gotta be going.

Gone,

gone.

So, here we are.

Did you miss us, Lion? Any phone calls?

See, wasn't that easy?

And we didn't even have to stand in line to show our passports.

Okay. So now you've seen the Muppet workshops.

You know, Mr. H, with all those brilliant puppet builders, it's no

Muppets can do anything.

Uh, actually, no, we can't.

Oh, save the false modesty, sir. I watch you on television all the time, and I

know. Well, you see, you just said it yourself. You watch them on television.

This may be one of the major secrets of the Muppets. See, we combine all the

tricks of puppetry with all the tricks of film and television.

I think we'll need a demonstration of that one.

Okay. Let's take one of our regular characters. Say, for example, Gonzo.

Gonzo? What about Gonzo?

Well, Gonzo doesn't have real hands.

Does not have real hands? Wait a minute. That's a ludicrous thing to say.

This man is deranged. Of course I have real hands. Look, see? They're just

little bits of fur fabric that are controlled by arm wires.

Arm wires?

Arm wires? That's ridiculous. Do you see any arm wires?

Never mind.

So, if we want to have Gonzo do something really simple, say, for

answer the telephone.

Well, this is what we have to do. We have to have him reach over and place

hand on the receiver.

Then we stop tape, attach the hand to the phone, move the camera to another

angle, and tape Gonzo picking up the phone.

It looks something like this.

Hello?

And there was the tape edit. Did you notice it? No, I did not. There is no

edit. I can pick up the phone any time I want.

Ah!

Hello? You don't say.

Hello?

You don't say.

Hello? You don't say.

Who was it? He didn't say.

You really notice the tape edits when you do several in a row.

Cuzzle, you know better than that.

Never leave the room while your hand is still glued to the telephone.

We recently did a story called The Song of the Cloud Forest.

Tell you what, Jojo, let me take you onto the set and show you some things.

Okay. Watch this, folks. These tape edits can let you travel back in time,

So this is where we shot The Song of the Cloud Forest.

Doesn't look much like a forest, Mr. H.

This may not, but how about this?

In this show, there were no actual sets at all.

We shot all of the puppets against black or blue.

And then the jungle sets were added later by one of our new tools, an

graphics system called the Paint Box.

Now, this system is set up especially to create graphics for television.

Using something called a light pen, we could draw the forest right onto the

screen.

Here, my daughter Cheryl, who was one of the art directors on the show,

discusses a shot with computer artist John Simmerod.

And here, the computer is showing us its library of images that we will combine

with puppetry to create the final shots.

One of my favorite sequences in the story occurs when Wolf and Milton jump

of a tree. In the studio, the puppeteers watch the monitor to see a rough

approximation of the shot.

In the editing room, All of these elements were manipulated and combined

the final program.

The finished scene looked like this.

Come on, let's go.

Go where?

Well, concentrate.

To the forest floor. I've got to get down there and get my act together.

I think you need to talk to your friends, Milton.

Good idea. Hang on.

see it coming. Here I am five years without a date, and I'm acting like

everything's hunky -dory.

Oh, don't blame yourself, Milton.

It's not a question of blame. I'm just not mentally prepared for extinction.

Hey, this is great.

It's all done with video effects, right?

You think so, huh?

No question about it, sir.

Oh, you take a character like that from Fraggle Rock, right?

You got it, pooch. I'm a doozer. In fact, I'm one of the really... important

doozers. I'm a bulldozer.

Ignoring that joke, I shall now explain how that character works.

See, he's really not here at all. He's really probably about three feet tall,

and he's being photographed in front of a blue wall. And then with that... Whoa!

Doesn't that make you so mad you could chase cars?

Put me down, you big bearded bully. I'm spinning my wheels.

Sorry, I was just trying to make a point here.

Sometimes the tricks we use aren't film tricks at all.

On Fraggle Rock, we had these little tiny guys named Doozers. We also had

great big characters named Gorgs. And this is how we did them.

The Gorgs of Fraggle Rock are a remarkable combination of puppetry,

technological wizardry, and they're among the most sophisticated puppets

ever created.

We needed giant characters who had complete freedom of movement and at the

time expressive faces, and we needed to find a way to allow two performers to

control the same puppet.

The three giant costumes are worn by performers who are skilled in dance and

body movement.

The costume will permit them to make the oversized, almost slapstick movements

required of the characters.

Now, when you're wearing one of these gorg heads, it's very difficult for the

performer inside to see out, so we devised something we call gorg vision.

We have a little tiny television camera that's located here looking out of the

gorg's eye, and that transmits a picture that goes down to a monitor that's

mounted right in front of the performer's eyeball.

Not only does this permit him to see, but it raises his sight line to Gorg's

height. So when he looks at something, the character's eyes also seem to look

it.

Now suited up, the performer inside will create half of the Gorg's performance,

the movements of the arms, legs, and the body.

The other half of the performance is created by the puppeteers, while they

operate a specially designed radio remote control, which controls the eyes

mouth of the Gorgs.

Now that you know the secrets of the Gorgs, watch as six performers bring

characters to life. Come to my heart, we'll never part.

Now is the time for true loving to start.

Laughter and loving alive in our hearts.

These are the gifts that I give to thee.

Gifts from the dear heart of me. The very same mitten -like rig that we use

work the mouths of the giant Gorgs is used to articulate the head, face, and

body movements of the tiny doozers.

Look at the chrome on that thing, huh?

Look at the gears and the wheels.

It's just incredible.

And sometimes it's another. And sometimes you can't tell which is which.

So long now.

Doesn't it make you feel like your brain has turned to kibbles?

Well, don't worry about that doozer, Jojo. I just sent him off to Muppet

Central. Please, sir, don't give away the secrets of the Muppets.

No, no, no, no, no.

Um, sir, it strikes me that revealing the secrets of the Muppets... Hi, Vicki.

How are you?

Oh, you surprised me. Sure, you were... Surprised I knew your name, right? Well,

it's not just that. I'm just very jumpy tonight.

All this talk about electronic effects and arm wires, it's very unsettling

and... Oh, Fidget, what are you doing?

Pay no attention to this semi -robotic person on your right.

Well, what's all this about?

Oh, Vicki, I'm learning to work puppets. Isn't it great?

How do puppets ride bicycles?

Well, now you've asked the big one.

Because ever since the day the Muppet movie premiered in 1979, people have

asking me to explain how the Muppets ride bicycles.

Well, here's Kermit taking his first ever bicycle ride in the Muppet movie.

Now, he's a marionette here.

That's a puppet that's worked on strings from above.

And the marionettist is riding in a crane high overhead.

Now, we would constantly intercut this shot with a shot of a hand puppet

of Kermit.

And for the hand puppet version, I would actually operate Kermit on a little low

rolling dolly.

But then when we got to the Great Muppet Caper, we decided that bicycles were

fun for Muppet.

So first of all, we did a bicycle shot with just Kermit and Piggy.

And we found as soon as we did two bicycles, it was really easy.

Because then we didn't have to worry about holding the bicycle up because we

could tie the two bicycles together across the axle.

And once they were attached together with a stiff rod, then we could just

both bicycles with a single string.

Then we could edit that shot to a shot of Kermit in the foreground, operated as

a hand puppet, and Miss Piggy being marionette -controlled behind him.

So we did several versions of that, and we were constantly intercutting one way

of working the character with another way.

And that's how we could get a full range of emotions and shots.

Watch the wind play tag in the trees.

The world is so bright, so perfectly fair.

Now when we needed to show a whole group of characters, we just tied all the

bicycles together with rods.

If you look closely, you can see a rod going across between the bicycles.

Then we could radio control the mouths of the characters and pull the whole

thing along with strings.

In this shot, where they're going away from us, the whole rig is being pulled

from in front by two big tricycles.

You have to look close because they're way down the road there, but one of

is being ridden by my son Brian.

Then we had a sequence where Kermit and Piggy rode around in circles, but that

rig was so complicated you're going to have to figure that one out for

Yes, couldn't we ride, side by side?

Look, Ma, no brains!

of tricks we haven't even talked about yet.

For instance, on the storyteller, we take John Hurt and turn him into a kind

a half puppet.

It's called prosthetic makeup.

Well, sir, we've seen it all now.

Well, you haven't seen much about our puppeteers yet. What about them?

Well, our puppeteers are probably the greatest secret we've got.

You jest, sir.

Not at all.

All that technology helps, but the biggest secret of all is that behind the

scenes, we've got a team of really great performers.

If you'd widen the shot for a second, you see, Jojo, you, for instance, are

performed by Camille Bonora.

You're on!

Say something!

Hi, Tim.

And now let's see some of the performers in Muppet Central.

That's it. Show's over.

Thanks for watching. You can turn off your set now. Go read a book or

No, no, don't go. I'm going to tell all of our secrets, and we're going to start

with Waldo.

Waldo? What a fabulous idea.

Explaining Waldo will take the rest of the hour.

Come on out, Waldo.

Oh, yes, sir.

Waldo reporting for duty, sir.

You may tell any secret about me you desire.

All right, you are a computer -generated graphic.

That is correct.

Go ahead, take your best shot.

Well, you're manipulated by a puppeteer, but you only exist as electronic

information on a television screen.

Sticks and stones can't break my bones, and facts will never hurt me.

I can see that, Waldo.

In fact, my life is an open book.

How does he do that?

Well, come on, Jojo, I'll show you. It's time for the next tape edit.

at Pacific Data Images in Sunnyvale, California.

Come on, JoJo.

Wow, the world seems so small when you travel this way.

Hey, aren't I matted into this shot?

I'm getting the hang of this.

So, JoJo, do you recall seeing one of these before?

Sure. That's the electronic mitten thing you use to run the radio -controlled

puppets like the Doozers.

Well, it's a version of it. But in this case, what we're doing is we're using it

to create the picture of Waldo on the computer screen over there.

But now, normally, Steve Whitmire, one of our chief puppeteers, is operating

this guy.

But I'll just do it to demonstrate it. And over here, we have Rex Grignion, who

is our computer animator.

Okay, and what Rex is doing is he's taking these moves that I'm doing with

hand and converting it into Waldo on the screen there. See?

And the really great thing is that the computer does it all in real time.

As Jim moves his hand around in the puppet, the image of Waldo flies around

the screen, too.

but what you get is a moving television picture.

Say, listen, Jojo.

Have you ever seen a computer graphic sneeze?

Uh, no, sir.

Well, it's one of the wonderful sights of the world. Let me tell you. Watch

this. Here we go.

Oh,

my goodness. You seem to sneeze your skin off.

Yes, well, I'm sort of a wireframe now. Isn't that wonderful?

The picture view still looks pretty terrible.

The image you see on the screen is called a low -resolution picture.

It's not really that good, but it's about the best the computer can do in

time. But you see, what we can do is we can take this crummy -looking low

-resolution picture, and we can run it through yet another computer into high

-resolution, and it comes out stunningly beautiful like this.

Come on, JoJo.

You know, guys, when we do a two -minute piece with Waldo, it takes the computer

120 hours to create the final picture.

This is more than a simple little country dog can comprehend, sir.

Okay, but now that we've talked about Waldo, let's go back to Muppet Central

talk about the rest of the characters.

No way.

Bring them back, Kermit.

Back in shot, everybody.

Everybody back in the shot. We refuse to come in. He's not going to come in. No

way. Come on, guys.

Come back in. It's Jim's orders.

Get back in here, everybody.

All right.

He's not going to do it, is he? No, he's not. He wouldn't. Yeah, but what if he

did? Yeah, but what if he doesn't? What if he doesn't? First of all, we'll take

away all the computer animation of Muppet Central.

And now, we just pull back to see the puppeteers.

No, don't do that!

main puppeteers of Muppet television.

Yuck. And the one under me is Jim Henson, but you probably already know

think they do.

Okay, and then the man with the beard, operating beard, is Mr. Jerry Nelson.

Oh, I just want to say one.

Are you listening? This is very Uhtra.

Yeah, beard, but the one thing you've got to remember is that Uhtra's in.

Yeah, exactly. Whatever that means. Oh, I hate this. I hate it, I tell you. And

then operating gonzo is Mr. Dave Gold. Well, the thing to remember here is that

my own personality has absolutely nothing to do with this weirdo. Oh,

right. Sure, they believe that, Dave.

Okay, and here with Vicki is Miss Fran Brill.

Who understands my every motivation.

I try, Vicki. God knows I try, but she's so unpredictable.

Okay, and over here with Bean Bunny is Mr. Steve Whitmire.

Well, Bean Bunny's a lot more comfortable on camera than I am.

Yeah, I'm a lot cuter, too.

Oh, that's for sure.

Okay, and here with Leon, Mr. Kevin Clash. Yeah, for the first time I've

Leon's tail in the shot.

Yeah, now let's get our tails out of here.

Okay,

and so there you have it, ladies and gentlemen.

These are the Muppet performers.

Oh, yeah!

decisions. I go by my own rules.

I gotta live the life I want to. I'm no fool.

There you go.

Sometimes muddy water winds up on my path.

Let me

Ain't no time to stop.

Smile that smile and take us to the top.

When you get that feeling.

And they are the final secret, because they are the folks behind the fantasy.

Everything back to normal, Kermit? Well, yeah, I think so, Jim. You know, I

think everything is back to normal. I hope so. So do I. I couldn't take it

anymore. Looks normal to me.

Still, I don't dare look down. No, no, listen, we should promise each other to

never look down ever again.

Yeah.

You know, gang, it is okay. Look.

That's what it is. Look, it's all right.

There's no one down there. There's nothing but floor.

It was all a bad dream.

Yeah.

Yep,

Jim, everything's back to normal.

Well, that's the way it is around this place.

The fantasy always wins.

Yeah.

Well,

Mr. Henson, I just want to thank you, sir, for answering all my questions.

It's been a real treat for me.

Well, it's my pleasure, Jojo.

Just one more thing, sir.

It's about the white lion.

Well, I don't know why he's there, if that's what you're asking.

No, no.

I was just wondering, sir. Is he a real lion, or is he a puppet?

Well, why don't you ask him yourself on the way out?

I'll do that, sir. I will indeed.

And thank you. Thank you again.

But be careful. It's his feeding time.

That's our show for tonight. We'll see you again next time.

Okay.