Studio operations toured by Benchley in the film
- The life drawing classroom, where animators learn to caricature people and animals by observing the real thing.
- A film score and voice recording session featuring Clarence Nash, the voice of Donald Duck, and Florence Gill, the voice of Clara Cluck.
- A foley session for a cartoon featuring Casey Junior from Dumbo. Doris demonstrates the sonovox in this scene, which was used to create the train's voice.
- The camera room, featuring a demonstration of the multiplane camera. Upon Benchley's entering the camera room, the film turns from black-and-white to Technicolor (a la The Wizard of Oz), prompting the droll Benchley to (breaking the fourth wall) examine his now red-and-blue tie and his yellow copy of the Reluctant Dragon storybook and comment, "Ahh...Technicolor!" When Doris arrives to show him around the camera room, she asks Benchley if he remembers her. His answer: "Yes, but you look so much different in Technicolor!" Donald Duck appears on the camera stand to help explain the mechanics of animation and animation photography.
- The ink-and-paint department, including a Technicolor-showcasing montage of the paint-making process. Doris presents a completed cel of the titular character from Bambi.
- The maquette-making department, which makes maquettes (small statues) to help the animators envision a character from all sides. Some of the maquettes on display included Aunt Sarah, Si, and Am from Lady and the Tramp and Captain Hook and Tinkerbell from Peter Pan; both films were in development at this time, but would be delayed by World War II and not completed until the 1950s. Also on display is a black centaurette from Fantasia, which Benchley steals. The employee on duty makes Benchley a maquette of himself, which many years later was purchased and owned by Warner Bros. director Chuck Jones.
- The storyboard department, where a group of storymen (one of whom is portrayed by Alan Ladd) test their idea for a new short on Benchley: Baby Weems. The story is shown to the audience in the form of an animatic, or a story reel, using limited animation, and is considered among the Disney studio's best (if unsung) works. Alfred Werker, loaned out by 20th Century Fox to direct this film, later became the first outside film director to use the storyboard, which the Disney staff had developed from predecessive illustrated scripts during the early-1930s.
- The room of animators Ward Kimball, Fred Moore, and Norm Ferguson. Benchley watches Kimball animating Goofy, and Ferguson animating Pluto. He and the audiences are also treated to a preview of a new Goofy cartoon, How to Ride a Horse, the first of the many how-to parodies in the Goofy series. RKO reissued How to Ride a Horse as a stand-alone short on February 24, 1950.
- Humphrey, who has been one step behind Benchley the entire film, finally apprehends him and delivers him in person to Walt Disney, who is in the studio projection room about to screen a newly completed film. Disney invites Benchley to join them; to Benchley's slight embarrassment yet relief, the film they screen is a two-reel (twenty-minute) short based upon the very book Benchley wanted Walt to adapt, The Reluctant Dragon.