All language subtitles for The Jim Henson Hour s01e10 Secrets of the Muppets

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.