Script Analysis: “A Beautiful Day in the Neighborhood” — Scene-By-Scene Breakdown

Here is my take on this exercise from a previous series of posts — How To Read A Screenplay:

After a first pass, it’s time to crack open the script for a deeper analysis and you can do that by creating a scene-by-scene breakdown. It is precisely what it sounds like: A list of all the scenes in the script accompanied by a brief description of the events that transpire.

For purposes of this exercise, I have a slightly different take on scene. Here I am looking not just for individual scenes per se, but a scene or set of scenes that comprise one event or a continuous piece of action. Admittedly this is subjective and there is no right or wrong, the point is simply to break down the script into a series of parts which you then can use dig into the script’s structure and themes.

The value of this exercise:

• We pare down the story to its most constituent parts: Scenes.
• By doing this, we consciously explore the structure of the narrative.
• A scene-by-scene breakdown creates a foundation for even deeper analysis of the story.

Today: A Beautiful Day in the Neighborhood (2019). You can download the script here.

Screenplay by Micah Fitzerman-Blue & Noah Harpster, inspired by an article by Tom Junod.

IMDb plot summary: After a jaded magazine writer (Emmy winner Matthew Rhys) is assigned a profile of Fred Rogers, he overcomes his skepticism, learning about empathy, kindness, and decency from America’s most beloved neighbor.

A Beautiful Day In The Neighborhood
Scene by Scene Breakdown
By Karen Dantas
GoIntoTheStory.com

1–4: Mister Rogers’ Neighborhood’s familiar opening credits featuring the miniature residential street, FRED ROGERS’ entrance to the set, signature song, and shoe routine. He brings out a wooden board featuring little patterned doors, opening each of them to introduce the pictures of various characters, and ending on a new friend of his, LLOYD VOGEL (35). His picture behind the door features a fat bloody lip. Fred explains to us that someone has hurt his friend Lloyd, and that Lloyd is having a hard time forgiving the person that hurt him. He asks us if we know what it means to forgive, pauses for a beat, and then gives us the answer. He then invites us to go with him to meet this new friend, and we follow the camera through a window, past the miniature residential neighborhood, expand past Miniature Pittsburgh, and into Miniature New York City, where we settle onto a Miniature Plaza Hotel, which turns into the real one.

4: Lavish black tie dinner celebrating the National Magazine Awards. The ANNOUNCER introduces Lloyd as the presenter of this year’s winner for Feature Writing. Lloyd’s address explains the drive behind magazine writers and their purpose: “Because doing anything else doesn’t seem quite like living at all. We get a front row seat to history. We get to expose the truth that others cannot see. And sometimes, just sometimes, we get to change a broken world with our words.”

5–7: The next morning in Lloyd’s home, an airy, sunlit loft apartment. His wife, ANDREA (35) enjoys her breakfast brioche, while Lloyd packs up their four-month old son, GAVIN, for an overnight trip in Jersey. Lloyd and Andrea discuss whether it is wiser or not to leave him with a sitter, when Andrea mentions that his sister had called, and was inquiring whether his wedding toast has been prepared. Lloyd jokes (perhaps) that he was just going to use the same speech he made from one of her first two weddings, when Andrea drops the bombshell that his father is also attending. Lloyd is stunned. He finally pulls himself together to jokingly propose they use their son as an excuse not to attend. Andrea confirms that his sister was concerned that he would back out, but Lloyd smooths it over with a joke that he loves attending his sister’s annual weddings. Andrea suggests that it may be good for their son to meet his grandfather, and becomes worried by Lloyd’s distracted response.

7–8: Lloyd is struggling to install the baby car seat in the idling taxi cab, obviously stressed. Andrea hands him their infant and smoothly installs the seat. Lloyd occupies Gavin but is clearly not engaged. We hear the vibraphone from Mister Rogers’ Neighborhood, and we see a miniature Taxi moving them North towards miniature New Jersey.

8: At the modest, sparsely attended wedding taking place in the Radisson Reception Hall, the doughy and terrified-looking groom TODD (35) awaits his bride, LORRAINE VOGEL (35) who enters the hall, escorted by the tanned and flashy JERRY VOGEL (65). Jerry waves at Lloyd, grinning, while Andrea gently prompts Lloyd to remember to breathe.

9–11: During the reception, while wedding music blasts, Lorraine and Todd approach Lloyd and Andrea at their table. Lloyd and Andrea gush over the bride, and Lloyd introduces himself to the groom. Todd swallows him in a bro-hug, while Lorraine plays with Gavin. Lloyd then addresses the elephant in the room, and asks his sister how she got their father to attend. She explains that Jerry had offered to walk her, and given he had missed her first two trips down the aisle, she figured “why the hell not.” Lloyd responds with “I can think of a few reasons” when Jerry suddenly takes the stage, announcing that in lieu of a speech from the father of the bride, he is going to perform “Somethin’ Stupid,” dedicating it to Lorraine and Todd. As the bride and groom move to the dance floor, Jerry croons his best Sinatra, while Lloyd complains to Andrea that his father is drunk. Jerry sings the lyrics “I love you” first to his daughter, and then to his son.

11–13: While Lloyd tries to hide in a corner of the bar with Andrea and Gavin, Jerry bounds up to him and greets him joyfully. Lloyd acknowledges him and calls him by his name. Jerry playfully tells him that he doesn’t have to call him Jerry, or if he wishes, to do so, and that he doesn’t care. He turns his attention to Andrea, who awkwardly introduces herself, and Gavin. Jerry raves about how handsome Gavin is, and then claims credit by boasting that the baby takes after him. Jerry then asks his son to join him for a drink, which Lloyd flatly refuses, and informs him that he is staying just to make the toast, when Jerry turns to Andrea and says “Doll — could you give us a moment?” Lloyd, triggered, snaps back with, “She’s not a doll. She’s a public interest attorney.” Andrea discreetly excuses herself so the two can speak. Jerry tries to chit chat, but when he mentions Lloyd’s mother, Lloyd snaps and decks his father. Todd restrains Lloyd before he can have another go, but Lloyd shoves him away, knocking the groom into the bride and causing her to spill red wine all over her gown. A full-on brawl ensues! The fight stops when Jerry gets knocked against the windows and blood gushes from Lloyd’s chin, as his wife and screaming child face him.

13–14: Andrea confronts Lloyd, insisting that he was the one out of control and needs to take responsibility for the conflict. Lloyd, defensive, tries to end this by joking that he is paying for his sister’s dry-cleaning bill, when we freeze and push in on his beat up face, the same photo as the one in the Mister Rogers’ episode.

14–16: Back to the Mister Rogers’ Neighborhood set. Fred stares at Lloyd’s face and asks the audience if we can relate to Lloyd, if we have ever felt so angry that we want to hurt others or ourselves. Smiling, Fred confesses that he has, and then shares about a time when he was young he used to be bullied for being chubby, and had felt both sadness as well as anger. He tells us, “There is always something to do with the mad you feel” when the Speedy Delivery man, MR. MCFEELY knocks on the door, and hands Fred the mail — including a copy of Esquire Magazine. Fred thanks Mr. McFeely for bringing him the mail, and then tells him that his friend Lloyd works for a magazine, and is a wonderful writer. Mr. McFeely offers a video tape which explains how people make a magazine, which Fred eagerly accepts. Fred takes the tape and slides it into the wall by a painting. As the camera pushes into the painting, we see….

16–17: A large scale printing facility. We hear via voice-over Mr. McFeely and Fred walking us through the various TECHNICIANS and processes, teaching us how a printing press runs, and how a magazine is assembled and glued together. We watch a copy of Esquire Magazine fly out of the press.

17- 18: Cut to the slick and bustling offices of Esquire Magazine, 90’s heyday. An EMPLOYEE weaves through the cubicles, distributing an issue at each desk. Mr. McFeely’s voiceover explains to Fred that these people make up the editorial team, deciding the content and layout of the magazine. Fred’s voiceover comments that it takes a lot of work to make a magazine. We see Lloyd enter the bullpen, his face is still a mess. He makes a beeline for a corner office.

18–20: His boss ELLEN’s office. Lloyd tries to play off his ruined face, attributing it to a softball injury. She’s not buying it, but gets to business. She’s sending him to interview and profile a national hero for an issue on inspirational people. He’s wary, there’s more to this request because he was hired as an investigative journalist and does not do puff pieces. He snickers when she informs him that his assignment is Mister Rogers. This earns him a soft rebuke when Ellen tells him not only does he need to change his image, his reputation has surpassed him and none of the other interviewees on Esquire’s list were willing to be interviewed by him except for Mister Rogers. She ends the meeting with the direction to play nice.

20: We see in Lloyd’s cubicle a shrine to his extensive travel and accomplishments. Buried in all of this is a photo of Lloyd with Andrea, and a baby announcement for Gavin. Still sulking, Lloyd makes a call to schedule an interview with Mister Rogers, making sure that no one else in the office can hear his request.

20–21: As Lloyd approaches his apartment building, he encounters Jerry who is waiting by his gold ’93 Cadillac Deville. His face is bruised up as well. Jerry follows Lloyd, apologizing for the face, but points out that Lloyd had gotten him good as well. Lloyd ignores him and keeps walking. Jerry pleads with Lloyd, wants to work things out, owning that he messed up and just wants to talk to him. Lloyd refuses, enters his home, and shuts the door in Jerry’s face. Jerry lingers, wounded and embarrassed.

21–22: Lloyd walks into Andrea’s Mommy and Me group taking place in their loft. He takes in the screaming BABIES, while the MOMS try to smile politely, evidently shocked by the state of his face. Andrea greets him, while he comments that the place stinks, to which she responds with “Nine kinds of diapers.” Lloyd heads to the bathroom, starts to tie up the trash bag containing the offending diapers, when the kitchen phone rings. He answers. It’s Fred, off-camera. Lloyd moves to schedule a time for an interview, to which Fred states that though he is happy to set something up, Lloyd has him on the phone right then. Lloyd catches the powerplay, and gets out paper and pen from a drawer.

23: Lloyd is sitting on the floor in the hallway, scribbling notes, struggling to keep up. Fred tells him that he tries to “look through the camera, into the eyes of each child watching, and speak to them, as if individually, trying to be fully present to their feelings and needs.” He then further comments, “This is important when people of any age speak to one another.” Lloyd is getting this down, but catches a glimpse through his window of Jerry leaning against his Cadillac, reading a newspaper, clearly waiting for him. Fred’s voice interrupts his thoughts. “Do you know what the most important thing in the world is to me, right now? Talking on the telephone to Lloyd Vogel.” Lloyd is stunned.

23–24: Lloyd in bed, sleepless, staring at the ceiling. Andrea approaches, concerned. Lloyd tells her that he has an assignment, and has to depart the next day to Pittsburgh. Andrea is used to the pain of Lloyd leaving their family for a story, and prods him to tell her who it is. Lloyd informs her that it is Mister Rogers. Andrea lights up, she’s a fan, but then wonders why his boss Ellen is giving him this unusual assignment. She asks Lloyd if he can refuse the assignment, and spend some time with her and the baby instead, given he did not take any time off when Gavin was born. He looks at her. Andrea demurs, begging him to not ruin her childhood.

25: Lloyd looks out the window. It’s still nighttime, and Jerry’s Cadillac is still there too.

25–26: We see Mister Rogers’ Neighborhood’s set showing us a Miniature JFK Airport, with a miniature plane taking off, followed by a river running through Miniature Pittsburgh. We cut to Lloyd approaching the real and iconic WQED Studios building. Inside, Lloyd speaks to the sharply dressed BILL ISLER, who is in the middle of getting coffee, and tells him that he is there to do an interview with Fred. Bill messes with him, pretending to not know who Fred is. Lloyd, getting irritated, starts to tell him that he is with Esquire magazine, then Bill interrupts him by saying he was expected and introduces himself, a mischievous sparkle in his eye. Bill then ushers him towards a door, explaining he will get 20 minutes with Fred at the break, but Lloyd responds by saying he had been promised an hour. Bill eyes Lloyd’s face, still freshly bruised, and comments that he hopes Lloyd is not planning to fight Fred. Lloyd tries to explain that it was the outcome of a play in softball, when Bill delivers the punchline that he probably should not have led with his face, before throwing open the door that leads into…

26–32: Mister Rogers’ Neighborhood Set — the iconic fish tank, the stop light, the closet full of cardigans, the boat shoes, and the magical Trolley that bridges Mister Rogers’ house with the “Neighborhood of Make Believe.” CAMERA OPERATORS sit behind cameras, ready. At the center of all the commotion, Fred kneels down, deep in conversation with a young BOY who is swinging around a light-up plastic sword. A small oxygen tank connects to his nose. His MOM and DAD are by his side. Bill apologizes to Lloyd, expecting a delay. Lloyd asks if this is a Make-A-Wish moment, but Bill ignores his question. MARGY, the producer, walks by, with the FIRST ASSISTANT DIRECTOR (FIRST AD) following her. Bill asks Margy how they are doing for time, to which she points to her watch and responds that “He’s ruining my life.” They’re 73 minutes behind. Lloyd watches as Bill transforms from a stern man to a warm one as he approaches Fred. Fred is relating to the Boy, who seems to be more interested in whacking his dad with the sword. Fred comments that the sword must be heavy and sharp, but the Boy is dismissive. Then Fred tells him, “Well you must be very strong to hold it like that. And you know what? I bet you’re very strong on the inside, too.” The Boy stops. A shift. The Boy hands the sword to his mother and then hugs Fred, who thanks him for it. Mom and Dad are in tears. Bill cuts in, apologetic, telling Fred they need to get started. Fred agrees, but asks the family if he may take their picture, and thanks them for visiting as he snaps them smiling. Bill leads the family off the seat, while Lloyd asks Margy if this is a common event. He’s not buying the sincerity on display here. Margy tells him “Every day.” Fred then moves to his mark, while Lloyd follows Margy, observing the mechanics of the show production. Fred, true to character, starts to speak to the camera, when he catches sight of Lloyd and calls out his name joyfully, walking towards him with tent poles in hand, grinning in delight. Margy is frustrated as the First AD calls everyone to hold, and they all turn their attention to Lloyd. Fred notices his black eye, and asks him if he is ok. Lloyd trots out the same softball excuse, while Fred comments that it looks like it hurts. Behind Fred, a sea of glares, while Lloyd suggests that they continue their conversation afterwards. Fred acknowledges Margy, expresses to Lloyd his anticipation in speaking with him, and returns to the shoot. While he talks to the camera about the tent on the set, explaining its purpose while trying to set it up, but failing. After a few tries, Fred’s sweaty and frustrated, but still smiling, and says that he cannot do it. It must take two grown-ups to set up a tent, as it collapses again. Fred asks to review the footage, while Margy suggests that they pre-set up the tent. Fred brushes her off, saying that the footage is fine, to Lloyd’s disbelief.

32–36: Lloyd and Fred meet in Fred’s office, a distinct contrast from Lloyd’s. No desk, the walls filled with art and children’s drawings from around the world. Lloyd flips on the recorder and leads the interview by asking Fred why he did not let the crew set up the tent for him. Fred’s response is that children need to know that even when adults plan things, it doesn’t always turn out as hoped. That they’ve got to persist. Fred remarks on Lloyd’s wedding band, and asks about Lloyd’s marriage. Lloyd answers as Fred gives verbal praise on a successful relationship, but it is evident Lloyd wishes to move forward. Fred shares about growing up not far away, and that he has chosen to stay to raise his own family. When Lloyd asks about how his fame has affected his life, Fred is modest, he does not consider himself a celebrity. Fred’s response of “Fame is a four letter word, and like tape, or zoom, or face — ” mystifies Lloyd. He then tells him what matters is what is done with fame, and what his show tries to accomplish is to give children positive ways to deal with their feelings. Lloyd starts to dig deep — asking about the distinction between Fred Rogers and Mister Rogers. Fred studies Lloyd’s face, remarking that Lloyd had said that it was a play at the plate. He gently asks, is that what really happened? Lloyd hesitates, then admits that he had been in a fight. Fred expresses his empathy, and asks, with who? Lloyd tells him that it’s not important, chuckling, but when Fred does not respond, Lloyd confesses, with Jerry, his father. Fred asks Lloyd what they had been fighting about, but Lloyd tells him that he does not want to talk about it, and reminds Fred that he is there to interview him. Fred counters with, “Well, that is what we’re doing, isn’t it?” Awkward silence. Margy interrupts, it’s time to get back to the shoot. Lloyd protests, saying he thought he had 20 minutes. Fred politely asks Lloyd if he may take his photo, so he can show pictures of the people he meets to his wife. He pulls out his camera, snaps, thanking Lloyd and saying he hopes he will stick around. Lloyd is flabbergasted as Fred exits.

36–39: Back on the set: Neighborhood of Make Believe. Cardboard castle amidst a whimsical fantasy land. The puppet, DANIEL STRIPED TIGER is sitting on the ledge of a grandfather clock. Lloyd approaches Bill, demanding more time, saying that was not the 20 minutes he had been promised. Bill apologizes, but the answer is no. Lloyd threatens with writing that Fred was unwilling to sit through a full interview. Bill tells him that he just received a full interview, and that it was the same as what everyone gets. The First AD asks the puppet Daniel if he is all set. Daniel responds with “I’m set.” Lloyd is incredulous. Bill explains that Daniel is not just a puppet. “Daniel is Fred. Fred is Daniel.” Lloyd is trying to make sense of it when Bill cuts him off with “Please stop talking.” The show springs into action with LADY ABERLIN interacting with Daniel, who it becomes clear, is operated and voiced by Fred, who is crouched in a very uncomfortable position. Their scene talks about a skunk that had sprayed Daniel, and Daniel is mad about it. Lady Aberlin and Daniel sing a song about how they feel and what they can do when they are mad. Their performance overwhelms Lloyd.

39–40: Ellen’s office, Lloyd is frustrated. He doesn’t know if Fred Rogers is for real, and begs for more interviews with him. Ellen refuses. This is not an expose. Some funny anecdotes should be enough. Lloyd insists that Fred is more complex than he thought, but Ellen tells him to leave and not come back until he has his first draft.

40–41: Lloyd, at home, sitting beside a collection of televised interviews with Fred Rogers. He watches the one where ARSENIO HALL presents the 60 year-old Fred with one of his trademarked leather jackets. Arsenio’s house band plays the signature Neighborhood theme song as Fred puts it on, and the audience goes wild. Just as Arsenio says to Fred in his interview, “I see things going on out there, kinda worries me. I wish uh more people would watch Mister Rogers-” Andrea enters the home, babywearing Gavin, lugging groceries in both hands. Lloyd acknowledges her, but doesn’t move to assist her. Andrea asks how the interview went, and Lloyd responds with “He’s just about the nicest person I’ve ever met.” Andrea is concerned — that didn’t sound like a compliment. Lloyd is glued to the interview. Arsenio brings up that there’s a lot of hopelessness out there. Fred responds with, “There are no simple answers of course, but if we could, through television programs, as well as every other imaginable program, let people know that each one of us is precious.” Arsenio agrees. “It all starts in the home. We can never underrate how important that is.”

41: The suns sets over the Miniature set of Lloyd’s home.

41–45: It’s late at night in Lloyd’s loft. Lloyd, dark circles under his eyes, still reviewing more interview footage. Little Consumers interview. Old, black and white, with a much younger Fred Rogers, sitting at his piano, discussing how any person can only grow if they are accepted exactly as they are. Andrea enters, brings Gavin to Lloyd, saying it’s his turn. She goes back to bed, as Lloyd rocks Gavin, still watching. Senate Chamber, 1969 interview. Fred is testifying before the Senate on the public service his show provides, and that he does the voices for all of the puppets. He also explains that his show addresses “the kind of anger that arises in simple family situations. I think that it’s much more dramatic that two men could be working out their feelings of anger — much more dramatic than showing something of gunfire.” Gavin is fussing, but Lloyd is absorbed. He bounces his son. Fred’s testimony continues, explaining the lyrics to the “What Do You Do With The Mad That You Feel” song, the one Lloyd heard performed at the taping. When he finishes reading the lyrics, SENATOR PASTORE exclaims that though he is supposed to be a tough guy, he got goosebumps for the first time in days, and grants the twenty million funding to be awarded for Public Broadcasting. Oprah Winfrey 1980’s interview. OPRAH asks Fred what is the biggest mistake people make in raising their children. Fred’s response is to not remember their own childhood. Oprah then goes on to talk about how common it is for people when they have their own children, they say that they will never behave like their parents, but will inevitably find themselves repeating the cycle of dysfunction. Fred responds with, “But those children can help re-invoke what it was like. And that’s why when you’re a parent you have a new chance to grow.” With those words, Lloyd stares down at his sleeping child, emotions welling up within him. He looks out his apartment window. Jerry’s car is gone.

45–46: A montage of clips, but speeding up and shifting, as if they have merged with Lloyd’s consciousness. Daniel The Striped Tiger sitting on the Clocktower waves, and says “Hello Lloyd.” Fred’s testimony before Congress, discussing the “What Do You Do With The Mad That You Feel” song lyrics. KING FRIDAY calling from the castle, “What are you afraid of?” Distorted images float in, menacing and surreal, featuring Lloyd slamming the door in Jerry’s face, Fred crouching down, singing as Daniel, looking directly at Lloyd, Fred snapping photo after photo after photo, Jerry appearing dressed as Mr. McFeely, saying “Speedy Delivery!” Montage concludes with the image of Daniel The Striped Tiger sleeping, rolls over, and becomes Lloyd. A phone rings…

46–48: Early morning. The house phone in Lloyd’s loft is ringing. Andrea answers. Fred’s voice, “Oh my, I woke you up. Is this Andrea?” Andrea confirms, and Fred introduces himself. Andrea is instantly starstruck. We now intercut with seeing Fred on the phone with Lloyd, a contrast of the two men. Fred’s dressed for the day, and Lloyd is just waking up. Before Andrea passes the phone to Lloyd, Fred tells her that he wanted to thank her for sharing Lloyd with them, sympathising with the challenges she must encounter as Lloyd’s wife with his work duties and her juggling an infant. Lloyd answers the phone. Fred tells him that because Lloyd left without saying goodbye he is glad that they can continue to talk. He informs him that he will be in New York City to film, accompanied by his wife Joanne, and invites him to come visit and say hello.

48: At the Concert Hall, during the day. A CREW films a STRING QUARTET playing beautifully. Fred is perched on a still, listening, with a bright smile on his face. The hall is empty except for Bill and Lloyd, both in the back row. Lloyd asks Bill to confirm how much time he will get with him, and Bill shrugs. Lloyd is there because Fred wants him there. Bill then lets him know that though Fred likes everyone, he loves people like Lloyd. Bill has read his work, and came to the conclusion that Lloyd does not care for humanity. Lloyd, defensive, says he’s just doing his job. Bill tells him that he suggested to Fred to read his work before agreeing to the interview. He slams the point home: Fred read every single article written by Lloyd that they could find. The quartet wraps up, and Fred thanks them, saying “That made me wanna get up and do a little dance.”

49–51: New York Street, moments later. A CROWD gathered around the theater doors. Lloyd watches Fred patient greet every single person, listening deeply to each one, with Bill by his side. JOANNE, Fred’s wife who wears her hair short and grey, sidles up to Lloyd. She says, “I call this move the handshake handoff,” as both Lloyd and her watch Bill put his hand on the hands of both Fred and the WOMAN he is shaking hands with, shakes in rhythm together, and deftly moves her hand into his to free up Fred for the next person in line. It’s smooth. Lloyd is impressed. Joanne mentions that they stole Bill from the governor’s office 14 years ago, and asks if Lloyd has gotten to know him yet. Lloyd tells her that he is quite the fan. Joanne explains that Bill is very protective of “Roge.” In response to Lloyd’s confusion, Joanne then explains “We don’t call him Mister Rogers at home, dear.” She then introduces herself, and Lloyd responds that it is nice to meet her. Wasting no time, he gets to business and asks her, “How does it feel to be married to a living saint?” Joanne’s smile drops. She’s not fond of the term. She then explains that “If you think of him as a saint, then his way of being is unattainable. He works at it all the time. It’s a practice. He’s not a perfect person. He has a temper. He chooses how he responds to that anger.” She shares about some practicals Fred does every day to ground him and to work on that aspect of his character, and that he has done so since the day she met him. Fred walks up, kissing her on the cheek, clearly still in love. He tells Joanne that he will see her in a few hours, and invites Lloyd to spend some time with him. Lloyd follows him down the street.

51–52: Fred and Lloyd board a subway car, filled with SCHOOL KIDS of all kinds. Lloyd dives into journalist mode, asking hard-hitting questions about how his show actually covers heavy and dark stuff in a show aimed at children. Fred shares that he is glad that Lloyd had a chance to view his program, and then teaches him the sign language gesture for “friend.” As Fred marvels at the image of his interlocked fingers, Lloyd tries to get the interview back on track, but the School Kids recognize Fred and start whispering. ONE KID starts to sing the theme song, followed by a few more, and as Fred laughs and joins in, the ENTIRE CAR is singing. Lloyd is frustrated, his notebook visibly empty.

52–57: Inside Fred and Joanne’s cramped and dusty New York City Apartment, Lloyd sits uncomfortably close to Fred whose suitcase sits at his feet. Recorder out, interview is on. Lloyd lobs the comment that a lot of people line up to tell him their problems. While Fred responds by saying how wonderful and brave it is, Lloyd counters with a remark that it seems that it would be an incredible burden to him. Fred tells him that he is grateful to Lloyd that he said this, and for his compassion. Lloyd asks if it is a burden. Pause. Lloyd goes deeper. “Okay. Let’s assume it is a burden on you.” Fred is non-deterred. “There’s no normal life that’s free from pain.” Lloyd asks Fred how he deals with it, and Fred refers back to the song,“What Do You Do With The Mad That You Feel” as he plays his piano. Lloyd tries again. “Do you ever talk to anyone about the burden you carry?” Fred pretends to slam the piano keys, startling Lloyd. Fred then offers to introduce Lloyd to his friends from The Neighborhood of Make Believe, as he opens up the suitcase, revealing several puppets. Lloyd comments on their worn state, but Fred tells him that they have been with him a long time. Fred asks Lloyd if he ever had any special friends when he was young, like a special toy or stuffed animal, that was loved so much that even when it got ratty and worn, it was loved even more. Lloyd owns up to remembering a rabbit. As Fred delicately probes deeper, asking for the name of the rabbit, Lloyd is triggered by old and deep memories rushing in. “It was Old Rabbit.” Fred leans in and asks who gave it to him. Lloyd glares, and tells him it was his mother. When Fred comments that she must have loved him very much, Lloyd reveals that she had died when he was young. Fred affirms Lloyd by saying that if she were with him today, she would be very proud of the person he has become. This snaps Lloyd out of it, and he asks to get back to his questions. Fred counters that Lloyd had wanted to meet his friends from The Neighborhood of Make Believe, but Lloyd insists he asked about the burden Fred carries. Fred turns to his puppets, choosing carefully. He finally selects KING FRIDAY, and through the puppet, addresses Lloyd. Lloyd stares, blankly. Fred then picks up Daniel Striped Tiger, mentioning that Daniel is often too shy to talk. Fred tells Daniel that it is ok, and then asks Lloyd if he has ever met Daniel before. Lloyd plays along. “No. Not officially.” Daniel asks Lloyd if he can meet Old Rabbit. Lloyd addresses Fred firmly. He doesn’t want to talk about Old Rabbit. Fred addresses Daniel, saying that it is possible that Lloyd doesn’t want to talk now, and that it is ok. Daniel, the puppet, hangs his head. Lloyd asks Fred to put the puppet down. Fred obliges. Lloyd goes on the attack again. “You stopped making the show for three years in the mid-seventies. Why did you quit?” Fred explains that he felt like the program had covered the main facets of childhood, but he returned because his sons had grown into teenagers and were struggling, including himself and his wife. He realized there was still much more to talk about. Bingo. Lloyd suggests that it must not have been easy growing up having Fred Rogers as a father. Fred answers honestly, until recently, his eldest never told people about him, and that he is very private, and that it was okay. His younger son genuinely tested him, but eventually they all found their way. He is so proud of them both. Fred agrees with Lloyd, and thanks him for that perspective. Lloyd sighs in frustration, but politely responds with “You’re welcome.” Fred notices, and gently asks if that was not the answer he was looking for. He then tells Lloyd, “Being a parent doesn’t mean being a perfect parent. You might be experiencing some of that now, with your son?” Uncomfortable silence. Fred continues with telling him that he has been thinking about him and his father, and asks if they have been able to work through their disagreement. Lloyd coldly ends the interview and leaves.

58–61: Lloyd walks home, a mess. As he gets closer, he scans the streets for Jerry’s car, and is relieved when he does not see it. He enters into his apartment, and is confronted with the sight of Jerry sitting at the table with Andrea. DOROTHY, Jerry’s date at the wedding, is holding Gavin. Jerry greets the furious Lloyd, while Andrea tries to smooth things over, by announcing that they brought pizza. Jerry introduces Dorothy to Lloyd, but he refuses to look at her. Dorothy apologizes, handing Gavin back to Andrea, saying they should leave. Jerry tries to reach out to Lloyd again, but Lloyd continues to be silent. The more Jerry talks, the more anger starts to burble out of him, until he rants that he even though he sat out in his car for two nights like a homeless bum, Lloyd still refuses to speak to him. Lloyd gets to the point — Jerry came to his home to introduce him to Dorothy. He performs a perfunctory greeting to Dorothy, and she returns one in kind. Lloyd turns back to Jerry — mission accomplished, now leave. Jerry tells Lloyd that he may never come back, and asks him to listen. He tells Lloyd that he and Dorothy have been together and in love for 15 years. Lloyd snaps — he turns to Dorothy and spills out Jerry’s dirty laundry: Jerry left Lloyd’s mother as soon as she got sick, and that he was sleeping around on her while she was dying. Jerry owns that it has taken him years to get himself together, and attributes Dorothy with helping him grow up. Andrea is moved, but Lloyd has more venom to unleash. Lloyd goes into detail about the terrible way his mother passed away. Painful and long. Jerry starts to react, it’s evident he’s in pain. He pleads with Lloyd, but the dam has burst. Lloyd is shouting about how it was left to him and his sister to deal with the paperwork, bury her, and pack up the house. Jerry, trying to keep it together, slumps forward, head crashing into the table. Dorothy cries out and runs to him, while Andrea dials 911. Lloyd is frozen, while Dorothy tries to revive the unconscious Jerry.

61–63: Hospital, Intensive Care Unit. Lloyd is waiting just outside Jerry’s room. Dorothy is crying, as she and Jerry listen to the DOCTOR, who is telling them there is not much they can do but send him home or consider a hospice. Lloyd walks to the waiting area, crumbling. Andrea and the sleeping Gavin are the only ones in there. Andrea asks for an update, but all Lloyd can comment on is how much he hates hospitals. His heart is racing, and he’s sweating. Incoming panic attack. He tries to send her home, and when she insists on staying with him, he drops the bombshell that he is not staying and is heading to Pittsburgh to finish the assignment. Andrea is livid. He’s choosing work over his family again. Andrea moves to block him, but Lloyd lays into her, with some choice words. “You seem to think that now that we have a kid, I shouldn’t care about things I have always cared about, just because you don’t anymore. Well, I still care about my work.” He then accuses her for never being on his side, and she insists that she is on his side and always has been, and that because she loves him, she is telling him that now is not the time to go to work. A MAN who resembles Fred passes in front of Lloyd, carrying a bag with Daniel Tiger peeking out. Lloyd blinks. He tells Andrea he needs to go, so he can make it to Pittsburgh in the morning. Andrea huffs — she is going to go sit with HIS family, while he leaves.

64: Lloyd rushes out of the hospital, and through the New York Port Authority, looking for the man with Daniel Tiger. It’s a maze. Finally, he spots the man boarding a bus to Pittsburgh. He rushes onto the bus, but no Fred.

64–66: The sun rises behind the skyline of Miniature Pittsburgh, light reflecting off the buildings and the river, as a miniature bus zooms over a bridge. Lloyd rushes up to the WQED Studio, but stops — he wonders if the clouds are made of cotton and if the building is made of balsa wood — what is going on? He rushes into the stage to find Margy and the rest of the crew setting up for an episode. She greets him, as if she was expecting him. Lloyd declares that he needs to talk to Fred, and she thinks he’s being funny. The First AD directs him towards the lit set, reminding him that he is in this episode. Action! First AD signals to Lloyd to knock on the door, and Fred answers. Fred, like in every episode, introduces Lloyd as his good friend to the camera. Lloyd is confused, and asks him to stop. Fred is concerned, and asks if he is feeling unwell. Lloyd is flustered. “Stop. Stop asking me questions. I ask you the questions.” Fred carries on, telling the audience that in this episode he thought they would talk about hospitals, and explains their purpose and who works in there, and what they do. As Fred speaks, Lloyd is pleading with him to stop, he hates hospitals. Fred turns to Lloyd and asks him if he would like to pretend they’re at a hospital. Lloyd is dumbfounded.

66–68: Inside the Neighborhood of Make Believe, Lloyd’s on the Castle Set but he’s the size of a puppet. He takes a step out, and is startled by the TROLLEY that races up to him. X THE OWL appears in his tree, and greets him as OLD RABBIT. Suddenly, two rabbit ears attach to his head. King Friday appears in his parapet, and greets him. Lloyd is panicking, denying that he is Old Rabbit, and asking where is Fred? Daniel appears next to him, pleased to finally meet Old Rabbit, and happy he came for a visit. Lloyd can see Fred below the set, his hand maneuvering Daniel Tiger. Daniel greets Lady Aberlin, but it is Andrea dressed as Lady Aberlin. She chats and sings with the puppets in character about hospitals. She sings, “It’s good to talk. It’s good to say the things we feel.” Fred steps out from behind the set, singing with Andrea. Then Fred looks at Lloyd, and sings, “Go ahead. Try saying “I like you.” Everyone looks at Lloyd, and there is a painfully long beat. Finally, Lloyd says to Andrea, “I like you.” Fred continues singing, prompting Lloyd. “I’m sad.” Lloyd repeats the verse. “I’m angry.” The music stops. Lloyd can’t admit it. Fred says to Lloyd, “You’re angry. When did you become

angry? Do you remember? Did something happen?”

68–69: A dark stage. Lloyd steps towards a pool of light, his mother LILA VOGEL lays in a hospital bed in the center. She smiles at him, greets him affectionately. Lila tells Lloyd, “I know you think you’re doing this for me. Holding onto this anger. I don’t need it.” Lloyd begins to cry, and we hear Fred’s voice, off-camera, calling his name.

69: Lloyd is lying on his back on the set, unconscious. Fred and the crew stand around him, Fred calling his name. Bill asks what happened, but all Margy can tell him is that he just collapsed.

69–71: A Schumann duet starts with a jolt, waking Lloyd from a deep sleep. He’s in Fred’s apartment in Pittsburgh. Lloyd ambles slowly towards the source of the piano music, noticing all the pictures of REAL PEOPLE, all races, genders, ages, abilities, hanging on the walls. All smiling. Fred’s friends. He continues to follow the music into the living room, dominated by two grand pianos, with Joanne and Fred seated at each, playing together. Lloyd listens. Joanne calls out, “Turn,” and husband and wife both turn their sheet music, and continue their playing. Fred notices Lloyd, happy that he is awake, but Joanne fusses over him, apologising for making such a racket. Lloyd compliments them on their playing, saying it was beautiful. Fred suggests they go out to eat, but Lloyd tells him that he should go. As Fred goes to get his jacket, Joanne tells Lloyd that he is in big trouble. Lloyd does not know what to say. Fred returns, announcing they will get Chinese food, as Joanne tells Lloyd to say hello to Andrea and Gavin for her.

71–73: A hole in the wall Chinese restaurant. The WAITRESS sets down a plate piled high with vegetables for Fred. Lloyd bites into an egg roll, asking if Fred is a vegetarian. Fred’s answer is that he cannot imagine eating anything with a mother. Lloyd laughs and tells Fred that Bill was right, that he loves people like him. Fred asks him to define people like him, before affirming that he has never met anyone like him in his entire life. Lloyd explains, broken people. Fred tells him that he doesn’t think he is broken. Fred then tells Lloyd that he is a man of conviction, who knows right and wrong, but reminds him that his relationship with his father also helped to shape those parts and to become who he is. Lloyd shifts uncomfortably. Fred then invites him to participate in an exercise — to take a minute and think about all the people who loved them into

being. Lloyd protests, saying he cannot, but Fred convinces him to try. Just one minute of silence. As they begin, Lloyd starts to sniff. He sniffs again. The restaurant is quiet — every individual there is also doing this. Fred then looks directly into the camera at us, holding our gaze, inviting us to join in. Lloyd’s eyes are welling — for the first time ever, he is experiencing a moment of clarity. Fred ends the minute by thanking him for joining him in this exercise. He feels better. Lloyd smiles through his tears.

73: Miniature NYC Airport — a miniature plane touches down.

73–74: Nighttime in Thompkins Square Park — Lloyd is walking with the still angry Andrea, who is wearing the sleeping Gavin. He is apologizing for the way he left, but she is not having it — she tells him everything that went down after he ran out, putting her in a very difficult situation, and leaving her stranded, forcing her to take the train after midnight while wearing their baby, and everyone thinking that she was the worst mother. She acknowledges that she knows he is trying to apologize, but it doesn’t get to be easy. Lloyd opens up to her, possibly for the first time, explaining that when he is scared, like he was in the hospital, it triggers feelings of anger. Fighting for words, and holding back his tears, he confesses that his pushing other people away is his way of saying that he is having problems dealing with his feelings, but that in reality, it is the opposite of what he really wants. She and Gavin are what he wants. Andrea tears up, and as Lloyd holds her, they both cry. Lloyd apologizes to her, and then says he needs to see his father, because he is dying. He’s finally said it, in spite of how hard it was.

74–75: Fred is kneeling beside his bed, praying out loud a list of names. His voice carries over shots of him diving into an Olympic-sized pool at the Pittsburgh JCC, ending with the names of the members of the Vogel family, over the final shot of Lloyd pulling up in a taxi in front of a house in New Jersey, with Jerry’s Cadillac parked in front of it. Lloyd gets out, walks to the door, and rings the bell. We hear Fred’s voice, off-camera, saying “Thank you, God.” Dorothy answers the door in a housecoat. A long silence, and then she invites him in.

75–76: Jerry’s asleep in a hospital bed set up in his living room. Lloyd takes a long, long look. His father looks so small and old. Dorothy whispers that he would be so happy that he came, but Lloyd stops her from waking him up. In the kitchen, Lloyd and Dorothy sip tea and nibble on cheese and crackers. He asks her if she knew about him and his sister, and she admits she only found out about them recently. Then he asks if she knew about his mother. Dorothy explains that when Jerry got sick and experienced the first episode the year before, he started to open up, and confess all the things she wished he‘d told her years earlier. Dorothy steps out of the kitchen, and returns with a scrapbook, featuring every single article that he ever wrote, meticulously cut out and filed.

77: In the guest room on the sofa bed, Lloyd pounds away on his laptop.

77–78: Jerry’s up, watching tv, sipping orange juice, with Lloyd sitting beside him. Jerry offers him bourbon, but Lloyd refuses. They start to squabble over drinks, and then they both restrain themselves, admitting to one another that they are trying hard to get along. Jerry asks his son if he doesn’t like alcohol because of his drinking, and Lloyd confirms this fact. Jerry calls him a pain in the ass, to which Lloyd quips that he doesn’t like Cadillacs either. Jerry says that he is going to give him another heart attack, and they smile at each other.

78: Lloyd assists Andrea with bringing in the luggage into Jerry and Dorothy’s home, as she asks for updates on Jerry’s condition. He is happy to see her, and kisses her hello. He then remarks that she’s going to love the sofa bed, and as she asks for confirmation, she can tell that he is joking.

78–79: Gavin cries in the middle of the night. Lloyd gets up, takes Gavin into the kitchen, and prepares his bottle, trying to soothe and comfort him as he waits for the bottle to heat up. He sits down with Gavin, swaying him side to side, empathising with his son’s frustration in wishing that though he may wish he was with his mother, the two of them are going to let her get some sleep. Lloyd promises to Gavin that he is going to get better at parenting him, and that they are going to have to get used to each other. Quietly, just for Gavin, he sings one of the songs he learned from Fred: “I like you as you are, Exactly and precisely, I think you turned out nicely, I like you as you are, Without a doubt or question — ” when he realises that Gavin is looking right at him. The moment is broken by Jerry calling out, asking who is in the kitchen.

79–82: Lloyd carries Gavin into the living room, finding his father awake. Though it is four in the morning, Jerry insists that he is fine, admitting that he doesn’t sleep much anymore. Jerry then acknowledges Gavin, remarking that Lloyd must not sleep much either. He admits he never would get up in the middle of the night for him, to comfort and feed him when he was a baby. Lloyd moves to let his father get rest, but Jerry asks him to stay. Jerry convinces Lloyd to have a drink with him. Lloyd denies himself to give his father this pleasure, and pours two glasses, giving himself only a thimbleful. They clink glasses, cheers, and as Lloyd drinks, he chokes and splutters, causing Jerry to laugh. Jerry inhales — and apologizes to his son for leaving him and Lorraine. He admits it was selfish and cruel. Jerry asks Lloyd to look at his face as he talks. Lloyd finally turns to face him, and Jerry starts to get emotional. He is so sorry, he is only just now starting to figure out how to live life, and now, he is dying. He tells Lloyd that he always loved him, prompting Lloyd to take his father’s hand and say, “I love you too, Dad.” He really sees his father for the first time. Gavin stirs, so Lloyd picks him up and brings him to Jerry, who grabs his grandson’s toe.

82–83: In the sun room of Jerry and Dorothy’s house, Lloyd paces, bouncing Gavin, while Andrea reviews the draft of Fred’s profile. Lloyd reacts to every noise she makes, while Andrea tells him to shush. She finally finishes, remarking that 1) he’s blown the word count by ballooning it to 10 000 words, and 2) it’s not really about Mister Rogers. She smiles, and confirms that it’s good.

83: Lloyd receives a call from Ellen, his boss at Esquire. She’s almost annoyed, but she loves it. He’s surprised. She tells him it’s going to be the cover, but to not tell anyone she told him. He tells her that he doesn’t deserve her, and she agrees before hanging up.

83: Like at the beginning, we see Esquire Magazine getting printed in the presses, this time with the cover featuring a disarming, smiling portrait of Fred in his red cardigan. Title reads “CAN YOU SAY…HERO?” The magazines get boxed and loaded onto trucks.

84: Lloyd sits with Jerry as he reads the article in the magazine. He snorts, and Lloyd smiles.

84: Lloyd hugs Lorraine and Todd by the front door of Jerry and Dorothy’s house. Lloyd goes to apologize for his behavior at the wedding, but Lorraine stops him by saying, “Whatever. It was the most entertaining one yet.” She is so glad to see him in their father’s home. As Lorraine goes inside to visit Jerry, Lloyd puts his hand out to Todd, a peace offering. Todd slaps him on the shoulder and enters.

84–86: Lloyd, Andrea, Lorraine, Todd, and Dorothy, gathered around Jerry’s bed. He’s more gaunt now, and his color has changed. He’s not eating anymore. Lloyd discusses with Lorraine her honeymoon plans, when there is a knock on the door. Lloyd springs up, offering to get the door. He opens the door to admit Fred, carrying a pie, into the house. Everyone freezes. Fred laughs at their shock. Andrea moves to take the pie, when Fred tells her that he is pleased to finally see her in person. As Fred greets every individual in the room, he leans over to Gavin, and tells him that he hopes that they can be friends one day. Fred then approaches Jerry, addressing him formally as Mr. Vogel, but asks if he can call him Jerry. Jerry agrees, and is touched when Fred reaches out to shake his hand.

86–88: Fred and the entire Vogel family sit around Jerry and eat pie. Fred tells Lloyd that he and his wife adored the article. Lloyd is so glad. Fred then asks Andrea if she is feeling more ready to put Gavin into daycare. Lloyd gives Andres a look, and she responds with, “What? You’re not the only one who talks to Fred.” Jerry and Todd are interested in knowing Fred’s marksmanship skills, to which Fred says he has none, and then Dorothy asks Andrea where did she and Lloyd enjoy their honeymoon, to which Andrea shares that they had eloped in Maui, and therefore were already on their honeymoon. Lorraine bounces the idea of them all doing a family vacation instead, dipping their toes together in the ocean. Dorothy likes the idea, and Jerry wisecracks to count him in on crashing her honeymoon, if he is still around. The room gets quiet, everyone looking down on their plates, except for Fred, who smiles. He knows what to say. “You know, death is something that many of us are uncomfortable speaking about. But, to die is to be human. And anything human is mentionable, and anything that is mentionable is manageable.” Lorraine looks at Jerry, tears welling up in her eyes, as Fred shares his magical words of wisdom.

88: Fred, with his trusty camera, is snapping a photo of the Vogel clan surrounding Jerry in his bed. Jerry asks for a copy, and Fred says that his wife will be so happy to see this one. Before Lloyd walks Fred out, Fred kneels down to Jerry, and whispers into his ear. Jerry promises, and Fred thanks him.

89: At the curb where Bill is waiting with a town car, Lloyd asks Fred what he said to his father. Fred shares that he asked Jerry to pray for him. Lloyd is surprised. Fred figured that anyone who has been going through what he is must be awfully close to God. Fred gets into the car, and Bill shuts the door. The two men acknowledge each other, and Bill tells Lloyd that he read the article, giving the faintest approving nod. As the car drives off, Fred makes the sign for “friend,” and Lloyd gives it back.

89–90: In the yard of the set of Mister Rogers’ Neighborhood, Fred sits on the porch, talking to the camera, slow and introspective. He shares that when he was young, he had a dog named Mitzi, that he loved very much. She got to be old, and she died. He shared about his sadness, and the pain he experienced, because he had been so close to her. He shared that he cried, and his grandmother heard him crying, and put her arm around him, because she knew he was sad, and how much he loved Mitzi. He talked about his father talking about needing to bury Mitzi’s body, and how to accept that she had passed. He sings, “Sometimes people get sad and they really do feel bad, but the very same people who are sad sometimes are the very same people who are glad sometimes.”

90–91: In Miniature New Jersey, a TOY HEARSE drives slowly through the town, pulling up to a wooded CEMETERY. We hear Fred’s voice still singing his song. In the real cemetery, Lloyd, Andrea, Dorothy, Lorraine and Todd are gathered around Jerry’s casket, as the PRIEST prays, with Fred’s voice is heard singing the lyrics, “Sometimes people are good, And they do just what they should, But the very same people who are, good sometimes, Are the very same people who are bad sometimes.” The priest finishes his prayer, and everyone stands, sharing a hug or some form of comfort to one another.

91: The guests trickle off, Andrea finds Lloyd with Gavin strapped to his chest in a wrap. She holds a bouquet of flowers. Fred’s voice sings, “It’s funny, but it’s true, It’s the same isn’t it, for me, Isn’t it the same for you?” As Lloyd and Andrea walk together past the headstones, Lloyd suggests that he can slow down his workload for a few months, to be able to spend more time with Gavin and take the pressure of putting him into daycare so soon. Andrea draws closer to Lloyd as they walk together, as Lloyd declares that he and Gavin had already discussed this and agree on it. They continue to walk down the path together, when a piano trill brings us back to….

91–94: The blue sky in the Miniature Neighborhood, dipping towards the little yellow house, for the last time. On the living room set, Fred sits with the wooden board with a patterned door for each of his friends, looking at the photo of Lloyd that started the show. Fred welcomes us back, hoping that we’ve made this a special day just for being who we are. He reminds us that “There’s no person in the whole world like you, and I like you, just the way you are.” Fred was glad to have had the opportunity to share about his friend Lloyd, and asks us if we would like to see a new photograph of Lloyd and his family. Fred waits a beat, and then informs us that he will show it to us. He takes out a photo of a SUNNY BEACH where Lloyd, Andrea, Lorraine and Todd huddle around Dorothy, smiling big. She holds Gavin, who clutches OLD RABBIT in his tiny hands. As Fred comments that it’s a nice picture, Trolley comes out and toots its agreement. The two banter, it’s time for Fred to conduct the closing segment of his show. He starts to sing, “It’s such a good feeling to know you’re alive. It’s such a happy feeling” as he removes the blue boat shoes, unzips and carefully hangs up the red cardigan, pulls off the gray sports coat from its hanger, moving in reverse all of the actions of the opening as he sings the exit song. He goes through the door, smiling, and the First AD calls out “That’s a cut!” As the crew works to shut down production for the day, Fred walks to the monitors and watches the playback with Margy. He nods approvingly, walks over to the piano, sits down, and starts playing lightly, as Margy calls out the next day’s schedule. First the band, and then the crew clear out, leaving Fred alone, in the ghostly light. Fred finds the lowest keys and CRESCENDOS. Emotion pours out of him. BOOM BOOM BOOM. He strikes them one last time, letting the sound fill the space. BOOM. He sighs, content. His fingers then start to play something brighter, more hopeful, the closing theme of Mister Rogers’ Neighborhood as he plays us off and we pop to black.

Writing Exercise: I encourage you to read the script, but short of that, if you’ve seen the movie, go through this scene-by-scene breakdown. What stands out to you about it from a structural standpoint?

To download a PDF of the breakdown for A Beautiful Day in the Neighborhood, click here.

Major kudos to Karen Dantas for doing this week’s scene-by-scene breakdown.

For over 100 more movie script scene-by-scene breakdowns, go here.