[¶¶¶]
¶ It's a beautiful day In this neighborhood ¶
¶ A beautiful day For a neighbor ¶
¶ Would you be mine? ¶
¶ Could you be mine? ¶
¶ It's a neighborly day In this beauty wood ¶
¶ A neighborly day For a beauty ¶
¶ Would you be mine? ¶
¶ Could you be mine? ¶
¶ I have always wanted To have a neighbor ¶
¶ Just like you ¶
¶ I've always wanted to live In a neighborhood with you ¶
¶ So let's make the most Of this beautiful day ¶
¶ Since we're together We might as well say ¶
¶ Would you be mine? ¶
¶ Could you be mine? ¶
¶ Won't you be my neighbor? ¶
¶ Won't you please ¶
¶ Please, won't you be ¶
¶ My neighbor? ¶
Hello, neighbor.
It's so good to see you again today.
[¶¶¶]
Did you see the...?
What special thing I brought in to show you?
It's called a picture board.
Because behind each one of these little doors...
is a picture of people.
[¶¶¶]
Lady Aberlin.
Mm-hm.
Let's see who's behind this door.
Oh, here's King Friday XIII.
With his crown and...
mustache and beard.
Who's behind here?
Oh, it's Mr. McFeely.
He always says, "Speedy delivery," doesn't he?
I'd like you to meet a new friend of mine.
His name is Lloyd Vogel.
Someone has hurt my friend Lloyd.
And not just on his face.
[¶¶¶]
He is having a hard time forgiving
the person who hurt him.
Do you--? Do you know what that means?
To forgive?
It's a decision we make...
to release a person...
from the feelings of anger we have at them.
It's strange, but sometimes...
it's hardest of all to forgive someone we love.
Hm.
Let's say hello to my new friend, Lloyd.
[¶¶¶]
Shall we?
[BELL TOLLING]
[¶¶¶]
[TROLLEY BELL CHIMING]
[BIRDS CHIRPING]
¶ I never felt magic Crazy as this ¶
¶ I never saw moons Knew the meaning of the sea ¶
[CRICKETS CHIRPING]
¶ I never held emotion In the palm of my hand ¶
¶ Or felt sweet breezes In the top of a tree ¶
¶ But now you're here ¶
¶ Brighten my northern sky ¶
[SIREN WAILING IN DISTANCE]
EMCEE: Here to present this year's award for feature writing,
please welcome last year's winner, Lloyd Vogel.
[AUDIENCE APPLAUDING]
[CHUCKLES]
[MAN WHOOPS]
[CLEARS THROAT]
Thank you.
It's so wonderful to be among
so many of my fellow misfits tonight.
[AUDIENCE CHUCKLES]
So...
why do we write for magazines for a living?
Honestly, 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.
[AUDIENCE APPLAUDING]
[¶¶¶]
Mm, thank you.
I needed this. I ate a block of cheese for dinner.
[LAUGHS]
So, what are we forgetting?
You definitely need more diapers.
More than this?
We're going to Jersey for one night.
We go through at least 12 a day.
We do? Mm-hm.
What are you feeding that kid?
Would it be easier if we left him with a sitter?
You know I'm not ready to leave him with a stranger.
Okay? He's too little. Yeah.
Your sister called last night. Mm-hm.
She wanted to make sure you had written your toast.
Oh, I'm all set. I'm gonna use my speech
from her first wedding. Or maybe her second.
Oh, yeah. Just change the names. Yeah.
And, um, hey, she wanted me to tell you something.
Okay.
Your father's coming.
I guess she reached out a couple months ago,
and he didn't respond, but then he called,
and now he's coming to the wedding.
Oh.
Are you okay?
Yeah, I'm fine.
But I don't think we should go. Lloyd.
What? Seriously, why have a baby if you can't use him
to get out of social obligations?
This is what Lorraine was afraid of,
that you would back out. I'm kidding.
I'm not gonna miss her wedding.
I look forward to them every year.
Okay.
I think it'll be nice for Gavin to meet his grandfather.
[CHUCKLES]
Sure.
[¶¶¶]
Damn it!
[GAVIN CRYING]
[GASPS]
Daddy's just being funny.
Daddy's being funny.
It's impossible.
Here.
Take him. Here.
Shh, shh, shh.
There.
Great.
[HORNS HONKING]
He looks terrified.
He should be. He's marrying Lorraine.
["CANON IN D MAJOR" BY JOHANN PACHELBEL PLAYING]
[GUESTS MURMURING]
[HIGH-PITCHED RINGING]
[HEART BEATING]
Oh, my God, you look beautiful. Absolutely.
I'm 10 pounds short of my target weight, but whatever.
Lloyd, the brother. I know, man.
I'm Todd. You know, the husband. Yeah.
And look at you,
you little peanut, ha.
I don't think we're having kids. How, um... How did that happen?
[CHATTERING INDISTINCTLY]
I invited him and he came.
To walk you down the aisle? Really?
He offered. He missed the first two.
I thought, "Why the hell not?" I can think of a few reasons.
He's old.
And if he's gonna try to make an effort...
[SILVERWARE CLINKING ON GLASS]
Oh, I guess it's time we get this started. Um...
So, in lieu of the typical father-of-the-bride speech,
I thought I'd, um, well...
I'd like to sing a little ditty.
[GUESTS MURMURING]
[BAND PLAYING JAZZ SONG]
Now, this one's for my Lorraine.
And for you too.
[SOFTLY] What's his name again?
[NORMALLY] Uh, for Todd.
Yeah.
¶ I know I stand in line ¶
¶ Until you think You have the time ¶
¶ To spend an evening with me ¶
¶ And if we go Someplace to dance ¶
¶ I know that there's a chance You won't be leaving with me ¶
¶ Then afterwards we drop Into a quiet little place ¶
¶ And have a drink or two ¶
Admit it, now you wish we hadn't eloped.
¶ Then I go and spoil it all ¶ He's drunk.
¶ By saying something stupid ¶
Yeah, well, he can sing. ¶ Like I love you ¶
¶ I love you ¶
[GUESTS CHATTERING]
[MUSIC PLAYING SOFTLY OVER SPEAKERS]
[GAVIN FUSSING]
Well, here we are...
in the pearl of the Garden State, huh?
[CHUCKLES]
Hello, Jerry.
Oh, come on. You don't have to call me Jerry.
Or call me Jerry, I don't care.
And hello to you.
[CHUCKLES]
Hi. I'm Andrea, Lloyd's wife.
Andrea! Of course.
What a...
unique pleasure.
And hello, little fella.
And this is Gavin.
What a handsome man.
You look just like me.
[LAUGHS]
Yeah, let's get a drink, huh?
What's this stuff, uh, pop?
Oh, this stuff will kill you.
I'm just giving my toast, then we're leaving, so...
Mm...
Doll?
Could you, uh, give us a moment?
She's-- She's not a doll.
She's a public interest attorney.
Well, is there money in that?
You know what? We're gonna circulate, okay?
You got a baby.
And a wife.
You happy?
I'm happy. Yeah.
Well, she seems nice enough, hm?
But, I mean, aren't you a little old to have a baby, huh?
[LAUGHING]
[SIGHS]
I'm not that old.
Well, you're smart.
Your mom and I hardly knew each other
when she got pregnant. But we were babies, huh?
Don't talk about her. [HIGH-PITCHED RINGING]
Oh, whoa, wait a minute. You don't know the whole story.
Your mom was not the saint-- Don't talk about my mom!
What are you doing? Get off me!
Hey! Come on, what are you doing?
[GAVIN CRYING]
Come on.
[GUESTS GASPING]
What the hell? Ugh.
[GUESTS CHATTERING]
[JERRY GROANS]
You didn't hear him. You were out of control.
He was out of control.
You're not gonna take responsibility for any of this?
Of course I am. I offered to pay for Lorraine's dry cleaning.
[¶¶¶]
Have you ever felt the way Lloyd does?
So angry you want to hurt someone?
Or yourself?
I know I have.
When I was a boy, I was very chubby.
And the other kids would chase me
and call me names,
like Fat Freddy.
It made me very sad.
Sometimes, when I was by myself,
I would cry.
And other times,
it made me very angry.
There is always something you can do
with the mad that you feel.
[KNOCK ON DOOR]
Did you hear that?
[KNOCK ON DOOR]
Oh!
Someone is at my door.
Let's go see who it is.
It's Mr. McFeely.
[¶¶¶]
Speedy delivery.
[CHUCKLES]
Look. It's a magazine. Oh.
Thank you.
Magazines are always so full of interesting information.
They sure are.
My friend Lloyd works for a magazine.
He is a very wonderful writer.
That reminds me, I have a video I found.
And I thought you and your neighbor
may like to see it. What is it?
It's about how people make a magazine.
It's called "How People Make a Magazine."
I know lots of people like magazines.
I thought you might find this interesting.
I think we would. Do you have time to show it to us now?
Well, I'd be glad to see it again.
Let's look at it on Picture Picture.
[¶¶¶]
We'll watch it on Picture Picture...
and see how people make...
a magazine.
[¶¶¶]
McFEELY: This is the ink they use in the printing press
that prints the magazines.
FRED: Yellow ink.
It looks like mustard.
[McFEELY CHUCKLES]
McFEELY: And these are large rolls
of blank paper that are getting loaded
into the machine.
FRED: I wonder how many magazines they can make
out of one of those large rolls.
McFEELY: They print the magazines
in giant sheets, one color at a time.
This machine assembles the magazine
and glues it all together.
FRED: Oh, now, who's this?
McFEELY: These are the people who decide
what will be in the magazine.
They pick the pictures and design the layout.
FRED: Oh, that's an important job.
McFEELY: These are the people who write the words
that go into a magazine.
FRED: It's a lot of work
to make a magazine, isn't it?
McFEELY: It certainly is.
[PEOPLE CHATTERING INDISTINCTLY]
[KNOCKS SOFTLY ON DOOR]
Yeah? Pay no attention to my face.
Softball injury. Nothing to worry about.
Good morning, Ellen. How are you?
[CHUCKLES]
Well, this should be interesting.
What should? Sending you on an assignment
with your face all busted up.
An assignment? Yep.
You're the perfect person for it. You just had a baby.
Why are you giving me an assignment?
We're doing an issue on heroes,
and we're profiling a number of inspirational people.
We just need a small piece of copy
to accompany a pretty photo.
You hired me as an investigative journalist.
I don't do puff pieces. Wait a second.
Didn't I hire you to do whatever I tell you to do?
And right now that's doing a profile
on one of our nation's heroes.
Who?
Mister Rogers.
As in the hokey kids' show guy?
As in the beloved children's television host, yes.
Look, I--
I think this could help you, Lloyd, just...
start to change your image.
I-- I don't need to change my image.
Okay.
Ellen?
He was the only person on our list
willing to be interviewed by you, Lloyd.
I guess you're developing a reputation.
A reputation? People love talking to me.
Yeah, they do, until they read what you write about them.
So, what, I'm supposed to go easy on this guy
because he plays with puppets for a living?
Four hundred words. Play nice.
[SCOFFS]
Hello. This is Lloyd Vogel, um, from Esquire magazine.
I'm calling to schedule an interview with, um...
Mister Rogers.
Sorry about your face!
[JERRY CHUCKLES]
You know, I got it good too.
Look, I messed this up, hm?
I just want to talk to you.
We have a lot that needs to be said.
No.
I'm not gonna be ambushed.
Come on, Lloyd!
[¶¶¶]
[GROANS]
[PEOPLE CHATTERING] [BABIES LAUGHING, BABBLING]
[BABY SHRIEKS]
Hi, honey.
Hi. Hi, guys.
WOMAN 1: Hi, Lloyd.
Smells in here.
Bathroom trash.
Nine different types of diapers.
WOMAN 2: Hey, Lloyd.
ANDREA: Hey. What are you doing over here?
[PEOPLE CHATTERING INDISTINCTLY]
[CHILDREN'S SONG PLAYING ON RADIO]
¶ Down by the bay ¶
[PHONE RINGING]
I got it!
Hello?
FRED [ON PHONE]: Lloyd?
Who's this?
FRED: This is Fred Rogers.
Hi, that was quick.
FRED: Well, I figured, if you want to talk to me,
I should want to talk to you.
Uh, yeah, I just wanted to set a time
to sit with you and ask a few questions.
FRED: I'm happy to schedule something,
except for one thing.
What's that?
FRED: You have me here right now.
Uh, okay. Um, sure.
FRED: On our program, I try to look through the camera
into the eyes of a single child...
and speak to him or her,
trying to be fully present
to their feelings and their needs.
Right.
FRED: Do you know what the most important thing
in the world is to me right now?
Uh, no.
FRED: Talking on the telephone to Lloyd Vogel.
ANDREA: Hey.
You okay?
I got an assignment.
[INHALES DEEPLY]
Where you going this time?
Pittsburgh.
Tomorrow. Ah.
I'm profiling Mister Rogers.
Really?
Oh, well, I love him.
You do?
Yeah.
Why?
I don't know.
Wait.
Ellen is giving you a profile?
She knows that's not what you do.
I think that's her point.
Well, can you say no?
Can you take some time and be with us for a while?
You didn't take off any time when Gavin was born.
Not really.
Oh, well, at least it's someone good.
Yeah.
We'll see.
Oh, God, Lloyd, please,
don't ruin my childhood.
[¶¶¶]
WOMAN 1: I love y'all! WOMAN 2: I love you too!
[BIRDS CHIRPING]
[TROLLEY BELL DINGING]
Hey, I'm looking for Fred Rogers.
Who? Am I in the wrong place?
I know who you are. In here.
You'll get about 20 minutes with him during the break.
I was told an hour.
You're not gonna try to fight him, are you?
Oh, uh, softball league. Play at the plate.
Maybe you shouldn't have led with your face.
[WHISPERS] Hi, Evan.
[PEOPLE CHATTERING SOFTLY]
Sorry, guy. Could be a minute.
Is this a Make-A-Wish thing?
How we doing, Margy?
He's ruining my life.
How long?
Half hour already, which...
puts us at 73 minutes behind. Yikes.
I gotta go in.
Cover me. You're on your own.
...color of sweater that I do.
But I can't see colors very well.
Isn't that funny, hm? Don't.
Look at that. Look at that.
I'm sorry. Son, he's talking to you.
Okay, sweetie. Honey, honey. Oh!
All right. Hm. Honey!
MOTHER: Don't do that, sweetheart.
That-- That sword looks awfully sharp.
And heavy too.
Not really. No?
Well, you must be very strong in order to...
hold it like that.
And I bet you are very strong
on the inside too.
Oh, well, ho, ho.
MOTHER: Oh! FRED: Well, oh...ho, ho.
Oh, I like that.
Thank you. Terribly sorry.
Yes, right. We need to start.
Can I--? Can I take your picture, hm?
Yes. Yes?
Everybody make sure you can see me.
Now... Oh, thank you.
Thank you so much for coming and visiting us in the neighborhood.
Folks, if you'll follow me. Okay.
Thank you. Great job.
You did such a good job. How often does this happen?
Every day.
Okay, here we go!
Everybody settle.
Quiet, please.
Roll sound.
Sound speeds. MARGY: Mark it.
And... [CLEARS THROAT]
action.
Do you know what this is?
[¶¶¶]
It's Lloyd.
L-- Lloyd.
Hold, please!
We can't fire him, can we?
Hello, Lloyd. Oh, it's nice to meet you. What--?
Are you all right? Play at the plate.
Oh, mercy, that looks like it hurts.
Uh, let's chat afterwards. We need to keep moving.
Have Evan take a look at him.
No, I'm good. I'm good. No, I'm sorry, Fred.
Yeah. We just need to...
All right, all right.
[CHUCKLES]
It's wonderful to meet you. So glad you're here.
I'm looking forward to talking with you, I truly am.
After this.
Everyone, this is Lloyd Vogel. He is a wonderful writer.
MARGY: Thank you, Fred.
Okay, resetting. Step over here.
[WHISPERS INDISTINCTLY]
Roll sound.
TECHNICIAN: Sound speeds.
And slate.
And action.
Do you know what this is?
It's a tent.
Let's set it up.
[¶¶¶]
Oh, mercy.
A little bit trickier than I thought.
[GRUNTS]
[CHUCKLES] FRED: Oh!
[WHISPERS] This is impossible.
[GRUNTING]
I can't. I can't do it.
It must...
It must take two grown-ups to set up a tent.
And that's a cut. Let's go again.
[CREW LAUGHING]
No, no, let's...
Let's look at that.
ASSISTANT DIRECTOR: Okay, roll playback, please.
[MUSIC PLAYS ON MONITOR]
[FRED GRUNTS ON MONITOR]
Oh, mercy.
A little bit trickier than I thought.
We could preset the tent for you.
No, no, no, I-I-- I think this is good.
Yeah.
Yeah, I think we're okay.
ASSISTANT DIRECTOR: Great? Good. FRED: Yeah.
That's lunch, everybody. FRED: Oh.
The...
The tent. Why didn't you let them set it up for you?
Well, children need to know
that even when adults make plans,
sometimes they don't turn out the way we'd hoped.
Mm-hm.
How long have you been married, Lloyd?
Uh, eight years.
Oh, eight year-- Oh, that's...
a wonderful accomplishment.
Does your spouse have a name?
Andrea.
I would like to meet Andrea someday.
I'm sure. Um...
You've lived in Pittsburgh your whole life?
I grew up not too far from here in a town called Latrobe.
But we've lived here quite some time,
and we've raised our boys here.
And do you think living here makes it easier
or more difficult to be a celebrity?
Oh, "celebrity." Mercy.
You don't consider yourself famous?
"Fame" is a four-letter word,
like "tape" or "zoom" or "face."
What ultimately matters is what we do with it.
And what are you doing with it?
We are trying to give children positive ways
to deal with their feelings.
This piece will be for an issue about heroes.
Do you consider yourself a hero?
I don't think of myself as a hero.
No, not at all.
What about Mister Rogers? Is he a hero?
I don't understand the question.
Well, there's you, Fred,
and then there's the character you play, Mister Rogers.
You said it was a play at the plate?
Is that--? Is that what--?
Is that what happened to you?
What did happen to you, Lloyd?
I got into a fight.
Oh. Oh, my.
Who did you get into a fight with?
[LAUGHS NERVOUSLY]
It's not important.
[SIGHS]
Jerry.
Mm. And who is Jerry?
My father.
Oh, my.
I'd rather not talk about it.
Well, what were you and your father fighting about?
I-I'm here to interview you, Mister Rogers.
Well, that is what we're doing, isn't it?
We're ready for you in Studio B, Fred.
Okay, Margy. I thought we had 20 minutes.
Lloyd, can I take your picture?
I like to take pictures of people that I meet.
Then I can show them to Joanne later on.
Thank you so much.
I do hope you'll stick around. I really do.
Tha... That's--? That's it?
[¶¶¶]
[DOOR CREAKS]
[DOOR SLAMS]
[CLATTERING]
[CREW CHATTERING INDISTINCTLY]
ASSISTANT DIRECTOR: Is it ready?
Daniel, you set?
FRED [AS DANIEL]: I'm set!
Thank you, Daniel.
Did she just talk to the puppet?
Daniel isn't just a puppet.
Daniel is Fred, and Fred is Daniel.
You mean-- Please stop talking.
Let me know when you're ready, Lady.
Okay. Thank you.
Ahem. ASSISTANT DIRECTOR: And trolley.
Action.
[¶¶¶]
[TROLLEY DINGING, WHISTLES] [SPRITZING]
[¶¶¶]
FRED [AS DANIEL]: Well, hello, Lady Aberlin.
Oh, hi, Daniel.
Are you making that funny smell?
Oh, do you mean that skunk kind of smell? No.
I'm trying to help that smell go away.
By squirting another smell?
That's right. A sweet-smelling smell.
Want to smell? FRED [AS DANIEL]: Okay.
[ABERLIN CHUCKLES]
[SPRITZING] [FRED SNIFFS]
Ah! Mm, that does smell good.
Mm-hm.
Where did that bad smell come from?
Oh, Mr. Skunk.
Hm.
He got scared,
and he just sprayed this smell all over me.
Oh, no. Did he say he was sorry?
No. [GASPS]
And that just makes me...
so very mad,
and I don't know what to do.
Oh, Daniel.
[¶¶¶]
¶ What do you do With the mad that you feel ¶
¶ When you feel so mad You could bite? ¶
¶ When the whole wide world Seems, oh, so wrong ¶
¶ And nothing you do Seems very right ¶
ABERLIN: ¶ What do you do? Do you punch a bag? ¶
¶ Do you pound some clay Or some dough? ¶
¶ Do you round up friends For a game of tag ¶
¶ Or see how fast you go? ¶
¶ I can stop when I want to Can stop when I wish ¶
¶ Can stop, stop, stop anytime ¶
¶ And what a good feeling To feel like this ¶
¶ And know that the feeling Is really mine ¶
[IN UNISON] ¶ Know that there's something Deep inside ¶
¶ That helps us become What we can ¶
¶ For a girl can be Someday a woman ¶
¶ And a boy can be Someday a man ¶
[SONG ENDS]
Thank you, Lady Aberlin.
Thank you, Daniel.
I-- I feel better.
Oh, I'm so glad.
I just don't know if he's for real.
That's not for you to say, Lloyd.
I think with a few more interviews--
No, no, no, I told you, this isn't an exposé, okay?
Just please put pen to paper. A couple funny anecdotes.
Keep it simple. I can't do that, Ellen.
He's a lot more complex than I thought.
He's a children's entertainer.
He's Mister-freaking-Rogers.
This isn't Gorbachev we're talking about.
I don't think you understand what you're asking.
I'm asking you to do your job. Now, get out.
Come back when you have your first draft.
[AUDIENCE CHEERING ON TV]
[BAND PLAYING "WON'T YOU BE MY NEIGHBOR"]
[AUDIENCE WHISTLING, HOOTING]
[AUDIENCE WOOFING]
Now, heh...
this gives new meaning to Boyz n the Hood!
We'll be back with Mister Rogers!
[AUDIENCE CHEERING, APPLAUDING]
[TAPE FAST-FORWARDING]
ARSENIO: We all grew up with you...
Hey. Hi.
I see things going on out there, kind of worries me.
I wish more people would...
How'd it go?
He's just about the nicest person I've ever met.
When you say it, it doesn't sound like a compliment.
[CHUCKLES]
There is-- There's an attitude out there.
There's some things going on. There's a lot of hopelessness.
What do we need to do?
There's 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: It all starts in the home.
We can never underrate how important that is.
FRED: I don't think anybody can grow unless he really is accepted
exactly as he is.
If somebody is always saying to a child,
"Oh, you're-- You're going to grow up,
and you're going to be fine."
There's so much of that already.
It's your turn.
Yeah. And so a child is appreciated
for what he will be and not for what he is.
"He will be a great consumer someday.
And so the quicker we can get them out of the nest
so they can go out and buy, then the better."
What do you think is the biggest mistakes parents make
in raising their children?
FRED: Um, not to remember their own childhood.
OPRAH: Yeah?
I think that the best thing that we can do is to...
think about what it was like for us
and know what our children are going through.
OPRAH: It's so hard once you get to be a parent.
You always say, "I will never do this,"
when your mother or father is doing it to you.
You say, "I will never do this to my child."
And then you get to our age
and you forget what it was like to be this size.
You really do forget.
Well, but those children can help re-evoke what it was like.
That's why, when you're a parent,
you have a new chance to grow.
OPRAH: You do.
Did you ever--? I can't imagine--
I know that you are the father of two boys,
but I can't imagine you ever having a problem
with your children. You ever have any?
FRED: Well, of course.
I'm a human being just like everybody else.
OPRAH: I thought you would talk to them and say:
"Can you say, 'Good morning?'" And they would change.
FRED: But, you know, a lot of people do those parodies, just--
[¶¶¶]
¶ Well, I left my happy home ¶
¶ To see What I could find out ¶
¶ I left my folk and friends ¶
¶ With the aim To clear my mind out ¶
¶ Well, I hit the rowdy road And many kinds I met there... ¶
Lloyd, hello!
I can stop, stop, stop anytime.
Son, what were you afraid of?
Oh, no, Lloyd.
Meow, meow.
If they get a divorce or if they don't get a divorce,
they'll still be your mom and dad.
Speedy Delivery.
[SHUTTER CLICKS]
[PHONE RINGING]
[PURRING]
[PHONE BEEPS]
ANDREA: Hello?
FRED [ON PHONE]: Oh, my. I woke you. Is this Andrea?
Yes.
FRED: This is Fred Rogers.
Oh, hi. Who is it?
Uh, Lloyd's right here.
No, Andrea, while I have you,
I just want to thank you so much for sharing Lloyd with us.
Can't be easy, him traveling with Gavin at home.
Oh, well, thank you for saying that.
I'm gonna give Lloyd to you now.
[WHISPERS] Mister Rogers knows my name.
This is Lloyd.
You left without getting to say goodbye.
So I'm glad we get to continue to talk.
I'm going to New York City today to film.
And Joanne is coming with me,
and we thought you might like to come down and say hello.
Um...
[PLAYING UPTEMPO TUNE]
How much time do you think I'll have with him today?
You're here because Fred wants you here.
Honored.
He likes everybody, but he loves people like you.
People like me?
I've read your work.
You don't really care for humanity, do you?
[SCOFFS]
I'm just doing my job.
I insisted he read you before we agreed.
And did he?
Every article we could find.
[SONG ENDS]
[FRED GASPS, APPLAUDS]
Oh, thank you, thank you.
That made me want to get up and do a little dance.
MUSICIAN 1: We have a surprise for you, Mister Rogers.
We're gonna play one of your songs called "You Are Special."
Oh! Well, how wonderful.
But how do you play your instruments without your bows?
Well, we can play pizzicato,
which means we're going to pluck the strings with our fingers.
FRED: Oh.
MUSICIAN 2: One, two, three, one, two.
[PLAYING "YOU ARE SPECIAL"]
[PEOPLE LAUGHING, CHATTERING]
FRED: Hello, everybody. Hi. WOMAN: Hi.
FRED: How nice to see you all. How nice to see you.
[CHUCKLES]
FRED: Lovely to meet you.
Oh, I call this move the "handshake handoff."
I love your show. Thank you for coming.
LLOYD: That's quite a skill.
We stole Bill from the governor's office 14 years ago.
You got a chance to know him yet?
Love Bill. Big fan.
He is very protective of Rog.
You call him "Rog"?
We don't call him Mister Rogers at home, dear.
Joanne Rogers. Ha! Oh, nice to meet you.
You as well, dear.
So how does it feel to be married to a living saint?
You know, I'm not fond of that term.
If you think of him as a saint,
then his way of being is unattainable.
You know, he works at it all the time. It's a practice.
[CHUCKLES]
He's not a perfect person.
He has a temper.
He chooses how he responds to that anger.
That must take a lot of effort.
Well, yeah, he-- He does things every day
that help to ground him.
Reads Scripture, swims laps,
prays for people by name.
Writes letters, hundreds of them.
He's been doing that since I met him.
Thank you so much, so much. You be good.
Bye, Mister Rogers. Thanks, folks.
Thank you, folks, for coming out.
FRED: My love. Bye, my love.
We'll see you in just a few hours or so.
Yes. Just have a good time.
I thought you and I would spend some time talking.
Oh, of course.
Weren't those ladies spectacular?
Incredible. Just marvelous.
You know, I found out about them through Joanne...
[CONTINUES INDISTINCTLY]
[¶¶¶]
Do you always take the subway?
Well, Joanne and I have an apartment.
It's just a few stops away,
and it's-- It's the easiest way to get around sometimes.
[DOOR CHIMES]
So...
you've covered some heavy stuff, uh,
especially for a show aimed at children.
Oh, I'm glad you've had the chance to view the program.
Death, divorce, war. It gets dark.
You know...
Maggie Stewart showed me
the most beautiful word in sign language.
You know what that means? It means "friend."
Isn't that perfect?
[CHILDREN CHATTERING]
Who's Maggie Stewart?
GIRL 1: Do it. GIRL 2: Hey, Mister Rogers!
It's a beautiful...
BOTH: ¶ It's a beautiful day ¶
¶ In the neighborhood ¶
¶ A beautiful day For a neighbor ¶
¶ Would you be mine? Could you be mine? ¶
ALL CHILDREN: ¶ It's a neighborly day In this beauty wood ¶
¶ A neighborly day For a beauty ¶
¶ Would you be mine? Could you be mine? ¶
ALL: ¶ I have always wanted To have a neighbor ¶
¶ Just like you ¶
¶ I've always wanted to live In a neighborhood with you ¶
¶ So let's make the most Of this beautiful day ¶
¶ Since we're together We might as well say ¶
¶ Would you be mine? Could you be mine? ¶
¶ Won't you be my neighbor? ¶
¶ Won't you please ¶
¶ Please, won't you be My neighbor? ¶
[ALL LAUGHING, APPLAUDING]
[¶¶¶]
Oh, that was wonderful.
It seems like all these people line up
to tell you their problems. Oh....
Isn't it wonderful?
Such bravery?
Well, uh...
it seems like that would be
an incredible burden on you.
Well, I'm grateful for you saying that, Lloyd.
I'm grateful for your compassion.
[CHUCKLES SOFTLY]
Is it? A burden on you?
Okay, let's assume it's a burden on you.
There-- There is no normal life that is free from pain.
How do you deal with it?
Oh, well, there are many ways
you can deal with your feelings without hurting yourself
or anybody else.
Yeah, like--? Like what?
Well, you can pound a lump of clay...
or swim as fast as you can swim
or play the lowest keys on a piano all at the same time.
[IMITATING PIANO PLAYING DISCORDANTLY]
Do you ever talk to anyone about the burden you carry?
[CONTINUES IMITATING PIANO]
Would you like to meet my special puppet friends
from the Neighborhood of Make-Believe?
[UNZIPS SUITCASE]
[INHALES, EXHALES DEEPLY]
They look like they've seen better days.
Well, they-- They've been with me for quite a while.
You ever think about swapping them out? Getting new ones?
Didn't you have a special friend when you were very young, Lloyd?
A special friend?
Yeah, a special toy.
Or a... A stuffed animal that you loved very much,
even as it got ratty and worn out
and made you just love it all the more?
I don't know. I'm sure I did.
Can you tell me about your special friend?
Uh, think I had a rabbit.
Did your rabbit have a name?
Just "Rabbit."
It was "Old Rabbit."
And who gave you Old Rabbit?
My mom.
She must love you very much.
That she did. She, uh-- She died when I was young.
I'm sure that if she saw you today,
the person you have become,
she would be proud of you.
I want to get back to my questions.
You wanted to meet my special friends
from the Neighborhood of Make-Believe.
No, I asked you about the burden you carry.
[VOCALIZING FANFARE]
[IN REGAL VOICE] I am King Friday XIII.
Lloyd Vogel, the journalist, I presume.
[NORMALLY] And here's Daniel Striped Tiger.
Now, sometimes Daniel is too shy to talk, but...
But that's okay, Daniel.
Have you met Daniel?
Not officially, no.
FRED [AS DANIEL]: I'd like to meet Old Rabbit.
I don't want to talk about Old Rabbit, I got to say.
[NORMALLY] Well, maybe Lloyd doesn't feel like talking today, Daniel.
And-- And that's okay.
Can you put the puppet down, Fred?
You stopped making the show in the mid-'70s for three years.
Why'd you quit?
Well, at that point, I felt the program had covered
all the major facets of childhood.
And what brought you back? Money?
Boredom?
My sons had grown into teenagers,
and we were struggling.
We all were, and...
I realized then that there was
still so much more to talk about.
I can't imagine it was easy...
growing up with you as a father.
Until recently, my oldest never told people about me.
He's very private, and that's okay.
And my youngest son, he--
He genuinely tested me.
But, eventually, we found our way,
and now I'm very proud of both of them.
But you are right, Lloyd.
It couldn't have been easy on them.
Thank you.
Thank you for that perspective.
[EXHALES DEEPLY]
You're welcome.
Is that not the answer you were hoping for?
Being a parent does not mean being a perfect parent?
You might be experiencing some of that now with your son.
And, uh...
I've been thinking a lot about you and your father.
Did you work out your disagreement?
[HIGH-PITCHED RINGING]
This is ridiculous.
Lloyd, where are you going?
We're done. Thanks. Been a real pleasure.
[TRILLS LIPS]
[¶¶¶]
[DOOR SLAMS]
Mercy.
[ANDREA LAUGHING]
ANDREA: He's so quiet with you. DOROTHY: Aw, thank you. Heh.
I'm good with babies.
Aren't I? Mm-hm.
[GAVIN COOING]
Hey, hey!
[KEYS JANGLE]
Come on, sit down. We-- We cooked you some takeout.
They brought pizza.
Lloyd, this is, uh, Dorothy.
Hello.
Can't you just say hello?
Where's your manners?
I'm sorry.
Um, I think we should go.
[GAVIN COOS] [GROANS]
I had an idea, okay?
Maybe we'd eat some food, we'd talk like people.
I messed things up at the wedding.
Of course, you know, you didn't help, but, uh...
Heh, heh, I get it.
And you let me sit out there in my car
on the street for two nights, uh...
like I'm homeless, like I'm some kind of a bum.
Jerry, you're not helping. Well, he won't say a word.
You came here to introduce me to her?
Yeah.
To Dorothy.
Hi, Dorothy. Hi, Lloyd.
Okay, you did what you came here to do.
Now I want you to leave. Lloyd.
I may never come back here.
So, uh, please, listen to me.
Dorothy and I have been together and in love for 15 years.
He left as soon as Mom got sick.
Did you know that? Couldn't even wait for her to die.
She didn't want me there. Because you were sleeping around
while she was dying. I know. I know it!
Took me years to get myself together.
Dorothy's why I'm standing here.
She helped me grow the hell up!
You know what they tell you about people when they're dying?
They tell you it's peaceful, that they just slip away.
Mom screamed...when she went. Did you know that?
She screamed until she passed out.
JERRY: Ugh. And then they came in
and revived her, and she went right back to it.
It was just me, Lorraine and the nurses.
Sign the paperwork, pack up the house, put her in the ground.
Jerry? Come on, Lloyd.
[GAVIN CRYING]
Oh, God, my jaw.
Jerry?
[GROANING]
Jerry.
Oh, my God. Oh, my God. Jerry!
I'll call 911. Lloyd, do something!
[¶¶¶]
DOROTHY: Just breathe. Breathe. Look at me.
ANDREA: Hello? DOROTHY: I'm right here.
Yes, we have a man who's collapsed.
Yeah, we don't know. I don't-- Is he breathing?
DOROTHY: Yeah. ANDREA: He's breathing.
He's breathing. It may be a heart attack.
Lloyd, do something!
DOCTOR: The cardiac MRI revealed
more extensive stenosis than we thought.
An operation at this time,
the risk of infection alone--
[SOBBING]
ANDREA: You ready to sleep?
Had enough? You good?
[GAVIN COOS]
Okay, come on.
Know anything?
I hate hospitals.
[SIGHS]
You should go home and get him to bed.
No.
I don't want to leave you here.
I'm not staying here.
Okay.
Let's all go together.
No, I-I have to go to Pittsburgh.
Right now? Yeah, I have to work.
With your dad like this?
I have a deadline.
I'm sure Ellen would understand
if you tell her what's happening.
I-I don't want to. I-- I wanna go to Pittsburgh.
I wanna do my job.
This shouldn't be a surprise to you.
Hey, don't talk to me like that.
You seem to think that now that we have a kid,
I shouldn't care about the things I've always cared about
because you don't anymore. I still care about my work.
I have never asked you to stop caring about your work.
I've gotta go. Why?
Everyone who's important
is in this hospital right now.
Can't you be on my side?
For once? You used to be on my side.
I am telling you this because I am on your side.
Now is not the time to go to work.
[FOOTSTEPS APPROACHING]
[SIRENS WAILING IN DISTANCE]
[SIRENS GROWING LOUDER]
[¶¶¶]
[HIGH-PITCHED RINGING]
I've-- I've gotta go
if I'm gonna make Pittsburgh by morning.
Fine. I'm gonna go sit with your family while you go.
[¶¶¶]
[SIRENS BLARING]
[INDISTINCT ANNOUNCEMENTS OVER PA]
Pittsburgh?
[BUS RUMBLING]
[ENGINE IDLING]
[BUS DOORS CLOSE]
Lloyd, there you are. I-- I need to talk to Fred.
Very funny, mister. Get over there. We're ready to shoot.
Right this way. Come here.
CREWMAN: Quiet, please. What? What am I doing here?
Well, you're in this episode, of course. Just wait there.
Roll sound. TECHNICIAN: Sound speeds.
What--? And slate.
And action!
[¶¶¶]
Oh, it's my good friend, Lloyd.
Lloyd Vogel. You remember Lloyd.
I don't understand what's going on.
Can we stop? Can we stop?
Are--? Are you feeling unwell, Lloyd?
Stop asking me questions. I ask you the questions.
On today's program, I thought we would talk about hospitals.
Sometimes, when somebody is sick,
they have to go to a hospital.
I hate hospitals.
A hospital is a place where people go.
Okay. Would you like to pretend
you're in a hospital? LLOYD: No!
[WHISTLE TOOTS]
[WHISTLE TOOTS TWICE]
[THUMP]
Hello, Old Rabbit. LLOYD: What?
[¶¶¶]
[GRUNTING QUIETLY]
Old Rabbit, I presume.
I'm not-- I don't-- Where's--? Where's Fred?
I've been waiting to meet you, Old Rabbit.
I'm so happy you came for a visit.
Hello, Lady Aberlin.
Well, hello.
Hello, Old Rabbit.
[WHISPERS] Oh, my God. We were discussing hospitals.
Well, a hospital is where you go when your body is hurt.
But what do you do when your feelings are hurt?
Why, you talk about them.
¶ It's good to talk ¶
¶ It's good to say The things we feel ¶
What's happening to me?
¶ It's good to talk ¶
¶ We're much more real Without the lock ¶
¶ It's good to talk ¶
Go ahead, try saying:
¶ I like you ¶
I like you.
¶ I'm sad ¶
I'm sad.
¶ I'm angry ¶
When did you become angry?
Do you remember?
Did something happen?
[¶¶¶]
Hey, peanut.
Hi, Mom.
Mm, I know you think you're doing this for me...
holding on to this anger.
I don't need it.
[BREATHES SHAKILY]
FRED [ECHOING]: Lloyd?
BILL [WHISPERS]: What happened?
MARGY: I don't know. He just-- He just collapsed.
BILL: Is he okay? MARGY: Can somebody get--?
I'll get help.
[PIANOS PLAYING "BILDER AUS OSTEN" BY ROBERT SCHUMANN]
[GASPS]
[PIANOS CONTINUE PLAYING]
Turn.
Oh, good.
You're awake.
Oh, my goodness. If I knew you were there,
I would have stopped all this noise.
No, no, no, that was... It was beautiful.
Now, you must be very hungry, Lloyd.
Let me get my jacket, and we'll go out.
I-- I should go.
Oh, no, no. Nonsense, nonsense.
[¶¶¶]
Oh, look at this. Thank you so much.
Enjoy.
Thank you. Thank you.
[CLEARS THROAT]
Are you a vegetarian?
I just can't imagine eating...
anything with a mother.
[CHUCKLES]
Bill was right. You...
love people like me.
What are people like you?
I've never met anyone like you in my entire life.
Broken people.
I don't think you are broken.
I know you are a man of conviction.
A person who knows the difference
between what is wrong and what is right.
Try to remember that your relationship with your father...
also helped to shape those parts.
He helped you become what you are.
Would you do something with me, Lloyd?
It's an exercise I like to do sometimes.
We'll just take a minute
and think about all the people who loved us into being.
I-- I can't do that.
They will come to you.
Just one minute of silence.
[INHALES, EXHALES DEEPLY]
Thank you for doing that with me.
[INHALES DEEPLY]
I feel so much better.
[CHUCKLES]
[SNIFFLES]
[¶¶¶]
[AIRPLANE ENGINE DRONING]
[TIRES SQUEALING]
[CRICKETS CHIRPING]
[CHILDREN CHATTERING]
So the way I left...
Was messed up.
[SIGHS]
Yes, I should have called you.
You shouldn't have left.
The doctor came to speak to you. I didn't know what to tell her.
I really didn't know what to tell your dad.
And on top of that, I tried to get a cab home.
Of course, I couldn't get one,
so I had to take the train at midnight.
People were looking at me with Gavin like...
someone was gonna call Child Services.
I know you're trying to apologize,
but that doesn't mean it gets to be easy.
Okay, talk.
Can--?
Can we sit?
Is he down?
Finally.
[SIGHS]
Listen.
I-- I realize I need to deal with my feelings.
When I'm scared--
Which I was in the hospital, and I have been...
for a long time.
I get really angry.
And I know it's a way of saying, "I can't deal with this.
Get away from me." But that's not what I want.
It's actually the opposite of what I want.
[BREATHES SHAKILY]
You and Gavin...
you're what I want.
[CRYING SOFTLY]
[WHISPERS] I'm sorry.
I have to go and see Jerry.
He's dying.
I know.
My dad is dying.
[CRYING SOFTLY]
[¶¶¶]
Cecilia Sherman.
Colby Dickerson.
Justin Cook.
¶ If you wait for me ¶
¶ Then I'll ¶
FRED: Rebecca Anito.
¶ Come for you ¶
¶ Although I have Traveled far ¶
¶ I always hold a place for you In my heart ¶
FRED: Lloyd Vogel.
Andrea Vogel.
¶ If you think of me ¶
FRED: Gavin Vogel.
¶ If you miss me Once in a while ¶
FRED: Jerry Vogel.
¶ Then I'll return to you ¶
[BIRD CAWING]
¶ I'll return ¶
¶ And fill that space In your heart ¶
Thank you, God.
[SNIFFLES]
He still eats like a teenager.
[SCOFFS, SNIFFLES]
Cold cuts, sugar cereal.
[SIGHS]
Stubborn goat.
At least you come by it honestly.
[SNIFFLES]
Did you know about me...
and my sister?
Not-- Not until very recently.
What about my mom?
Uh, when he got sick last year,
uh, after the first episode, he...
He started to talk
and tell me things that I wish he'd told me a long time ago.
[¶¶¶]
JOHNNY [ON TV]: Whose one-day cash winnings total...
JERRY: We got bourbon, you know.
JOHNNY: And now, here is the host of Jeopardy!
I mean, someone should drink it.
No, thanks.
[AUDIENCE APPLAUDING]
Not even beer?
Oh, do you have...? Yeah, yeah, I'll--
I'll drink a beer if it'll make you happy.
No, we don't have beer.
Don't do it because it'll make me happy.
Do it because you wanna.
You don't have a beer, and I don't want a beer, so...
So don't drink anything.
Just dehydrate.
[WHISPERS] Sorry.
I definitely broke the Pack 'n Play.
It just snapped like a chicken bone.
No.
How's he doing? He seems fine.
Yeah? I don't know.
They don't put a hospital bed
in your living room if you're fine.
Hey. Thank you for coming.
You're gonna love the sofa bed.
Yeah? No.
[ANDREA LAUGHS]
[GAVIN COOING]
[GAVIN CRIES]
Oh, oh, oh, oh, oh.
Okay, come here.
[CRIES]
[GAVIN COOING]
I know. I know.
I know.
You wish it was your mom
who was awake right now. I know.
But we're gonna let her sleep, okay?
[COOS]
I'm gonna get better at this.
And we're gonna have to get used to each other.
¶ 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 ¶
JERRY: Who's that?
That Dorothy?
[WHISPERS] Come on.
[BREATHING RASPILY]
You okay?
Yeah, I'm fine.
It's 4 in the morning.
I don't sleep much these days.
[GRUNTS SOFTLY]
You don't sleep either, do you?
[CHUCKLES]
I never did this with you.
Up in the middle of the night, doing the...mom thing.
It's not a mom thing.
Well, you know what I mean.
You should rest.
No. Hey.
Come on, stay.
[GRUNTS]
[COUGHS]
Hey.
Right over there.
What?
Just grab two glasses.
I don't think that's the best idea.
How would you know? You don't drink.
[BOTH CHUCKLE]
Come on.
[BOTH SIGH]
[GLASSES CLINK]
Now we're talking.
[SIGHS]
Ah.
Cheers.
[SIGHS]
Lloyd...
I am sorry for leaving you and your sister.
It was...
It was selfish.
And it was cruel.
Will you look at me?
I am so sorry, son.
It's not fair, you know?
I think...
I'm just now starting to figure out how to live my life.
I always loved you.
[¶¶¶]
I love you too...
Dad.
[SIGHS]
[GROANS]
[GAVIN COOING]
[CHUCKLES]
Hey.
Hm. What?
Shh.
It's stupid. Shh.
It's like 10,000 words.
Yeah.
It's not really about Mister Rogers.
I know. I mean, it is, but...
it's so you.
You never talk about this stuff.
Nope.
It's good.
Yeah? Yeah.
Lloyd, I love it.
You do? Yes. It's gonna be the cover.
[¶¶¶]
[SIGHS]
[CHUCKLES]
[SNORTING, LAUGHING]
Right off the bat, about the wedding--
Whatever. It was the most entertaining one yet.
I'm just glad you're here.
Don't go to Martha's Vineyard. Why not?
It's my honeymoon. I deserve it.
Absolutely, you do.
It's not a question of entitlement.
You're not gonna like it. It's a bunch of rich jerks.
And it's freezing. You're gonna freeze to death with rich jerks.
[DOORBELL RINGS]
JERRY: Who's here?
Ah, I'm in the right place.
Come on in. Lloyd.
Holy crap.
Andrea. Hi, Fred.
Such a pleasure to finally see you.
Oh! Can I take this for you? Oh, thank you. Yes.
Hello, Mister Rogers.
Hello.
Hello there.
Hi, Gavin. Hello.
I hope you and I can be friends someday.
[GAVIN COOING]
Mr. Vogel.
May I call you Jerry?
Yes, sir.
You certainly may.
[LAUGHING]
[ALL CHUCKLING]
Lloyd, Joanne adored your article, as did I.
Andrea, are you feeling better about day care?
A little.
Maybe. Mmph.
What? You're not the only one who talks to Fred.
Mister Rogers, is it true you're a sharpshooter?
Uh, Navy SEAL.
No, I'm afraid not.
What the hell kind of insane question was that?
I heard it.
[LAUGHING]
Andrea, where'd you guys go
on your honeymoon? Well, we eloped in Maui,
so we were kind of already on our honeymoon.
I would've gone. You weren't invited.
Hey. Lloyd, he's embarrassed by us.
Eh... JERRY: I'm kidding.
I know.
[ALL LAUGHING]
Maybe we should do a family vacation.
What do you think about that, Dad?
Should we dip our toes in the ocean together?
Oh, that sounds so nice.
Crash your honeymoon?
Uh, count me in.
If I'm still here, heh.
[SIGHS]
[CLEARS THROAT]
You know, death is something
many of us are uncomfortable speaking about.
But to die is to be human.
And anything human is mentionable.
Anything mentionable is manageable.
You got to send me a copy.
Joanne will love this when she sees it.
It'd be so much cooler if he was in this.
[SHUTTER CLICKS] [FRED SIGHS]
FRED: Thank you. Thank you.
FRED: I should get going.
I'll walk you out.
I got these.
[WHISPERING INDISTINCTLY]
Count on it.
Thank you.
[DOOR OPENS, CREAKS]
[¶¶¶]
Hey. What--?
What did you say to Jerry?
I asked him to pray for me.
I figure anyone who is going through what he is going through
must be awfully close to God.
Lloyd. Bill.
Read the article.
And?
[CHUCKLES] [TAPS ON WINDOW]
[ENGINE STARTS]
[¶¶¶]
FRED: ¶ 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 ¶
¶ It's funny, but it's true ¶
¶ It's the same, isn't it? For me and... ¶
¶ 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 ¶
So maybe I could slow down for a few months.
What do you mean?
Stay home with Gavin.
Let you go back to work without having to worry about day care.
I want to. Really?
You?
Gavin and I already discussed it.
We both agree.
[¶¶¶]
[TROLLEY WHISTLES]
I'm so glad I had a chance to tell you
about my friend Lloyd and his family.
I have a new picture of Lloyd with his family.
Would you like to see it?
[¶¶¶]
There they are.
That's a nice picture.
It gives me a good feeling to see them all together like that.
I hope you know that you made today a very special day
by just your being you.
There's no one in the whole world like you,
and I like you just the way you are.
¶ It's such a good feeling To know you're alive ¶
¶ It's such a happy feeling You're growing inside ¶
¶ And when you wake up Ready to say: ¶
¶ "I think I'll make A snappy new day" ¶
¶ It's such a good feeling ¶
¶ A very good feeling The feeling you know ¶
¶ That I'll be back When the day is new ¶
¶ And I'll have More ideas for you ¶
¶ And you'll have things You'll want to talk about ¶
¶ I will too ¶
See you next time.
ASSISTANT DIRECTOR: And that's a cut.
[BELL RINGS]
Thank you. Mm-hm.
[CREW CHATTERING]
[BASS PLAYER PLAYS NOTES]
[PLAYING MUTED]
Okay. All right.
Great? Yeah.
That's a wrap. Thank you. Yes, thank you. Thank you.
MARGY: You're on location tomorrow at Mr. Wagner's shoe shop.
Call time is 8 a.m. Thank you all.
MARGY: ADs have the call sheet. CREW MEMBER: Night.
ASSISTANT DIRECTOR: See you tomorrow. Good night, Kelly.
Good night, boss. Good night.
See you tomorrow.
[PLAYING PIANO]
[PLAYING TUNE]
[PLAYING DISCORDANT NOTES]
[PLAYING TUNE]
[¶¶¶]
MISTER ROGERS: ¶ You can make believe It happens ¶
¶ Or pretend That something's true ¶
¶ You can wish or hope Or contemplate ¶
¶ A thing you'd like to do ¶
¶ But until you start To do it ¶
¶ You will never See it through ¶
¶ 'Cause the make-believe Pretending ¶
¶ Just won't do it for you ¶
¶ You've got to do it ¶
¶ Every little bit You've got to do it ¶
¶ Do it, do it, do it ¶
¶ And when you're through ¶
¶ You can know who did it ¶
¶ For you did it ¶
¶ You did it, you did it ¶
¶ It's not easy To keep trying ¶
¶ But it's one good way To grow ¶
¶ It's not easy To keep learning ¶
¶ But I know that this is so ¶
¶ When you've tried And learned ¶
¶ You're bigger Than you were a day ago ¶
¶ It's not easy To keep trying ¶
¶ But it's one way to grow ¶
¶ You've got to do it ¶
¶ Every little bit ¶
¶ You've got to do it ¶
¶ Do it, do it, do it ¶
¶ And when you're through You can know who did it ¶
¶ For you did it You did it ¶
¶ You did it ¶
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